Mstislav Rostropovitch conducts Tchaikovsky’s Symphony No 6 'Pathetique'

★★★✰

   As one of great personalities in music of second half of 20th century, Mstislav Rostropovitch was versatile artist of many qualities. His cello virtuosity and interpretative skills made his name widely recognized as soloist and conductor. Starting from 1962 stage of Lady Macbeth of the Mtsensk District in Gorky Opera (today Nizhni Novgorod) he was active also as opera conductor. In 1967 he was conducting Eugene Onegin at the Bolshoi Theatre in Moscow. From 1977 he was director and conductor of U.S. National Symphony Orchestra in Washington. As Russian patriot, born in Baku, son of Polish noble descent father, he was known for his civil courage and rational views. Year after year he was increasingly famous not only, in musical circles but also for his political attitude. His human rights advocacy was appreciated and rewarded with many awards and orders, especially in post-soviet time. Awards he received show, how unique person he was, for example Stalin Prize in 1951, Lenin Prize in 1964 and Medal of Freedom from President of USA in 1987. His position in musical culture and in 20th century social history is indisputable.
   Starting from his student times, when he quit Moscow Conservatory as a gesture of protest against dismissal of Dmitri Shostakovich form professor’s post he was supporting towards the opposition. In time of cold war he was openly opposed against political control over Soviet Union citizens especially artists and intellectuals. In August 1968 while playing in London at The Proms he made clear gestures of solidarity with Prague Spring. Developing his artistic career, he had more possibilities to fight for freedom of speech and democratic values. He was supporting many dissidents, among them Aleksandr Solzhenitsyn, who was his long time friend. In seventies, after he was banned from official musical life in Moscow, in 1974 he left homeland and four years later he was deprived of citizenship. He remained in exile for 16 years. In 1989 when Berlin Wall was falling down, he gave improvised concert. In 1990 his citizenship was restored and his return was seen as a manifestation of new era in Russian history. He was active in social life also later years; in 1991 he was supporting Boris Yeltsin during coup d'état attempt.

Mstislav Rostropovitch • Tchaikovsky's 6th Symphony 'Pathetique' (1977)

   In mid-seventies Mstislav Rostropovich recorded complete six Symphonies by Peter Tchaikovsky with London Philharmonic Orchestra for His Master’s Voice label of EMI Records Ltd. This English production with addition of the Manfred Symphony op. 58 was published in 1977 by EMI branch offices all over the world. In England it was available as complete of 7 LP records in the box, but for various markets it was also released apart. It was possible to buy standalone symphonies or the whole cycle promoted in various collections and club editions. Next year EMI released record with Tchaikovsky’s two orchestral fantasies Romeo and Juliet and Francesca da Rimini. These recordings were reissued by EMI as 5CD set in 1995. Although all of Tchaikovsky’s symphonic works are eminent achievements, the whole series most featured are last symphonies, especially Symphony No. 6 in B minor, Op. 74 ‘Pathétique’ which was last great work composed by Peter Tchaikovsky, premiered only nine days before his death.
   Recording session for Symphony ‘Pathétique’ took place at Kingsway Hall in London during three days September 13th to 15th, 1976. The place was known for its perfect acoustic space for orchestra sound and it was heavily used for recording sessions with London Philharmonic Orchestra (280 recordings) and London Symphony Orchestra (421 recordings). When London Philharmonic Orchestra was recorded Tchaikovsky under the baton of Rostropovich, it has 44 years of recording experience with Kingsway Hall. The orchestra in Pathétique sounds perfect as in organic unity. Rostropovich’s recordings were made during the years Bernard Haitink was on the post of principal conductor (1967-1979) so the period was propitious for plastic and massive sound of late romanticism. With this orchestra Russian artist found great partnership to create sophisticated performances of Tchaikovsky’s symphonies, thus the interpretation idea is rather balanced than dramatic, closer to classical spirit, although composition by itself is dramatic and narrative-like in post-Romantic manner. This credible performance uncovering lots of inner beauty demands some friendly attention.

