(Classical) Борис Чайковский - Севастопольская симфония, Музыка для оркестра, Ветер Сибири (БСО имени П.И. Чайковского, Владимир Федосеев) / Boris Tchaikovsky - Sebastopol Symphony, Music for Orchestra, Wind of Siberia (Moscow Radio Symphony Orchestra, Fedoseyev) - 2005, APE (image + .cue), lossless

Борис Александрович Чайковский
(1925-1996} - выдающийся русский композитор второй половины XX века. Его перу принадлежат четыре симфонии, четыре инструментальных концерта, ряд крупных одночастных симфонических произведений, шесть струнных кварте¬тов, фортепьянный квинтет, множество камерных и вокальных произведений, музыка более чем к 30-ти кино- и теле¬фильмам, радиопостановкам. Исполните¬лями музыки Б.Чайковского (в том числе и первыми исполнителями) были такие прославленные музыканты, как Алек¬сандр Гаук, Самуил Самосуд, Кирилл Кондрашин, Рудольф Баршай, Влади¬мир Федосеев, Эдуард Серов, Геннадий Рождественский, Василий Синайский, Мстислав Ростропович, Галина Вишнев¬ская, Виктор Пикайзен, Игорь Ойстрах, Квартет имени Бородина.
Борис Чайковский родился и сфор¬мировался как личность и художник в эпоху, когда на пространстве огромной России разворачивался самый дерзкий, трагичный в истоках и неведомый в пос¬ледствиях эксперимент по переустройс¬тву мира. Рождение художника и его первые годы совпали со временем, когда едва зарубцевались раны нескольких русских революций и страшной граждан¬ской войны. Юность композитора опале¬на Отечественной войной 1941-1945 г.г. Последние годы жизни - новый слом, распад Советской империи и времена духовной апостассии.
Нет ничего необычного в том, что для многих художников XX века, особенно в России, искусство базировалось на соци¬альном пафосе. Кардинальное отличие Б.Чайковского в том, что без внешних манифестов и деклараций он противо¬поставил оголтелому социуму «мир чис¬тых и возвышенных страстей» своей му¬зыки. Искусство Б. Чайковского никогда не было «советским», но неизменно - русским. Глубоко национальный, все¬охватывающе русский склад музыки Б. Чайковского далек от этнографичес¬кой буффонады последних времен. Его истоки - в своеобразном складе личнос¬ти художника, в опоре на вневременные христианские ценности. Не секрет, что искусство XX века грешило подчас та¬лантливой поэтизацией зла. Б. Чайков¬ский противостоял этому, оставаясь оди¬ноким рыцарем света и надежды.
С легкостью используя любые сверх¬современные композиторские средства, Б. Чайковский прежде всего стремился к максимальной простоте и выразитель¬ности ключевых элементов музыкальной речи. Его ярчайшая индивидуальность проявлялась в первую очередь на «моле¬кулярном» уровне построения мелодии. Интонация Бориса Чайковского всегда узнаваема - будь то короткий мотив или неторопливо разворачивающаяся тема. Дар глубокого философски-поэтическо¬го понимания мира проявился уже в дет¬ских сочинениях композитора. Этот дар позволял ему неизменно оставаться са¬мим собой на всех этапах его непростой творческой эволюции. В сущности, Б. Чайковский не оставил за собой ни одного неудачного произведения. Мно¬гое из созданного им - подлинные ше¬девры музыкального искусства.
Выдающийся русский поэт Давид Са¬мойлов (совместная работа и дружба с которым связывала Бориса Чайковского на протяжении многих лет), в телепере¬даче, приуроченной к 60-летию компо¬зитора, заметил: «Внешняя канва жизни Бориса Чайковского проста. Ее сюжет и содержание заключены в его сочинени¬ях. Он рос, учился, а дальше - музыка, музыка, музыка...».
Борис Чайковский родился в Москве 10 сентября 1925 года в интеллигент¬ной семье: отец - специалист по статис¬тике и экономической географии, мать - врач. Они хорошо знали литературу и искусство, любили музыку. Этическая основа, заложенная родителями, на всю жизнь стала внутренним стержнем ком¬позитора.
