Geoffrey Tozer, LPO, Neeme Jarvi - Peter Ilyich Tchaikovsky: Piano Concerto No.3; Symphony No.7 (1993)
Peter Ilyich Tchaikovsky: Piano Concerto No.3; Symphony No.7 (1993)
Geoffrey Tozer, piano; The London Philharmonic; Neeme Järvi, conductor
EAC | FLAC | Image (Cue&Log) ~ 255 Mb | Mp3 (CBR320) ~ 137 Mb | Scans included
Genre: Classical | Label: Chandos | # CHAN 9130 | Time: 00:57:22
Geoffrey Tozer, piano; The London Philharmonic; Neeme Järvi, conductor
EAC | FLAC | Image (Cue&Log) ~ 255 Mb | Mp3 (CBR320) ~ 137 Mb | Scans included
Genre: Classical | Label: Chandos | # CHAN 9130 | Time: 00:57:22
The Tchaikovsky Piano Concerto No. 3 is rarely heard, though it is a finely crafted work worth greater attention. It has suffered alongside the magnificent and superior Second and the ever-popular First. Moreover, it is not a bona fide concerto at all, the composer having completed only the first movement before his sudden death in 1893. Contrary to the suggestion of a few, it is highly unlikely he intended to produce a one-movement concerto.
Tchaikovsky wrote two other piano pieces the same year bearing the titles "Andante" and "Finale," respectively. Following his death, Taneyev orchestrated these and attached them to the Concerto, though Tchaikovsky had left no indication they were to be a part of it. But the pair did share something in common with the completed first movement: a theme source – the incomplete Symphony No. 7.
In any event, the opening movement of this Concerto is the most compelling, featuring an exuberant main theme whose first two notes are the central melodic element. An attractive slow melody is soon presented, followed by a theme of great vivacity and rhythmic drive. The large cadenza is not entirely successful, but the movement as a whole works well. The slow movement and finale fashioned by Taneyev also have considerable appeal, even if the orchestration is not a good match for Tchaikovsky's. Still, the Piano Concerto No. 3 is probably strongest in its incomplete, single-movement form.
–-
Tchaikovsky sketched out the bulk of this symphony in 1892 and orchestrated part of it, but by the end of that year he deemed it to contain "nothing interesting or appealing." He began to refashion its slow movement and two fast outer movements into a piano concerto, but had resolved to jettison everything but the first movement shortly before his sudden death in 1893. The one approved movement was published as his Piano Concerto No. 3, Op. 75. Composer Sergei Taneyev orchestrated the other two movements, which were published as the Andante and Finale, Op. 79. Occasionally, these are appended to Op. 75 to form a traditional three-movement piano concerto.
In the 1950s, Soviet composer Semyon Bogatyryev set about restoring the work to its original symphonic form. Tchaikovsky had orchestrated the first half of the first movement before switching to concerto mode, so this and the concerto treatment gave Bogatyryev clear guidance. The slow movement created greater problems; only 81 of its 204 bars were found in the composer's own hand, so there may be more Taneyev than Tchaikovsky in the Op. 79 piano-and-orchestra version-and, consequently, in the symphony. Whatever Tchaikovsky intended as the scherzo seems to have been lost, so Bogatyryev drew mainly from the Scherzo-Fantasie from Tchaikovsky's 18 Morceaux for piano, Op. 72. The finale, like the slow movement, is derived largely from the Taneyev orchestration of Op. 79. Bogatyryev completed his reconstruction in 1956, and it was premiered the following year by the Moscow Philharmonic under M. Terian.
The first movement, Allegro brillante, is a sonata form revolving around three principal themes: a fanfare full of anticipatory excitement, a broad and expressive melody, and a gallop that recalls a bit of the finale of Tchaikovsky's Violin Concerto. The second movement, Andante, is an extended set of variations (with an especially ardent outburst at the midpoint) on a long, prayerful theme. The scherzo, Vivace assai, swirls and burbles much in the manner of its counterpart movements from Tchaikovsky's first three symphonies and Manfred.; the trio section is more hymnlike, but continues to surge ahead. The finale, Allegro maestoso, is a swaggering, festive march stepping out first in the lower woodwinds and ultimately parading through the entire orchestra. Up to this point Bogatyryev has imitated Tchaikovsky's style of orchestration splendidly, but his use of an expanded percussion battery seems unidiomatic, and is likely to annoy those listeners who object to the xylophone in Schoenberg's orchestration of the Brahms Piano Quintet.Description by Robert Cummings & James Reel, Allmusic.com
Having never heard the "7th" Symphony when I first heard this disc, I really didn't know what to expect. It has now become one of my favorite recordings. While the symphony was more a work by Taneyev and Bogatryrev than by its originator, it does sound very Tchaikovskian, with overtones of the 5th, 6th, and Manfred Symphonies. I agree that the use of a snare drum late in the closing movement sounds a bit odd, but I still like the work. Jarvi's tempi are not always perfect, being sometimes too fast or slow, but the orchestra plays well and the recording quality is very good. Having the related piano concerto on the same disc invites comparison, and Tozer plays well. I wish more conductors would play and record this "7th" Symphony, which could become quite popular.Review by Amazon Customer