Yevgeny Mravinsky conducts Symphony Pathétique

★★★★★

   In history of culture we have many mysterious phenomenons giving scope to our imagination. Facing chef-d'oeuvre we can’t rationalize all of its qualities, so we are mythologizing the story of its creation or just seeking any reason to explain its uniqueness. One of such masterpieces is Symphony B minor, Op. 74 by Pyotr Ilyich Tchaikovsky. The work has been called Symphony Pathétique by composer’s brother Modest, and approved by composer himself. This emotional work was intended as program symphony, A Programme Symphony was even its projected name, but composer decided not to reveal the program as it was too much private, as Tchaikovsky wrote “suffused with subjectivity”, so he decided to leave it without any comments.
   Pyotr Ilyich Tchaikovsky wrote his 6th Symphony in February and March 1893 and orchestrated the work in the summer of the same year, although there are some rumors connecting this composition with his death assuming he committed suicide. The official cause was cholera, and the idea of connecting Symphony Pathétique with his death is again testimony of our inability to accept some phenomenon exceeding our understanding. Facts are simple and still significant. He died three months after he finished this composition. October 28th, he conducted the premiere of this symphony in St. Petersburg, and after first performance he said: “Something strange is happening with this symphony! It's not that it displeased, but it has caused some bewilderment. So far as I myself am concerned, I'm more proud of it than any of my other works”. Nine days later, November 6th, 1893 he died.

Pyotr Tchaikovsky - Symphony Pathétique - Yevgeny Mravinsky (1956)

   The same city Tchaikovsky premiered his last symphony, 63 years later was the scene of unforgettable recording session when great performance of this work was captured. This was the time of growing recognition and interesting focusing on Leningrad Philharmonic Orchestra and its artistic director, conductor Yevgeny Mravinsky. Series of great premiere performances including symphonies by Dmitri Shostakovich, international fame was already huge, even if conductor was traveling reluctantly and did not like recording sessions. As conductor he devoted his career to orchestra, to create its artistic profile and to build technical possibilities. The results of his work were astonishing. Precision of articulation and sound of Leningrad Philharmonic Orchestra was recognized as one of most characteristic achievements of Russian universal musical culture, as well as Tchaikovsky’s symphonic music, especially his last symphony. The only reason this recording has few releases, definitely not as much as it deserves, was its monophonic technology, which as the moment was out of date already. Despite of this, published by Deutsche Grammophone Gesellschaft it remains one of most significant recordings of this symphony.
   Symphony Pathétique belongs to core repertoire of symphonic orchestras and with huge range of possible readings and interpretations it’s good to know some essential and most meaningful renditions. The one that can play referential role and one of most famous is monaural recording made by Yevgeny Mravinsky with Leningrad Philharmonic Orchestra in 1956. What tells the difference between this and many other performances is intensity of musical action. Every phrase of this recording is clear and strong sentence of the whole story which is the 6th Symphony in itself, although devoid of program, it remains a strong narrative construction. Profound and expressive, perfect in every moment, this album is document of artistic potential of the Leningrad Philharmonics one decade after the war. And this is the reason to see such recordings as corner stones of the orchestra’s and conductor’s fame. 

Richter and Karajan play Tchaikovsky's Concerto No. 1 in B-flat Minor

★★★★★

   Romantic era was the period known for industrialization, developing big cities and railway transportation, deep social changes and great technical improvements. In the same 19th century position of arts, literature and music has changed, and artists win privileged position. Musicians were no longer treated as servants, and best virtuosi were worshiped as messengers of the gods. This was the setting for developing the new attitude to a musical form. Among many classical and romantic forms of musical works the one which became most capacious was concerto, especially piano concerto, which finally conquered popularity of violin concerto. 

