29. Tchaikovsky Violin Concerto, Op. 35
Maxim Vengerov and the Berlin Philharmonic with Claudio Abbado
“It gives us, for the first time, the hideous notion that there can be music which stinks to the ear.” - Critic Eduardo Hanslick on Tchaikovsky’s violin concerto
Welcome back to Building a Classical Music Collection!
While I dearly wish writing here was my full-time job, it is not. Since I work in the education field, the school year has now begun and with it the intensity of the beginning of the year. While this has temporarily left less time for me to write, things will hopefully improve.
We have arrived at #29 in the top 50 classical recordings of all-time. The recording is of the Tchaikovsky Violin Concerto in D major, Op. 35 performed by violinist Maxim Vengerov accompanied by the Berlin Philharmonic conducted by Claudio Abbado, recorded in 1995 by the Teldec label (now owned by Warner Music). The disc also includes an excellent version of the Violin Concerto in A minor, Op. 82 by Alexander Glazunov. But for the purposes of this entry we will focus on the Tchaikovsky concerto.
The Composer
Pyotr Il’yich Tchaikovsky was born in 1840 in Votkinsk, Vlatka District, Russia and died in 1893 in St. Petersburg, Russia. Tchaikovsky was the composer of some of the most popular and enduring melodies and themes in classical music, and is widely considered to be the greatest Russian composer ever. Although he lived through a time of tremendous change in musical styles, at heart he was a Romantic and his music is relatively traditional and fairly conservative. He was not an innovator, but such was his musical genius that his appeal and communicative power lies with his ability to sweep us up in his melodic charm and depth of feeling.
Tchaikovsky’s music spanned ballet, symphonic, orchestral, concerto, opera, vocal, chamber music, keyboard, and choral genres. The works that have generally garnered the most acclaim are his ballets, symphonies, orchestral works, and concertos.
Pyotr Il’yich began taking piano lessons at age four, and immediately showed tremendous talent. By the age of nine, however, his anxiety was so great that it significantly impeded his ability to play. Tchaikovsky was a sensitive young man by nature, and the loss of his mother when he was 14 was a crushing blow. While he pursued a legal career for a time, he was continually drawn back to music. In 1861 he began studying composition and harmony, and enrolled at the St. Petersburg Conservatory. Eventually he would study with the composer Anton Rubinstein.
In 1866, Tchaikovsky moved to Moscow to take up a teaching position at the new conservatory there. Shortly after taking the post he composed his First Symphony, but suffered a sort of nervous breakdown while composing it. Other early works appeared, the most notable being Swan Lake in 1875. During travels to Paris and Bayreuth, Tchaikovsky met Liszt, but was allegedly snubbed by Wagner. Swan Lake was premiered in 1877, leading to greater notoriety and fame. During 1877-1878 Tchaikovsky also composed his Fourth Symphony, which was his first big symphonic breakthrough. He would go on to compose several other blockbuster classical works such as The Nutcracker, Sleeping Beauty, Piano Concerto no. 1, Symphonies 5 and 6 “Pathetique”, and Serenade for Strings.
It was also around the same time Tchaikovsky made the foolish decision to marry an admirer by the name of Antonina Ivanovna Milyukova. Most biographers and musicologists agree that Tchaikovsky was homosexual, so the marriage was certainly not a match sexually. But neither was it happy in other ways, and after only a few short months the marriage ended. It was deeply humiliating for Tchaikovsky, and led to a suicide attempt. Throughout the debacle, Tchaikovsky’s family remained supportive of him. It may have been the case that the failed marriage forced him to face his sexuality. In any case, he never blamed Antonina for the failure. Throughout he continued to correspond with and confide in a woman who was his largest benefactor and pen-pal, Nadezhda von Meck.
Over the years Tchaikovsky’s personal life has been the subject of intense debate and scrutiny, much of it concerning his sexuality. The stance of the Soviet censors was to portray him as heterosexual, and to get rid of any reference to his same-sex attractions. Such censorship has even continued into recent Russian propaganda. But it is well-established that Tchaikovsky sought out the company of men consistently, and that he was deeply in love with a man named Sergey Kireyev, a fellow jurisprudence student while in school. There is little doubt Tchaikovsky had strong same-sex feelings, as this can be found in his brother’s autobiography, as well as Tchaikovsky’s own letters that escaped Soviet censors.
What is less clear is how impactful the realization of his homosexuality was in Tchaikovsky’s life. David Brown, noted musicologist and biographer, says that he "felt tainted within himself, defiled by something from which he finally realized he could never escape". But Russian-American scholar Alexander Poznansky maintains Tchaikovsky experienced "no unbearable guilt" over his sexual desires and "eventually came to see his sexual peculiarities as an insurmountable and even natural part of his personality ... without experiencing any serious psychological damage." The role that his sexuality played in his life and music has begun to be downplayed by many scholars.
