Another Fedoseyev/Relief
disc with much to recommend it. The
performances in this series have a consistent
authenticity that, whatever small interpretative
caveats one may find, is nevertheless
most compelling
(see also http://www.musicweb-international.com/classrev/2004/Jan04/Tchaikovsky_991055.htm
http://www.musicweb-international.com/classrev/2003/Dec03/Shostakovich8_Fedoseyev.htm
http://www.musicweb-international.com/classrev/2003/Nov03/Shostakovich10_Fedoseyev.htm
http://www.musicweb-international.com/classrev/2003/Nov03/Fedoseyev_Liszt.htm
).
The actual sound of the Moscow orchestra
contributes - dark, intense, with a
tasteful amount of vibrato from the
brass; the recording, also, seems to
highlight the dark intensity without
losing detail unnecessarily.
The coupling here of
one of the lesser-known symphonies with
Hamlet works remarkably well.
Fedoseyev’s advocacy of both scores
is never in doubt. The five-movement
Polish is played for all it is
worth (the characteristically linguistically
semi-anarchic booklet notes ask that
whatever the formal departures, ‘What
is all that to one if you listen so
captured with pleasure?’!). From a very
delicate, almost half-voiced shifting
string opening, there emerges an Allegro
of much energy. Tchaikovsky’s youthful
vigour even reveals a certain amount
of ecstasy here. A robust, almost cock-sure
approach is what motivates the finale
to a rousing conclusion. In between
comes an ‘Alla tedesca’ with much wit
in the throw-away woodwind phrasing
(the ‘semplice’ marking is especially
well realised), an Andante elegiaco
that includes some remarkably bare scoring
(almost dismembered here, in fact),
and a Scherzo that features gossamer-light
wind/string exchanges. Fedoseyev makes
a most convincing case for a work that
is all too often overshadowed by the
massive emotions of the Fourth Symphony.
Similarly, the twenty-minute
Fantasy-Overture Hamlet is all
too often side-lined in favour of Romeo
and Juliet, so it is good to get
a chance to re-acquaint oneself with
the former here. Written in 1888 and
dedicated to Grieg, Fedoseyev gives
an unashamedly Romantic account. The
introduction has a decidedly elemental
aspect to it - a sense of longing coupled
with a real dramatic sweep is viscerally
conveyed. Some preternaturally expressive
oboe playing portrays Ophelia. As a
performance, this does not displace
the white-hot Stokowski (New York Stadium
Orchestra in 1958, on Dell’Arte CDDA9006),
yet it is several blocks ahead of De
Priest’s earth-bound, careful, uninvolving
attempt on Delos, for example (DE3081).
In terms of intelligence of coupling
and excellence of realisation, this
is a very recommendable disc that will
not disappoint.
Colin Clarke
Tchaikovsky Symphony Orchestra of Moscow Radio/Vladimir
Fedoseyev.