   Most popular piano concertos of the era became landmarks of the style, after Beethoven’s symphonic concertos, after spectacular brilliant concertos of Hummel, Weber, Field and Chopin, romantic composers have wide perspective of change and various possibilities for constructing new forms. Variety of formal solutions show possibilities of various relations between piano and orchestra and various number of movements – from 1 part in Liszt’s 2nd Concerto (in fact it is in 6 connected parts), 2 parts in big variety of constructions by many composers, 4 parts in Liszt’s 1st Concerto, all four Concertos by Henry Litolff, Brahms’ 2nd Concerto and many more. There were also experiments with different forms, e.g. theme with variations and in effect concerto in 11 parts like 1st Glazunov’s Concerto or 13 parts like in 2nd Concerto by Zygmunt Stojowski. In this wide and differentiated movement Piano Concerto No. 1 B-flat Minor by Peter Tchaikovsky looks as traditional as conservative.

Richter and Karajan in Tchaikovsky's Piano Concerto No. 1 (1963)

   What makes Tchaikovsky’s First Concerto so great and unique is invention of its themes and strong formal construction, natural meanings and powerful expression based on perfect compromise between classical idea of form and romantic spirit. This work is so clear in formal idea and so consequent in its simplicity, it can give listening pleasure even in average performance. But only well balanced renditions can grasp all of its intellectual and emotional subjects. Paradoxically this balance happens to be harder to achieve for artists of best qualifications. And these who were trying to overcome this condition were loosing natural musical sincerity and credibility.
   Among many great performers of this concerto was Svjatoslav Richter, who played it with strong, clear and decided phrases, almost as he was trying to restrain some emotions expressed by accompanying orchestra. But trying to stop Berliner Philharmoniker under Karajan always was an impossible task. Great orchestral phrases and vividly alive orchestral sound are about to dominate whole performance, what makes Richter to match. In final effect rendition is full of energy covering structural qualities. Whole work is too much unequivocal. Despite perfect work of pianist this performance’s worth is only four stars.

Witold Małcużyński – Tchaikovsky – Concerto B-flat Minor op. 23

THE 100th ANNIVERSARY OF WITOLD MAŁCUŻYŃSKI'S BIRTH

   One of best pianists in 20th century Poland was Witold Małcużyński (Malcuzynski, Malcuzynsky, Malcuzinsky), pianist whose career was temporarily suspended by 2nd world war, but flourished in 50’s, giving him master position in Poland and internationally recognized authority in romantic pianism. He was famous as interpreter of Fryderyk Chopin’s music and great performer of romantic concertos by Liszt, Brahms, Tchaikovsky and Rachmaninov. He has recording contract with Columbia Records but his recordings were also published by EMI and Angel Records. Before the war he was supported by Ignacy Jan Paderewski. Later as he was recognized worldwide, Małcużyński was able to continue some activities also on diplomatic field. He had contribution in returning to Wawel Castle in Kraków collection of works of art saving from the war in Canada. 

   He was born August 10th 1914 in Koziczyn (now Kazokine near Švenčionys – Lithuania) and since the age of 5 he was learning piano. As 15 years old he was accepted into Warsaw Conservatory where he studied in classes of Jerzy Lefeld and then Józef Turczyński. He graduated with honors in 1936 and the same time became laureate of fifth prize in International Music Competitions in Vienna. Next year he won third prize in Third International Chopin Piano Competition in Warsaw. In 1938 he moved to Paris for invitation to study in Paris with Marguerite Long and Isidor Philipp. In September 1939 after Germany attacked Poland, he joined the army and thank to Ignacy Jan Paderewski was incorporated as a member of artistic corps. After Germans captured Paris, he fleed to Portugal, and in October 1940 he moved to Argentina. Two years later he moved to USA and after the war he back to Europe and settled in Switzerland.  

