CD1
1. Symphony No.1 in G minor, Op.13 "Winter Reveries" - 1. Dreams of a winter journey Allegro tranquillo
2. Symphony No.1 in G minor, Op.13 "Winter Reveries" - 2. Land of desolation, land of mists-
 Andante cantabile ma non tanto
3. Symphony No.1 in G minor, Op.13 "Winter Reveries" - 3. Scherzo (Allegro scherzando giocoso)
4. Symphony No.1 in G minor, Op.13 "Winter Reveries" - 4. Finale. Andante Lugubre - Allegro moderato
 - Allegro maestoso - Allegro vivo
5. Eugene Onegin, Op.24 – Polonaise
6. Eugene Onegin, Op.24 / Act 2 - Valse	
7. Slavonic March, Op.31 - Moderato in modo di marcia funebre - Andante molto maestoso - Allegro risoluto

CD2
1. Symphony No.2 in C minor, Op.17 "Little Russian" - 1. Andante sostenuto - Allegro vivo
2. Symphony No.2 in C minor, Op.17 "Little Russian" - 2. Andantino marziale, quasi moderato
3. Symphony No.2 in C minor, Op.17 "Little Russian" - 3. Scherzo. Allegro molto vivace -
 Trio. L'istesso tempo
4. Symphony No.2 in C minor, Op.17 "Little Russian" - 4. Finale. Moderato assai - Allegro vivo – Presto
5. Ouverture solennelle "1812," Op.49 - Largo - Allegro giusto

CD3
1. Symphony No.3 in D, Op.29 "Polish" - 1. Introduzione e Allegro. Moderato assai (Tempo di marcia funebre) 
2. Symphony No.3 in D, Op.29 "Polish" - 2. Alla tedesca. Allegro moderato e semplice
3. Symphony No.3 in D, Op.29 "Polish" - 3. Andante elegiaco	
4. Symphony No.3 in D, Op.29 "Polish" - 4. Scherzo. Allegro vivo
5. Symphony No.3 in D, Op.29 "Polish" - 5. Finale. Allegro con fuoco (Tempo di Polacca)
6. Capriccio italien, Op.45 - Andante un poco rubato

CD4
1. Symphony No.4 in F minor, Op.36 - 1. Andante sostenuto - Moderato con anima - Moderato assai,
 quasi Andante - Allegro vivo
2. Symphony No.4 in F minor, Op.36 - 2. Andantino in modo di canzone	
3. Symphony No.4 in F minor, Op.36 - 3. Scherzo. Pizzicato ostinato - Allegro	
4. Symphony No.4 in F minor, Op.36 - 4. Finale (Allegro con fuoco)
5. Variations on a Rococo Theme, Op.33 - Moderato assai quasi andante	Mstislav Rostropovich
6. Variations on a Rococo Theme, Op.33 - Tema: Moderato semplice	Mstislav Rostropovich	
7. Variations on a Rococo Theme, Op.33 - Variazione I: Tempo del Tema	Mstislav Rostropovich
8. Variations on a Rococo Theme, Op.33 - Variazione II: Tempo del Tema	Mstislav Rostropovich	
9. Variations on a Rococo Theme, Op.33 - Variazione III: Andante sostenuto	Mstislav Rostropovich
10. Variations on a Rococo Theme, Op.33 - Variazione IV: Andante grazioso	Mstislav Rostropovich
11. Variations on a Rococo Theme, Op.33 - Variazione V: Allegro moderato	Mstislav Rostropovich
12. Variations on a Rococo Theme, Op.33 - Variazione VI: Andante	Mstislav Rostropovich	
13. Variations on a Rococo Theme, Op.33 - Variazione VII e Coda: Allegro vivo

CD5
1. Symphony No.5 in E minor, Op.64 - 1. Andante - Allegro con anima	
2. Symphony No.5 in E minor, Op.64 - 2. Andante cantabile, con alcuna licenza - Moderato con anima	
3. Symphony No.5 in E minor, Op.64 - 3. Valse (Allegro moderato)
4. Symphony No.5 in E minor, Op.64 - 4. Finale (Andante maestoso - Allegro vivace)
5. Serenade for Strings in C, Op.48 - 1. Pezzo in forma di sonatina: Andante non troppo - Allegro moderato
6. Serenade for Strings in C, Op.48 - 2. Walzer: Moderato (Tempo di valse)	
7. Serenade for Strings in C, Op.48 - 3. Elégie: Larghetto elegiaco
8. Serenade for Strings in C, Op.48 - 4. Finale (Tema russo): Andante - Allegro con spirito

CD6
1. Symphony No.6 in B minor, Op.74 -"Pathétique" - 1. Adagio - Allegro non troppo
2. Symphony No.6 in B minor, Op.74 -"Pathétique" - 2. Allegro con grazia
3. Symphony No.6 in B minor, Op.74 -"Pathétique" - 3. Allegro molto vivace
4. Symphony No.6 in B minor, Op.74 -"Pathétique" - 4. Finale (Adagio lamentoso - Andante)
5. Romeo and Juliet, Fantasy Overture

