ALthough not very famous, Jeno Jando is a marvelous pianist. He combines lyrical beaty with power and emotion. Both of these attributes are evident in this disc, which contains the piano concertos of Grieg and Schumann, both in the key of a-minor. In Grieg's concerto, Jando creates a perfect balance between Lisztian virtuosity and Grieg's own Norweigan nationalism. The Schumann concerto is my favorite piece on the album, and Schumann's raw emotion comes out perfectly in Jando's interpretation. A word should also be said for the wonderful orchestration of these pieces. This is a wonderful CD both to introduce these romantic piano concertos and to offer a wonderful interpretation of them.
If one is searching for an extra-musical heading under which to bracket the con- tent of the Symphonies Nos. 4, 5 & 6 by Peter Ilyich Tchaikovsky, one cannot really avoid the word “fate”. Personal fate, to be exact. Thus his Symphony No. 4 (1876-78) was a frank confession straight from the soul, a subtle psychological portrait printed on paper. In a letter to his patroness, Nadezhda von Meck, he talked of “fate, this disastrous power, which prevents our urgent desire for happiness from achieving its objective”. After this, a further 11 years passed before Tchaikovsky attempted to compose another “purely” symphonic work – his Symphony No. 5.
Following the completion of the 4th’s subtle psychography, 11 years would pass before Pyotr Ilyich Tchaikowsky would return to the composition of a ‘purely’ symphonic work – the 5th Symphony (the composer considered his mighty Manfred Symphony dating from 1885 as his only explicitly programmatic symphony). Despite having just returned from a spectacularly received European concert tour, he commenced the project in a state of complete exhaustion, self-doubt & uncertainty. From his new country residence in Klin, he wrote in the spring of 1888: “I frequently have doubts about my own abilities & wonder if it is not time to stop, & if my creativity has not been stretched to the limit.” His comments in a letter to his benefactor, Nadeshda von Meck, in June, are similar; he fears that “the well may be dry.”
Not many world famous composers have been equally successful at writing both absolute and programme music. Moreover, only a mere handful has managed to achieve something truly extraordinary in both genres. One of these coposers was Peter Tchaikovsky. When inspired by great literature, his passion for reading likely stood him in good stead: after all, as far as Tchaikovsky was concerned, reading ranked ‘among the greatest moments of pleasure’.
Following the long & rocky road to the 1st Symphony, on which, due to his teaching duties at the Moscow Conservatory, Tchaikovsky had been forced to work at night, the 2nd Symphony was composed mainly in the summer of 1872, hot on the heels of his 2nd opera, The Oprichnik. At this time, Tchaikovsky was once again taking a holiday on the country estate of his sister Aleksandra, located near the Ukrainian town of Kamianka, in the Kiev Governerate. Numerous anecdotes report Tchaikovsky’s touching assertion that he was not the true creator of the work, but rather, that it actually had been composed by a Pyotr Gerasimovich, 1 of the older servants in the household of his sister & her husband, Lev Davydov, for it was Pyotr Gerasimovich who had sung the folksong, The Crane, to him, which provided the basis for the work’s finale.