Tchaikovsky: Suite No. 2 & The Tempest

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Tchaikovsky's elusive blend of instrumental precision and free-flowing thematic fantasy in the Second Suite meets its match in the Detroit/ Järvi partnership: the conductor's imagination works... — Gramophone Classical Music Guide, 2010 More…

Catalogue No: CHAN9454
Label: Chandos
Length: 63 minutes

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Tchaikovsky: Suite No. 2, Op. 53, TH 32

Work length38:38

$7.45

$9.10

Neeme Järvi, Detroit Symphony Orchestra

I. Jeu de sons. Andantino un poco rubato

Track length11:04

$2.15

$2.60

II. Valse. Moderato tempo di valse

Track length6:17

$1.05

$1.30

III. Scherzo burlesque. Vivace, con spirito

Track length5:10

$1.05

$1.30

IV. Rêves d'enfant. Andante molto sostenuto

Track length11:48

$2.15

$2.60

V. Danse baroque (Style Dargomijsky). Vivacissimo

Track length4:19

$1.05

$1.30

Tchaikovsky: The Tempest, Op. 18

Work length24:47

$8.40

$10.40

Neeme Järvi, Detroit Symphony Orchestra

I. Andante con moto

Track length4:18

$1.05

$1.30

II. Allegro moderato - Andante alla breve

Track length1:54

$1.05

$1.30

III. Allegro vivace

Track length3:34

$1.05

$1.30

IV. Andante con moto - Andantino

Track length4:03

$1.05

$1.30

V. Allegro animato - Allegro vivo

Track length2:48

$1.05

$1.30

VI. Andante non tanto - Andante

Track length3:24

$1.05

$1.30

VII. Allegro molto - Andante non tanto - Allegro risoluto

Track length1:58

$1.05

$1.30

VIII. Andante con moto

Track length2:48

$1.05

$1.30

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Reviews

2010

Tchaikovsky's elusive blend of instrumental precision and free-flowing thematic fantasy in the Second Suite meets its match in the Detroit/ Järvi partnership: the conductor's imagination works alongside the lean, clean Detroit sound with interesting results. The strings aren't always the ideal: the lush chordings and central fugal energy of the opening movement, 'Jeu de sons', cry out for a richer, Russian tone. But the semiquaver patter is beautifully done, the lower lines clear and personable. Keen articulation and driving force go hand-in-glove as Järvi prepares for the entry of the four accordions in the virile 'Rondo-Burlesque', sweeping on to the folksong of the central section with characteristic aplomb. It's in the Schumannesque phrases and the subtly shifting moods of the most poetic movement, 'Rêves d'enfant', that Järvi really comes into his own; the short-lived, otherworldly radiance at the heart of the movement seems more than ever like a preliminary study for the transformation scenes of The Nutcracker, just as the woodwind choruses look forward to that and Sleeping Beauty. The magical haze surrounding Prospero's island in The Tempest doesn't quite come off; here it's Pletnev (reviewed above) who surprises us with the true magician's touch, but then his Russian horns, and later his trumpeter, cast their incantations more impressively. Järvi is no more successful than any other conductor in stitching together Tchaikovsky's strong impressions of the play, though a little more forward movement in the love-music might have helped.

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