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Your guide to classical music online
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Your guide to classical music online
Mikhail Pletnev’s piano arrangements of Tchaikovsky’s ballets tend to be more distillations than transcriptions. Some parts of the Sleeping Beauty skirt the edges of re-composition–the
Smirk if you must at the idea of Mussorgsky’s Pictures at an Exhibition transcribed for three accordions. In fact, I did when assigned this disc
Of all Tchaikovsky B-flat minor Piano Concerto recordings by major artists on major labels, the 1970 Weissenberg/Karajan EMI traversal ranks among the worst. The fault
These are competent performances, warmly recorded, but there’s little else worth noting. Slatkin elicits playing from the St. Louis strings that’s smooth to the point
In the 1950s, under William Steinberg, the Pittsburgh Symphony Orchestra never reached the same level as, say, the Philadelphia Orchestra of the same decade under
Volatile temperament and fiendish commitment crackles through every bar of violinist Bronislaw Huberman’s oft-reissued Tchaikovsky and Beethoven Concertos, respectively recorded in 1928 and 1934. However
The tentative sound of the trumpets at the beginning of Tchaikovsky’s Capricco Italien does not bode well for this disc. But as the orchestra enters,
There are wonderful performances, made all the more appealing by the addition to the original issue (containing 1812 Overture, Marche slave, and Romeo and Juliet)
This is a very handy three-disc set in spite of the fact that there are better individual recordings available for the major works included–especially Francesca
Neeme Järvi’s take on Tchaikovsky’s Sixth is stylistically consistent with his other recordings of the composer’s music (namely the orchestral suites and tone poems on