CD7
1. The Sleeping Beauty, Suite, Op.66a - Introduction - The Lilac Fairy
2. The Sleeping Beauty, Suite, Op.66a - Pas d'action. Rose Adagio
3. The Sleeping Beauty, Suite, Op.66a - Pas de caractère: Puss in Boots
4. The Sleeping Beauty, Suite, Op.66a - Panorama (andantino)
5. The Sleeping Beauty, Suite, Op.66a – Valse
6. Swan Lake, Op.20 Suite - 1. Scene - Swan Theme
7. Swan Lake, Op.20 Suite - 2. Valse in A	
8. Swan Lake, Op.20 Suite - 3. Danse des petits cygnes
9. Swan Lake, Op.20 Suite - 4. Scene	Michel Schwalbé
10. Swan Lake, Op.20 Suite - 5. Danse Hongroise (Czardas)
11. Swan Lake, Op.20 Suite - 6. Scène finale.
12. Nutcracker Suite, Op.71a - 1. Miniature Overture
13. Nutcracker Suite, Op.71a - 2. Danses caractéristiques a. Marche (Tempo di marcia viva)
14. Nutcracker Suite, Op.71a - 2b. Danse de la fée-Dragée (Andante non troppo)	
15. Nutcracker Suite, Op.71a - 2c. Danse russe Trépak (Tempo di Trépak, molto vivace)
16. Nutcracker Suite, Op.71a - 2d. Danse arabe (Allegretto)
17. Nutcracker Suite, Op.71a - 2e. Danse chinoise (Allegro moderato)
18. Nutcracker Suite, Op.71a - 2f. Danse des mirlitons (Moderato assai)	
19. Nutcracker Suite, Op.71a - 3. Valse des fleurs

CD8
1. Piano Concerto No.1 in B flat minor, Op.23 - 1. Allegro non troppo e molto maestoso - Allegro con spirito
 Sviatoslav Richter
2. Piano Concerto No.1 in B flat minor, Op.23 - 2. Andantino semplice - Prestissimo - Tempo I
 Sviatoslav Richter
3. Piano Concerto No.1 in B flat minor, Op.23 - 3. Allegro con fuoco	Sviatoslav Richter
4. Violin Concerto in D, Op.35 - 1. Allegro moderato	Christian Ferras
5. Violin Concerto in D, Op.35 - 2. Canzonetta (Andante)	Christian Ferras
6. Violin Concerto in D, Op.35 - 3. Finale (Allegro

Christian Ferras – violin
Sviatoslav Richter – piano
Mstislav Rostropovich – cello

Berliner Philharmoniker • Wiener Symphoniker
Herbert von Karajan – director

Karajan is one of my favorite conductors who has recorded truck loads of great classical. With all the various releases and re releases of the same music recorded from the 50s to the 80s by Karajan, it can at times be very confusing. I really do like to know what I am buying. I have no need to buy the same music twice unless it has been substantially improved by being remastered.

This set is posted at Rhapsody and the track listing is posted at the Deutsche Grammophon website. At that website, each track may be clicked to open a track recording info window. The track times listed at Deutsche Grammophon are not exact matches as listed on their actual CDs. For example, I have Karajan's mid 70s Tchaikovsky Symphonies 4, 5, 6 2CD 2fer and the track times on the CD box do not exactly match the track times posted at Deutsche Grammophon. But they are within 4 to 6 seconds most of the time.

I was curious about when the symphonies and other orchestral works were recorded, especially the first three symphonies. The first three symphonies were recorded in December 77 and early 1979. These are apparently the same recordings as my triple LP box set copyrighted 1979. They are also for sale as a 2 CD 2fer. The dances from Eugene Onegin were recorded in 1971 and the remaining symphonies and orchestral works are from the 1960s, many from Oct 1966, according to Deutsche Grammophon's website.

From this set I like the symphonies best. The ballet suites are excellent as well, but they have been released elsewhere so beware of buying the same music twice. The orchestral works are a little above average to very good. For example, the recording of the Marche Slav is good, but a far superior over the top recording was done by Yuri Temirkanov with the Royal Philharmonic.

The concertos have been recorded by just about every major conductor and several times each by Karajan with different soloists. It would be interesting to know why these particular soloists were chosen. The recorded sound varies but, for the most part, is pretty good. With a box set, I do not expect each track to be all time greats, instead I am hoping for above average to very good. That is the case here. This set would serve well as a primary or secondary Tchaikovsky set. I have listened thru a couple of times and enjoyed the music. ---King Lemuel, amazon.com

Pyotr Ilyich Tchaikovsky was a Russian composer of the Romantic era. He wrote some of the most popular concert and theatrical music in the current classical repertoire, including the ballets Swan Lake, The Sleeping Beauty and The Nutcracker, the 1812 Overture, his First Piano Concerto, seven symphonies, and the opera Eugene Onegin.

Born into a middle-class family, Tchaikovsky's education prepared him for a career as a civil servant, despite the musical precocity he had demonstrated. Against the wishes of his family he chose to pursue a musical career, and in 1862 entered the St Petersburg Conservatory, graduating in 1865. This formal, Western-oriented training set him apart, musically, from the contemporary nationalistic movement embodied by the group of young Russian composers known as "The Five", with whom Tchaikovsky sustained a mixed professional relationship throughout his career.

As his style developed, Tchaikovsky wrote music across a range of genres, including symphony, opera, ballet, instrumental, chamber and song. Although he enjoyed many popular successes, he was never emotionally secure, and his life was punctuated by personal crises and periods of depression. Contributory factors were his suppressed homosexuality and fear of exposure, his disastrous marriage, and the sudden collapse of the one enduring relationship of his adult life, his 13-year association with the wealthy widow Nadezhda von Meck. Amid private turmoil Tchaikovsky's public reputation grew; he was honored by the Tsar, awarded a lifetime pension and lauded in the concert halls of the world. His sudden death at the age of 53 is generally ascribed to cholera, but some attribute it to suicide.

