P. I. Tchaikovsky - Lydia Artymiw - The Seasons Op. 37a (1984, Chandos # CHAN 8349) [RE-UP]

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P. I. Tchaikovsky - Lydia Artymiw - The Seasons Op. 37a (1984, Chandos # CHAN 8349) [RE-UP]

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Tchaikovsky - Lydia Artymiw - The Seasons Op. 37a
EAC+LOG+CUE | FLAC: 127 MB | Full Artwork: 77 MB | 5% Recovery Info
Label/Cat#: Chandos # CHAN 8349 | Country/Year: UK 1984
Genre: Classical | Style: Romantic

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P. I. Tchaikovsky - Lydia Artymiw - The Seasons Op. 37a (1984, Chandos # CHAN 8349) [RE-UP]

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P. I. Tchaikovsky - Lydia Artymiw - The Seasons Op. 37a (1984, Chandos # CHAN 8349) [RE-UP]

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Pyotr Ilyich Tchaikovsky (May 7, 1840 – November 6, 1893) was a Russian composer of the Romantic era. His wide-ranging output includes symphonies, operas, ballets, instrumental, chamber music and songs. He wrote some of the most popular concert and theatrical music in the classical repertoire, including the ballets Swan Lake, The Sleeping Beauty and The Nutcracker, the 1812 Overture, his First Piano Concerto, his Violin Concerto, his last three numbered symphonies, and the opera Eugene Onegin.

Born into a middle-class family, Tchaikovsky was educated for a career as a civil servant, despite his obvious musical precocity. He pursued a musical career against the wishes of his family, entering the Saint Petersburg Conservatory in 1862 and graduating in 1865. This formal, Western-oriented training set him apart from the contemporary nationalistic movement embodied by the influential group of young Russian composers known as The Five, with whom Tchaikovsky's professional relationship was mixed.

Lydia Artymiw is an American concert pianist.

Artymiw was born in Philadelphia to Ukrainian parents and began piano studies at age four with George Oransky at the Ukrainian Music Institute. Her principal teachers were Freda Pastor Berkowitz, who also taught for over fifty years at the Curtis Institute of Music in Philadelphia, from 1962–1967 and Gary Graffman, her primary mentor, with whom she studied from 1967 to 1979. Artymiw graduated summa cum laude from the University of the Arts in Philadelphia in 1973, which honored her with a “Distinguished Alumna” award in 1991.

Artymiw has appeared as soloist with nearly all the major American orchestras, including the Boston Symphony Orchestra, Cleveland Orchestra, Philadelphia Orchestra, New York Philharmonic Orchestra, Minnesota Orchestra, and the Los Angeles Philharmonic Orchestra at the Hollywood Bowl.

Artymiw has been successful on the international competition circuit. She won third prize in the 1978 Leeds competition (UK) and was a finalist in the 1976 Leventritt competition (USA), a year in which no first prize was given.

Lydia Artymiw is Distinguished McKnight Professor of Piano at the University of Minnesota. She has recorded for Chandos, Centaur, Pantheon, Artegra, and Bridge. wikipedia

The suffix "bis" at the end of an opus number often means the piece is an arrangement or adaptation of another work. In this case it was appended by Tchaikovsky's publisher, linking it to the then-recently published Grand Sonata in G Major for piano, Op. 37, although no sound musical relation exists between the two works. Here, Tchaikovsky wrote 12 separate pieces as part of a commission from Nikolai Bernard, publisher of the monthly music magazine, Novelliste. The composer was to provide an appropriate piece for each of the 12 issues of the magazine, a work reflecting feelings or images associated with the month in the title.

January, subtitled "At the Fireside," has an intimate mood, tinged with regret and gentle playfulness, and featuring an attractive Schumann-esque main theme. February ("Carnival") is festive and joyous, the music jaunty and hardly divulging images of snow and dark nights. March ("The Song of the Lark") reverts to a mood similar to that heard in January, but featuring sparser textures and a greater sense of melancholy, as though a feeling hovers that winter will not soon end. April ("Snowdrop") is bright and seems to usher in spring, albeit a spring with a few clouds and rain storms.

The fifth piece here, May ("Starlit nights"), is sweet in its ascending arpeggios, though its theme turns stately on the lower register of the keyboard. The brief middle section is lively but does not break the generally intimate feeling. June ("Barcarolle") has become one of the most popular pieces from the set: its melody is memorable, sounding Chopin-esque in its sweet gloom and mixture of happiness and sadness. July ("The Song of the Reapers") is the briefest of the 12 pieces, but manages several mood swings, moving from the proud to the industrious, then to the playful, maintaining a joyous demeanor throughout.

August ("Harvest") is busy and a bit hectic in the outer sections, but the central portion is simple and lyrical, unhurried and calm. September ("The Hunt") is regal in the fanfare-like music of the first part, but then turns demure for a time while the more garish elements from the opening gradually infiltrate to retake center stage. October ("Autumn Song") is another popular piece, with a life of its own apart from this set. Its slow main theme is melancholy, featuring a refrain-like phrase of mostly ascending notes that is the heart of its sad nature.

November ("Troika") is hardly less popular than June or October. It is bright in mood and direct in its expressive language, and offers a playful, mischievous middle section. December ("Christmas") is almost childlike in its charming waltz, the music seeming to yearn for orchestral dress and placement in one of the composer's ballets. Typical performances of this whole set can range from 35 to 45 minutes.

1.January: At the Fireside
2.February: Carnaval
3.March: Song of the Lark
4.April: Snowdrop
5.May: White Nights
6.June: Barcarolle
7.July: Song of the Reaper
8.August: Harvest
9.September: The Hunt
11.November: Troika
12.December: Christmas

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P. I. Tchaikovsky - Lydia Artymiw - The Seasons Op. 37a (1984, Chandos # CHAN 8349) [RE-UP]

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