В возрасте 9 лет Боря Чайковский пос¬тупил в Гнесинскую музыкальную школу, продолжил музыкальное образование в Гнесинском Училище, а после - в Мос¬ковской Консерватории, где сначала за¬нимался композицией под руководством Виссариона Шебалина. В 1946 году в Консерватории начал преподавать Дмит¬рий Шостакович, и Шебалин рекомендо¬вал Б.Чайковскому перейти в его класс. Но в 1948 году во время «анти-форма-листской» кампании Шостакович (так же, как и Шебалин), был уволен из Консерватории. Их учеников признали жертвами неправильного обучения, и им разреши¬ли продолжить образование. Заканчи¬вал Консерваторию Борис Чайковский по классу Николая Мясковского.
После окончания Консерватории (1949 г.), Борис Чайковский работал ре¬дактором на радио. В 1952 году он ре¬шил оставить эту работу, чтобы посвя¬тить себя сочинению музыки.
Последние годы своей жизни (с 1989 по 1996) Борис Александрович препо¬давал в Российской Академии Музыки имени Гнесиных, где был профессором кафедры композиции.
Борис Александрович Чайковский умер 7 февраля 1996-го года в Москве.

Boris Tchaikovsky: Sebastopol Symphony and other works
Of the more than one hundred pieces for cello written for Mstislav Rostropovich and premiered by him, the great maestro himself distinguishes six pieces with orchestra for special mention: Prokofiev's SinFonia Concertante, Britten's Cello Symphony, two concertos by Shostakovich, Tout un monde lointain by Dutilleux, and the Concerto for Cello and Orchestra by Boris Tchaikovsky, The fact that Tchaikovsky's Concerto is listed among these works is rather significant, as is the surprise that many music lovers may feel upon seeing this practically unknown name listed amongst the greatest composers of the twentieth century. Boris Tchaikovsky, one of the quintessential figures of the last fifty years of music in Russia, is almost unheard of by the world's listeners, a situation all the more shocking since his music has been performed by such famed musicians as Alexander Gauk, Kiril Kondrashin, Rudolf Barshai, Vladimir Fedoseyev, Mstislav Rostropovich, Galina Vishnevskaya and Igor Oistrakh. It could be that Tchaikovsky's name is met with profound silence because audiences have been diverted by more conspicuously contemporary music and have failed to detect the originality behind the seemingly traditionalist facade of his works. While modern music has come to the conclusion that ideas and concepts are more important than individual notes and tones, Tchaikovsky's creations always prove the opposite, which may have made them appear too 'old-fashioned' to arouse significant interest.
Boris Tchaikovsky composed four symphonies, four concertos and a number of other large symphonic works, six string quartets, a piano quintet, numerous chamber compositions, vocal cycles, and music for more than thirty motion picture soundtracks. His inimitable musical language - refined, poetic and inspired by high moral aspirations - was always free from both official ideology and volatile fashion,
To understand the essence of Tchaikovsky's works, one must understand one of the basic qualities of Russian music and Russian art in general: namely, its underlying quest for objectivity. Russian art is meant to be taken as a fact of reality (whether that reality is past, present, legendary or fantastical makes no difference), rather than a fabrication or the play of someone's imagination. This objectivity means that the main force in Russian music is not the creative will of the composer, but is instead the mysterious, self-sufficient and intrinsic life of the melody itself. Russian composers (at least until Shostakovich) were not inclined to musical musings. In trying to avoid subjective, personal creativity in the organisation of sounds, and by listening to what the melody itself demanded, they made music that was, perhaps surprisingly, particularly emotionally moving.
All this is true of the music of Boris Tchaikovsky, in which the elements are interconnected in such an intuitively powerful way that the works exist independently of whether or not one finds them modern enough. The composer himself never tried to seem especially extravagant and was generally far removed from the avant garde of Russian or world music. But despite this (or perhaps because of it), his work does not borrow a single tune or chord from anyone else. Being incredibly inventive in every aspect of musical technique, he never allowed himself to substitute illusion for true inspiration.
