Building a Collection #56: Tchaikovsky's The Nutcracker

With recommended recordings

Building a Collection #56

The Nutcracker

By Pyotr Ilyich Tchaikovsky

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We return again to the music of Tchaikovsky for the third time in our survey, this time at #56 with The Nutcracker.  The Nutcracker is one of the best-loved and most familiar classical works to ever be composed, and may be Tchaikovsky’s most popular composition.  Although you are most likely to hear this music during the Holidays, the genius of Tchaikovsky’s melodic invention is a wonderful listen any time of year.   

Pyotr Ilyich Tchaikovsky

Because we have covered works by Tchaikovsky previously in the survey, and in the interest of saving space, you can find biographical information about the composer in the link below:

https://open.substack.com/pub/classicalguy/p/building-a-collection-47-tchaikovskys?r=avz62&utm_campaign=post&utm_medium=web

John Suchet’s book Tchaikovsky: The Man Revealed (2019) is also a good source of information on the composer.  

The Nutcracker

The music to The Nutcracker was finished in 1892 as a two-act classical ballet score, often heard during the Holidays due to the story following a child’s imagination as she sleeps beneath the Christmas tree on Christmas Eve.  The plot is an adaptation of E. T. A. Hoffmann's 1816 short story The Nutcracker and the Mouse King (adapted by Alexandre Dumas).  It could easily be argued that the music from The Nutcracker is more famous than the ballet itself, although the ballet is by far the most performed ballet in the world and frequently generates a large portion of any ballet company’s revenue annually.  Going to see The Nutcracker is a family Holiday tradition for many, though for me the music is the real draw.

Tchaikovsky partnered with the famous choreographer Marius Petipa, an artist he had partnered with previously on The Sleeping Beauty.  Petipa gave Tchaikovsky extremely detailed instructions for the composition of each number, down to the tempo and number of bars.  The completion of the work was interrupted for a short time when Tchaikovsky visited the United States for twenty-five days to conduct concerts for the opening of Carnegie Hall.  Tchaikovsky also composed parts of The Nutcracker in Rouen, France.

Tchaikovsky was nervous about the venture, as he felt his compositional powers were in decline.  By 1891, it was getting late in his career and his fame was secure after great 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, and it achieved much popularity long before the complete ballet.  The suite is the music most of us recognize because the music has been heard round the world ever since and its popularity has never been dislodged.  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, and if all you’ve ever heard is the suite, you are missing some of Tchaikovsky’s best music.  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 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.  Certainly the moods and melodies conjure up a world from childhood.

The Nutcracker, along with Swan Lake and The Sleeping Beauty, are Tchaikovsky’s greatest works for ballet.  In Tchaikovsky’s own lifetime he was not regarded as a great ballet composer as some critics considered his compositions too “symphonic” to be appropriate for ballet.  Of course today we would regard that as ridiculous, but it also contains some truth in that Tchaikovsky’s music can easily stand alone as orchestral music in its own right even without the dancing.  Tchaikovsky’s unparalleled genius for melody and inventiveness is evident throughout The Nutcracker score.  Someone once commented that there is a lot of ballet music in Tchaikovsky’s symphonies, and a lot of symphonic music in his ballets.  True, but the difference is that when he wrote for ballet Tchaikovsky seemed to create musical worlds which were an escape from the realities of life  He transports us to new and fantastical dream worlds in the ballets, which are a distinct departure from the sometimes dark, fateful, and turbulent worlds of his symphonies.

A few other tidbits about The Nutcracker:  The premiere in St. Petersburg was praised for the music, but was faulted for the weak story and for having so many children on stage.  Tchaikovsky himself believed his music to be inferior to other compositions, such as Swan Lake.  The U.S. premiere of The Nutcracker did not occur until 1944 in San Francisco, some 52 years after its premiere in St. Petersburg.  Ballet choreographer George Balanchine, founder of The New York Ballet, is given the most credit for making The Nutcracker an American Holiday tradition when he produced the company’s 1954 rendition.  It is estimated there are over 700 productions of The Nutcracker each year in the United States alone. 

