Piotr Il’yich Tchaikovsky (1840-1893)
Fatum, Op. posth. 77 (1868)
Dances from The Oprichnik, No. 15 (1870-72)
Hamlet, Op. 67 (1888)
Introduction to The Queen of Spades, Op. 68 (1890)
Capriccio Italien, Op. 45 (1880)
The Snow Maiden, Op. 12 (1873): Introduction from the Prologue; Melodrama, Act II; Dance of the Tumblers, Act III
BBC Scottish Symphony Orchestra/Alpesh Chauhan
rec. 2023, Grand Hall, City Halls, Glasgow, UK
Chandos CHSA5331 SACD [76]
Alpesh Chauhan’s first recording for Chandos of Tchaikovsky “plums” was warmly received here on MusicWeb (review ~ review). This follow-up of orchestral showpieces by the same composer is of similar generous length but the selection of items is perhaps somewhat less mainstream – and, I dare say, perhaps slightly less attractive to the average punter – unless their greater rarity is a draw. Indeed, several of the works in this anthology are those which might be categorised as being among Tchaikovsky’s less successful – with the obvious exceptions of The Queen of Spades and the tuneful, popular Capriccio Italien.
Chauhan demonstrates here the same sensitivity to phrasal nuance and dynamic grading, coupled with a gift for bringing out the full-on emotionalism which graced that first album, and the playing of the BBC Scottish SO is again remarkably expert and responsive to his direction.
We begin with Fatum, about which Balakirev was very rude even though he was touched by being its dedicatee and about which Tchaikovsky’s opinion veered from declaring it after its successful premiere “to be the best thing I have written so far”, to destroying the score after its failed second performance; it was reconstructed posthumously. It might not be a masterpiece and is indeed somewhat disjointed but I don’t think anyone today would concur with Balakirev about “the appalling cacophony at the end of the piece” and it is certainly given willing advocacy in this performance. Despite moments a prevailingly dark mood and a baleful conclusion, it seems not only to reflect the doubts and travails of the composer’s emotional life but also to point forward to greater works over which an inexorable fate looms. I certainly find it enjoyable and it is played here with great verve and commitment.
Tchaikovsky recycled one of its more lyrical themes in his rarely performed opera The Oprichnik and the next item on this recording is Dances from its Act IV. It is not especially memorable music but rousingly rendered.
The longest number here is the “Fantasy Overture”, Hamlet; it is not a piece I have ever especially warmed to, nor, again, found very memorable, especially compared to the sublime Francesca da Rimini, but Chauhan generates maximum impact from its grand and gloomy themes; many of its ideas and effects seem to derive from that greater work written over a decade earlier – and certainly Tchaikovsky preferred to include Francesca da Rimini over Hamlet as the more popular concert item when he was on tour. There is, however, some especially striking writing for woodwind in it, to which the instrumentalists of the BBC Scottish SO do justice.
I maintain that the brief “Introduction” to The Queen of Spades contains more notable music than the whole of the preceding symphonic poem but it lasts a mere four minutes. The Capriccio Italien is somewhat overshadowed by its Spanish counterpart but I have in any case always felt that its brooding opening in fact sounds more Iberian than Italianate, as do several of the subsequent themes. It nonetheless develops into a highly colourful and diverting romp, beginning with a village band in three-quarter time with, again, some fine contributions from the woodwind and brass, then a sparkling tarantella. The finale is a typically Tchaikovskian peroration and the orchestra sounds as if it is enjoying itself, playing with real slancio.
The Snow Maiden was one of Tchaikovsky’s beloved children and while few admirers of his music today would prioritise it over his more celebrated works, the three movements are both delicately and passionately presented; the yearning “Melodrama”, based on a Russian folk tune, is particularly charming and the “Dance of the Tumblers” is riotously delivered at speed.
In short, while I acknowledge the excellence of the playing and direction in this anthology, I am not especially enthused by the actual choice of music, whereas I was completely absorbed by the selection in the first album. Others may feel differently and welcome its comparatively recherché nature rather than being offered yet another compilation of hackneyed favourites.
Ralph Moore
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