Witold Małcużyński - Tchaikovsky - Concerto B-flat Minor (1961)

   He was one of these intellectuals who delayed their comeback to Poland for political reasons. As one of most successful Polish artists, after his return to Poland in 1958 Witold Małcużyński was celebrated as a national hero. He was frequently performing and recording artist, unquestioned authority in artistic style, member of jury in Long-Thibaud-Crespin Competition in Paris (1946, 1955, 1960, 1965, 1977), Queen Elisabeth Music Competition in Brussels (1960), Magda Tagliaferro Competition in Paris (1960) and International Chopin Piano Competition in Warsaw (1960, 1965, 1975). He was performing with Paul Kletzky, Serge Koussevitzky, Pierre Monteaux, Fritz Reiner, Artur Rodziński, George Szell and giving recitals of Polish music. In 1961 Witold Małcużyński recorded two great romantic piano concertos – Concerto No. 1 B-flat Minor by Pyotr Tchaikovsky and Concerto No. 3 D-Minor by Sergei Rachmaninov.
   Performance of Tchaikovsky's Concerto B-flat Minor op. 23 with Polish National Philharmonic Orchestra, the orchestra Małcużyński made debut with, were symbolic return to his beginnings. Pianist is main artist of this performance. Orchestra is following him with necessary precision, which is part of great contribution of conductor Witold Rowicki. The sound of orchestra is even but sometimes little too flat, just opposite to the sound of the piano exploding with colors and emotions. Such difference was probably the effect of sound producer decisions. Maybe orchestral sound was suppressed to enhance the effect of the piano. Recording with Polish National Philharmonic Orchestra under direction by Witold Rowicki was great achievement of artists and one of mandatory item in every Polish records collection. This performance was recognized as perfect interpretation and reprinted many times in Poland and other countries. Four stars for great performance.

Lazar Berman – Tchaikovsky – Piano Concerto No. 1

   The Russian piano school is probably the most comprehensive phenomenon in the history of international piano achievements. Dozens of best virtuosi and  hundreds of great personalities and devoted teachers, thousands of gifted students, proven and effective methods of teaching, strong artistic and intellectual tradition, conducive social environment and audience able to appreciate good performances, all elements worked together for building one school comprising many generations of artists. Its history dates back to John Field teaching activity in Russia from 1802 to 1829 and the newest chapter is written by successful activity of young pianists from Russia probably on every international piano competition. Without fail one of the best in elite of Russian pianists was Lazar Berman – Лазарь Наумович Берман (1930-2005), the great master of romantic piano music one of best interpreters of most complex and difficult piano works.
   In 1955 Emil Gilels called Berman “the phenomenon of music world” but even opinion of great pianist was not able to help Berman in post war Soviet Union. Despite 5th prize in Queen Elisabeth Competition in 1956 (1st won Vladimir Ashkenazy), concerts in London and recordings for Saga in 1958, some concerts and radio transmissions in late 50’s and 60’s, Lazar Berman was barely unknown in West European countries. In state where every decision has to have political acceptance, he was assigned as an artist of internal cultural life. State Concert Agency (Gosconcert) for years was ignoring invitations and concerts propositions coming from the other side of iron curtain. Changes were always a question of time and in empires time goes slower than anywhere else. Living in a small two-room apartment in Moscow with grand piano occupying entire room, Lazar Naumovich has devoted himself entirely to music.

Lazar Berman and Herbert von Karajan (1976)

   In mid-seventies after he made his great Italian debut in 1971 and widely acclaimed American debut with complete set of Ferenc Liszt’s Transcendental Études, Lazar Berman became an instant star. Series of concert tours all over the world, perfect recordings characterize these years as his best times. He was in his forties, in perfect artistic condition, playing with brilliant and fully controlled technique and with lots of interpretative ideas. Herbert von Karajan after listening to Berman’s Transcendental Études album decided to record with Russian artist and to promote him with Deutsche Grammophon contract. In such moment he recorded one of most spectacular romantic concerto with one of the best orchestras in the world and with conductor of great esteem and rich personality. Lazar Berman playing Pyotr Ilyich Tchaikovsky’s Piano Concerto No. 1 in B-flat Minor with Berliner Philharmoniker conducted by Herbert von Karajan – the recording was announced as the first Berman’s album with orchestra, a kind of stronger debut, but in 1976 this was a Mount Everest of musical career for any artist.
   Record was produced by Deutsche Grammophon and like any other records of Russian artists has been almost immediately re-published by Soviet label Melodya. The rendition is perfectly balanced between heroic nobleness and deep sensitivity. Piano plays with symphonic sound and perfect articulation. Berman was able to create a huge range of expression between powerful, strong chords and melodious cantilena, sometimes ethereal legato. His tremendous technical capabilities helped him build lively, very emotional and undoubtedly serious, in some parts clearly metaphysical interpretation. Orchestra had played with more restraint, sometimes even giving more space for pianist, who filled this extra territory with very personal, deep but still intellectual performance. The way Lazar Berman recorded this concerto, the way he reads this work is an example of profound musical sensuality and understanding of this great composition.

