6. Tchaikovsky The Nutcracker (Complete)
The Berlin Philharmonic conducted by Semyon Bychkov (Decca)
We have arrived at #6 in our list of the top 50 classical recordings of all-time. Remember, this list is not a ranking, as all these recordings are outstanding and any ranking among the 50 would be unnecessary. But since it is my list, of course there is still subjectivity involved!
One of the best-loved and most familiar classical works to ever be composed is the ballet score to The Nutcracker by Pyotr Ilyich Tchaikovsky. Generally it is heard during the Holidays due to the story, and is beloved by children and adults alike. The Nutcracker, along with Swan Lake and The Sleeping Beauty, are Tchaikovsky’s greatest works for ballet. It is interesting that in Tchaikovsky’s own lifetime he was not regarded as a great composer for ballet, and critics considered his composition too “symphonic” to be appropriate for ballet. Of course today we would regard that as ridiculous, but it points to the fact that Tchaikovsky’s music can easily stand alone as glorious orchestral music in its own right even without the dancers. Tchaikovsky’s unparalleled genius for melody and inventiveness is evident throughout The Nutcracker. Indeed, Tchaikovsky is not only one of the greatest ballet composers, but widely considered to be the greatest Russian composer ever, and certainly in the top pantheon of all composers of all-time.
Tchaikovsky partnered with the famous choreographer Marius Petipa, an artist he had partnered with previously on The Sleeping Beauty. For the story, Tchaikovsky turned to his own library and a book by E.T.A. Hoffman titled “Nussknacker und Mausekonig”. An attractive and yet somewhat dark dreamlike fantasy, Petipa simply took the outline of the story and turned it into a pretty tale.
Tchaikovsky was nervous about the venture, as he felt his compositional powers were in decline. By this time in 1891, it was getting late in his career and his fame was secure after international acclaim for works such as his Piano Concerto no. 1, Swan Lake, the opera Eugene Onegin, his Violin Concerto, Rococo Variations, Serenade for Strings, 1812 Overture, Symphonies 4 and 5, and The Sleeping Beauty. While visiting Paris, he discovered some inspiration in the form of a new musical instrument he could use for the ballet (the newly invented celesta). He finished the score in early 1891, and then very quickly turned it into a suite for concert performance. What we now know as the “Nutcracker Suite” was actually the first music the public ever heard from the complete score in July 1891. The suite is the music most of us can easily recognize because the music has been heard round the world ever since and its popularity has never been dislodged. Indeed, if you pay attention you will hear selections from the suite all over during the Holidays, including in TV commercials.
But the complete score has so much beautiful music in it beyond just the suite, if all you’ve ever heard is the suite, you are missing a great deal. The posters around St. Petersburg announcing the world premiere of The Nutcracker in December 1892 declared that Tchaikovsky had written a “fairy tale” ballet. When audiences heard finally heard it at the Mariinsky Theatre on December 6, 1892, they agreed the music was entrancing and the sounds and colors created fit very well with the story. I won’t relate the entire story of the ballet here, but it is easy to find or follow along with the names of each movement. Certainly the moods and melodies conjure up a world from childhood.
There are dozens of recordings of The Nutcracker complete ballet music, and many more of just the suite. There are also a number of recordings I deeply love, and yet don’t make the list. Recordings by Valery Gergiev and the Kirov Orchestra, Seiji Ozawa and the Boston Symphony Orchestra, two recordings led by Antal Dorati, and a well-loved version by Andre Previn and the London Symphony Orchestra are my favorites. But the one that puts it all together and truly rises to the top is this one by the Berlin Philharmonic Orchestra conducted by Semyon Bychkov.
This recording was made in Berlin’s Philharmonie in May 1986. At the time, Bychkov the 33 year-old Russian conductor was among the most sought after of a younger generation of conductors. He had emigrated to the USA in 1975, and after several appointments to smaller regional orchestras, he came to international attention after conducting the New York City Opera, and after several acclaimed substitutions at the New York Philharmonic, at the Berlin Philharmonic, and at the Royal Concertgebouw Orchestra in Amsterdam, Philips Classics (now part of Decca) signed him to a 10-year recording contract. He made his name recording Russian composers, including Tchaikovsky and Shostakovich. Since then, he has also taken up conducting posts at the Orchestre de Paris, the St. Petersburg Philharmonic, the Czech Philharmonic, and the WDR orchestra in Cologne. He has guest conducted all over the world.
