Pyotr Ilyich Tchaikovsky (1840-1893)
Symphony No 3 in D major, Op. 29 ‘Polish’ (1875)
Polonaise from Eugene Onegin, Lyric Scenes, Op. 24 (1879)
Festival Coronation March in D major (1883)
Tonhalle-Orchester Zürich/Paavo Järvi
rec 2019-2021, Tonhalle Maag, Zürich, Switzerland
ALPHA CLASSICS 839 [54]
This is the fifth release in the survey of the Tchaikovsky numbered symphonies by Paavo Järvi and the Zurich Tonhalle-Orchester (it is not known if the Manfred symphony will follow). The series has been well received but I have not heard all the recordings and was disappointed by the orchestra’s lack of familiarity and feeling for this Russian Romantic music in the First Symphony. However, I should advise that this latest release shows more emotional affinity with Tchaikovsky and the standard of performance and recording in general makes this a very fine series, so this latest release should be an obligatory purchase for those who have already acquired the other CDs in this cycle.
I much admire Järvi’s Beethoven and Schumann symphonic cycles with his Bremen Kammerorkester and his interesting talks on the music included with the series. Apart from being an outstanding orchestral trainer, he is a distinguished interpreter of a wide repertoire and his surveys of that will be of great interest in coming seasons. He has that magical touch displayed by his father Neeme Järvi - the talent to get the best out of any ensemble, a gift not granted to every conductor.
Uniquely, Tchaikovsky’s Third is the only symphony in a major tonality and is perhaps the most popular of the composer’s early symphonies, particularly for its dance-like movements heralding the composer’s great ballets. Yet with its five movements it is often argued that it is more of an orchestral suite than a real symphony. If I had some misgivings about Järvi’s handling of the First Symphony, my doubts are dismissed by the opening bars of this ‘Polish’ symphony. From the start, it is clear that he has a feeling for this music. He brings out all the glorious Romanticism of the opening movement, Moderato assai (Tempo di marcia funebre), with the marvellous shift to allegro brillante, in which the woodwind and the brass departments of the orchestra reveal superb musicality. I particularly like the playing of the bassoonist Matthias Racz and the clarinettist Michael Reid in this movement, and the glorious strings are beautifully cushioned against the colourful wind playing.
The second movement, Alla tedesca (German style) is based on an Austrian/Moravian folk theme. It offers stunning playing between strings and woodwind in the waltz of the third, middle movement and the Scherzo is delightful; Järvi gives us all the magical charm of Tchaikovsky’s score, while in the Finale, yet another beautiful dance adorns the polonaise that allowed August Mann to give its name to the symphony in one of his Proms concerts at the Crystal Palace in London. In all, this is an excellent interpretation and performance of Tchaikovsky’s symphony embellished by a superb recording.
Another polonaise decorates the dance from Eugene Onegin, which is
just as well performed, as is the other ‘filler’, the rarely performed
Festival Coronation March with the theme of the Danish National Anthem
quoted in the Russian Anthem ‘God Save the Tsar’. The booklet notes are in
English and German with informative articles on the music, the conductor and
orchestra, and a useful list of orchestra members. This disc is an essential
addition to those collecting Järvi’s Tchaikovsky cycle, and very much worth
considering as a one-off purchase.
Gregor Tassie
