Liszt & Tchaikovsky Symphonic poems
View record and artist detailsRecord and Artist Details
Composer or Director: Franz Liszt, Pyotr Ilyich Tchaikovsky
Label: ASV
Magazine Review Date: 11/1987
Media Format: CD or Download
Media Runtime: 52
Mastering:
DDD
Catalogue Number: CDDCA586
Tracks:
| Composition | Artist Credit |
|---|---|
| (The) Tempest |
Pyotr Ilyich Tchaikovsky, Composer
London Symphony Orchestra Pyotr Ilyich Tchaikovsky, Composer Yondani Butt, Conductor |
| Ce qu'on entend sur la montagne |
Franz Liszt, Composer
Franz Liszt, Composer London Symphony Orchestra Yondani Butt, Conductor |
Composer or Director: Franz Liszt, Pyotr Ilyich Tchaikovsky
Label: ASV
Magazine Review Date: 11/1987
Media Format: Vinyl
Media Runtime: 0
Mastering:
DDD
Catalogue Number: DCA586
Tracks:
| Composition | Artist Credit |
|---|---|
| (The) Tempest |
Pyotr Ilyich Tchaikovsky, Composer
London Symphony Orchestra Pyotr Ilyich Tchaikovsky, Composer Yondani Butt, Conductor |
| Ce qu'on entend sur la montagne |
Franz Liszt, Composer
Franz Liszt, Composer London Symphony Orchestra Yondani Butt, Conductor |
Composer or Director: Franz Liszt, Pyotr Ilyich Tchaikovsky
Label: ASV
Magazine Review Date: 11/1987
Media Format: Cassette
Media Runtime: 0
Mastering:
DDD
Catalogue Number: ZCDCA586
Tracks:
| Composition | Artist Credit |
|---|---|
| (The) Tempest |
Pyotr Ilyich Tchaikovsky, Composer
London Symphony Orchestra Pyotr Ilyich Tchaikovsky, Composer Yondani Butt, Conductor |
| Ce qu'on entend sur la montagne |
Franz Liszt, Composer
Franz Liszt, Composer London Symphony Orchestra Yondani Butt, Conductor |
Author: John Warrack
This is really a record for admirers of Liszt. Ce qu'on entend sur la montagne is virtually never given in the concert hall, and recordings of it have not been common. There are, of course, reasons: it was Liszt's first foray into the new medium, invented by him as far as the name goes, of tone-poem, and it is undeniably long and lacking in real inventive distinction. That might seem more than enough to condemn it in almost all music-lovers' ears; but for the curious, and of course for all who are fascinated by Liszt's extraordinary personality, it has a lot of interest. The subject matter, a poem of Victor Hugo's, concerns the artist's withdrawal from the world of political intrigue in order to contemplate Nature; and the 'vast confused sound' of Hugo's opening strikes from Liszt a marvellous piece of imagery. He was not, though, in full command of his technique of thematic transformation in this work; and not the most devoted Lisztians have been able to deny that he is here guilty of the repetitiveness and prolixity that threatened his music far into his career. Nevertheless, it is a work to interest not only all Lisztians but every student of the music of the nineteenth century.
Yondani Butt draws a committed performance from the London Symphony Orchestra, who respond to the music's unusual challenge very warmly. It is a pity that the coupling was not another Liszt tone-poem, which would not only have drawn the ever-growing army of Lisztians but avoided competition with a performance of Tchaikovsky's The Tempest from Claudio Abbado at his most exhilarating on CBS. The opening, in the Chicago performance, has a brooding intensity that Butt's careful but more pedestrian account lacks; and Abbado whips up climaxes with a fervour and a dark, ferocious gloom that is lacking in Butt's. Collectors who happen to want these two works, or are prepared to have one work for the sake of the other, will not regret acquiring the record, I think; and it is decently recorded, with some full and vigorous handling of the various powerful climaxes in both works. For Tchaikovsky alone, though, it has to be Abbado. His coupling is the Second Symphony (the Little Russian).'
Yondani Butt draws a committed performance from the London Symphony Orchestra, who respond to the music's unusual challenge very warmly. It is a pity that the coupling was not another Liszt tone-poem, which would not only have drawn the ever-growing army of Lisztians but avoided competition with a performance of Tchaikovsky's The Tempest from Claudio Abbado at his most exhilarating on CBS. The opening, in the Chicago performance, has a brooding intensity that Butt's careful but more pedestrian account lacks; and Abbado whips up climaxes with a fervour and a dark, ferocious gloom that is lacking in Butt's. Collectors who happen to want these two works, or are prepared to have one work for the sake of the other, will not regret acquiring the record, I think; and it is decently recorded, with some full and vigorous handling of the various powerful climaxes in both works. For Tchaikovsky alone, though, it has to be Abbado. His coupling is the Second Symphony (the Little Russian).'
Liszt & Tchaikovsky Symphonic poems
Liszt & Tchaikovsky Symphonic poems
Liszt & Tchaikovsky Symphonic poems
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