TCHAIKOVSKY; KHACHATURIAN Piano Concertos
View record and artist detailsRecord and Artist Details
Composer or Director: Pyotr Ilyich Tchaikovsky, Aram Il'yich Khachaturian
Genre:
Orchestral
Label: Chandos
Magazine Review Date: 05/2016
Media Format: Super Audio CD
Media Runtime: 75
Mastering:
DDD
Catalogue Number: CHSA5167
Tracks:
Composition | Artist Credit |
---|---|
Concerto for Piano and Orchestra No. 2 |
Pyotr Ilyich Tchaikovsky, Composer
Peter Oundjian, Conductor Pyotr Ilyich Tchaikovsky, Composer Royal Scottish National Orchestra Xiayin Wang, Piano |
Concerto for Piano and Orchestra |
Aram Il'yich Khachaturian, Composer
Aram Il'yich Khachaturian, Composer Peter Oundjian, Conductor Royal Scottish National Orchestra Xiayin Wang, Piano |
Author: Jeremy Nicholas
For those to whom such things are important (as I know they are from a review I penned last year of Denis Matsuev in the Tchaikovsky Second), the score is played complete in its original version – ie no cuts in the first movement and with the 16 bars included at the end of the second movement which Tchaikovsky removed in its revised form. To help us find our way during the lengthy first movement, Chandos has helpfully added three entry points. The two soloists in the second movement are credited, unlike those on Matsuev’s recording, who, however, I marginally prefer for their more espressivo solos.
The Khachaturian is, presumably, a replacement for Chandos of its well-regarded recording with Constantine Orbelian, Neeme Järvi and the same orchestra (11/87). Sumptuously engineered, the newcomer, unlike several other much-vaunted versions (Berezovsky) in inferior sound (Kapell, Lympany), takes Khachaturian at his word as far as tempi are concerned, markedly similar to the live performance conducted by the composer with Nikolai Petrov in 1977 (variously available). Chandos, as before, has gone to the trouble of hiring a flexatone for the spectral second movement (the player, alas, is not credited). Xiayin Wang plays the stamina-sapping solo part with all the conviction and exuberance needed, though no one has ever quite matched the climax of the first movement cadenza as recorded by Peter Katin, the LSO and Hugo Rignold back in 1959 (available to download) – a thrilling moment ‘captured in one lucky take,’ so Katin once told me. If you do not have a recording of the Tchaikovsky, then this is up with the very best; likewise the Khachaturian. Paired together, it’s a no-brainer.
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