Van Cliburn – Tchaikovsky Piano Concerto No.1

   The Piano Concerto No. 1 in B-flat minor, Op. 23 is top rated concerto in the history of music and the one that made Tchaikovsky so famous composer. Of course the list of composer’s real achievements is much longer, there are some compositions of bigger importance in history of music, like last three of his symphonies, ballet Swan Lake or opera Eugene Onegin, but this is the one always on top of the lists of best selling records and live performances. His first piano concerto Pyotr Ilyich Tchaikovsky composed between November 1874 and February 1875. Next two concertos for piano, 2nd in G major composed 5 years later and 3rd in E-flat major, published posthumously by Sergei Taneyev, and did never reach the level of popularity even close to the famous B-flat.
   Tchaikovsky’s Piano Concerto No. 1 is one of the most frequently recorded compositions in the history of music. Since Vladimir Horowitz and Arturo Toscanini recordings in forties, it became a kind of requirement every great pianist has to record this composition. Long before the war Russian piano school as well as many piano virtuosos abroad established this work as a part of basic concert repertoire. And since 1958 every four years International Tchaikovsky Piano Competition was festive occasion for developing ideas associated with Concerto B-flat minor. Among great number of different recordings connected to Moscow festival, the one made by Van Cliburn with Kiril Kondrashin sounds very special, deep, and soulful and has hard to ignore historical background.

Van Cliburn – Tchaikovsky Piano Concerto No.1 (1958)

   In 1958, during the heights of Cold War, started the quadrennial International Tchaikovsky Piano Competition started in Moscow. The first winner of this competition and international sensation turned out young, 23 years old pianist from United States Harvey Lavan “Van” Cliburn Jr. His performance of Tchaikovsky’s Piano concerto B-flat minor with Moscow Conservatory Orchestra and Kiril Kondrashin caused the burst of enthusiasm of the Moscow audience. In subsequent months, the American pianist and Russian conductor had a concert tour all over the U.S. and recorded for RCA. The same year they recorded Tchaikovsky’s Piano concerto with RCA Symphony Orchestra. This recording won Grand prix du disque of Acacémie Charles Cros in Paris and was published by RCA branches in Canada, France and Germany and get platinum status.
   Performance of this concerto is example of brilliant cooperation between soloist and conductor. Pianist joints technical excellence, interpreting skills and pure romantic feeling. Orchestra is precise and gives soloist enough space and solid ground for creating his own vision of this dramatic musical narration. Van Cliburn plays with brave expressive dynamic contrasts and perfect articulation what makes piano sounds heavier than usually and more symphonic than orchestra itself. Sometimes one can feel Kiril Kondrashin lead the orchestra in some kind of loosy way, but maybe it was the best for pianist, who is so much focused on piano any accompaniment can be enough to balance his multidirectional rendition.