It was during the year abroad after the end of his marriage when Tchaikovsky composed three of his most important works: the opera Eugene Onegin, his Fourth Symphony, and his only Violin Concerto.
Violin Concerto in D major, Op. 35
Tchaikovsky composed the Violin Concerto in D major in 1878 while staying in Clarens, Switzerland. After the Fourth Symphony premiere in Moscow in February 1878, back in Switzerland Tchaikovsky was visited by the young violinist Yosif Kotek. Due to his fondness for Kotek, the composer sketched out a violin concerto in only 11 days, and had finished the scoring for it two weeks later. His brother Modest thought the second movement to be rather weak, and so Tchaikovsky even composed a replacement second movement in that time.
While it would have made sense for Tchaikovsky to dedicate the new concerto to Kotek, he wanted to avoid any rumors about the nature of his relationship with the young violinist. In fact, it is quite likely he and Kotek were involved romantically at some point. In any case, Tchaikovsky dedicated the new concerto to the famous Hungarian violinist and teacher Leopold Auer. However, after looking at the concerto Auer allegedly declared it to be “unplayable” (in Auer’s defense he later reversed his position on the concerto, and indeed became one of the work’s champions). The premiere took place in Vienna in December 1881 with Adolf Brodsky on violin with conductor Hans Richter. The orchestra had scarcely rehearsed, and thus the accompaniment was very poor. The critic Eduard Hanslick famously wrote, “It brings us to the revolting thought that there may be music that ‘stinks in the ear’”. And yet, in the same review, Hanslick wrote “the concerto has proportion, is musical, and is not without genius.” Leopold Auer would later make his own edits in the score, particularly cutting out some bars in the first movement and a large chunk of music in the final movement. Auer’s edition of the score was used for nearly the entire first half of the twentieth century until it became more common to use the full score.
The concerto is chock full of melody, and is structurally pleasing in the three movement proportions:
I. Allegro moderato (approximately 18 minutes)
II. Canzonetta: Andante (approximately 6 minutes)
III. Finale: Allegro vivacissimo (approximately 10 minutes)
As Roger Dettmer comments in the All Music Guide:
“In addition to its structural soundness, the concerto fairly teems with melodies, in such abundance that the orchestra’s gorgeous opening tune never returns! Therefore the soloist gets first crack at the rest of them, beginning with the “very moderate” principal theme. The second theme is marked molto espressivo, after which the main theme returns, before the development section that ends in a showy solo cadenza, followed by the reprise and coda. The slow movement is firmly lyrical, with a “little song” in ¾ time, also molto espressivo….without pause the final movement lifts off like an SST from the tarmac. It is a Trepak in rondo form, with two extroverted themes of folkloric character, capped by an extended coda that concludes the piece dervishly. No Russian composer before or since has ended a concerto with greater finesse or panache, not even Rachmaninov.”
Less than a week after concluding the score, Tchaikovsky was headed back to Russia. He was homesick. Not long after, Tchaikovsky made a declaration of loyalty to his homeland: “I passionately love the Russian element in all its manifestations…in a word, I am Russian in the fullest sense.”
The concerto has gone on to a storied history, becoming perhaps the most played and arguably the most popular violin concerto in all of classical music. There are plenty of fireworks, and the soloist must be in total command in order to play every note and still bring out the lyrical quality in the score. The orchestral accompaniment is integral as well, and the concerto’s reputation as a “showpiece” is well-deserved. For the soloist and orchestra to stay in sync is no small feat. The virtuosity of the solo part, including the pushing and pulling of the violin in ways never heard before, is part of the work’s legacy.
The Recording
In addition to being one of the most popular violin concertos in the repertoire, Tchaikovsky’s Violin Concerto is also one of the most recorded. A search online reveals hundreds of recordings. Once upon a time, I was obsessed with this concerto, listening to every possible version available to find perfection. There are countless excellent versions, and the devilish demands placed on the soloist don’t seem as daunting as they once did. Every new violin virtuoso on the scene must record the Tchaikovsky at least once, if not more. I love this concerto, and I feel like I know it by heart. But like every piece of great music, there are many ways to interpret it. I’m also sincerely biased, as Tchaikovsky is one of my favorite composers and I believe him to be among the greatest musical geniuses of all-time.
I must admit to another bias in my listening, particularly with concertos. I like when the recording captures the orchestral accompaniment just as well as the soloist. While it is true the soloist is the star, and much of the listener’s focus is on the solo part, for me the orchestral part is just as important.
