Tchaikovsky - Violin & Piano Concertos - Christian Tetzlaff & Nicolai Lugansky, Russian National Orchestra, Kent Nagano - 2003 (SACD-R, ISO)

Tchaikovsky – Violin & Piano Concertos – Christian Tetzlaff & Nicolai Lugansky, Russian National Orchestra, Kent Nagano – 2003 (SACD-R, ISO)

Composer: Pyotr Ilyich Tchaikovsky
Performer: Christian Tetzlaff – violin, Nikolai Lugansky – piano
Orchestra: Russian National Orchestra
Conductor: Kent Nagano
Audio CD
Number of Discs: 1 SACD-R
Format: ISO
Bit Depth: 64(2.8 MHz/1 Bit)
Number of channels: 5.1, 2.0
Label: Pentatone
Size: 3.39 GB
Recovery: +3%
Scan: yes (PDF)
Server: rapidgator

Christian Tetzlaff & Nicolai Lugansky, Russian National Orchestra, Kent Nagano / Tchaikovsky – Violin & Piano Concertos

Violin Concerto in D major, Op. 35 31:41

Christian Tetzlaff (violin)

01. I. Allegro moderato 16:49
02. II. Canzonetta: Andante 5:41
03. III. Finale: Allegro vivacissimo 9:11

Piano Concerto No. 1 in B flat minor, Op. 23 35:38

Nikolai Lugansky (piano)

04. I. Allegro non troppo e molto maestoso – Allegro con spirito 21:30
05. II. Andantino semplice – Prestissimo – Tempo I 7:03
06. III. Allegro con fuoco 7:05

Gramophone Classical Music Guide

These are stimulating versions of two favourite concertos, which take a fresh interpretative approach. Nikolai Lugansky’s conception is spacious, with pianist and conductor taking time to relish the music’s puissance. The opening is broad and weighty. Then, although the first subject of the Allegro has a vividly Russian rhythmic character, in both the exposition and recapitulation much is made of the beauty of lyrical secondary material and the Romantic link with Tchaikovsky’s Romeo and Juliet. The exquisitely delicate central Andantino is followed by a scintillating Scherzando. The finale bursts forth with irrepressible dash and virtuosity. When, near the close, the tempo broadens massively to make a hugely positive climax some forward impetus is lost, but Lugansky’s bravura is thrilling.
Tchaikovsky’s friendly opening for his Violin Concerto is shaped by Nagano in a mood of disarming simplicity, and the two main themes are invested with lyrical warmth. Tetzlaff bounces his bow with engaging lightness in the key passage (7’03”) that Hanslick described as ‘beating the violin black and blue’, while the cadenza is played with such affectionate detail that it becomes a highlight of the work. Tetzlaff’s playing throughout is polished and secure. In both concertos the recording has the orchestra placed naturally within a warm concert hall acoustic.

Gramophone Magazine

With two fine young soloists on top form, both works spring vividly to life…

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