Bernstein conducts Tchaikovsky’s Pathétique

   Leonard Bernstein, composer, pianist, conductor and teacher was one of brightest persons in second half of 20th century. He was famous even among people who didn’t ever visit any philharmonic hall. As an orchestra conductor Leonard Bernstein was expert of extended symphonic forms. In many visionary interpretations he was able to balance individual emotionalism and stable construction. And under his direction orchestras always played on the top of their possibilities. The real greatness of his artistry we can appreciate while listening records with New York Philharmonic, orchestra which he was musical director for 11 seasons (1958-1969).
   Leonard Bernstein was conducting New York Philharmonic much longer before and after his term of office. Since unrehearsed and spectacularly successful debut in 1943 he was working with this orchestra regularly until last years of his creative life. And he left dozens of outstanding recordings made with New York Philharmonic. Especially as musical director of the orchestra he recorded every major work from Philharmonic repertoire. The material he worked on during rehearsals immediately after public presentation was recorded in CBS studios. And CBS was his primary label these years, later in seventies and eighties he recorded mainly for Deutsche Grammophon with various orchestras and wide range of repertoire.

Leonard Bernstein - Tchaikovsky’s Pathétique (1987)

   Composing Symphony no. 6 in B Minor op. 74, Peter Tchaikovsky has suffered from serious depression. There are even presumptions about last symphony he finished was illustration of composer’s suicide plans but with lack of evidence or indications such ideas must remain in the realm of speculation. Such conjectures have emerged as a response to the extremely emotional nature of the work. Four part construction with widely expanded first and last parts and with as much characteristic fragments as Adagio lamentoso in final movement it was ideal fodder for imagination.
   This meaningful symphony was called „Патетическая” after opinion by his brother Modest. Russian title means „passionate” and traditionally is accepted worldwide in French translation as „Pathétique”. Composer considered to call it „Programme Symphony” but finally he rejected the idea because he wanted to keep his outward ideas in secret and he didn’t want to encourage conjectures on this field. Qualities of the work makes us think composer’s decision should be respected.

Leonard Bernstein - Tchaikovsky’s Pathétique (1987)

   Leonard Bernstein recorded Symphony no. 6 in B Minor „Pathétique” with New York Philharmonic Orchestra in August 1986. It was live recording of the concert performance in Avery Fisher Hall. This rendition can be seen as a best probe of conductor’s possibilities in eighties. In this recording he achieved the effect of sublimity and nobility, characterizing only these musical works which are devoted to the final decisions on moral and philosophical questions. The first movement is opening with pianissimo possibile giving artists best start posision to create differentiated and complex part. Middle parts are just complete for filling the emotional and imaginary span of the work. It’s worth to pay attention to the 3rd movement Allegro molto vivace, powerful but still subtle. And the answer for the questions of the beginning is given by finale part of the symphony. Experienced conductor is aware of the rules, genius can follow universal path focusing emotions of every receiver. And Leonard Bernstein gives listener a chance to see it from highly captivating perspective. Thus the Bernstein's interpretation of Tchaikovsky’s Pathétique reveals its inner beauty so well.

Gennadi Rozhdestvensky – Tchaikovsky – Symphony No.4 F Minor op.36

Among many great works of Pyotr Tchaikovsky special position has Symphony No. 4 in F Minor op. 36. It was turning point in composer’s oeuvre, the moment he became enough independent, he was able to reject some intellectual principles and very conscious to search for deeper context of his music. Symphony was written in winter of 1876-1877. Working on this composition Tchaikovsky wrote to Taneyev, that „there is no line in this symphony that is not the result of deep emotions, not a reflection of sincere movements of my soul”.  Work has been finished in Italy and premiered February 10th, 1978 at concert of Moscov section of the Russian Musical Society conducted by Nicolai Rubinstein.

There are few explanations of composers ideas put into this symphony. Very first were descriptions Tchaikovsky gave in letters to his friends. And longest one was addressed to Nadezhda von Meck, whom he characterized in details every part the work. This interpretation shows composer’s formal thinking on the level of associations and emotional connections of the work and personal needs. In letter to Taneyev composer wrote: „Actually my symphony is imitative of Beethoven’s Fifth Symphony, that is, I did not imitate its musical thoughts, but it’s main idea”. It is founded on classical four-part scheme, but even though, this work is reaching the heights of romantic style.

