Pyotr Ilyich TCHAIKOVSKY (1840-1893)
Marche Slave, Op. 31 (1876) [9.30]
Manfred Symphony, Op. 58 (1885) [58.01]
City of Birmingham Symphony Orchestra/Andris Nelsons
rec. live, 24-27 September 2013, Symphony Hall, Birmingham, UK
ORFEO C895151A [67.34]
Andris Nelsons has helped reinvigorate the reputation of the City of
Birmingham Symphony Orchestra (CBSO) on the international stage. This he has
done to a level similar to that achieved by Sir Simon Rattle as chief
conductor (1980-98). Nelsons has now said his farewells to the Birmingham
orchestra after eight inspiring years as music director but has left behind
a valuable legacy of recordings on Orfeo: Richard Strauss, Tchaikovsky,
Shostakovich and Stravinsky. Now we have their fourth album comprising
Marche Slave and the Manfred Symphony.
Opening the release is the tone poem Marche Slave. This was an
1876 commission by the Russian Music Society for a concert in aid of the Red
Cross Society who were helping wounded Serbian soldiers. At that stage in
the Serbian-Ottoman War, Russia was supporting Serbia and its goal of
independence. It was Nikolai Rubinstein who conducted the premičre that was
given in Moscow late that year. Using several Serbian and Russian themes and
a clever mix of folk and martial character Tchaikovsky constructed a
stirring work full of patriotic fervour over which Nelsons exercises
judicious control. Serving as a rallying cry the finale is an outpouring as
jubilant as one could wish to hear.
I guess a number of lovers of Tchaikovsky’s late symphonies will have
never come across the Manfred Symphony. It’s a score that
tends to be overlooked. Although unfashionable in recent decades the
literary works of Lord Bryon were still extremely popular when Tchaikovsky,
at the prompting of Mily Balakirev, wrote this programmatic work. Using a
scenario written by Vladimir Stasov, Tchaikovsky identified strongly with
the tortured soul of Manfred, the hero of Byron’s dramatic poem. Tchaikovsky
was at the peak of his powers when he composed the Manfred Symphony
in 1885 the decade between his fourth and fifth symphonies. Tchaikovsky
captures the desolate wretchedness of this tortured character with the
‘Manfred’ theme appearing at the beginning and returning in each of the four
movements.
Nelsons creates a sense of dark foreboding that imbues the opening of the
extended opening Lento lugubre. A riveting tension runs through the
movement as the tormented soul wanders “alone through the Alps”.
The moving Astarte section containing passion and longing and aptly
reflects Manfred’s tender feelings. In the final section at point 14.45
(track 2) Nelsons obtains from his players an eruption of fierce orchestral
power. Marked Vivace con spirito the second movement is entitled
“The Alpine fairy appears before Manfred in the rainbow of a waterfall”.
There is a comforting warmth about this glowing writing of the Waterfall
vision. Nelsons conducts with lucidity of understanding and does so to quite
magical and colourful effect. Under Nelsons’ steadfast control the mainly
bucolic mood of the third movement Andante con moto where “Manfred
meets the mountain people” evokes a scene of verdant Bernese alpine valleys
from flower strewn pastures, to ice cold streams to gleaming mountain peaks.
The playing of the CBSO feels polished and expressive of the joy of nature.
The Finale marked Allegro con fuoco where “Manfred comes to
Ahriman's Palace to seek a reunion with Astarte …” opens with an
infernal orgy, a furious bacchanal in the underground dominion of the evil
king Arimanes. This is music of remarkable energy and drama in a quite
thrilling performance. At point 17.11 (track 5) the powerful and weighty
entrance of the organ adds another dimension until the work gradually fades
to its pianissimo ending. Especially impressive throughout is the degree of
shading Nelsons achieves. The strings excel with their unity, weight and
intensity, and the brass and woodwind sections sound clear and
expressive.
Recorded live the sound team for Nelsons has delivered excellent clarity,
presence and balance. There is no extraneous audience noise to speak of and
no applause at the end of each work. In a glorious and incisive performance
of Manfred the CBSO is lithe and characterful with plenty of bite
and eminently able to engage the listener from start to finish.
Nelsons has a serious rival in Manfred with an account played by
the Russian National Orchestra in remarkable form under Mikhail Pletnev. The
final volume in Pletnev’s series of Tchaikovsky’s complete symphonies in
hybrid SACD is splendidly recorded in 2013 at Moscow on Pentatone.
Michael Cookson
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