Boris Alexandrovich Tchaikovsky (no relation to Pyotr llyich) was born in Moscow on 10 September 1925. His father was an expert in statistics and economic geography as well as a capable self-taught violinist, and his mother was a medic. In 1943 Boris entered the Moscow Conservatory where he studied the piano under Lev Oborin and composition under other prominent teachers such as Vissarion Shebalin, Dmitri Shostakovich and Nikolay Myaskovsky. During the anti-formalist campaign of 1948, when Shostakovich was banned from teaching and his students were deemed to have been contaminated, Tchaikovsky refused to renounce his instructors, thus proving his integrity and strength of character. After graduating from Moscow Conservatory in 1949 and a brief spell working at a radio station until 1952, Boris Tchaikovsky made his living from composition alone, and received commissions for works for radio, theatre, film and television. During the last years of his life (from 1989 to 1996) he taught at the Russian Musical Academy, where he was a professor in the Department of Composition.
Tchaikovsky's musical style underwent several evolutionary stages during the decades of his musical activity. His works from the 1940s and 1950s, such as the Sinfonietta for String Orchestra (1953), Clarinet Concerto (1957), Piano Trio (1953) and the various sonatas for different instruments, demonstrate an inspired and individual following of his teachers Myaskovsky and Shostakovich. By the 1960s, however, as American musicologist Louis Blois writes:
If a hint of a Shostakovich or even a Britten influence could be discerned, Tchaikovsky's new lyricism and the unique rhythmic and harmonic framework in which it is cast were distinctly recognisable as his own. Tchaikovsky had found his mature voice, which allowed him to create a powerful new language that was distinctly Russian in sound, thoroughly up-to-date, and capable of a wide range of expression. Speaking about the uniqueness of Tchaikovsky's voice, Blois notes a
set of curiously Sphinx-like ideas that, by making oblique references to the familiar rhetoric, tantalises the listener with a mix of the familiar and the unfamiliar. Even the nature of the motivic material itself yields a harvest of unfathomable mysteries. Very often his ideas are centered on music's most basic building blocks: a particular interval, a triad, a simple rhythmic cell... The works of the 60s and 70s - the Second Symphony (1967), Cello Concerto (1964), Violin Concerto (1969), Piano Concerto (1971), Theme and Eight Variations (1973) and so on - reveal a brightly individual composer in possession of a broad arsenal of the means of expression.
The Sebastopol Symphony of 1980 was preceded by a four-year-long pause, the longest break in Boris Tchaikovsky's creative output. These four years were a time of intense self-searching. The appearance of the Sebastopol Symphony and the vocal cycle Last Spring marked the beginning of a new stage for the composer. As the composer Andrei Golovin notes,
This latest collection of Boris Alexandrovich's work is the quintessence of his creativity. In his late works his style has crystallised into being, into super-solid matter.
And, indeed, such works as Music for Orchestra (1987), Symphony with Harp (1993), the symphonic poems Juvenile and The Wind of Siberia (both 1984) are distinguished by a new and unique blend of simplicity in musical expression and a deeply enlightened world view.