Tchaikovsky – Symphony No.4 

Many performances show Tchaikovsky’s Fourth Symphony as much classical, disciplined and predictable as it was only a kind of intellectual game. And this is what makes some performances faulty in their assumptions. Reading this music as a traditional formal routine is in adversity to whole composer’s intention. Sometimes even very good renditions are keeping too much distance to emotional profundity of this music. And only best performances are able to establish equilibrium between intellectual capacity of symphonic form and individual work’s expression. Interesting recording of this symphony and came from Moscow Radio Orchestra conducted by Gennady Rozhdestvensky. For two decades it was seen as in new trend but still reliable model of interpreting Symphony F Minor.

Rozhdestvensky recorded complete symphonies by Tchaikovsky with Moscow Radio Great Symphony Orchestra in early seventies when he was principal conductor of the orchestra. It was one of best recordings in his early career. The series of recordings was published by Melodia in 1973 and republished in second half of the eighties in export edition with English and French linear notes. The time of second edition he was prominent conductor of USSR Ministry of Culture Great Symphony Orchestra, achieving lots of successes with orchestras all over the world. And four decades later this rendition is still fresh and clear, even if too much unambiguous or authoritative.

Karl Böhm – Tchaikovsky’s 4th Symphony F Minor op. 36

One of most versatile composers of romantic era was Pyotr Ilyich Tchaikovsky (in Russian – Пётр Ильич Чайковский) who was developing symphonic music just as surpassing Brahms’ achievements and opening perspectives for post-romantic emotionalism manifest later in symphonies composed by Dvorak, Bruckner and Mahler. It is hard to overrate his symphonies worth, even if he is well known for different forms and genres. And it is characteristic, his style is very personal in every genre and work, in symphonies or songs, compositions for piano or ballets, operas or religious music, and despite of early works his music is always touched by his own, idiomatic and almost intimate emotions. His attitude towards classical forms was very modern, free from dichotomy between nationalistic romanticism represented by group of five composers called Moguchaya kuchka (Russian – Могучая кучка) and on the other side a group cosmopolitan academic composers continuing composing in the manner of German classical school. It is interesting he remained in good relation with both sides of the stylistic conflict Mily Balakirev and Anton Rubinstein.
He perceive classical forms as an almost neutral container for emotional expression. Tchaikovsky’s six symphonies mark composer’s way to establish his own equilibrium of classical forms and individual emotions. After testing and exposing his approach in first three symphonies, in fourth he began series of great works which represent grandiose synthesis of contradicted traditions. Sublime of Russian imperial culture and ideas of Western European music braided in Tchaikovsky’s 4th, 5th, 6th and in Manfred Symphony, gave composer position of one of the greatest composers in nineteen century. His highly elevated, romantic solution became turning point in the history of Russian culture. Despite of this Tchaikovsky has been accused as too much cosmopolite by ideologists of communistic regime, who by the way were in many cases zealous followers of Russian nationalistic ideas.

Tchaikovsky’s 4th Symphony in Karl Böhm Ausgabe

Searching for solution of creative dilemmas, Pyotr Tchaikovsky created Symphony No. 4 F Minor op. 36 in four part form which setup is straightforward reference to constructions of Beethoven’s late symphonies. The narrative mode of constructing symphonic work descends from pre-romantic symphonic style of late Beethoven and Schubert, but most influential were depictive-programmatic symphonic works Liszt and Berlioz. There also some clear reflections of Russian heritage. Wide almost vocal phrase in Andantino could be seen as idiomatic for Russian style. Pizzicato ostinato in Scherzo sounds just like Russian balalaika. In final Allegro con fuoco Tchaikovsky incorporated as a refrain theme folk song In the Field Stood a Birch Tree (originally – Во поле берёза стояла). All this let him save national character of this work, achieving the highest volume of emotional amplitude.
On this equilibrium is based interesting recording of Tchaikovsky’s 4th Symphony made in 1978 by Karl Böhm with London Symphony Orchestra. Probably most disciplined orchestra in Europe with charismatically consequent and moderate, arbitrary exacting conductor made this work very classical in emotional balance and structural construction. Maybe this rendition is not as much dramatic as Gennady Rozhdestvensky’s interpretation with Ministry of Culture Symphony Orchestra, for sure it is not so much lyrical as it was Igor Markevitch’s recording with LSO. Böhm is reading Symphony F Minor somewhere between solemn pathos and virtuoso glitter. And he is deadly consequent. Narrative gesture and wide emotional span makes this vision closer to Bruckner’s academicism than any composer of Russian romanticism.

