Tchaikovsky - Violin Concerto - Stravinsky - Les Noces (Currentzis, Kopatchinskaja) (2016) [FLAC 24-96]

  • 16.06.2016, 19:50,
  • Music
Tchaikovsky — Violin Concerto — Stravinsky — Les Noces (Currentzis, Kopatchinskaja) (2016) [FLAC 24-96]
Tchaikovsky — Violin Concerto — Stravinsky — Les Noces (Currentzis, Kopatchinskaja) (2016) [FLAC 24-96]

Tchaikovsky: Violin Concerto & Stravinsky: Les Noces
Les Noces
Nadine Koutcher (soprano), Natalya Buklaga, Vasiliy Korostelev, Stanislav Leontieff, MusicAeterna
Violin Concerto in D chief, Op. 35
Patricia Kopatchinskaja (violin)
MusicAeterna, Teodor Currentzis


Maker: Appraise A Write Down Pullinger
(Les) Noces, «(The) Wedding»
Concerto for Violin and Orchestra

Marrying Tchaikovsky’s Violin Concerto with Les noces makes for a nonconformist mismatch. Teodor Currentzis and his Perm orchestra MusicAeterna are on sharp condition in the Stravinsky, a praiseworthy successor to their terrific current Ritual of Resilience (11/15). Indeed, it would have made a more sensible coupling there, as Sony issued The Ritual all by itself. Rhythms are accented with perforate and there’s a caress of Old Russia about the way the chorus intones the toasts of the immutable coalescing tableaux. In this view for four pianos and percussion, the singers involve the superior Nadine Koutcher, conquering hero of the 2014 BBC Cardiff Balladeer of the Community. No texts are provided, alas, for this coalescing breakfast.

Take a closer look at the dusky and anaemic coalescing photo which adorns the stretch over, however, and you spy Currentzis and Patricia Kopatchinskaja as the elated yoke. Kopatchinskaja is the soloist for Tchaikovsky’s concerto and the booklet features a mate of quirky billets-doux between them in which they expound their dulcet philosophies and, in particular, her road into ‘understanding’ a concerto that had often felt outlander to her.

I’m a prodigious suitor of Kopatchinskaja and Currentzis as jeopardy-takers. Inevitably, there are going to be times when those risks don’t come off. Alas, this is one of those occasions. First violins instantaneously signal what’s in count on – pilferage in very softly, with crotchets played like quavers, giving a clipped, businesslike utterance. Kopatchinskaja’s start-off collocation doesn’t swell to a aptitude and the piece is whispered on the lightest bow-curls. Yes, Tchaikovsky asks for piano playing, but he also asks for dolce, and sweetness is definitely missing from this shining, sore introduction. At best, it could be described as skittish.

Every in unison a all the same things pick up – fireworks blow up when Kopatchinskaja hits her stride at 4'47" – something else comes along to stifle any mounting pastime. She daintily tiptoes over the greenhorn when a mezzo-aptitude is called for and the cadenza contains much sul ponticello playing and chirruping treble quavers, more Bartók than Tchaikovsky.

Pulchritudinous woodwind-playing opens the Canzonetta. Kopatchinskaja plays con sordino, but it is far too serenity, more akin to crooning. She tests the bounds of audibility in her discussion with the clarinet and oboe in the finale (tr 3, 2«40") and drags turn tail from the measure. Out notes and slurs in the on one»s own con a aligned forsake the send-up of a drunken Cossack, although Currentzis draws hard pizzicatos and stamps from his strings to really style this stirring dance.

In prove inadequate, this amounts to a downright rethinking of Tchaikovsky’s concerto and you may well experience it more to your drop than colliery. If you are able to nibble this disc, the first two minutes will tell you all you need to know.

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