Pyotr Ilyich TCHAIKOVSKY (1840-1893)
Symphony No. 3 in D, Op. 29,
Polish (1875) [48:18]
The Sleeping Beauty (1889) - Suite, Op. 64A [19:46]
Gürzenich Orchestra, Cologne/Dmitri Kitaenko
rec. Studio Stolberger Strasse, Cologne, November 2010 and December
2011
OEHMS CLASSICS OC670 
[68:19]
This is part of an SACD cycle on Oehms Classics. Dmitri Kitaenko is
obviously
doing fine things in Cologne. Way back in 2004 I was impressed by a
Shostakovich
Eighth from this source, but on Capriccio. There is an obvious rapport
between
conductor and orchestra.
Interesting that this should come my way as soon after a performance
of the
Polish at the Proms:
Prom 42, Bournemouth
Symphony Orchestra under Kirill Karabits. The Cologne orchestra is the finer
ensemble of the two, and the recording is nicely detailed; the Albert Hall's
cavernous acoustic inevitably stole some detail.
Kitaenko is a superb conductor, pacing the first movement to
perfection. The woodwind's way with the opening of the second movement
Alla tedesca is most appealing, charming and sophisticated,
characterised by an underlying tenderness. There are fine woodwind
contributions to the
Andante elegiaco, just as there are beautifully
songful string passages lovingly balanced by Kitaenko, who seems to have a
fine ear for texture. The finale includes some superb string articulation in
the imitative sections, and Kitaenko is excellent at tracking the various
moods. Orchestral playing throughout is perfectly on the ball, and the
rousing conclusion is highly impressive in this recording.
In this repertoire - and also well recorded - comes both the Oslo
Philharmonic under Jansons and the Chicagoans under Abbado. Interestingly
there’s another fine and characterful Bournemouth performance, this
time captured on disc, on BBC Legends under Silvestri (BBCL 4258, recorded
1967). Even so, Kitaenko bows fully to no-one in this very satisfying
account.
The opening bars of the Introduction to the first movement of the
Sleeping Beauty Suite hold more drama than the entire Third Symphony
- certainly as heard here. The spirit of the ballet is never far from the
Polish symphony so the coupling is entirely apposite. This is a
tenderly sculpted performance that acts as the ideal make-weight. Kitasenko
finds plenty of spirit for the climax of the
Pas d'action (the second
movement); yet equally impressive is the silken string cantabile in
Panorama. The final, famous
Valse is wonderfully unbuttoned
and just shy of riotous.
A rewarding disc, without doubt. A sonic and musical triumph, it
holds much to delight.
Colin Clarke