Concert of the Century at Carnegie Hall

Maybe the worst moments in the history of Carnegie Hall came in the 1970s. Since first decades of 20th century many things were changed – cinema, radio, television, popular culture and mechanical reproduction of sound made many forms of social activities obsolete. Many were convinced Carnegie Hall waits for the fate of many similar institutions and its bankruptcy is inevitable. The idea of collecting founds for help to the most remarkable musical institution in New York came from Isaac Stern. Great violinist called together his friends, the best musicians of this time, to commemorate the past and to help revitalizing the Carnegie Hall by giving special presentation in its auditorium.

Celebrating the 85th Anniversary of Carnegie Hall on May 18, 1976, musical society with Carnegie Hall Endowment Found produced great concert event with participation of great musicians. Artists invited to this project were in close relations with the place and its history. In program of this concert listeners can hear and see Leonard Bernstein with the Members of the New York Philharmonic, Dietrich Fischer-Dieskau, Vladimir Horovitz, Yehudi Menuhin, Mstislav Rostropovich, Issac Stern and The Oratorio Society directed by Lyndon Woodside. Also Martina Arroyo has been invited, but the star had to cancel her appearance due to accident. 

Celebrating The 85th Anniversary of Carnegie Hall

This special event, advertised The Concert of the Century, was recorded live and published in CBS Masterworks series (79 200). Two records, leaflet with lyrics of Schumann’s Dichterliebe and poster in red gatefold cover were the hit in following season of 1977. There was also a special edition of this album, printed in limited issue of 1000 numbered copies with large photos signed by artists and biography of every soloist, the program of the concert and essay on history of Carnegie Hall – all in red calf portfolio and marbled slipcase. In 1978 this album won the Grammy Award as Best Classical Album of the year. It was the third prize in this category in the career of Thomas Frost, producer of this album.
Special program assorted for this celebration include a number of works that became the base for individual and collective exposition. And everyone can find here something enjoying to himself. Beethoven’s „Leonore” Overture No. 3 in solid sound and natural expression of New York Philharmonic Orchestra conducted by Leonard Bernstein was the single symphonic piece in this program. Strong and emotional Pezzo Elegiaco from Piano Trio A Minor op. 50 by Peter Tchaikovsky was performed by Vladimir Horowitz, Isaac Stern and Mstislav Rostropovich. Also Rachmaninoff's Andante from Cello Sonata G Minor Op. 19 (Rostropovich and Horowitz) was example of perfect playing.
The cycle of songs Dichterliebe Op. 48 Robert Schumann composed for the lyrics by Heinrich Heine. This is one of most exacting romantic song cycles. And Dietrich Fisher-Dieskau maintains it with purity and lightness. His conception is clear and his voice sounds perfect in pair with accompanying him Vladimir Horowitz. Also Bach’s Concerto D Minor for Two Violins BWV 1043 with Yehudi Menuhin, Issac Stern and Leonard Bernstein playing harpsichord and conducting orchestra can satisfied the connoisseur. But what gives the listener the vision of the whole evening? When after Tchaikovsky’s Pater Noster sung by The Oratorio Society directed by Lyndon Woodside, in performance of Alleluia from Handel's oratorio The Messiah the whole collective of soloists engaged in this evening joined the choir. And even if it looks like an occasion to listen to Horowitz, Bernstein and Stern singing along, it is worthy to remember this recording as an perfect example of promoting a social activity.