Viktoria Postnikova - Tchaikovsky: Complete Piano Works (Vol. 1-7) (1993) CD-Rip
Artist: Viktoria Postnikova
Title: Tchaikovsky: Complete Piano Works
Year Of Release: 1993
Label: Erato
Genre: Classical
Quality: FLAC (image+.cue,log,scans)
Total Time: 08:53:12
Total Size: 1.5 Gb
WebSite: Album Preview
Tracklist: Title: Tchaikovsky: Complete Piano Works
Year Of Release: 1993
Label: Erato
Genre: Classical
Quality: FLAC (image+.cue,log,scans)
Total Time: 08:53:12
Total Size: 1.5 Gb
WebSite: Album Preview
Vol 1:
1 2 Pieces, Op. 1: I. Scherzo à la russe 6:27
2 2 Pieces, Op. 1: II. Impromptu 7:50
3 Souvenir de Hapsal, Op. 2: I. Ruines d'un château 6:00
4 Souvenir de Hapsal, Op. 2: II. Scherzo 4:11
5 Souvenir de Hapsal, Op. 2: III. Chant sans paroles 2:41
6 Valse-Caprice, Op. 4 8:53
7 Romance, Op. 5 6:20
8 Valse-Scherzo, Op. 7 4:21
9 Capriccio, Op. 8 4:58
10 3 Pieces, Op. 9: No. 1, Rêverie 6:50
11 3 Pieces, Op. 9: II. Polka de salon 2:36
12 3 Pieces, Op. 9: III. Mazurka de salon 3:17
13 2 Pieces, Op. 10, TH 132: I. Nocturne 4:45
14 2 Pieces, Op. 10, TH 132: II. Humoresque 2:37
Vol 2:
15 6 Pieces, Op. 19: I. Rêverie du soir 3:04
16 6 Pieces, Op. 19: II. Scherzo humoristique 3:46
17 6 Pieces, Op. 19: III. Feuillet d'album 2:04
18 6 Pieces, Op. 19: IV. Nocturne 4:20
19 6 Pieces, Op. 19: V. Capriccioso 3:20
20 6 Pieces, Op. 19: VI. Thème original et variations - I. Thème 0:47
21 6 Pieces, Op. 19: VI. Thème original et variations - II. Variation I 0:39
22 6 Pieces, Op. 19: VI. Thème original et variations - III. Variation II 0:49
23 6 Pieces, Op. 19: VI. Thème original et variations - IV. Variation III 0:28
24 6 Pieces, Op. 19: VI. Thème original et variations - V. Variation IV 0:28
25 6 Pieces, Op. 19: VI. Thème original et variations - VI. Variation V 1:20
26 6 Pieces, Op. 19: VI. Thème original et variations - VII. Variation VI 0:40
27 6 Pieces, Op. 19: VI. Thème original et variations - VIII. Variation VII 1:17
28 6 Pieces, Op. 19: VI. Thème original et variations - IX. Variation VIII 0:39
29 6 Pieces, Op. 19: VI. Thème original et variations - X. Variation IX 1:02
30 6 Pieces, Op. 19: VI. Thème original et variations - XI. Variation X 1:20
31 6 Pieces, Op. 19: VI. Thème original et variations - XII. Variation XI 0:43
32 6 Pieces, Op. 19: VI. Thème original et variations - XIII. Variation XII 0:44
33 6 Pieces, Op. 19: VI. Thème original et variations - XIV. Coda 0:55
34 6 Pieces on a Single Theme, Op. 21: I. Prélude 2:36
35 6 Pieces on a Single Theme, Op. 21: II. Fugue à 4 voix 4:04
36 6 Pieces on a Single Theme, Op. 21: III. Impromptu 1:58
37 6 Pieces on a Single Theme, Op. 21: IV. Marche funèbre 8:39
38 6 Pieces on a Single Theme, Op. 21: V. Mazurque 4:28
39 6 Pieces on a Single Theme, Op. 21: VI. Scherzo 5:02
40 The Volunteer Fleet March 4:22
41 Impromptu in A-Flat Major 2:21
42 Valse-Scherzo in A Major, TH 146 1:52
43 Impromptu-caprice 2:24
44 Aveu passionné 3:20
45 Military March in B-Flat Major 4:14
Vol 3:
46 Grand Sonata, Op. 37: I. Moderato e risoluto 14:42
47 Grand Sonata, Op. 37: II. Andante non troppo quasi moderato 11:49
48 Grand Sonata in G Major, Op. 37, TH 139: III. Scherzo - Allegro giocoso 3:08
49 Grand Sonata, Op. 37: IV. Finale - Allegro vivace 7:52
