Review: Tchaikovsky - Orchestral Works

This is a debut recording for Alpesh Chauhan, currently Principal Guest Conductor of the Düsseldorfer Symphoniker, Associate Conductor of the BBC Scottish Symphony Orchestra and Music Director of Birmingham Opera Company.

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The album begins with a fine reading of “The Voyevoda,” its opening played with energy and ferocity. The orchestra is expertly balanced, strings particularly refulgent, woodwinds characterful, brass playing with an authentic Russian weight and snarl. But Chauhan takes his time in the middle section and energy begins to drop precipitously – both Abbado (Chicago) and Petrenko (RLPO) are faster. Forward momentum is particularly necessary in this music: Tchaikovsky was harshly critical after the first performance, declaring ‘such rubbish should never have been written.’ Thankfully reconstructed from orchestral parts after his death, the melodic material unfortunately lacks the memorability and brilliance of the late symphonies and ballets. So forward drive helps disguise this, and that is exactly what is missing here. Petrenko’s reading remains the benchmark for its marvelously incisive and colorful playing, and impassioned interpretation.

The opening of “The Tempest” feels oddly detached, lacking the atmospheric dread of Abbado’s Berlin performance (DG). The playing is sumptuous (the bass drum has terrific presence), but lacks the ardor heard in Berlin, or in Serebrier’s Bamberg recording (BIS, an overlooked album). Again, Chauhan takes a minute longer than Serebrier, Pletnev (Russian National Orchestra/DG cycle) and Abbado. Tempo seems the main issue, because there is little to fault in the Scottish orchestra’s playing, or Chandos’ spectacular recording. The storm music (track 4) is powerful but is far more threatening in the other three readings mentioned above. The same can be said for the love music’s return in the concluding section (track 7, starting around 1’00”); can anyone match the surging passion of the Berlin strings in this moment?

The ‘Overture’ and ‘Polonaise’ from Cherevichki were new to me. Lighter in mood, they are played with admirable precision and plenty of panache, providing moments of sunnier emotion between the moodier symphonic poems.

The album ends with “Francesca da Rimini” and once again, tempos are an issue. Some commentators have described the work as ‘tawdry’ and ‘overwrought,’ but the best performances reveal a symphonic cohesiveness that builds into a compelling emotional journey, such as Stokowski’s classic version with the New York Stadium Symphony Orchestra (Everest) and, more recently, Nelsons’ performance with the City of Birmingham Symphony Orchestra (Orfeo). Chauhan’s reading is exciting, but the hell fire seems survivable, and the love music does not approach the scorching intensity of Stokowski and Nelsons. Again, note that Chauhan is significantly slower than Nelsons, Chailly, and Stokowski. And these three offer more vivid characterization, in part through more incisive and varied articulation. In short, all the readings of this album are finely done, caught in matchless Chandos sound, allowing us to hear every aspect of the composer’s brilliant orchestration. But they operate on a smaller, more contained emotional plane than Tchaikovsky intends.

David Nice’s liner notes are thorough, informative, and engaging – a model of what program notes should be. Chandos’ ancillary materials are, as always, first-class, and I appreciate the full 78-minute program. Despite disappointment in the lack of full emotional connection, this is an artistic partnership that shows promise.