Although enduringly popular with concert audiences across the world, Tchaikovsky has at times been judged harshly by critics, musicians and composers. However, his reputation as a significant composer is now generally regarded as secure. In the early and mid-20th century, Western critics dismissed his music as vulgar and lacking in elevated thought, but this disdain has largely dissipated.

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1 	Cossack Dance from "Mazeppa" 	3:51
2 	Coronation March 	5:10
3 	"Romeo and Juliet" Fantasy-Overture 	20:50
4 	Slavonic March, Op. 31 	11:20
5 	"1812" Overture, Op. 49 	14:35

Dallas Symphony Orchestra
Eduardo Mata - conductor

In 1880 the great Russian composer Tchaikovsky was commissioned to write a piece of music to mark the consecration of the new Cathedral of Christ the Saviour, built to give thanks for the Russian victory over the French in 1812. The result was the 1812 Overture, Opus 49, rapidly written in six weeks.

The composition tells the story of Napoleon’s invasion of Russia in music. It begins with a plaintive religious melody played by cellos and violas portraying the distress of the Russian people as their country is invaded by the hitherto invincible French army. The Russians are so ill-prepared and poorly equipped that all the people can do is pray for deliverance. The music moves through a mixture of pastoral and martial themes mirroring the increasing misery of the Russian people as the French advance.

But then comes the bloody Battle of Borodino on 7 September that caused some 70,000 casualties. Borodino proved a turning point for the Russian defenders and at this point in the score cannon shots can be heard drowning out strains of La Marseillaise. Traditional folk music emerges as the Tsar desperately appeals to the Russian people to defend the motherland. The Marseillaise is heard again in counterpoint to folk music as the armies clash and Moscow burns. As the French retreat in the freezing winter the large percussion section plays its part in a crescendo of firing guns and peals of church bells rung in thanksgiving.

The 1812 Overture instantly became popular and has remained so to this day. It is sometimes accompanied by the sound of real cannon and is often used as background music to large firework displays. Tchaikovsky disliked his composition. He considered it very loud and noisy and without artistic merit, “written without warmth or love”. However, it did make vast amounts of money for him and his descendants. ---ageofrevolution.org

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(Tracklist in russian)
CD1
1.Интродукция
2.ДЕЙСТВИЕ 1 - №1 Хор девушек 'Пока на небе не погас'
3.№2 Сцена и терцет: 'Не по душе мне песни ваши, игры'
4.'Пусть по-прежнему свободно молодая жизнь цветет'
5.№3 Сцена: 'Ответь же, Иоанна, хочешь ты отца исполнить волю?'
6.№4 Народный хор и сцена: 'Вдали пожар и колокола звуки'
7.'Срази его проклятием, Господь!'
8.№5 Сцена: 'О, братья и друзья, утрите ваши слезы'
9.№6 Гимн: 'Царь Вышних Сил! Ты наш покров, наша надежда'
10.№7 Речитатив: 'Да, час настал! Должна повиноваться'
11.Ария: 'Простите вы, холмы, поля родные'
12.№8 Финал: 'Но силы будут ли? Готова ль я принять столь тяжкий долг?'

CD2
13.ДЕЙСТВИЕ 2 - Антракт
14.№10 Хор: 'Бегут года и дни бессменной чередой'
15.'О, Агнеса, как грустны эти песни'
16.№11 Танцы: а) Цыганский танец
17.б) танец пажей и карликов
18.в) танец скоморохов и шутов
19.№12 Сцена и дуэт: 'Доволен вами я, пусть угостят их'
20.'О, молю, поспешай - враг под Орлеаном'
21.'За честь венца, за славу жен прекрасных'
22.'О горе, Государь - войска побиты наши'
23.'Что делать?' - 'Поспешить туда, где иль спасенье...'
24.'Ужасная свершается судьба'
25.№13 Ариозо: 'Если силы тебе не дано'
26.'Когда б не ты, мой ангел-утешитель'
27.Дуэттино: 'Ах, с тобой и бедствия радостно приму я'
28.№14 Сцена и рассказ Архиепископа
239.'Ты ль дивная...' - 'Ты Бога испытуешь'
30.'Я видела тебя, но только там, где ты никем не зрим был, кроме Бога'
31.'Верю я, верю я - сего не может единый человек'
32.№15 Монолог: 'Святой отец, меня зовут Иоанна'
33.'И всю ночь с усердной молитвой, забыв о сне'
34.№16 Финал: 'Должно молчать перед глаголом неба'

CD3
35.ДЕЙСТВИЕ 3 - Сцена 1 - №17 Сцена и дуэт: 'Стой, ты погиб'
36.'Что медлишь? Что удар твой задержало?'
37.'Мне жаль твоей цветущей красоты'
38.'О, Боже мой, зачем?.. Ах, зачем за меч воинственный...'
39.'Я отдаюсь тебе. Изменником доселе я был'
40.Сцена 2 - №18 Марш: 'Слава, слава...'
41.№19 Сцена и дуэттино: 'Воротимся, мой добрый Арк, уйдем'
42.№20 Финал: 'Тебя, Зиждетеля Творца, благословить мы с неба просим'
43.'Да здравствует король!' - 'Народ мой добрый'
44.'Скажи, какую хочешь ты награду'
45.'О, Боже!.. Мой отец'
46.'Она главу склонила долу... - Ужели адом прельщены...'
47.'Зачем дрожит народ? Чего страшатся вожди и рыцари?'
48.'Иоанна, воспользуйся минутой'
49.'Прочь, прочь, прочь! Ты враг мой ненавистный'
50.ДЕЙСТВИЕ 4 - Сцена 1 - №21 Интродукция и сцена: 'Как мне любовью пылать'
51.№22 Дуэт и сцена: 'О, чудный сладкий сон! Ты со мной, ангел мой'
52.Сцена 2 - №23 Финал: 'Ведут, ведут! Уж видно чародейку'
53.'Святой отец, о поддержи меня'
54.'Огонь! Огонь! Ужасное мгновенье' - 'Господь, прими меня...'