A Note on Recordings

There are dozens of recordings of the complete score to The Nutcracker and many more of The Nutcracker Suite.  I am a bit of a completist, and so while there are some very good recordings of The Nutcracker Suite, I will be limiting my reviews to recordings of the complete ballet.  Hearing all the music in sequence is important in my view to appreciating the whole.  

Unless you happen to be watching a televised or taped version of The Nutcracker, most recordings have been made by large symphony orchestras which tend to be larger than what you might find in the pit at a ballet production.  There is also the legitimate criticism that many orchestral recordings or concert performances of The Nutcracker play the music in such a way that is not consistent with accompanying ballet dancers, generally speaking being played too fast.  The recordings I have chosen below have been chosen for their musical value only, meaning I have paid little attention to how genuinely “balletic” the music is played (with one exception, that being the outstanding recording by The Bolshoi).

Essential Recordings

I’ve done a major reassessment of Nutcracker recordings in recent days.  If you are a long time reader you may recall I have Semyon Bychkov’s 1986 recording with the Berlin Philharmonic Orchestra in my Top 50 Classical Recordings of All-Time…or at least I did.  I’ve decided there are two other recordings which rank higher. After hearing these other two, I no longer consider the Bychkov recording essential, fine as it is.

The first essential recording is Andre Previn’s magisterial reading with the London Symphony Orchestra on EMI/Warner from 1972.  I have listened to this recording several times in the past week, and I am now convinced it gets inside the score in a way no other recording has to date.  Even though I have been familiar with this recording for many years, my previous reservations about it have dissolved.  My hesitation had to do with the somewhat cavernous sound quality which places some of the brass too far back in the picture.  That has not been helped much, even with recent remastering.  I also find that the performance takes a bit to warm up, so the first few numbers lack a bit of adrenaline.  However, thereafter Previn reveals a lightness or touch and depth of understanding of the score, as well as a sensitivity to the balletic aspect of virtually every movement.  Yes, there is orchestral brilliance from the LSO, but Previn brings to the fore the actual character of each section in a way that furthers the drama of the story, as well as the dreamlike qualities in the music.  Where this recording rises above the rest is in its utter charm and confectionary wit.  Act II contains plenty of panache in the dances, and the colorful episodes are captivating.  Previn’s tempos are spot on, never rushed but also never allowing the musical narrative drag either.  This is a recording to savor and return to often.

The second essential recording of The Nutcracker is one that completely snuck up on me in the past week or so.  This 1993 recording is from the Original Soundtrack of George Balanchine’s The Nutcracker film with the New York City Ballet Orchestra conducted by David Zinman, on Warner/20th Century/Disney.  The movie starred Macaulay Culkin, lost nearly $17M and was a complete flop in addition to being widely panned by the critics.  However, the soundtrack of the music is a wonderful and unexpected find, and fully deserves its essential status.  I cannot explain why I neglected this recording, I suppose I never took the time to hear it.  My rationale was that as a movie soundtrack there was no way it could equal most recordings, and I had serious doubts whether a ballet orchestra could match the weight and virtuosity heard on other recordings.  I was completely wrong on those counts.  Recorded at Manhattan Center in New York, every part of this recording matches or surpasses any other recording of The Nutcracker in the catalog.  First the sound quality is terrifically clear, with a natural balance and bloom.  I was worried that the NYC Ballet Orchestra would sound too thin (something that afflicts the Bolshoi performance listed below to some degree), but instead they carry plenty of weight and are still light on their feet.  The brass and woodwinds are excellent.  I was pleasantly surprised by how full the sound was, and while I might give the nod to Previn for beauty and character, Zinman and his forces are superb throughout and they deliver everything you could want in a recorded performance. 