50 Children's Album, Op. 39: No. 1 Morning Prayer 1:44
51 Children's Album, Op. 39: No. 2 Winter Morning 0:58
52 Children's Album, Op. 39: No. 3 Playing Hobby-Horses 0:35
53 Children's Album, Op. 39: No. 4 Mama 1:10
54 Children's Album, Op. 39: No. 5 March of the Wooden Soldiers 0:53
55 Children's Album, Op. 39: No. 6 The Sick Doll 2:07
56 Children's Album, Op. 39: No. 7 The Doll's Funeral 2:34
57 Children's Album, Op. 39: No. 8 Waltz 1:15
58 Children's Album, Op. 39: No. 9 The New Doll 0:29
59 Children's Album, Op. 39: No. 10 Mazurka 1:06
60 Children's Album, Op. 39: No. 11 Russian Song 0:30
61 Children's Album, Op. 39: No. 12 The Harmonica Player 0:55
62 Children's Album, Op. 39: No. 13 Kamarinskaya 0:34
63 Children's Album, Op. 39: No. 14 Polka 0:53
64 Children's Album, Op. 39: No. 15 Italian Song 0:56
65 Children's Album, Op. 39: No. 16 Old French Song 1:16
66 Children's Album, Op. 39: No. 17 German Song 1:10
67 Children's Album, Op. 39: No. 18 Neapolitan Song 1:05
68 Children's Album, Op. 39: No. 19 Nursery Tale 1:03
69 Children's Album, Op. 39: No. 20 The Witch 0:42
70 Children's Album, Op. 39: No. 21 Sweet Dream 2:22
71 Children's Album, Op. 39: No. 22, Lark Song 0:57
72 Children's Album, Op. 39: No. 23 The Organ-Grinder Sings 0:58
73 Children's Album, Op. 39: No. 24 In Church 2:28
74 Dumka, Op. 59 9:48
Vol 4:
75 The Seasons, Op. 37b: I. January (By the Hearth) 5:34
76 The Seasons, Op. 37b: II. February (Carnival) 3:02
77 The Seasons, Op. 37b: III. March (Song of the Lark) 2:22
78 The Seasons, Op. 37b: IV. April (Snowdrop) 2:36
79 The Seasons, Op. 37b: V. May (White Nights) 4:25
80 The Seasons, Op. 37b: VI. June (Barcarolle) 4:40
81 The Seasons, Op. 37b: VII. July (Song of the Reaper) 1:42
82 The Seasons, Op. 37b: VIII. August (The Harvest) 3:20
83 The Seasons, Op. 37b: IX. September (The Hunt) 2:47
84 The Seasons, Op. 37b: X. October (Autumn Song) 5:36
85 The Seasons, Op. 37b: XI. November (In the Troika) 3:24
86 The Seasons, Op. 37b: XII. December (Christmas) 3:44
87 Piano Sonata No. 1 in C-Sharp Minor, Op. 80: I. Allegro con fuoco 8:21
88 Piano Sonata No. 1 in C-Sharp Minor, Op. 80: II. Andante 5:30
89 Piano Sonata No. 1 in C-Sharp Minor, Op. 80: III. Scherzo - Allegro vivo 6:13
90 Piano Sonata No. 1 in C-Sharp Minor, Op. 80: IV. Allegro vivo 6:55
Vol 5:
91 50 Russian Folksongs: Nos. 1 - 5 (Arr. for Piano Duet) 3:35
92 50 Russian Folk Songs: Nos. 6 - 10 (Arr. for Piano Duet) 2:53
93 50 Russian Folk Songs: Nos. 11 - 15 (Arr. for Piano Duet) 3:00
94 50 Russian Folk Songs: Nos. 16 - 20 (Arr. for Piano Duet) 2:40
95 50 Russian Folk Songs: Nos. 21 - 25 (Arr. for Piano Duet) 3:48
96 50 Russian Folk Songs: Nos. 26 - 30 (Arr. for Piano Duet) 3:19
97 50 Russian Folk Songs: Nos. 31 - 35 (Arr. for Piano Duet) 2:49
98 50 Russian Folk Songs: Nos. 36 - 40 (Arr. for Piano Duet) 2:46
99 50 Russian Folk Songs: Nos. 41 - 45 (Arr. for Piano Duet) 4:38
100 50 Russian Folk Songs: Nos. 46 - 50 (Arr. for Piano Duet) 3:47
101 Potpourri on Themes from "The Voyevoda", Op. 3 14:19
102 6 Romances, Op. 16: I. Cradle Song 2:44
103 6 Romances, Op. 16: IV. O, Sing That Song 3:03
104 6 Romances, Op. 16: V. So What? 2:55
105 Theme with Variations in A Minor: I. Tema 0:54