Irina Arkhipova (Joan)
Yevgeny Vladimirov (Thibaut)
Vladimir Makhov (King Charles)
Klavdia Radchenko (Agnes Sorel)
Vladimir Valaitis (Dunois)
Sergey Yakovenko (Lionel)
Lev Vernigora (Archbishop)
Andrey Sokolov (Raymond)
Viktor Selivanov (Bertrand)
Vartan Mikaelian (Soldier)

Academic Choir & Symphony Orchestra of All-Union Radio & Television
Scene & Wind Orchestra of the Bolshoi Theatre
Gennady Rozhdestvensky – conductor

In remarkable contrast to the preceding Eugene Onegin, Tchaikovsky's fifth surviving opera The Maid of Orleans (1878-81) emulates French grand opera, mixing grandiose pageantry with melodramatic passages against a pseudo-historic background – the intervention of Joan of Arc in the Anglo-French war in the early 15th century. Unlike its predecessor, The Maid of Orleans never achieved a firm place in the international opera repertory. Riddled with a flawed, patchwork libretto penned by the composer himself (largely based on Schiller's tragedy, but also the libretto by Jules Barbier and other sources) the opera may be overblown and dramatically uneven, yet it doesn't deserve its status of virtually complete neglect amongst Tchaikovsky's output either. There is plenty of splendid music to enjoy, in effect quite a lot more than in several other, more reputed operas – try the famous aria in Act 1, sometimes heard in concert programs, where Joan takes leave of the world she has known since childhood, but also her narration in Act 2, the two love duets with Lionel in Act 3 and 4, and the final scene.

Recordings of The Maid of Orleans are rare. There is the excellent historical Kirov Opera performance from 1946, conducted by Boris Khaikin and featuring a superb Sofia Preobrazhenskaya in the title role, and the now hard-to-find Bolshoi Opera performance under Alexander Lazarev on video from the early 1990s.

The present Melodiya CD reissue of the Moscow recording led by Gennady Rozhdestvensky from 1969 is certainly welcome, even if the cast is far from ideal. It's always exciting to hear the great Irina Arkhipova, brilliant and powerful, although it has to be said that her characterization of the heroic Maid remains somewhat clichéd. The baritone Sergey Yakovenko singing Lionel is easily the most interesting male voice of the cast and he turns the duets with Arkhipova into some of the high points of this recording. There is the good bass of Lev Vernigora as the Archbishop and the royal couple of Vladimir Makhov and Klavdia Radchenko is fair enough, yet the rest of the cast is merely serviceable rather than distinguished. (In this respect the older Kirov recording is preferable.) The choral work is generally fine though and Rozhdestvensky gives the score sufficient sweep, exalting the more pompous passages and offering plenty of bite in the orchestral passages. The extensive ballet sequence in Act 2 (a must for any opera in 19th-century French mold) is particularly enjoyable.

As usual in these Melodiya reissues there is no libretto and nothing has been done to improve the precarious sonics from 1969. Considering the rarity of the work, however, admirers of Tchaikovsky or Russian opera needn't hesitate. --- Marc Haegeman, classical.net

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CD 1: 
1. Ouverture. The First Act. Part 1: 
2. Scene and duet of Solokha with Bess 
3. The snow-storm "Ek razzadorila". Part 2: 
4. Racitative and aria (of Oksana) 
5. Scene and arioso (of Vakula) "O, tchto mne mat" 
6. Scene "Vish kakoy" 
7. Scene and duet 
8. Finale scene. The Second Act. Part 3: 
9. Entr"act 
10. Scene of Solokha with Bess 				play
11. Scene Solokha with Golova 
12. Scene Solokha with School teacher 
13. scene Solokha with Tchub. 

CD 2: 
1. Arioso of Vakula "Vot uze god proshol" 
2. Scene of shorus "Vyrosla u tyna krasnaya kalina" 
3. Scene and song about the Slippers 
4. Finale "Ah, Vacula! Ty opiat uz tut" 
5. Entr"act 
6. Chorus of Merimaids. The Third Act. Part 5: 
7. Scene and arioso. Part 7: 
8. Curtag - Polish 
9. Couplets of Svetleyshy 						play
10.Menuett and scene 
11. Russian dance. The Fours Act. Part 8: 
12. Duet of Solokha with Oksana 
13. Final.

Konstantin Lisovsky - Vakula
Ludmilla Simonova - Solokha
Oleg Klyonov - The Devil
Alexeï Krivchenya - Chub
Nina Fomina - Oxana
Gennad Troitsky - Village Mayor
Ivan Kartavenko - Panas
Vladimir Makhov - Schoolteacher
Alexander Polyakov - His Excellency Prince
Viktor Sellvanov - Master of Ceremonies
Vyatcheslav Godunov - Old Cossack
Ivan Budrin - Ivan Budin

All russian Radio and Television Grand Choir
Tchaikovsky Symphony Orchestra
Vladimir Fedoseyev - conductor, 1974

Cherevichki [alternative renderings are The Little Shoes, The Tsarina's Slippers, Les caprices d'Oxane, and Gli stivaletti] is a comic-fantastic opera in 4 acts, 8 scenes, by Pyotr Ilyich Tchaikovsky. It was composed in 1885 in Maidanovo, Russia. The libretto was written by Yakov Polonsky, and is based on the story Christmas Eve, part of a collection called Evenings on a Farm Near Dikanka, by Nikolai Gogol. The opera is a revision of Tchaikovsky's earlier opera Vakula the Smith. The work was first performed in 1887 in Moscow.

