Piotr Ilyich Tchaikovsky

“Tchaikovsky wrote his incidental music for Ostrovsky's Snow Maiden in 1873, and though he accepted it was not his best, he retained an affection for it and was upset when Rimsky- Korsakov came along with his full-length opera on the subject. The tale of love frustrated had its appeal for Tchaikovsky, even though he was not to make as much as Rimsky did of the failed marriage between Man and Nature. But though he did not normally interest himself much in descriptions of the natural world, there are charming pieces that any lover of Tchaikovsky's music will surely be delighted to encounter. A strong sense of a Russian folk celebration, and of the interaction of the natural and supernatural worlds, also comes through, especially in the earlier part of the work. There's a delightful dance and chorus for the birds, and a powerful monologue for Winter; Vladimir Grishko, placed further back, sounds magical.
Natalia Erassova (for Chistiakov's recording on CdM) gets round the rapid enunciation of Lel's second song without much difficulty, but doesn't quite bring the character to life; Mishura-Lekhtman has a brighter sparkle.
Chistiakov's Shrove Tuesday procession goes at a much steadier pace than Järvi's, and is thus the more celebratory and ritual where the other is a straightforward piece of merriment. Both performances have much to recommend them, and it isn't by a great deal that Järvi's is preferable.
Chandos provides transliteration and an English translation.” Gramophone Classical Music Guide, 2010

“Uniquely treasurable and inspiring performances in ideal remastered sound." Gramophone

“Recorded live at Richter's beloved Aldeburgh in 1966, this issue shows an incomparable pianist at the height of his powers. Indeed, it would be difficult to imagine a more authentic yet personal voice in Prokofiev's Fourth and Scriabin's Ninth Sonatas. Richter carved out a special niche in Prokofiev's Fourth Sonata, the most cryptic and ambiguous of the series written in a language that can seem oddly exclusive and inaccessible to those born outside Russia. No other pianist has approached Richter in this work, in his capacity to clarify so much awkward writing while at the same time (in the central Andante assai) acknowledging a wholly individual utterance full of dark confidences and, in the finale, a forced gaiety alive with stiff virtuoso challenges resolved in a mock-triumphant coda.
Few performances of the Scriabin have been more stealthily mobile or breathed a more satanic menace. For once, directions such as avecune douceur de plus en plus caressante et empoisonnée are made meaningful rather than merely idiosyncratic or eccentric. Yet, in more amiable territory Richter is enviably poised, less remote or enigmatic in Mozart's G major Sonata, K283, than one might have expected. His opening Allegro is gently flowing and is memorably contrasted with his brilliantly vivacious finale.
The recordings have come up excellently, allowing us to appreciate Richter's range, unique empathy in Russian music and endlessly thoughtprovoking musicianship in all their glory.” Gramophone Classical Music Guide, 2010