106 Theme with Variations in A Minor: II. Variation I 1:08
107 Theme with Variations in A Minor: III. Variation II 0:45
108 Theme with Variations in A Minor: IV. Variation III 0:51
109 Theme with Variations in A Minor: V. Variation IV 3:00
110 Theme with Variations in A Minor: VI. Variation V 0:47
111 Theme with Variations in A Minor: VII. Variation VI 1:46
112 Theme with Variations in A Minor: VIII. Variation VII 0:59
113 Theme with Variations in A Minor: IX. Variation VIII 2:16
114 Theme with Variations in A Minor: X. Variation IX 1:21
Vol 6:
115 12 Pieces, Op. 40: I. Etude 1:38
116 12 Pieces, Op. 40: II. Chanson triste 2:30
117 12 Pieces, Op. 40: III. Marche funèbre 10:16
118 12 Pieces, Op. 40: IV. Mazurka 2:48
119 12 Pieces, Op. 40: V. Mazurka 2:53
120 12 Pieces, Op. 40: VI. Chant sans paroles 2:09
121 12 Pieces, Op. 40: VII. Au village 4:29
122 12 Pieces, Op. 40: VIII. Valse 2:57
123 12 Pieces, Op. 40, TH 138: IX. Valse 4:56
124 12 Pieces, Op. 40: X. Danse russe 2:16
125 12 Pieces, Op. 40: XI. Scherzo 3:09
126 12 Pieces, Op. 40: XII. Rêverie interrompue 4:32
127 6 Pieces, Op. 51: I. Valse de salon 5:18
128 6 Pieces, Op. 51: II. Polka peu dansante 5:18
129 6 Pieces, Op. 51: III. Menuetto scherzoso 4:34
130 6 Pieces, Op. 51: IV. Natha-Valse 3:15
131 6 Pieces, Op. 51: V. Romance 6:34
132 6 Pieces, Op. 51: VI. Valse sentimentale 5:31
Vol 7:
133 18 Pieces, Op. 72: I. Impromptu 3:33
134 18 Pieces, Op. 72: II. Berceuse 5:30
135 18 Pieces, Op. 72: III. Tendres reproches 2:46
136 18 Pieces, Op. 72: IV. Danse caractéristique 3:10
137 18 Pieces, Op. 72: V. Méditation 5:01
138 18 Pieces, Op. 72: VI. Mazurque pour danser 3:13
139 18 Pieces, Op. 72: VII. Polacca de concert 6:08
140 18 Pieces, Op. 72: VIII. Dialogue 3:32
141 18 Pieces, Op. 72: IX. Un poco di Schumann 1:55
142 18 Pieces, Op. 72: X. Scherzo - Fantaisie 7:25
143 18 Pieces, Op. 72: XI. Valse bluette 2:39
144 18 Pieces, Op. 72: XII. L'espiègle 1:44
145 18 Pieces, Op. 72: XIII. Echo rustique 2:15
146 18 Pieces, Op. 72: XIV. Chanson élégiaque 7:47
147 18 Pieces, Op. 72: XV. Un poco di Chopin 2:54
148 18 Pieces, Op. 72: XVI. Valse à cinq temps 1:48
149 18 Pieces, Op. 72: XVII. Passé lointain 6:02
150 18 Pieces, Op. 72: XVIII. Scène dansante - Invitation au Trépak 3:49
Performers:
Viktoria Postnikova
Why, given the seemingly indestructible popularity of the B flat Piano Concerto, should Tchaikovsky's solo piano music be so little heard? Well, of course that may be a misleading question; it depends where you live. A Russian pianist would be just as likely to carry the G major Sonata in his or her repertoire as any Schubert Sonata, for instance. And some of the simpler pieces are perennial pedagogic favourites as well as being decently represented on CD—The Classical Catalogue lists five current versions of the Album for the young and seven of The Seasons, one being Postnikova's on a separate Erato CD. But take away those, the Theme and Variations, Op. 19 No. 6, the C sharp minor Sonata (a juvenile piece which would surely not merit a hearing were it not by Tchaikovsky), and the odd bonbon (such as the Dumka which Horowitz played and recorded), and that still leaves some six or seven hours of music that only specialists ever get to hear.