Maxim Vengerov was just 21 when he made this spectacular recording of the Tchaikovsky and Glazunov concertos with Claudio Abbado and the Berlin Philharmonic. I remember clearly purchasing this CD back in the 90s, and immediately being “wowed” by Vengerov’s playing and by the excellent sound quality. Vengerov was born in Novosibirsk, Western Siberia, Russia in 1974. In 1990 he was awarded first prize at the Carl Flesch International Violin Competition, and his international career was launched. At the time, Vengerov was perhaps the leading young violinist of his generation, and he soon made many recordings of the central violin repertoire. He appeared worldwide with all the major orchestras in the 1990s. His first teacher said of Vengerov, “A violinist like Maxim is born only once in a hundred years.” Vengerov has drawn comparisons with legendary violinist David Oistrakh in his ability to be equally adept with both the lyrical and technical aspects of the violin. This recording captures Vengerov at the height of his powers.
Vengerov’s star diminished over the years for various reasons, one being a shoulder injury he suffered in 2007 while weightlifting. After shoulder surgery, and having to learn to play with a different technique, and also due to professional fatigue, he took a long hiatus from performing. Returning to performing around 2013, he also began to learn how to conduct due to the issues the injury caused to his playing. Once the highest paid violinist in the world, he now focuses mostly on conducting.
At the time of this recording Claudio Abbado (1933 - 2014) had been the director of the Berlin Philharmonic for about five years. One of the most accomplished and acclaimed conductors of the late twentieth century, the Italian maestro was known around the world from touring and recordings. At various points in his career he also conducted the London Symphony Orchestra, the Chamber Orchestra of Europe, the Mahler Chamber Orchestra, the Orchestra Mozart, the Lucerne Festival Orchestra, the Chicago Symphony Orchestra, La Scala Opera House, and the Vienna Philharmonic. In late 2001 I was fortunate enough to see the Berlin Philharmonic on tour with Abbado and they played Beethoven’s 5th Symphony and 6th Symphony “Pastoral” at Symphony Hall in Boston. Never before or since have I heard an orchestra play with such discipline, accuracy, and total unity. It was unforgettable.
On this recording, the Berlin Philharmonic and the sound engineers really make the orchestra feel like they are just as essential as the violinist. The sound is up-close and detailed. You can hear the same disciplined ensemble the Berliners are known for, and in my opinion this is one of Abbado’s best recordings.
Vengerov for his part is miked closely as well, which I tend to enjoy. While some claim the Tchaikovsky concerto requires more years and maturity to play well, some of the finest recordings come from quite young interpreters, including Vengerov on this recording. Technically dazzling but never mechanical, and bringing fresh musical insights, I am consistently captivated by Vengerov’s playing. There is plenty of showmanship here to be sure, but Vengerov is also able to pull back when needed for more lyrical passages. His control is breathtaking. The orchestra is with him the entire way, matching his virtuosity. When listening to the Tchaikovsky concerto, it can be difficult to hear all the notes because there are many rapid-fire notes and phrases. I am not a violinist and I’ve never seen the actual score, so I cannot be sure Vengerov plays every single note. But to my ears he comes the closest to doing so of any violinist I’ve heard, and the sound on this recording is full and detailed so you can really hear every note. The cadenzas and the codas are thrilling as they should be. This recording is a triumph in every way, and I return to it often. Hanslick was wrong in his critique!
There are many fine recordings of the Tchaikovsky concerto. The legendary Jascha Heifetz recording from 1957 is a desert island recording for many. I find Heifetz too mechanical and lacking soul. Others will disagree. Itzhak Perlman recorded the Tchaikovsky concerto at least three times commercially, and they are all impressive in their own ways. The incredible Russian violinist Vadim Repin, a contemporary of Vengerov, and somehow also from Novosibirsk in Siberia (!), has recorded it twice to great acclaim most notably with Valery Gergiev and the Kirov Orchestra. The famous violinist Isaac Stern recorded it several times, to greatest success with Eugene Ormandy and the Philadelphians. Other classic accounts by David Oistrakh, Nathan Milstein, Kyung Wha Chung, Gil Shaham, Pinchas Zukerman, and Joshua Bell are all very good. Recent excellent accounts from the younger generation of violinists such as Julia Fischer, Lisa Batiashvili, Vilde Frang, Hilary Hahn, Janine Jansen, Johan Dalene, Ray Chen, and Nemanja Radulovic also all have their champions. There are so many, I’m sure I have missed some of the best. Below I have picked out some of my personal favorites:
Vadim Repin with Valery Gergiev and the Kirov Orchestra, St. Petersburg on Universal Classics. Recorded in 2002, this is one of the strongest accounts on record, with Repin being one of the concerto’s most fervent proponents. Gergiev’s recent fall from grace for supporting Putin’s war in Ukraine not withstanding, the only drawback for me is the recorded sound is a bit cavernous and distant. There is also a recording out there of Repin playing the concerto when he was a teenager in 1986 with the Novosibirsk Philharmonic that is also stunning. In addition, he recorded the Tchaikovsky concerto with the London Symphony Orchestra and Emmanuel Krivine from 1996, also an excellent recording.