The opera was composed between February and April 1885 at Maidanovo. Both Vakula the Smith and Cherevichki were set to Polonsky's libretto, which was originally intended for Alexander Serov, but had remained unused on account of his death. Additions and revisions for this second version were made by the composer and Nikolay Chayev.

The main thematic material of the second version of the opera is the same as in Vakula the Smith. The alterations were caused by a wish to help the opera "out of the river of oblivion" (letter by Tchaikovsky on March 4, 1885). The editing primarily simplified some elements of musical texture. The lyric sphere of opera was deepened by the introduction of a new aria inserted for Vakula: Slyshit li devitsa serdtse tvoe... (Who knows, my girl, if your heart can feel my pain...). But the addition of the song of the School Teacher and the verses of His Highness enrich the genre part of the opera. Tchaikovsky also changed the cast of the chorus scenes, as in No. 13 (Kolyadka).

The premiere was given on 31 January 1887 [OS January 19] at the Bolshoi Theatre in Moscow conducted by Tchaikovsky (who had then his debut as a conductor) and with stage direction by A. I. Bartsal and scenic design by K. F. Valts. During 20th century opera was performed very rarely, revived almost exclusively within Russia and USSR. It received its Polish premiere in Baltic Opera House in Gdansk on 28 June 1952. Wexford Festival Opera presented five performances of a new production in October 1993. It was shown in Great Britain for the first time at Garsington Opera on 26 June 2004, and then at The Royal Opera House Covent Garden on 20 November 2009 (one of later performances was broadcast).

Synopsis

Time: The end of the 18th century Place: In the village of Dikanka, Ukraine; St. Petersburg

Act 1

The widow Solokha agrees to help the Devil steal the moon. The Devil is annoyed with Solokha's son Vakula who painted an icon mocking him. The Devil decides to create a snowstorm to prevent Vakula from seeing his beloved Oxana. While the storm rages, Solokha rides up to the sky and steals the moon, while Oxana's father Chub and the Deacon are unable to find their way. Oxana is alone and lonely at home. She passes through several moods and the music follows her with gradually accelerating tempos. At one point, Vakula enters and watches her admiring herself. She teases him, and he says he loves her. Chub comes back out of the storm, and Vakula, not recognizing him, chases him out by striking him. Seeing what he has done, Oxana sends Vakula away in a miserable state. Young people from the village come around singing Ukrainian Christmas carols. Oxana realizes she still loves Vakula.

Act 2

In a peculiar and amusing first scene three men and the Devil wind up in three sacks at Solokha's hut after successively trying to seduce her, and Vakula winds up hauling the heavy sacks away. Outside three groups of carollers contend. Oxana shames Vakula into getting her the Tsaritsa's boots or else she won't marry him. He runs threatening suicide, leaving two bags which turn out to have the Deacon and Chub.

Act 3

A forest sprite warns water nymphs that Vakula is coming and that he wants to commit suicide. The Devil jumps out of Vakula's sack and tries to get his soul in exchange for Oxana but Vakula instead climbs on the Devil's back. Vakula forces the Devil to take him to St. Petersburg. The Devil puts down Vakula in the tsaritsa's court and disappears into the fireplace. Vakula joins a group of cossacks who are going to see the tsaritsa. In the hall of columns, a chorus sings the tsaritsa's praises, a polonaise. Vakula requests the tsaritsa's boots in a minuet, and it is granted because it is an unusual and amusing thing to ask. The Devil takes Vakula away as Russian and Cossack dances commence.

Act 4

The Act opens in the town square on a bright Christmas morning. Solokha and Oxana think Vakula has drowned himself, and mourn for him. Oxana runs off weeping when villagers invite her to the Christmas feast. Vakula returns with the boots, asks Chub to forgive him for the beating and asks for Oxana's hand in marriage. She enters, tells Vakula that she wants him, not the silly boots. Chub calls for the kobzari (the lutenists), and everyone celebrates.

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1. March 0:05
2. Dance of the Sugar-Plum Fairy 1:54
3. Tarantella 3:37
4. Intermezzo 4:48
5. Trepak (Russian Dance) 8:38
6. The Tea (Chinese Dance) 9:46

Mikhail Pletnev's solo piano arrangement. 
Played by the arranger himself.