The problem may not be so much to do with instrumental idiom as you might think. The solo works are no less gratefully written than the concertos—if anything they tend to suit the instrument rather better—and it is only at times in the later pieces, when Tchaikovsky looks self-consciously towards Lisztian layouts, that embarrassment ensues. Nor can the blame be laid at the door of Robert Schumann, the model for an overwhelming proportion of the writing (''alla Schumann'', the eleventh of the Op. 19 Variations, must count as one of the most supererogatory markings in all piano music). No, for every piece which fails to pay back its Schumannesque overdraft there is another which invests and repays the debt with interest.
In fact the problem seems to be more that, without the colouristic resources of contrasting instruments to fall back on, as soon as Tchaikovsky wants to extend a miniature time-span into something dramatic he has a tendency to rant; the prime symptom of this is plain harmonic material repeated and sequenced by means of extravagant textures. The tendency is there from the first of the Op. 1 pieces (a ''Scherzo alla russe'') and it disfigures many of the lesser-known works (try the Potpourri on Themes from the opera ''Voyevoda'').
Of course, not all these works had elevated artistic intentions. Some, like the Potpourri, were obviously pot-boilers, some, like the last cycle, Op. 72, were written frankly for financial gain after the loss of Nadezhda von Meck's patronage. It would be absurd to expect consistency of inspiration here. And yet there are surprisingly few instances of zero musical interest. Even that dreadful Potpourri gives us an instructive snapshot of Tchaikovsky's early operatic style (the opera itself he destroyed); and in every cycle of shorter pieces there are items to be treasured. I approached this nine-hour marathon very much in the spirit of self-education, but in the end I derived much more satisfaction from it than that.
This I attribute in no small measure to Victoria Postnikova. She brings to every single piece a virtually ideal blend of affection, respect and intelligence, not to speak of virtuoso command. Not only does this give the textures the best possible chance to 'come off the page', she also has the instinct for inflexions which get us to the heart of Tchaikovsky's individual moods. By this I mean, for example, that the fourth of the Op. 19 pieces, marked sentimentale, evokes a Chekovian lassitude, and the Aveu passione an Onegin-ish painful intensity, while ''May'' and ''October'' from The Seasons are the epitome of thankfulness and wistfulness, respectively. Sophisticated tastes that tend to baulk at Tchaikovsky's prevailing tone of domestic warmth should remember just how much longing attaches to that state of mind for Russians—and this too I find amply conveyed in the subtlety of Postnikova's playing (as, I should add, in that of her husband who joins her in the lovely folk-song arrangements for duet).
There is a down-side, unfortunately, and it's to do with the recording. Volumes 1 (early pieces) and 4 (The Seasons and the C sharp minor Sonata) plus the G major Sonata in Vol. 3, are recorded in Paris's Salle Adyar, which from the dry, constricted sound on disc must have a singularly unappealing acoustic. Otherwise the piano tone is generally fine, though the Op. 72 pieces, recorded in Switzerland, seem to me rather glassy. This remains a highly desirable library acquisition for all Tchaikovskians and serious lovers of the piano repertoire.'
The problem may not be so much to do with instrumental idiom as you might think. The solo works are no less gratefully written than the concertos—if anything they tend to suit the instrument rather better—and it is only at times in the later pieces, when Tchaikovsky looks self-consciously towards Lisztian layouts, that embarrassment ensues. Nor can the blame be laid at the door of Robert Schumann, the model for an overwhelming proportion of the writing (''alla Schumann'', the eleventh of the Op. 19 Variations, must count as one of the most supererogatory markings in all piano music). No, for every piece which fails to pay back its Schumannesque overdraft there is another which invests and repays the debt with interest.