Other Recommended Recordings 

Hungarian conductor Antal Dorati was a very fine Tchaikovsky conductor, and he clearly loved The Nutcracker, recording it commercially three times.  His final recording in 1975 with the Concertgebouw Orchestra, Amsterdam on Philips/Universal is the one that has the best sound and the most charm.  The late analog sound is warm and detailed (even though the Concertgebouw are from Amsterdam, this recording was made at Watford Town Hall in London), and Dorati allows the sound to luxuriate.  Tempos are judged perfectly, and Dorati does a good job of allowing the dance rhythms to spring to life.  The brass and woodwinds are rich and full, and while the sum of the parts projects less personality than Previn, this is a very enjoyable account which brings much pleasure.  Dorati’s previous accounts in Minneapolis and London are both interesting as well, but don’t capture the magic the way this one does.

Another recent surprise for me is the 1985 digital recording by Michael Tilson Thomas and The Philharmonia on the Sony label.  Ballet music is where Tilson Thomas has made his best recordings (sample his recordings of Stravinksy’s Rite of Spring from the 1970s and his excellent recordings of Copland’s ballets), and that sensibility to rhythm and texture is evident here as well.  From the beginning Overture you can tell this will be a treat, with Tilson Thomas bringing forth a lightness and lilt that is genuinely charming.  Pacing feels right throughout, though relatively brisk with some sharply accented points, just the way I like it.  The well-known dance pieces from Act II are dispatched with energy and elan, while the slower pieces have a grace and flow that feels organic.  The theatrical nature of The Nutcracker is something you can sense, with sound effects and other stage implements used to create a realistic picture of the story.  The sound is exemplary, full bodied and clear with plenty of air around the notes.  If I continue my reassessment of Nutcracker recordings, this one might very well be promoted as essential.   

While Semyon Bychkov’s outstanding 1986 recording with the Berlin Philharmonic Orchestra on Philips/Universal has been demoted from the essential ranks, it is still a wonderful recording.  Made in Berlin’s Philharmonie in May 1986, Bychkov was a 33 year-old Russian  conductor and 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.  He made his name recording Russian composers, including Tchaikovsky and Shostakovich.  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.  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 brilliant.  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.  Speeds are moving along, but not as fast as some others.  Slower and more tender passages are given the space they need, and faster or more virtuoso passages are thrilling but never over the top.

The Russian pianist turned conductor Vladimir Ashkenazy had an exclusive recording contract on Decca for many years and he made several outstanding recordings during that time including a terrific set of Tchaikovsky’s Symphonies 4-6 with the Philharmonia.  His recording of The Nutcracker comes from 1989 with the Royal Philharmonic Orchestra.  It is a mystery to me why this recording is no longer in print, as it contains one of the finest interpretations of The Nutcracker available.  I also cannot find it on any streaming services or even YouTube.  Several years ago I bought a used copy of it.  First, the sound is unbeatable.  Recorded in Watford Town Hall, London, this is vintage Decca digital sound with full, deep and resonant bass, a pleasing and weighty but softer grained top range.  The sound is weighty and glorious, full of detail and warmth.  Full disclosure, the performance is slow, one of the slowest on record.  But I simply love what Ashkenazy does here in the sense of slowing things down to better hear the melodies and to allow more tension to build up in the climax sections.  In his hands, this score becomes something truly epic and unforgettable.  The slower tempo will not be to everyone’s taste, but for me it elicits an emotional response to the beauty and flow of the music.  On top of this, it is paired with THE finest performance of Glazunov’s The Seasons ever recorded.  Shame on Decca for pulling this one, it is one of the best.   

Lastly in the recommended category is the splendid 2006 account by Alexander Vedernikov and the Bolshoi Theatre Orchestra of Moscow in a crystal clear recording from Pentatone.  If you are looking for a recording which sounds like what you would hear at the actual ballet, this is it.  The pacing and phrasing are predicated on matching what the dancers are doing on stage, and so the music is played at the service of the action.  This leads to tempos which are by and large slower, but the advantage is this reveals the beauty, lyricism, and flow of the story to a greater extent than most recordings.  With recorded sound which is top-shelf, we are placed in the front row and can genuinely feel that this is a ballet.  The only downside is that if you are listening to this as audio only, it lacks a bit of excitement and momentum.  So you have to use your imagination.  But the score is wonderfully, lovingly played here and the drama is enhanced by this approach.  A very successful release.

