Tchaikovsky was well into his twenties when he abandoned an unpromising career as a civil servant in the Russian Ministry of Justice and began to study music seriously, at first privately and then at the newly-established St Petersburg Conservatory. Immediately after graduating, he was offered a teaching post at the even newer Moscow Conservatory, and it was during his early months there that he composed the First Symphony. Its birth was accompanied by the anxiety and self-doubt that Tchaikovsky was never to overcome, even as a mature and established master.
Total time: 02:05:56
Classic Sound Ltd. Neil Hutchinson, Jonathan Stokes
|Original Recording Format|
Classic Sound Ltd. Neil Hutchinson
Barbican London, Tonhalle Zurich Switzerland
|Recording Type & Bit Rate||
|Release Date||June 9, 2015|
Back in the Russian repertory that he knows so well, and to which he responds more vividly than perhaps any other conductor alive today, Gergiev is once again irresistible… The LSO’s playing is consistently outstanding, too.
Gergiev’s interpretations are among the most satisfying I’ve encountered and, especially in their SACD form, are superior in sound quality to many of the older accounts.
Quotidien du Médecin (France)
Gergiev défend les trois oeuvres avec une belle énergie et un style impeccable.
Recording of the Month
I was entranced from beginning to end by the panache, finesse and imagination… This is a set where everything seems to go right in terms of sound, interpretation and playing. I’ll be very surprised if it’s not on my list of 2012 favorites.
Valery Gergiev and the LSO inject new life into the rich and expressive earlier works. Recorded live in London and Zurich, these compelling performances come highly recommended.
It is LSO Live’s policy to exclude applause. However, given the infectious quality of the music-making, you may feel inclined to append your own.
Balletic is the word for this new set from Valery Gergiev and the London Symphony Orchestra issued on the LSO Live label. Everything is full-bodied, as if accompanying bodies in motion. Movement introductions are slow and attention-getting; main tempos tend to be leisurely (though not the First’s Allegro maestoso finale); scherzos are delicate, folk rhythms lilting. It all sounds fresh and rethought, with individual instruments afforded plenty of space, especially the ripe, pungent winds.
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