In fact the problem seems to be more that, without the colouristic resources of contrasting instruments to fall back on, as soon as Tchaikovsky wants to extend a miniature time-span into something dramatic he has a tendency to rant; the prime symptom of this is plain harmonic material repeated and sequenced by means of extravagant textures. The tendency is there from the first of the Op. 1 pieces (a ''Scherzo alla russe'') and it disfigures many of the lesser-known works (try the Potpourri on Themes from the opera ''Voyevoda'').
Of course, not all these works had elevated artistic intentions. Some, like the Potpourri, were obviously pot-boilers, some, like the last cycle, Op. 72, were written frankly for financial gain after the loss of Nadezhda von Meck's patronage. It would be absurd to expect consistency of inspiration here. And yet there are surprisingly few instances of zero musical interest. Even that dreadful Potpourri gives us an instructive snapshot of Tchaikovsky's early operatic style (the opera itself he destroyed); and in every cycle of shorter pieces there are items to be treasured. I approached this nine-hour marathon very much in the spirit of self-education, but in the end I derived much more satisfaction from it than that.
This I attribute in no small measure to Victoria Postnikova. She brings to every single piece a virtually ideal blend of affection, respect and intelligence, not to speak of virtuoso command. Not only does this give the textures the best possible chance to 'come off the page', she also has the instinct for inflexions which get us to the heart of Tchaikovsky's individual moods. By this I mean, for example, that the fourth of the Op. 19 pieces, marked sentimentale, evokes a Chekovian lassitude, and the Aveu passione an Onegin-ish painful intensity, while ''May'' and ''October'' from The Seasons are the epitome of thankfulness and wistfulness, respectively. Sophisticated tastes that tend to baulk at Tchaikovsky's prevailing tone of domestic warmth should remember just how much longing attaches to that state of mind for Russians—and this too I find amply conveyed in the subtlety of Postnikova's playing (as, I should add, in that of her husband who joins her in the lovely folk-song arrangements for duet).
There is a down-side, unfortunately, and it's to do with the recording. Volumes 1 (early pieces) and 4 (The Seasons and the C sharp minor Sonata) plus the G major Sonata in Vol. 3, are recorded in Paris's Salle Adyar, which from the dry, constricted sound on disc must have a singularly unappealing acoustic. Otherwise the piano tone is generally fine, though the Op. 72 pieces, recorded in Switzerland, seem to me rather glassy. This remains a highly desirable library acquisition for all Tchaikovskians and serious lovers of the piano repertoire.'
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CD1 Viktoria Postnikova Tchaikovsky Complete Piano Works 93 0804.rar - 200.7 MB
CD2 Viktoria Postnikova Tchaikovsky Complete Piano Works 93 0804.rar - 203.9 MB
CD3 Viktoria Postnikova Tchaikovsky Complete Piano Works 93 0804.rar - 231.5 MB
CD4 Viktoria Postnikova Tchaikovsky Complete Piano Works 93 0804.rar - 251.4 MB
CD5 Viktoria Postnikova Tchaikovsky Complete Piano Works 93 0804.rar - 196.9 MB
CD6 Viktoria Postnikova Tchaikovsky Complete Piano Works 93 0804.rar - 218.8 MB
CD7 Viktoria Postnikova Tchaikovsky Complete Piano Works 93 0804.rar - 230.1 MB
CD1 Viktoria Postnikova Tchaikovsky Complete Piano Works 93 0804.rar - 200.7 MB
CD2 Viktoria Postnikova Tchaikovsky Complete Piano Works 93 0804.rar - 203.9 MB
CD3 Viktoria Postnikova Tchaikovsky Complete Piano Works 93 0804.rar - 231.5 MB
CD4 Viktoria Postnikova Tchaikovsky Complete Piano Works 93 0804.rar - 251.4 MB
CD5 Viktoria Postnikova Tchaikovsky Complete Piano Works 93 0804.rar - 196.9 MB
CD6 Viktoria Postnikova Tchaikovsky Complete Piano Works 93 0804.rar - 218.8 MB
CD7 Viktoria Postnikova Tchaikovsky Complete Piano Works 93 0804.rar - 230.1 MB
