Boris Tchaikovsky (1925-1996)
         Orchestral Music

Sinfonietta for String Orchestra (1953 - 19:32)
Chamber Symphony (1967 - 20:10)
Six Etudes for Strings and Organ (1976 - 26:46)
Prelude "The Bells" (1996 - 3:06)

Ludmila Golub, organ
Musica Viva Chamber Orchestra
Alexander Rudin, conductor
Recorded October/December 2003, January 2004
Released July 2004
Hyperion CDA67413 [69:49]

Boris Tchaikovsky is not related to Peter Ilyich, nor is his music
considered remotely as rewarding and captivating as the famous Tchaikovsky's.
But I am impressed with the music on this new Hyperion disc and intend
to further investigate through a Boheme disc having three of his chamber
works, one with Boris himself at the piano.

Tchaikovsky tends to also be compared unfavorably to Shostakovich for
lacking the latter's depth of expression and architectural brilliance.
However, the music on the Hyperion recording clearly reveals a highly
lyrical composer who also displays excellent craft and natural musical
progression in his works.  Although most of his music was for film,
radio, and theatre, he managed to compose four symphonies, four concertos,
and a number of chamber works.

Taught by Shostakovich, Shebalin, and Miaskovsky, Tchaikovsky was hardly
a musical trail blazer.  He also did his best to stay on the good side
of the Soviet authorities, although not always with complete success.
As the latter part of the 20th century progressed, Tchaikovsky did
introduce dissonance into his music, but it is relatively benign and
ever so easy to understand.  Actually, his works have a romantic nature
to the degree that he always heads back to a traditionally sweet lyricism
after taking a dissonant stance.  Overall, his music has a fine blend
of severity and warmth that is likely its most compelling feature.

There is one more aspect of Tchaikovsky's style I need to mention.  At
least with the music on the Hyperion disc, Tchaikovsky often uses wiry
rhythmic patterns analogous to the rhythm of sawing wood.  These patterns
can be found in the upper melody lines, although they are most prevalent
in the form of ostinato figures from below; sometimes they even come at
the listener from both ends.  I can't deny that some will find the
patterns tiresome over the length of the disc, but I am consistently
taken in by them.  Just think of it as having a dialogue with the giant
lumberjack Paul Bunyan from the woods of Minnesota.

Here are my reflections on each of the four programmed works:

Sinfonietta - In four movements, there is little trace of the dissonance
to come from Tchaikovsky.  The 1st Movement "Sonatina" is a sinewy brew
of severity and sweetness, and the 2nd Movement Waltz delightfully gallops
over the landscape.  The warmest and most gorgeous music on the disc is
in the form of the 3rd Movement "Variations" with its poignant refrains.
The stamp of Shostakovich, noticeable in the first three movements, takes
center stage in the 4th Movement Rondo as the musical lines scurry about
in playful confusion.  Overall, the Sinfonietta is a very attractive
work having ample variety, excellent melodic material, and a command of
counterpoint.  I can't deny that the Sinfonietta is not adventurous
music, being quite derivative.  However, the early 1950's was a dangerous
time for artists in the Soviet Union, and Tchaikovsky was not the man
to challenge the political and social mandates.

Chamber Symphony - In six movements, Tchaikovsky enters the world of
dissonance with his Chamber Symphony.  There are often debates as to
whether dissonant music can be attractive or even gorgeous.  In the
Chamber Symphony, the composer well proves that dissonance and beauty
go hand-in-hand.  Just listen to the 3nd Movement "Chorale Music" and
6th Movement "Serenade"; the beauty is awesome to behold.  Also, the
work is quite interesting as to variety of form and emotional content.
The 1st and 2nd Movements are extremely harsh and menacing, the 3rd
Movement imitates a four-voice chorale, the 4th Movement has those sawing
rhythms from both upper and lower voices, and the 5th Movement "March
Motifs" brings the militaristic side of life to center stage along with
some fractured personalities.  Add in a healthy contribution from the
harpsichord, and we have a work that easily surpasses Tchaikovsky's fine
Sinfonietta.  By the way, you have to love a 20th century piece using
the harpsichord.  It's such a shame that this instrument has become an
anachronism.

Six Etudes for Strings and Organ - In this six movement work, Tchaikovsky
uses a modified twelve-note architecture, exploring subtle developments
of tiny musical cells.  The first study is an Andante of intense mystery,
while the second study is a fast-paced Allegro of industrial strength
determination.  The third study is of moderate tempo and presents that
old sawing motion in the guise of mirror-form motifs; at the 2:38 mark,
the music increases in strength tremendously with all voices sawing away
in stunning concentration.  The fourth study takes the shape of a toccata,
and the fifth study in C major is sweet, romantic, and largely tonal.
In the final study, dissonance takes over but the sweetness remains.  I
should report that the organ has a much lesser presence than the work's
title might indicate.  Except for a few short interludes, the instrument
is used primarily for general support and darker color which are
successfully integrated by the composer.

Prelude "The Bells" - This short piece, orchestrated by Pyotr Klimov (b.
1970), has a trotting rhythm and is quite lovely and comforting with
soaring strings.

The performances sound excellent, perhaps emphasizing Tchaikovsky's
sweetness at some expense to the music's severity.  However, competition
is minimal and the Hyperion program is unique to recordings.  The
soundstage is exceptional with ample richness and detail.

Don's Conclusions: A very fine disc that I strongly recommend to all and
consider essential for Russian music enthusiasts.  In a sense, it has
something for everyone without ever sounding contrived.  Also, it would
make a good introduction to those wanting to get a taste of dissonance
in their music.  Hyperion has given us another winning production, further
solidifying its reputation for finding gems that the once-major record
labels won't touch.

Don Satz
[log in to unmask]