The Sebastopol Symphony was written about the port city on the Black Sea in the Crimea (today part of the Ukraine). During the nineteenth and twentieth centuries, Sebastopol, which served as a base for Russia's Black Sea fleet, endured two tragic periods: in 1855 the city was besieged by the united English and French forces, and in 1942 it was seized by German troops. Formally, the Sebastopol Symphony fits the universal mould for sea music: it begins with the portrayal of seagull cries and the tranquil rhythm of the waves, and is full of startingly vivid visual imagery. But what is interesting is that Tchaikovsky himself had never visited Sebastopol prior to writing the symphony. Apparently, he did not care for pictorial or historical accuracy. He says,
The Sebastopol Symphony has no chronology. One does not need to figure out whether the Sebastopol portrayed in the first theme, or in the end, is the Sebastopol of 1942, or of today, or of the Crimean War of the nineteenth century. It's all of them. I was more imagining that I could speed time forwards, or backwards, or I could freeze it, or that I could do all three at once. The structure of many of Tchaikovsky's works is influenced largely by his tendency to express his ideas through brightly outlined, completed episodes. Suite-like formulation is a characteristic of his thinking. Whether the piece becomes a multi-movement composition, such as, for instance, Music for Orchestra, or has a single movement, like the Sebastopol Symphony, depends on the self-sufficiency of an episode. The composer himself says about constructing the symphony:
Any educated person will say that every element in a piece must be repeated. But I have broken that rule rather often, for instance in the Sebastopol Symphony. It starts just from the first theme, and then it's all new material. And then, after a false recapitulation, the music begins to repeat itself, but some things that were obvious disappear without a trace. I knew that I had 'sinned', but then decided that something had to go and not come back. The symphony exploits the capabilities of the orchestra to the full. The conciseness and brightness of the melodic ideas create a uniquely pure and original orchestral style, the composer gravitating towards clear timbres and sharply defined roles for the individual instruments and orchestral groups, which he uses in unpredictable and paradoxical combinations. Special effects of timbre are
achieved in the combined sound of related instruments playing together. The main theme of the symphony, which appears after a slow opening and consists of a multitude of repetitions of a short three-tone motif, is particularly remarkable in this regard. It is played in the third octave by four flutes, four oboes, four clarinets, and a soprano saxophone, all in unison. Just as remarkable is the calmer extension of this theme, assigned to the cellos in their highest register. One of the most impressive episodes of the symphony is the alto flute solo, gradually developed at first by three regular flutes, and then by all the high woodwinds.
Music for Orchestra is Tchaikovsky's penultimate major work (the Symphony with Harp is the last). This work consolidates the author's tendency to set forth autonomous, self-sufficient ideas that do not need vast development. The title itself speaks of the victory of spontaneous inspiration over the formal rules of any given musical structure. The piece consists of seven movements, the names of which suggest the trajectories taken by the composer's mind. Each movement follows without a pause - and this is not the only indication that Music for Orchestra is, in fact, one single piece. There are several main themes that continue throughout the work, including the initial motif and the theme of 'Far Road'. Especially important is the theme with characteristic uneven rhythm played in the first movement by three piccolos. Its transformation, in the fourth movement, when it is played with menacing repetitiveness by three trumpets, suggests that it may be some unique representation of the theme of destiny in twentieth-century music. While some of the movements - 'Far Road', Thirds and Quarts', 'Epilogue' - are self-contained, others can be seen as small linking passages. Particularly interesting is the movement entitled 'Shadows': a miniature development of the main themes of the whole work.
The symphonic poem The Wind of Siberia, written in 1984 (and dedicated to Vladimir Fedoseyev), is one of Tchaikovsky's most original scores. It depicts both the huge, scarcely populated breadths of Russia's north-east, with their unique, stern beauty, and the fact that Siberia, for many years, served as the prison for political and criminal exiles. The work appears, at first glance, to be a random assortment of various fragments, but in fact it has a rather clear tripartite structure with some traits of sonata form. The impressive culmination of the poem is the coda, built almost according to minimalist principles in repeating segments in the E minor scale. At this moment, the work seems transcendental, moving to a different plane. In the words of Golovin, who redefined the poem as 'the wind of the spiritual dimension', Tchaikovsky's latest music tarted to solidify imagery as a natural category, as attaining a different dimension. Freeing himself from the influence of the norms of symphonic thinking, which come from the depths of time and are so strongly expressed in our century in the music of Shostakovich, the composer obtained, or, rather, freed, that quality which he, most likely, possessed from the very beginning. The composition of the orchestra is highly unusual, allowing it to paint the cold colours of the north: the wind section comprises two flutes, two alto flutes, two clarinets, two alto clarinets, four trumpets, and four trombones; the heterogeneous percussion group, with the exception of the crotali, is focused on bland, low timbres, and it is headed by six (!) timpanis, capable of forming powerful six-sound chords. The strained tragedy of the poem is alleviated by the open, bright, major chord which rolls from the trumpets to the high violins.
'I always thought that sunny music was difficult to write', said Boris Tchaikovsky. But when asked whether that was how he thought of his own music he replied 'You mean, do I think that my works are mostly sunny? Not only do I think of them that way, I want them that way.'
