Tchaikovsky Piano Concerto No.1
View record and artist detailsRecord and Artist Details
Composer or Director: Pyotr Ilyich Tchaikovsky
Label: DG
Magazine Review Date: 6/1986
Media Format: Vinyl
Media Runtime: 0
Mastering:
DDD
Catalogue Number: 415 122-1GH
Tracks:
Composition | Artist Credit |
---|---|
Concerto for Piano and Orchestra No. 1 |
Pyotr Ilyich Tchaikovsky, Composer
Claudio Abbado, Conductor Ivo Pogorelich, Piano London Symphony Orchestra Pyotr Ilyich Tchaikovsky, Composer |
Composer or Director: Pyotr Ilyich Tchaikovsky
Label: DG
Magazine Review Date: 6/1986
Media Format: Cassette
Media Runtime: 0
Mastering:
DDD
Catalogue Number: 415 122-4GH
Tracks:
Composition | Artist Credit |
---|---|
Concerto for Piano and Orchestra No. 1 |
Pyotr Ilyich Tchaikovsky, Composer
Claudio Abbado, Conductor Ivo Pogorelich, Piano London Symphony Orchestra Pyotr Ilyich Tchaikovsky, Composer |
Composer or Director: Pyotr Ilyich Tchaikovsky
Label: DG
Magazine Review Date: 6/1986
Media Format: CD or Download
Media Runtime: 0
Mastering:
DDD
Catalogue Number: 415 122-2GH
Tracks:
Composition | Artist Credit |
---|---|
Concerto for Piano and Orchestra No. 1 |
Pyotr Ilyich Tchaikovsky, Composer
Claudio Abbado, Conductor Ivo Pogorelich, Piano London Symphony Orchestra Pyotr Ilyich Tchaikovsky, Composer |
Author: Ivan March
The performance opens weightily with a splendid overall sweep. The gentle transition to the main allegro after the exultant reprise of the string tune brings a change of mood, and the main theme is crisply articulated by Pogorelich with an attractive lightness of touch. The secondary material is engagingly poetic, from soloist and orchestra alike, but when the pianist returns after the first big climax his ruminative, improvisatory approach to a passage marked a tempo brings the forward momentum down to a crawl. He plays very beautifully both here and when the same thing happens (if to a lesser extent, and more justifiably) in the cadenza, but at both places there is a narcissistic element. It is easy to be won over, however, for the pianism itself is so beautiful, as it is in the Andante, with the fast middle section given with superb lightness, brilliance and delicacy, backed by delicious playing from the strings.
Needless to say Pogorelich is fully equal to all the fireworks of the finale, which again demonstrates his superbly controlled articulation. There is no sense of barnstorming until the actual coda. After Abbado has broadened the reprise of the big string tune rather deliberately he then lets the music have its head in the closing bars. I thought this not quite spontaneous in effect, but I am quibbling; overall this performance certainly lacks neither flair nor spontaneity in spite of its waywardness. The partnership of the impulsive Pogorelich with Abbado, essentially a refining influence, is undoubtedly a success. Yet I must add the postscript that if I wer personally laying out cash for a CD of the Tchaikovsky Concerto I would choose Argerich and Dutoit, simply because of the coupling.'
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