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Disc 01
Sinfonie Nr. 5 e-moll op. 64 01. "1. Andante - Allegro con anima" 02. "2. Andante cantabile, con alcuna licenza" 03. "3. Walzer: Allegro moderato" 04. "4. Finale: Andante maestoso - Allegro vivace"
A Memoir 05. "1. (ohne Satzbezeichnung)"
Disc 02
01. "2. (ohne Satzbezeichnung)" 02. "3. (ohne Satzbezeichnung)"
Sinfonie Nr. 2 D-Dur op. 43 03. "1. Allegretto" 04. "2. Tempo andante, ma rubato" 05. "3. Vivacissimo" 06. "4. Allegro moderato"
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| | Number of discs: |
2 |
| | Description: | Tchaikovsky: Symphony No. 5/Sibelius: Symphony No. 2 is an album by Serge / London Philharmonic Orchestra Koussevitzky, released in 2022. The album is a classical CD. - .. NO. 5/SIBELIUS: SYMPHONY NO. 2SOMM Recordings announces a major new release: the first appearance on album of live performances of Tchaikovsky's Fifth and Sibelius' Second Symphonies by the iconic conductor Serge Koussevitzky and the London Philharmonic Orchestra. This historic, two-album set includes an exclusive, specially-commissioned documentary about Koussevitzky's Boston Symphony Orchestra tenure and his LPO guest appearances, featuring interviews with four key players from both orchestras by Jon Tolansky. Tolansky's revealing hour-long documentary includes wide-ranging musical excerpts and contributions from former BSO players Harry Ellis Dickson (violin), Everett 'Vic' Firth (timpani) and Harry Shapiro (sub-principal horn), and erstwhile LPO sub-principal horn Patrick Strevens. The symphonies are heard in performances Koussevitzky conducted with the LPO in London's Royal Albert Hall in 1950. Both have been expertly restored by Lani Spahr. Noted authority on historical recordings Rob Cowan provides detailed booklet notes on the "individual, flexible, flammable, emotionally candid and utterly spontaneous" Koussevitzky's stewardship of both orchestras. He describes the Tchaikovsky as "especially unique [in] it's unsparing volatility... The explosive climaxes leave the audience stunned". Of the Sibelius, he says: "Koussevitzky's London Second is as comprehensive an overview of the work as we have". Lani Spahr's previous restorations for SOMM include the four-disc Elgar Remastered (SOMMCD 261-4) featuring recordings from the composer's own collection, hailed by Audiophilia as "a fascinating achievement which will have you wishing for more". George Szell: The Forgotten Recordings was a Gramophone Editor's Choice and awarded a Diapason d'Or as "a major discovery". Jon Tolansky is the founder of the Music Performance Research Centre (now Music Preserved) and a widely admired producer of audio documentaries on classical musicians. For Spahr's restorations on Beecham Conducts Sibelius, he produced a 30-minute audio documentary. MusicWeb International declared it "an unmissable disc [that] walks straight into a position of eminence in the catalogue".All First Releases
Recorded Live.
- Tchaikovsky: Royal Albert Hall, London on June 1, 1950.
- Sibelius: Royal Albert Hal, London on June 8, 1950.
- "A Memoir" from a documentary.
Liner Notes
The eminent Russian conductor Serge Koussevitzky (1874-1951) visited the London Philharmonic for concerts at the Royal Albert Hall in June, 1950: on June 1 for Sibelius, and June 8 for Tchaikovsky. Koussevitzky and the LPO were not strangers to each other, his having recorded Mozart, Beethoven and Haydn with [a=Sir Thomas Beecham]?s newly-formed ensemble (1932) not long after its founding, in 1934. When Koussevitzky revisited the ensemble in 1950, their leader was the gifted Dutchman [a=Eduard van Beinum], who had maintained the lustrous discipline that responds so well to Koussevitzky?s tempos and dynamics in these visceral readings.
From the throes of the opening ?fate? motif in Tchaikovsky?s E Minor Symphony, the explosive nature of Koussevitzky?s cadences announce a realization that rivals anything we have from another Russian meteor in the music of Tchaikovsky, [a=Evgeny Mravinsky]. The elastic tempos, pushed and pulled with vigor and determined focus, quickly achieve the kind of magnetism we associate with the equally willful Dutchman [a=Willem Mengelberg], the arch-Romantic predecessor ot [a=Eduard van Beinum] at the Concertgebouw in Amsterdam, but without the ?authorized cuts? in the last movement that, for this reviewer, diminish the dramatic effect. Even beyond the force of the music?s alternately grim or balletic impulses, the first movement coda drives forward to a grudging confrontation with destiny. The second movement, Andante cantabile, con alcuna licenza, grants Koussevitzky full permission to imbue its melancholy love music with his own personality, adjusting his horns and winds in nuanced expression of its tragic grandeur. The patented cello and bass-fiddle line, which Koussevitzky refined in Boston, has come to the LPO in regal splendor. The emergent theme breathes, sighs, purrs, and soars in the Roman | | | Manufacturer No.: |
ARIADNE5017 |
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SOMM Recordings
13 Riversdale Road, KT7 0QL Thames Ditton, Surrey, UK
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