My first acquaintance with Tchaikovsky's(reconstructed by Bogatyrev) 7th symphony was after Ormandy recorded it with the Philadelphia Orchestra. That was truly a grand recording, and indeed was the first recording of the work, as far as I know. I still have a tape of that recording, and it's interesting to compare it with the jarvi recording. Interpretations of Tchaikovsky's works tend to be somewhat standard after one has been exposed to many different ones over a period of time………The Jarvi recording, being digital, is of course, crystal clear. But the Ormandy was not far behind in that regard. Once I saw the Ormandy advertised somewhere in a CD reissue, but I don't think it is available in that format any more. As reviewer No. l said in his review, it's very interesting to have the Tchaikovsky Piano Concerto No. 3 on the same disc with Symphony No. 7. The concerto is virtually the same music per se as the first movement of the symphony, and it's very interesting to hear how Bogatyrev rearranged the music for it to sound symphonically rather than as a solo concerto with orchestral accompaniment.Review by Amazon Customer
Geoffrey Tozer, LPO, Neeme Jarvi - Peter Ilyich Tchaikovsky: Piano Concerto No.3; Symphony No.7 (1993)
Geoffrey Tozer, LPO, Neeme Jarvi - Peter Ilyich Tchaikovsky: Piano Concerto No.3; Symphony No.7 (1993)
Geoffrey Tozer, LPO, Neeme Jarvi - Peter Ilyich Tchaikovsky: Piano Concerto No.3; Symphony No.7 (1993)
Geoffrey Tozer, piano
The London Philharmonic
Neeme Järvi, conductor
Tracklist:
Symphony No. 7 in E flat major (reconstruction)
01. I. Allegro brillante (12:56)
02. II. Andante (11:23)
03. III. Scherzo. Vivace assai (7:26)
04. IV. Allegro maestoso (9:13)
05. Piano Concerto No. 3 in E flat major, Op. post. 75
Allegro brillante - Allegro molto vivace - Vivacissimo (16:24)
Exact Audio Copy V1.0 beta 1 from 15. November 2010
EAC extraction logfile from 2. January 2012, 13:18
Peter Ilyich Tchaikovsky / Symphony No.7 & Piano Concerto No.3
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EAC extraction logfile from 2. January 2012, 13:18
Peter Ilyich Tchaikovsky / Symphony No.7 & Piano Concerto No.3
Used drive : Optiarc DVD RW AD-7203A Adapter: 4 ID: 1
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Read offset correction : 48
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000
Used output format : User Defined Encoder
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Quality : High
Add ID3 tag : No
Command line compressor : C:\Program Files\FLAC\flac.exe
Additional command line options : -T "COMMENT=Ripped by GFox" -8 -V %s
TOC of the extracted CD
Track | Start | Length | Start sector | End sector
––––––––––––––––––––––––––––-
1 | 0:00.00 | 12:56.13 | 0 | 58212
2 | 12:56.13 | 11:23.25 | 58213 | 109462
3 | 24:19.38 | 7:26.10 | 109463 | 142922
4 | 31:45.48 | 9:12.64 | 142923 | 184386
5 | 40:58.37 | 16:23.38 | 184387 | 258149
Range status and errors
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Filename D:\EAC\Peter Ilyich Tchaikovsky - Symphony No.7 & Piano Concerto No.3.wav
Peak level 95.5 %
Extraction speed 0.7 X
Range quality 99.9 %
Test CRC 4F2C2A28
Copy CRC 4F2C2A28
Copy OK
No errors occurred
AccurateRip summary
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Track 5 cannot be verified as accurate (confidence 2) [A9F2212E], AccurateRip returned [5393047A]
No tracks could be verified as accurate
You may have a different pressing from the one(s) in the database
End of status report
==== Log checksum C6C03802D68D5ABAED22A76C87960D62228F4B2FEA21EC532A0F66E6E1CD8204 ====
foobar2000 1.2 / Dynamic Range Meter 1.1.1
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Analyzed: Geoffrey Tozer, The London Philharmonic, Neeme Jarvi / P.I. Tchaikovsky: Symphony No.7 & Piano Concerto No.3
––––––––––––––––––––––––––––––––––––––––
DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
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––––––––––––––––––––––––––––––––––––––––
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================================================================================
log date: 2018-02-08 16:12:32
––––––––––––––––––––––––––––––––––––––––
Analyzed: Geoffrey Tozer, The London Philharmonic, Neeme Jarvi / P.I. Tchaikovsky: Symphony No.7 & Piano Concerto No.3
––––––––––––––––––––––––––––––––––––––––
DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR13 -0.40 dB -18.74 dB 12:56 01-Symphony No.7 - I. Allegro brillante
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––––––––––––––––––––––––––––––––––––––––
Number of tracks: 5
Official DR value: DR14
Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 608 kbps
Codec: FLAC
================================================================================
Geoffrey Tozer, LPO, Neeme Jarvi - Peter Ilyich Tchaikovsky: Piano Concerto No.3; Symphony No.7 (1993)