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CD1
1.  Introduction	3:02	
2.  Prologue - 1. Marche (Entrance of King and Court)	4:55	
3.  Prologue - 2. Scène dansante (Entrance of Fairies)	4:24
4.  Prologue - 3b. Pas de six: Adagio (Allegro vivo)	4:56
5.  Prologue - 3c. Pas de six: Variation I (Candite)	0:54	
6.  Prologue - 3d. Pas de six: Variation II (Coulante)	0:37
7.  Prologue - 3e. Pas de six: Variation III (Falling crumbs)	1:09	
8.  Prologue - 3f. Pas de six: Variation IV (Song-bird Fairy)	0:34	
9.  Prologue - 3g. Pas de six: Variation V (Violente)	1:03	
10.  Prologue - 3h. Pas de six: Variation VI (Lilac Fairy)(Waltz)	1:06	
11.  Prologue - 3i. Pas de six: Coda	1:24	
12.  Prologue - 4. Final (La Fée des lilas sort)	8:42
13.  Act 1 - 5. Scène (The Palace Garden)	7:11
14.  Act 1 - 6. Valse	5:04	
15.  Act 1 - 7. Scène (The Four Princes)	2:12
16.  Act 1 - Pas d'action	6:18	
17.  Act 1 - 8b. Pas d'action: Danse des demoiselles d'honneur et des pages	1:59	
18.  Act 1 - 8c. Pas d'action: Variation d'Aurore	3:50
19.  Act 1 - 8d. Pas d'action: Coda	2:34
20.  Act 1 - 9. Final (La Fée des lilas paraît)	7:21
21.  Act 2 - 10. Entr'acte et scène	2:40
22.  Act 2 - 11. Colin-maillard (Allegro vivo)	1:30	
23.  Act 2 - 12a. Scène (Moderato)	0:54	
24.  Act 2 - 12b. Danse des duchesses (Minuet)	0:57	
25.  Act 2 - 12c. Danse des baronnes (Gavotte)	0:51	
26.  Act 2 - 12d. Danse des comtesses	0:29
27.  Act 2 - 12e. Danse des marquises	0:44	
28.  Act 2 - 13a. Farandole: Scène	0:15	
29.  Act 2 - 13b. Farandole: Danse (Tempo di Mazurka)	1:23

CD2
1.  Act 2 - 14. Scène (Arrival of Huntsmen)	5:04	
2.  Act 2 - 15a. Pas d'action (Vision of Aurora)	4:49	
3.  Act 2 - 15b. Variation d'Aurore (Allegro comodo)	1:29	
4.  Act 2 - 15c. Coda	1:16
5.  Act 2 - 16. Scène (Allegro agitato)	0:45	
6.  Act 2 - 17. Panorama (Andantino)	3:25
7.  Act 2 - 18. Entr'acte (Andante sostenuto)	6:11	
8.  Act 2 - 19. Entr'acte symphonique - Scène (Aurora's sleep)	7:20	
9.  Act 2 - 20. Final (Allegro agitato)(Breaking of spell)	2:15
10.  Act 3 - 21. Marche	3:12	
11.  Act 3 - 22. Polacca (Allegro moderato)	4:35	
12.  Act 3 - 23a. Pas de quatre: Intrada (Allegro non tanto)	1:45	
13.  Act 3 - 23b. Pas de quatre: Variation I (Valse)(Golden Fairy)	1:02
14.  Act 3 - 23c. Pas de quatre: Variation II (Polka)(Silver Fairy)	0:53
15.  Act 3 - 23d. Pas de quatre: Variation III (Saphir Fairy)	0:45
16.  Act 3 - 23e. Pas de quatre: Variation IV (Diamond Fairy)	0:42	
17.  Act 3 - 23f. Pas de quatre: Coda	0:41	
18.  Act 3 - 24. Pas de caractère (Puss in Boots)	2:16	 
19.  Act 3 - 25a. Pas de quatre: Adagio	2:05	
20.  Act 3 - 25b. Pas de quatre: Variation I (Cinderella and Prince)(Waltz)	0:49	
21.  Act 3 - 25c. Pas de quatre: Variation II (Bluebird and Florisse)	0:45
22.  Act 3 - 25d. Pas de quatre: Coda	1:17
23.  Act 3 - 26. Pas de caractère (Red Riding Hood)	1:20
24.  Act 3 - Cendrillon et le prince Fortune (Allegro - Waltz)	2:32
25.  Act 3 - 27. Pas berrichon (Hop 'o my Thumb)	1:23
26.  Act 3 - 28. Pas de deux: Aurora and Prince Desire	0:11
27.  Act 3 - 28a. Pas de deux: Intrada	1:30	
28.  Act 3 - 28b. Pas de deux: Adagio	4:55	
29.  Act 3 - 28c. Pas de deux: Variation I (Prince)	1:00
30.  Act 3 - 28d. Pas de deux: Variation II (Aurora)	1:51
31.  Act 3 - 28e. Pas de deux: Coda (Allegro vivace)(The Three Ivans)	1:16	
32.  Act 3 - 29. Sarabande	2:15
33.  Act 3 - 30a. Finale: Allegro brillante (Mazurka)	6:15	
34.  Act 3 - 30b. Finale: Apothéose (Andante molto maestoso)	2:11

Libretto: Marius Petita & Ivan Vsevolozhsky, after Charles Perrault

Russian National Orchestra
Mikhail Pletnev  - conductor

While ballet enjoyed a golden age in the mid-nineteenth century, it is generally acknowledged that the music accompanying that medium did not flourish in tandem with the other components. Even in so celebrated a work as Giselle, only a balletomane would not be hard pressed to hum one of its tunes. This is by no means a criticism, for the music specified for a production was to be functional. It can be argued that Tchaikovsky is the first composer of great ballet scores, infusing them with his trademark tunefulness, emotion, and drama. Long an admirer of dance, the composer placed the same amount of effort into his three great dance scores as he would into his symphonic and operatic works. For the first time, suites from the ballets could be performed sans staging and choreography for a purely musical experience.

After the less-than-promising 1877 debut of Swan Lake, marred by a largely amateur production, over a decade lapsed before the composer was commissioned by the Director of the Imperial Theatres in St. Petersburg to supply music for a ballet on the Perrault fairy tale, The Sleeping Beauty. Tchaikovsky threw himself arms-deep into the project. Not only was the composer again on happy turf, he was currently in a state of delight by the occasional presence of the three-year old daughter of a friend's servant; despite his celebrated melancholy, children seemed to tap a joyful vein in Tchaikovsky, the feeling reciprocated in his capacity to be mischievous or silly at their level. The little girl's proximity fed a spirit of fantasy which transmitted to this most lighthearted of the composer's scores. Most musicologists and historians concede that Sleeping Beauty is the most perfectly wrought of Tchaikovsky's three ballet scores, classic in its restraint, especially when compared with the hyper-Romanticism of its predecessor Swan Lake or the seasonal whimsy of The Nutcracker, yet possessing the right amount of color and panache to render it pure Tchaikovsky; its waltz remains a Pops favorite.