Other Notable Recordings

The notable recordings listed below are all good to very good.  I urge you to sample them yourself as you may rate some higher than I do.  I’ve made a few comments next to those that are of particular interest.

Royal Philharmonic Orchestra / Arthur Rodzinski (Westminster 1956)

Orchestre de la Suisse Romande / Ernest Ansermet (Decca 1958)

London Symphony Orchestra / Antal Dorati (Mercury 1962) - speeds are quick, and the performance lacks charm to some degree, although if you are looking for vitality and adrenaline you will be pleased.

National Philharmonic Orchestra / Richard Bonynge (Decca 1974) - a very good performance and a solid choice overall, with the small caveat that Bonynge can be sluggish at times with rhythms leading to some marginal loss of momentum and enjoyment.

The Philharmonia / John Lanchbery (EMI/Warner 1982)

Saint Louis Symphony Orchestra / Leonard Slatkin (RCA/Sony 1985) - a very solid choice if you are wanting a straightforward reading in good sound, but it falls just short when compared to the best recordings in terms of charm and personality.

London Symphony Orchestra / Sir Charles Mackerras (Telarc 1986) - I adore Mackerras, and in many ways this performance equals the best.  But the trumpets and woodwinds are recessed in the sound picture, which is all the more unfortunate since it was recorded at Watford Town Hall, London, an excellent venue.  

London Philharmonic Orchestra / Mariss Jansons (EMI/Warner 1992)

Orchestre Symphonique de Montréal / Charles Dutoit (Decca 1993) - outstanding sound, but the performance is cool, uninvolved, and lacking charisma.

Kirov Orchestra / Valery Gergiev (Philips/Decca 1998) - This is an exciting performance, well played, and in good sound.  When it was released it was the first complete Nutcracker to fit on one CD.  It still sounds great.  But for me the problem is the entire work is taken at too fast of a pace, which doesn’t give the melodies and rhythms a chance to have their full impact.   

Berlin Philharmonic Orchestra / Sir Simon Rattle (EMI/Warner 2010) - I  would place this with Slatkin as a solid choice, but as Rattle admits in the liner notes he has never been fond of Tchaikovsky’s music, and it shows.  The performance is straightforward and nicely played, but doesn’t offer the insight of Previn or Zinman.  The bass and percussion are also too far back in the sound picture in otherwise fine sound.

Los Angeles Philharmonic Orchestra / Gustav Dudamel (DG 2018) - This album accompanies the latest film version of The Nutcracker, and in some ways Tchaikovsky is a good match for Dudamel’s temperament as a conductor.  There is nothing disappointing here, but neither is there anything to distinguish it from other middle of the road recordings.  There is  a marginal lack of character and imagination.   

I hope you have enjoyed this installment covering Tchaikovsky’s The Nutcracker as much as I have.  Now I will put the piece away until the Holidays!  Join me next time when we will discuss Chopin’s epic 24 Preludes for piano.  See you then!

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Notes:

Anderson, J. (1958). The Nutcracker Ballet, New York: Mayflower Books.

Di Vanni, Jacques (1992). Tchaikovsky and Glazunov:  Music for Petipa.  DECCA Liner Notes. Pp. 6-8.

Haywood, Tony. Pyotr Ilyich Tchaikovsky The Nutcracker. Review online at https://www.musicweb-international.com/classrev//2002/Jun02/Tchaikovsky_Nutcracker_sony.htm.

Rosenberg, Donald (22 November 2009). "Tchaikovsky's 'Nutcracker' a rite of winter thanks to its glorious music and breathtaking dances". Cleveland.com. Cleveland. Retrieved 4 November 2010.

Sutton, Rebecca. So You Think You Know The Nutcracker? The National Endowment for the Arts. December 19, 2018. Online at arts.gov.

"Tchaikovsky". Balletalert.com. Archived from the original on 16 March 2012. Retrieved 10 December 2012.

Warrack, John (1986). The “Nutcracker”:  A Strange and Complex Fantasy. PHILIPS Liner Notes. Pp. 11-13.