Relief’s ‘Silver Edition’
of Fedoseyev’s recordings with the Tchaikovsky
Symphony Orchestra of Moscow Radio is
rarely less than interesting, and sometimes
much, much more. Here is a striking
coupling, and one which has a musical
point to make, too – the balletic elements
of Tchaikovsky’s ‘Little Russian’ are
highlighted interpretatively in a way
that makes the Sleeping Beauty
Suite run on entirely naturally.
Talking of little Russians,
Olga Dobrokhotova’s booklet notes refer
to Tchaikovsky’s Second as the ‘Ukrainian’
or the ‘Minor-Russian’. Let’s stick
with the accepted ‘Little Russian’,
shall we?. Booklet presentation has
been a continual sticking point in appraising
these issues – so often notes, translation
and proof-reading standards seem so
much at odds with what is aurally on
offer.
On to the music … Fedoseyev’s
Tchaikovsky Second is a variable affair
which nevertheless deserves frequent
re-hearings on account not only of the
authentically-Russian sound of the orchestra
but also for the conductor’s acute ear
for balance and orchestral detail. Even
more would have been revealed if the
recording were not quite so reverberant,
though (the initial orchestral chord
that heralds the solo horn’s lonely-lament
– lovely, tasteful vibrato here – seems
to linger preternaturally). The balancing
of forces in the introduction is remarkable.
Fedoseyev’s natural understanding of
Tchaikovskian scoring is highly impressive,
and symptomatic of his reading as a
whole. The Allegro vivo is grittily
determined, string ensemble being particularly
worthy of note. Fedoseyev’s grasp of
the work’s structure is neatly exemplified
by the natural way the Allegro vivo
emerges from the extended Andante sostenuto.
If the Andantino marciale,
quasi vivo is less of a march than in
Abbado’s hands (with the New Philharmonia
in a highly recommendable account on
DG 429 527-2 at medium price, coupled
with the same conductor’s Vienna Fourth),
Fedoseyev maintains a good sense of
flow and secures some marvellously suave
string playing (especially around the
4’50 mark). The references to the world
of ballet noted above can clearly be
heard in this movement, as they can
in the more delicate parts of the ensuing
Scherzo. A pity in the latter’s case
that there is some definition lost in
the recording quality (again that reverb).
The finale exudes an
aura of ‘rightness’ – an authentic feeling
runs through it. However, a clumsy edit
at 6’55 detracts, and Fedoseyev fails
to reach the heights of excitement this
music can bring in its wake, so that
the close does not quite take off (it
sounds under-tempo, almost more of a
rehearsal speed).
The Sleeping Beauty
Suite is Fedoseyev’s own, and Relief
claim this as a first recording. Fedoseyev
considers Sleeping Beauty to
be the finest of Tchaikovsky’s ballets,
apparently, and this performance is
dripping with charm and affection. True,
some adjustment needs to be made (perhaps
better not to listen to the disc absolutely
straight through, else the first movement
‘Marche’ sounds almost naïvely
pretty after the Second Symphony’s finale).
But criticism is effectively silenced
by the suave, beautiful in the extreme
string playing of the ‘Scene dansante’,
and from now on almost all is of the
same high standard.
Interesting that Relief
should name certain soloists (harp,
horn x2, cello, flute, oboe and piano),
yet omit the clarinetist, who is so
excellent in the ‘Pas de six’. Cellist
Victor Simon is marvellously, singingly,
expressive in the ‘Pas d’action’; flautist
Maria Fedotova is similarly impressive
in the ‘Bluebird’ movement. An impassioned
‘Adagio d’Aurore et Desire’ rounds off
a marvellous half hour’s worth of Tchaikovskian
balleterie. If there is any fault
here, maybe it comes in the shape of
the ‘Tempo di Mazurka’, which loses
some of its festive feeling. Yet even
memories of this are erased by a courtly,
stately ‘Sarabande’ and a glistening
‘Silver Fairy’.
Well worth investigating,
if not a first choice recommendation
in the symphony.
Colin Clarke
Tchaikovsky Symphony Orchestra of Moscow
Radio/Vladimir Fedoseyev.