NL -> Tchaikovsky - Symphonies Nos. 1-2 (pg.1)

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Tchaikovsky - Symphonies Nos. 1-2, Academy of St. Martin in the Fields - Sir Neville Marriner

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OlCh

Posted: 27-02-2007, 01:59 (post 1, #718612)

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Academy of St. Martin in the Fields - Sir Neville Marriner - Tchaikovsky - Symphonies Nos. 1-2 1990

Артист:	Academy of St. Martin in the Fields - Sir Neville Marriner
Альбом:	Tchaikovsky - Symphonies Nos. 1-2 1990, 2005
Жанр:	Classical, Orchestral Music
Формат файла:	eac-cue-log-wv-scans-iso
Ссылка:	CD 35 clicks
Нахождение:	eDonkey/Kademlia

thanks to my friends

Symphony No. 1 in G minor ("Winter Dreams"), Op. 13
Composition Description by Robert Cummings
Tchaikovsky was extremely sensitive and self-critical, often revising well-crafted works or destroying or attempting to destroy them. Though he completed the First Symphony in August of 1866, he made a second version of it before the end of that year. Still not fully satisfied with it, he revised it once more, in 1874.
Tchaikovsky himself nicknamed the symphony "Winter Daydreams" and even gave the subtitles "Dreams Along a Wintry Wayside" to the first movement and "Land of Desolation, Land of Mists" to the second. Marked Allegro tranquillo, the opening movement does have a dreamy quality about it, despite its generally lively manner and occasionally muscular sonorities. The ensuing panel (Adagio cantabile ma non tanto) is mesmerizing in its gentleness and melodic flow, both of which invoke tranquil wintry images -- no blizzards or wind here, but lots of snow outside and glowing logs in the fireplace inside. The lovely main theme, first heard on oboe, is one of ... Read More...

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Symphony No. 2 in C minor ("Little Russian"), Op. 17
Composition Description by Robert Cummings
While Tchaikovsky sometimes made use of folk themes, he rarely relied heavily on them. His Symphony No. 2, however, was an exception: he employed folk material in each of the work's four movements, more than in any other orchestral composition. In all, he drew on four melodies, each of Ukrainian origin (the work's nickname, "Little Russian," refers to Ukraine). Dissatisfied with the work despite its great success, Tchaikovsky revised it in 1879 and 1880, extensively reworking the outer movements. The finale, shortened considerably, emerged as one of the brightest moments in his entire output.
The work opens with the horn playing the melody from a Russian folk song called "Down Little Mother Volga," in its melancholy Ukrainian version. The Andante sostenuto tempo changes to Allegro vivo when a second lively theme of absolutely Russian character is presented. A gentle lyrical melody is then introduced by the oboe, and the ensuing development section features much tension and color. ... Read More...

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