Pyotr Ilyich TCHAIKOVSKY (1840-1893)
Serenade for Strings in C major, Op. 48 (1880) [29:48]
Anton ARENSKY (1861-1906)
Chamber Symphony in A minor in Memory of P. I. Tchaikovsky, Op. 35 (1894) [26:57]
Amsterdam Sinfonietta/Candida Thompson
rec. 2014/15, Stadsgehoorzaal Leiden, Netherlands
CHANNEL CLASSICS CCS37119 [57:10]
Tchaikovsky’s Serenade for Strings has been described as the Amsterdam Sinfonietta’s “calling card”; indeed in 2013, they released a recording under Lev Markiz (Globe).
Written after the turbulent Symphony No. 4 and before Manfred, it has remained a very firm favourite. I was brought up on the version from Karajan (DG) and still retain affection for it but more so for Sir Colin Davis (Philips). It has been the practice in recent years for a smaller body of strings to be employed but in no way does this mean the twenty or so players (detailed in the booklet) produce an undernourished sound. The colour of the writing comes through strongly. From the magical beginning, with its nod to Tchaikovsky’s idol, Mozart, through the second movement to the shaded Elégie the playing is dedicated and with a clear passion for the music. The Finale is most effective in its change of moods and the return to the opening theme. This is a fine performance and a good alternative to old favourites; very glowing recorded.
I’m indebted to Roy Westbrook for information in his review of the short-lived Arensky’s Variations on a Theme of Tchaikovsky. They were taken from the third movement of a string quartet, albeit one with the unusual combination of violin, viola and two cellos. The movement took the theme from the fifth of Tchaikovsky’s Sixteen Songs for Children Op.54, and created seven variations from it. The Variations work as a most appropriate coupling to the Tchaikovsky rather than, say the wonderful Dvořák, albeit leaving the disc somewhat short in playing time. The work was unknown to me but I found it very alluring and any lover of the famous work should certainly hear it. There is a very strong element of Tchaikovsky here and it could well be mistaken for another serenade, particularly the second movement Theme and Variations. Its “Russian” melody is very prominent and memorable for its wistful hint back to the Tchaikovsky Serenade. There is, however, variety in the Variations and humour in the pizzicato. The contrast between the themes is considerable and I would have liked them banded separately. The playing is especially sympathetic and the Amsterdam Sinfonietta is clearly a very fine ensemble. They are directed by Candida Thompson with whom they have recorded a considerable number of recordings, that have been reviewed here. The Finale has vestiges of the baroque as does the Tchaikovsky but the mood constantly changes which I find captivating. A hymn tune is employed and also a hint of mid-period Beethoven. That said, the work has a touch of originality.
This is a most enjoyable disc which had me captivated from start to finish. A well-known piece and a novelty. The pairing works extremely well.
David R Dunsmore