© 2005 Pyotr Klimov. Translated from Russian by Tatyana Klimova

Founded in 1930, Moscow Radio Symphony Orchestra was the official orchestra of Soviet radio and television until the dissolution of the Soviet Union (the names of the Orchestra have included Grand Symphony Orchestra of Ail-Union Radio and Grand Symphony Orchestra of USSR TV & Radio; the short Russian name is the 'Bolshoi' [Grand] Symphony Orchestra). Since 1993 the Orchestra's name has been the State Academic Grand Symphony Orchestra named after Peter Tchaikovsky. It is known in English as the Tchaikovsky Symphony Orchestra.
Alexander Orlov became the Orchestra's first director in 1930, followed by Nikolai Golovanov (1937-1953), Alexander Gauk (1953-1961), Gennady Rozhdestvensky (1961-1974) and Vladimir Fedoseyev in 1974. Among its distinguished guest conductors figure Stokowski, Mravinsky, Cluytens, Sebastian, Abendroth, Zecchi and Sanderling, and it has performed with such soloists as Gilels, Oistrakh, Kozlovsky, Lemeshev, Kogan, Arkhipova, Bashmet, Kremer, Tretyakov, Obraztsova and Hvorostovsky. The Orchestra has premiered works by Shostakovich, Khachaturian, Myaskovsky, Prokofiev, Kabalevsky, Sviridov and Boris Tchaikovsky. In addition to its far-reaching tours of Russia, Europe and Japan, it participates in numerous international festivals and has been awarded several prizes for its recordings.
We composers are very grateful to the Grand Symphony Orchestra of Ail-Union Radio, which has performed the premieres of many of our works and has been a good interpreter of a number of scores by Myaskovsky, Prokofiev, Glier, Khachaturian, Kabalevsky, Shaporin, Babaganian, Peyko, Karaev and many other composers. I would also like to commend the benevolence of the orchestra and its leaders towards the works of young, unknown composers. Looking back at the history of the Grand Symphony Orchestra one can clearly see the important role which it has played in promoting symphonic music among wide circles of music lovers. What a gentle mission this valuable ensemble carries out!
Dmitri Shostakovich
Vladimir Fedoseyev, People's Artist of the USSR, has been Artistic Director and Chief Conductor of the Moscow Radio Symphony Orchestra since 1974. He was appointed Chief Conductor of the Vienna Symphony Orchestra in 1997, has been guest conductor of many of the world's leading orchestras and in 1996 became Principal Guest Conductor of the Tokyo Philharmonic Orchestra. Highly acclaimed as an opera conductor, Vladimir Fedoseyev has conducted at La Scala, Vienna State Opera, in Rome and Bologna and is a regular guest conductor at the Zurich Opera. He has received the Russian award for 'Services to the Motherland', as well as the Silver Cross from the Austrian Republic for his services to music in Austria, and in October 2002 received the Golden Star of the honourable citizen of Vienna and its territory. The creative life of almost all my works is connected with the enthusiasm of the performers. And I am grateful to them... The poem The Wind of Siberia is dedicated to Vladimir Fedoseyev, who conducts many of my works...
Boris Tchaikovsky
In Vladimir Fedoseyev, gestures, technique and artistry are harmoniously combined. His intentions are always clear for the orchestra...
Boris Tchaikovsky
Boris Tchaikovsky was connected from his youth with the Moscow Radio Symphony Orchestra.
Alexander Gauk conducted the premieres of his early works, and Vladimir Fedoseyev performed almost all Boris's orchestral works starting with the premiere of the Sebastopol Symphony in January 1981 and including the premiere of the last work, Symphony with Harp, at the end of 1993. Boris highly appreciated Vladimir Fedoseyev and his talent: his conductor's approach to rehearsals and performances, his attention to every detail, and the thoroughness of his work with the scores. The friendship and creative cooperation between the two artists endured for many years, until Boris passed away, and Vladimir Fedoseyev and his orchestra continue to perform Boris Tchaikovsky's works in Russia and abroad.
Yanina-lrena Moshinskaya, widow of Boris Tchaikovsky

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Boris Tchaikovsky ( 1925 - 1996 ) / Music For Orchestra & Wind of Siberia
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