℗ 2020 Decca Music Group Limited
Released February 21, 2020
Duration 51m 15s
Record Label Decca Music Group
Genre Classical
 

Tchaikovsky in Odessa - Part One

Various Artists

Available in 96 kHz / 24-bit AIFF, FLAC high resolution audio formats
  • Select Format
    • AIFF 96 kHz | 24-bit
    • FLAC 96 kHz | 24-bit
Add to cart
discounted price

 
1.1
The Tempest, Op. 18, TH 44
Peter Ilyich Tchaikovsky; National Symphony Orchestra Washington; Antal Doráti
19:25
String Quartet No. 1 in D Major, Op. 11, TH 111  
1.2
2. Andante cantabile
Peter Ilyich Tchaikovsky; Gabrieli String Quartet; Kenneth Sillito; Brendan O'Reilly; Ian Jewel; Keith Harvey
6:31
Variations on a Rococo Theme, Op. 33, TH 57  
1.3
Var. VIII e Coda. Allegro moderato con anima
Peter Ilyich Tchaikovsky; Julian Lloyd Webber; London Symphony Orchestra; Maxim Shostakovich
2:02
The Nutcracker (Suite), Op. 71a, TH 35  
1.4
1. Ouverture miniature. Allegro giusto
Pyotr Ilyich Tchaikovsky; Orchestre de Paris; Seiji Ozawa
3:44
1.5
2a. Marche. Tempo di marcia viva
Pyotr Ilyich Tchaikovsky; Orchestre de Paris; Seiji Ozawa
2:37
1.6
2b. Danse de la Fée-Dragée. Andante ma non troppo
Pyotr Ilyich Tchaikovsky; Orchestre de Paris; Seiji Ozawa
1:42
1.7
2c. Danse russe. Trépak. Tempo di Trepak, molto vivace
Pyotr Ilyich Tchaikovsky; Orchestre de Paris; Seiji Ozawa
1:10
1.8
2d. Danse arabe. Allegretto
Pyotr Ilyich Tchaikovsky; Orchestre de Paris; Seiji Ozawa
3:59
1.9
2e. Danse chinoise. Allegro moderato
Pyotr Ilyich Tchaikovsky; Orchestre de Paris; Seiji Ozawa
1:16
1.10
2f. Danse des mirlitons. Moderato assai
Pyotr Ilyich Tchaikovsky; Orchestre de Paris; Seiji Ozawa
2:21
1.11
3. Valse des fleurs. Tempo di valse
Pyotr Ilyich Tchaikovsky; Orchestre de Paris; Seiji Ozawa
6:28
On this exceptional Decca compilation, Tchaikovsky's time and works in Odessa are honoured by Antal Doráti with the National Symphony Orchestra Washington, the Gabrieli String Quartet, Maxim Shostakovich with the London Symphony Orchestra, and Seiji Ozawa with the Orchestre de Paris. “I have never experienced anything like this before in my life. They are honouring me here as if I were some great man, almost a person who had saved their Motherland." (Pyotr Tchaikovsky about Odessa and Odessa’s people) Pyotr Il'yich Tchaikovsky arrived at Odessa on the 12th of January 1893. Lev Kupernik, the Head of Odessa Branch of the Russian Imperial Musical Society and Ivan Grekov, entrepreneur of the Odessa City Theatre, invited him to Odessa. The composer agreed to take part in the production of his opera Queen of Spades and conduct two symphonic concerts. Odessa’s people were looking forward to the maestro’s arrival. “People were fighting to get the tickets for these concerts in spite of the high price the Musical Society had put. The Society had problems with funding and it needed extra money to make ends meet. Interviewers followed Tchaikovsky and rivaled to question him. Tchaikovsky was so polite that he responded in a written form to be exact in his answers,” – Abram Kaufman, a journalist, wrote in his memoirs. Musicians of the Odessa City Theatre were looking forward to the first rehearsal of the Queen of Spades and were walking there as if they were going to some party. “The orchestra musicians were at their places long before the agreed time… As soon as Pyotr Il’yich appeared on stage the orchestra burst into thunders of applause and “Hurray” screams. The musicians started playing touché and raised the composer up on their hands, to his great amazement. They were swinging him for a long time. All the people present in the theatre stood up, the applause lasted for 15 minutes. Pyotr Il’ych walked to the first row of chairs, sat and making comments followed the rehearsal from there,” – Sergei Levin, an orchestra musician, told. “I have never been so tired of conducting as it was in Odessa… but I have never been extolled to the skies elsewhere in such a degree“, – Tchaikovsky admitted in his letter to his brother Modest. Leaving Odessa on the 25th of January 1893 the composer promised to get back in autumn to take part in production of his opera Iolanta. It never happened. Tchaikovsky passed away in less than in a year. “In 1893 we got sad news about Tchaikovsky’s death. It was as if we had been hit by a lightening“, – Sergei Levin remembered. Odessa mourned sincerely. A number of concerts dedicated to the composer’s memory were held; his music was performed there. The premiere of Iolanta took place shortly after the sad news. “I would like my music to spread, I want it from the bottom of my heart. I wish the number of my music lovers grew so they could get some consolation and support in it.” – Pyotr Tchaikovsky wrote. His dream has come true. It has been more than 100 years since the great composer died but his music is immortal. It still sounds; it still inspires and fascinates the listeners.
96 kHz / 24-bit PCM – Decca Music Group Studio Masters

Track 11 – 44.1 kHz / 24-bit PCM, mastered in 96 kHz / 24-bit
Track title
Peak
(dB FS)
RMS
(dB FS)
LUFS
(integrated)
DR
Album average
Range of values
-4.56
-15.06 to -0.30
-26.11
-35.27 to -17.48
-22.31
-32.60 to -13.90
13
11 to 15
1
The Tempest, Op. 18, TH 44
-6.00-28.36-23.513
2
2. Andante cantabile
-0.30-22.73-19.415
3
Var. VIII e Coda. Allegro moderato con anima
-10.86-33.85-30.714
4
1. Ouverture miniature. Allegro giusto
-0.30-17.48-13.911
5
2a. Marche. Tempo di marcia viva
-15.06-35.27-32.612
6
2b. Danse de la Fée-Dragée. Andante ma non troppo
-5.54-27.49-23.713
7
2c. Danse russe. Trépak. Tempo di Trepak, molto vivace
-5.55-29.52-25.613
8
2d. Danse arabe. Allegretto
-0.30-20.88-17.013
9
2e. Danse chinoise. Allegro moderato
-0.30-21.65-17.314
10
2f. Danse des mirlitons. Moderato assai
-5.67-29.30-25.713
11
3. Valse des fleurs. Tempo di valse
-0.30-20.68-16.012

Offers & New Releases

exclusive benefits for mailing list members

Subscribe Now

What is High-Resolution Audio?

High-resolution audio offers the highest-fidelity available, far surpassing the sound quality of traditional CDs. When you listen to music on a CD or tracks purchased via consumer services such as iTunes, you are hearing a low-resolution version of what was actually recorded and mastered in the studio. ProStudioMasters offers the original studio masters — exactly as the artist, producers and sound engineers mastered them — for download, directly to you.

What do I need for playback?

You may need additional software / hardware to take full advantage of the higher 24-bit high-res audio formats, but any music lover that has heard 16-bit vs 24-bit will tell you it's worth it!

Software for Mac OS X

Software for Windows

Hardware Suggestions