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Tchaikovsky: Suite No. 3; Francesca da Rimini
Pyotr Il'yich Tchaikovsky, Neeme Järvi, Detroit Symphony Orchestra
Tchaikovsky: Suite No. 3; Francesca da Rimini
Genre: Classical
 
  •  Track Listings (20) - Disc #1

The Third Suite is both the best known and the least known of the four that Tchaikovsky wrote. This is because its finale, a brilliant "theme and variations" lasting some 20 minutes, is often performed separately while t...  more »

     
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CD Details

All Artists: Pyotr Il'yich Tchaikovsky, Neeme Järvi, Detroit Symphony Orchestra
Title: Tchaikovsky: Suite No. 3; Francesca da Rimini
Members Wishing: 0
Total Copies: 0
Label: Chandos
Release Date: 2/20/1996
Genre: Classical
Styles: Chamber Music, Forms & Genres, Symphonies, Historical Periods, Classical (c.1770-1830)
Number of Discs: 1
SwapaCD Credits: 1
UPC: 095115941928

Synopsis

Amazon.com
The Third Suite is both the best known and the least known of the four that Tchaikovsky wrote. This is because its finale, a brilliant "theme and variations" lasting some 20 minutes, is often performed separately while the first three movements, which are by no means inferior, hardly ever get played at all. Here's a chance to make up for this injustice. The whole work is a delight--every bit as fine as the symphonies--and this performance is excitingly direct and refreshing. --David Hurwitz

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CD Reviews

Third Suite Finely Executed, but Francesca is Pretty Bad
Eugene G. Barnes | Dunn Loring, VA USA | 03/12/2001
(3 out of 5 stars)

"The Third Suite would get 4 stars and the "Francesca" 2 stars if I could separate them. The Third Suite is very close to a symphony in tone and temperament, and at 44 minutes, takes up the majority of this CD. Here we have a good rendition of a minor Tchaikovsky opus, and you ought to get to know it if you don't already.The tone poem "Francesca da Rimini" (the filler, at 25 minutes) is another matter entirely. Here Tchaikovsky paints in his most apocalyptic colors the story of two lovers cast into Hell for their sins. This music will not tolerate a tepid or pedestrian approach. It begs for consummate mastery, for total commitment, for every performance to be the ultimate one, to leave you on the floor in utter anguish. Sadly, Neeme Jarvi falls far short in this assignment. This performance goes nowhere fast. Jarvi makes the Bartokian Gates of Hell passage that opens the piece a simple walk into a dark room. He makes the blasting Winds of Hell a merely unwelcome summer storm.The Detroit Symphony plays as accurately and as musically as it can, and the sound is more than sufficient. But may I suggest that you buy it for the Third Suite if you wish. Only look elsewhere for a "Francesca.""