The well-known story of the ballet opens with Princess Aurora's christening at the royal court. Rejoicing quickly fades with the uninvited appearance of the evil fairy Carabosse, who places a curse on the princess, preordaining that at 16 Aurora will prick her finger on a spindle and fall into an enchanted sleep. This comes to pass but the spell is at long last broken by Prince Charming, who forges through barriers of enchantment to kiss and awaken Aurora. The enlarged final act is a wedding celebration at which many other celebrated fairy tale characters are present. This act alone is often performed as Aurora's Wedding.

Sleeping Beauty was premiered to great acclaim and success, with choreography by the great Marius Petipa at the Mariinsky Theatre in St. Petersburg on January 1, 1890. In 1921, Diaghilev remounted the work for a notable London production. ---Wayne Reisig, Rovi

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1) Allegro moderato (19:32)
2) Canzonetta. Andante (6:34)
3) Finale. Allegro vivacissimo (10:47)

Joshua Bell - violin
Royal Stockholm Philharmonic Orchestra
Sakari Oramo - conductor

The 2010 Nobel Prize Concert

The Royal Stockholm Philharmonic Orchestra under the direction of Finnish conductor Sakari Oramo, a conductor with whom I’m not familiar, but I expect to hear more of him.

For many listeners, Joshua Bell is really excellent in a highly romantic reading of the Tchaikovsky concerto. The Royal Stockholm Philharmonic Orchestra — a world-class ensemble — and Sakari Oramo give perfect support to Mr. Bell. The only slightly negative aspect of this DVD is the fact that the viewer has to watch the profuse perspiration of the soloist, because it clearly is an exhausting task to perform this concerto. In the end, however, it is obvious that Bell has complete mastery of this music.

During the interview with Joshua Bell we learn that the Stradivarius violin that Bell plays had belonged to violinist Bronislaw Huberman, one of the major violinists of the early twentieth century. This violin had been stolen from the previous owner, and years later the thief confessed to the act and Mr. Bell was able to purchase the instrument. ---instantencore.com

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1. Tchaikovsky: Swan Lake, Op.20 Suite - 1. Scene - Swan Theme		2:39
2. 2. Valse in A		7:10	
3. 3. Danse des petits cygnes		1:31	
4. 4. Scene		6:33
5. 5a. Danse Hongroise		3:37	
6. 6b. Final Scene		4:16	
7. Tchaikovsky: Nutcracker Suite, Op.71a  - 1. Miniature Overture		3:40
8. March		2:40	
9. Dance Of The Sugar-Plum Fairy		1:36	
10. Russian Dance (Trepak)		1:08
11. Arabian Dance (Coffee)		2:59
12. Chinese Dance (Tea)		1:16	
13. Dance Of The Reed-Pipes		2:34
14. 3. Waltz Of The Flowers		5:57	 
15. Tchaikovsky: The Sleeping Beauty, Op.66 - Suite - Introduction And Lilac Fairy (Prologue)	5:26
16. Pas d'action (Adagio) (Act 1)		6:33
17. Pas de Caractère (Puss in Boots) (Act 3)		2:03	
18. Panorama (Act 2)		3:35
19. Waltz (Act 1)		4:15	
 
Wiener Philharmoniker 
Herbert von Karajan - conductor

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Eugene Onegin - Sherrill Milnes
Lenski - Nicolai Gedda
Tatyana - Teresa Zylis-Gara
Olga - Isola Jones
Larina - Jean Kraft
Filipjewna - Batyah Godfrey Ben-David
Gremin - Paul Plishka
Triquet - James Atherton
Zaretzky - Andrij Dobriansky
Captain - Richard Best

Metropolitan Opera & Chorus
James Levine - conductor

The Story of Eugene Onegin

Eugene Onegin, ACT 1

In the garden of her country estate, Madame Larina and her servant Filippyevna sit and discuss their days of once being youthful after hearing Larina's two daughters, Tatiana and Olga sing about love from inside the house. After a hard day's work, peasants enter the garden bringing harvested hay from the fields and celebrating the bountiful yields. Olga joins in the merriment and teases Tatiana for reading her novels instead. When the festivities start to wane and the peasants take their leave, Lenski and Eugene Onegin arrive. Madame Larina and Filippyevna return to the house leaving the girls alone with the boys. After a while of light conversation, Lenski confesses his love to Olga and they disappear. Onegin and Tatiana meander through the garden talking about life. As night falls, the couples go inside to eat dinner.

After dinner, Tatiana retires to her bedroom. Filippyevna enters and Tatiana asks her about love. Filippyevna recounts her stories, but the restless Tatiana sits impatiently. Finally, she confesses to Filippyevna that she is in love with Eugene Onegin. Filippyevna leaves and Tatiana writes a love letter to Onegin. She is so nervous, she barely sleeps through the night. The following morning, she gives the letter to Filippyevna so she can deliver it to Onegin.

Onegin arrives later that day to give Tatiana his answer. Though he was moved and flattered by her letter, he admits that he is not suited for marriage - he would grow bored in a matter of weeks and would seek something new. Though she possesses all the qualities he finds attractive in a woman, he turns her down as gentlemanly as possible. Still, Tatiana runs away brokenhearted.