Julia Fischer with the Russian National Orchestra conducted by the late Yakov Kreizberg on the Pentatone label. Released in 2006, this version boasts superior sound quality, outstanding orchestral contributions, and the wonderful Yakov Kreizberg on baton before his tragic death. Fischer is middle of the road interpretively, but produces a beautiful sound with a tender lyrical quality. Meanwhile, she handles all the fastest passagework with complete assurance and ability. This is a close runner up to the Vengerov recording.
If you can find it, the French violinist and teacher Michele Auclair with the Vienna Symphony Orchestra led by Kurt Woess, a recording dating from 1950. I was able to find it on the IDAGIO streaming app, and you may be able to find it on vinyl. Recorded on a small independent label, and never consistently released thereafter, this recording was a huge find and a revelation. The sound is remarkably good for 1950, and Auclair has the full measure of this work. Her style is not showy, but rather always at the service of the music. It is a travesty she was never given more of an opportunity for wider release. Her playing is spontaneous, adventurous, and confident. The orchestral accompaniment is a bit rough and tumble, but does the job. I recommend hearing this if you can.
The young Norwegian violinist Vilde Frang with the Danish National Symphony Orchestra led by Eivind Jensen on the EMI label, now part of Warner. Released in 2012, I really enjoy this recording. Frang’s approach is the opposite of routine, and she finds many places to put her own stamp on the music. She is creative and spontaneous, and takes chances that really pay off. This is not your grandfather’s Tchaikovsky, but a new vision. Not a “standard” reading, but one that demands to be heard.
Legendary violinist David Oistrakh with the Philadelphia Orchestra conducted by Eugene Ormandy for CBS/Columbia/Sony, recorded in 1961. The Philadelphians play wonderfully, and Oistrakh was a complete master of the Tchaikovsky concerto. I would say it is a more traditional approach, but Oistrakh’s distinctive, lustrous tone was something awesome to behold. This was my go-to recording for many years.
Nathan Milstein with the Chicago Symphony Orchestra led by Frederich Stock, dating from 1940. Found on the Italian label Istituto Discografico Italiano, this is a rarity, but can be found on major streaming services. The sound is amazing for 1940, and Milstein’s playing is unbelievable and at breakneck speed. Milstein does take the Auer cuts traditional at the time as well as some other cuts, but this is a great historical performance.
This list could go on and on, but finally I love the version with Joshua Bell with the Berlin Philharmonic and Michael Tilson Thomas recorded live in Berlin in 2005 by Sony. Bell is one of the most talented, popular, and versatile artists of his time, and he has been performing for many years now. I heard him play the Beethoven Violin Concerto in Boston some years ago, and it was one of the most memorable concerts I have attended. On this occasion with he and Michael Tilson Thomas visiting Berlin, they combine to produce something special. Bell is sublime, and the sound is excellent. Very enjoyable.
Happy Listening all, see you next time.
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Notes:
Arit, John (24 August 2013). "Sorry, Russia, but Tchaikovsky Was Definitely Gay". The Atlantic. Retrieved 30 October 2021.
Brown, David. The Early Years, 50.
https://www.classicfm.com/discover-music/latest/insults-classical-music/hanslick-on-tchaikovsky/
Cummings, Robert. Dettmer, Roger. All Music Guide to Classical Music, The Definitive Guide. All Media Guide. Pyotr Il’yich Tchaikovsky. Pp. 1380 - 1381, 1390 -1391. Backbeat Books, San Francisco. 2005.
Huth, Andrew (2002). Tchaikovsky and Myaskovsky: Violin Concertos. Vadim Repin, Kirov Orchestra, and Valery Gergiev. Philips Liner Notes. Pp. 3-5.
Kennedy, Paula (1995). Peter Tchaikovsky and Jean Sibelius Violin Concertos. Isaac Stern, The Philadelphia Orchestra, and Eugene Ormandy. Sony Liner Notes. Pp. 4-6.
Kuhn, Annette (1995). Tchaikovsky and Glazunov Violin Concertos. Maxim Vengerov, Berlin Philharmonic, and Claudio Abbado. Teldec Liner Notes. Pp. 5-7.
https://en.wikipedia.org/wiki/Claudio_Abbado
en.wikipedia.org/wiki/Michèle_Auclair
https://en.wikipedia.org/wiki/Vadim_Repin
https://en.wikipedia.org/wiki/Pyotr_Ilyich_Tchaikovsky