A few notes about conducting the Berlin Philharmonic in 1986: at the time of this recording, this was still Herbert von Karajan’s orchestra. Karajan, the legendary maestro, basically owned the Berlin Philharmonic and had been its music director for many, many years and didn’t step down until 1989. Karajan had developed his own “sound” with the BPO through discipline and his own solitary, if somewhat dictatorial, hand. The sound of the orchestra, like Karajan himself, was larger than life. It was known to be the best orchestra in the world, and today it certainly remains one of the best. Therefore, Bychkov had more than a good orchestra to work with already, and in this recording you can hear the precision and discipline in the playing. It is nothing short of a brilliant production.
Another note is although “digital” recordings had been around for a few years, in 1986 there was still a tendency to get some “digital glare” in loud passages or particularly high notes. Some of the cymbal crashes are ear shattering, so fair warning. Otherwise, the sound throughout is warm and resonant, yet clear and detailed.
Even though the orchestra plays with precision and near perfection, this recording stands out because it still keeps the charm present in the score. Bychkov keeps things moving along, but not as fast as some others (Gergiev with the Kirov for example). Slower and more tender passages are given the space they need, and faster or more virtuoso passages are thrilling, but never feel over-the-top.
Some highlights:
Children’s Galop and Entry of Parents – one of my favorite passages, and here actually feels like a galop. I really enjoy the end with the flourish from the trumpets, which you can hear quite well in this recording.
Grandfather Dance – charming and playful
Departure of the Guests and Clara and the Nutcracker – beautifully done with climaxes that are moving and evocative. The brass of the BPO sound refined and burnished. Listen to the closing phrases here, really good stuff.
Fir forest in winter-journey through snow - Played to just the right effect. It builds to a wonderful crescendo with the cymbal crashes.
Waltz of the snowflakes - Begins softly and dreamily, with fantastic contribution from the state opera boys choir. But it builds furiously and speeds up to some storminess. This is played with panache by the Berliners. It finishes with those powerful brass chords.
Arrival of Clara and the Nutcracker Prince - has just the right amount of pomp and build-up to a wonderful climax at about the 3 minute mark.
Spanish Dance - delightful
Arabian dance - mysterious
Chinese dance - lovely playing from woodwinds
Russian Trepak - virtuoso orchestra showing off, played at breakneck speed and yet still cohesively still dancing. The trumpets playing headlong toward the end are thrilling.
Waltz of the flowers – well-judged throughout, including the pulsing string phrases between the woodwind flourishes. Sounds so natural and “right”. Once again the brass deliver just the right amount of weight and resonance toward the end.
Pas de deux: Intrada (The Sugar Plum Fairy and her Cavalier) - The following pas de deux with the sugar plum fairy and her cavalier is one of my very favorite pieces in all of music. Here it is played to its maximum effect. The pensive and somewhat melancholic mood is quintessential Tchaikovsky. The movement builds to a recapitulation which is big, loud, and dramatic. Emotional. You get a real taste of the slightly hysterical Tchaikovsky. I love it. You would be forgiven for thinking the big ending is the end of the ballet! But not quite yet.
Final Waltz and Apotheosis – a fitting ending with flair that actually feels like a summary of everything before it.
By the way, the added orchestral numbers from the opera Eugene Onegin are also very well done.
As an orchestral showpiece, I cannot think of a more enjoyable recording. But for me, it is reserved only for the Holidays and it never fails to put me in a festive mood. I hope you enjoy this recommendation. Please stop by next week when we review another classic recording that has become synonymous with Christmas.
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Di Vanni, Jacques (1992). Tchaikovsky and Glazunov: Music for Petipa. DECCA Liner Notes. Pp. 6-8.
Warrack, John (1986). The “Nutcracker”: A Strange and Complex Fantasy. PHILIPS Liner Notes. Pp. 11-13.