Eugene Onegin, ACT 2

After several months have passed, Madame Larina hosts a party in her country manor to celebrate Tatiana's name day. Many guests are in attendance, including Lenski and Onegin. Onegin has begrudgingly tagged along at Lenski's request. Onegin quickly becomes bored with the country lifestyle and decides to dance with Olga in order to make Lenski jealous. Olga is flattered and enjoys Onegin's attention, nearly forgetting of her engagement to Lenski. Lenski is quick to catch on Onegin's trickery, and soon the men squabble and interrupt the party. Madame Larina tries unsuccessfully to remove them from the house. Lenski, no matter how hard he tries to remain calm, challenges Onegin to a duel.

The following morning, Lenski and his second man await for Onegin's arrival. Lenski, regretful of the previous evening's events, imagines Olga's life without him and how she would sadly visit his grave. Finally, Onegin shows up with his second man. Both friends, now with their backs to each other, sing how they would rather laugh together than be here in this situation. Sadly, neither one of them can set aside their pride, and Onegin delivers the fatal shot to Lenski's chest.

Eugene Onegin, ACT 3

Several years later, Onegin finds himself in St. Petersburg at another meaningless party - this time at his cousin's extravagant ball - after having traveled extensively across Europe. Despite his travels, Onegin could not alleviate the guilt of his best friend's death, nor could he find happiness. Suddenly, across the room, Onegin sees an exquisitely gowned Tatiana descending a staircase. No longer a country girl, Tatiana is poised and proper. Onegin pulls aside his cousin, Prince Gremin, to ask about her. Gremin proudly replies that she is his wife of two years and his saving grace. Gremin introduces Tatiana to him, unknowing of their past history, and the two have a polite conversation. Tatiana tactfully excuses herself, and Onegin's heart burns with desire.

Onegin finds Tatiana alone and confesses his love for her. Confused, Tatiana wonders if he is in love with her or if it her social standing. He swears that his love for his is genuine, but she does not give in. She is brought to tears and recounts how happy their lives could have been, as well as how she still has feelings for him. Sadly, she tells him it could never be. Even though she does not feel great passion for her husband, she will remain faithful now matter what. As much as it pains her to do so, she exits the room leaving Onegin to wallow in his despair. --- Aaron Green, classicalmusic.about.com

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1.    Allegro non troppo e molto maestoso - Allegro con spirito
2.    Andantino semplice - Prestissimo
3.    Allegro con fuoco

Sviatoslav Richter – piano
Vienna Symphony Orchestra
Herbert von Karajan – conductor

This is a very strange, but mesmerising, performance of the Tchaikovsky concerto. It is as if the performers had never heard the piece before in their lives, and are therefore thinking their way through it and discovering it for themselves. Some of it is very slow, and the pauses (for emphasis, or simply reflecting on an especially beautiful phrase) sometimes seem exaggerated. Yet I found myself hanging on every note, simply because, instead of barnstorming their way on this weathered old war-horse, both conductor and soloist seem utterly determined to discover the inner meaning of the music. In other words, it is the thinking man's (and woman's!) performance. ---Peter Vergo, amazon.com

Although Tchaikovsky was already an accomplished composer (having already produced his first two symphonies, a string quartet, and two notable tone poems, all of these successful and enduring works), he still sought the approval of mentors such as Balakirev and Nicolas Rubinstein. On Christmas Eve 1874 he played the concerto for Rubinstein (its intended soloist) in an empty classroom. Rubinstein responded with a torrent of castigation, made famous by Tchaikovsky's own recollection. Tchaikovsky slunk off in despair. Later Rubinstein called him back and detailed a list of changes that must be made by a certain date if Rubinstein were to perform it. Tchaikovsky wrote that he responded, "I shall not change a single note, and I shall publish the concerto as it is now." He continued in his reminiscence, "And this, indeed, I did." Well, not entirely. Although there are no really substantial changes, he did subject the concerto to some minor revision before it was printed, as happens with most compositions. The premiere fell to Hans von Bülow, who played it first in Boston, October 15, 1875. The audience was enraptured and demanded a repeat of the entire final movement. Von Bülow took the concerto back to Europe, where it was quickly added to the repertoire of other leading pianists; even Rubinstein started playing it in 1878. It has been a giant success, virtually the epitome of the romantic piano concerto, ever since.

The form of the concerto is lopsided: possessing a notably large scale introduction, the broad melodies of the first movement run its length out to nearly 25 minutes, more than the length of the two remaining movements combined. Its arresting opening horn call, with bold orchestral chords interrupting, leads immediately to one of the most recognizable and beloved of classical melodies, played by strings with rich harmonic support from the piano solo. Tchaikovsky initiates a great formal surprise by going straightway into a full-fledged cadenza for the piano solo, a powerful treatment of the theme. The strings then reassert the melody in its original form -- and all this is only the introduction to the first movement proper. A lengthy introduction to be sure (106 measures), but once it ends, that's the last time in the concerto this music is used in any way. The movement proper is a full-scale sonata-allegro treatment of two themes, one reputedly a Ukrainian folk theme, the other a gentle romantic theme. There is great drama and passion in its working out; when it is all over one realizes that there is also a minimum (for Tchaikovsky) of angst and pathos.

The second movement is tender, beginning with pizzicato chords so quiet as to be almost whispers. A flute melody of young adolescent tenderness is the main theme of the movement. There is a central section with a delicate waltz.

The finale opens with a rushing string figure and a powerful drum stroke. The main theme is an arresting, galloping dance made up of many short phrases. Yet another romantic theme provides contrast. ---Joseph Stevenson, Rovi

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