Tchaikovsky - Manfred Symphony (Silvestri, FNRO) скачать в хорошем качестве

Tchaikovsky - Manfred Symphony (Silvestri, FNRO)

Hit the SUBSCRIBE BUTTON 👇🏼and click the BELL ICON 🔔for notifications! Pyotr Ilyich Tchaikovsky (1840-1893) Manfred, a "Symphony in Four Scenes" in B minor, Op. 58 00:00 - 1. Lento lugubre 17:28 - 2. Vivace con spirito 26:52 - 3. Andante con moto 38:40 - 4. Allegro con fuoco Orchestre national de la Radiodiffusion française (French Radio National Orchestra) Constantin Silvestri (1913-1969), conductor Taken from CD4 of "Icon: Constantin Silvestri - Complete EMI Recordings" Recorded 13-16 & 21 November 1957 at the Salle Wagram, Paris. Originally released 1998 in MONO for Testament. Released 2013 in a compilation for EMI Classics. All copyrights belong to © EMI Records Ltd. I DO NOT MONETIZE these videos. The Manfred Symphony was written between May and September 1885 to a program based upon the 1817 poem of the same name by Lord Byron, coming after the composer's 4th Symphony and before his 5th. Several features make Manfred unique among Tchaikovsky's works. It is the only programmatic work he wrote in more than one movement. The first two movements do not recapitulate their middle sections. The entire work is not only long, playing up to and sometimes over an hour, but it is designed with the utmost spaciousness in mind. There is nothing else in Tchaikovsky's works that captures the long-breathed deliberation of the third movement or the practically verbatim recapitulation of the widely variegated opening section of the second movement following the equally huge middle section. At least one critic has suggested that, in its heroic but perfectly judged dimensions, Manfred resembles Richard Strauss's later tone poem "Ein Heldenleben". Musicologist John Warrack suggests that, of all Tchaikovsky's major neglected works, Manfred may be the one which least deserves this fate. He apparently felt such an impulse — if not from Byron's poem, then from the program Balakirev gave him—and that impulse brought forth a work of great originality and power. While he did not follow Berlioz in how he might have handled the program, Tchaikovsky did make use of an "idée fixe" (leitmotif) recurring in all four movements. He also followed a "Berliozian" design of a lengthy, reflective, melancholy opening movement, two colorful interludes as inner movements, and a finale in which Berlioz' Brigands' Orgy becomes (without any hint from the poem) a bacchanal. Here is the description of the first movement from the program: "Manfred wanders in the Alpine mountains. His life is shattered, but he is obsessed with life's unanswerable questions. In life nothing remains for him except memories. Images of his ideal Astarte permeate his thoughts, and he vainly calls to her. Only the echo from the cliffs repeats her name. Memories and thoughts burn and gnaw at him. He seeks and begs for oblivion, which no-one can give him." It is not hard to see how these carefully selected elements might appeal to Tchaikovsky. Free from having to reconcile the first movement to sonata form, Tchaikovsky constructs his own form which succeeds well as an expression of the program. A massive opening motive associated with Manfred himself expresses both the strength and gloom of his character. This motive returns at crucial parts to identify Manfred's part in the action. Beneath this theme is a musical structure that, while not conforming to the traditional recapitulation of themes in sonata form, succeeds in moving forward without losing unity or degenerating into a series of episodes. It is a musical portrait of the guilty, doomed sensibility, drawn strongly as Berlioz' "Harold". This was perhaps the aspect of Byron which appealed most vividly to Russians; it also may have touched closely on Tchaikovsky's own situation. The two inner movements work as effective structural contrasts to the opening drama. The waterfall in the second movement gives Tchaikovsky the opportunity for one of his longest and most beautifully worked out scherzos, scored with a delicacy that Berlioz might have admired; Tchaikovsky's Alpine experiences might have come in handy here. For the third movement pastorale, Balakirev had hoped for a Russian version of the corresponding movement from the Symphonie fantastique. Tchaikovsky's version is more conventional, with two simple themes—one graceful, the other more roughly rustic. It forms in its static quality an idealized retreat before the turmoil of the finale. The finale reflects Harold en Italie in the exuberance of the revelling. Tchaikovsky manages to add a fugue, a return of Astarte and a death scene at the end.'