Tchaikovsky Debussy Saraste Andsnes

Tchaikovsky’s fate was filled with longing and suffering, and shortly after his repressed sexual orientation was sealed into an unhappy marriage, he composed a fateful symphony which, with its unmistakeable trumpet fanfare always makes an indelible impression. Also Debussy’s atmospheric and melodious Fantaisie endured a difficult fate, but is now being brought back from obscurity by Leif Ove Andsnes.

Pyotr Tchaikovsky’s (1840-1893) final three symphonies are at once a triumph and a tragedy of an uncommon kind. Deeply depressed, he composed three of the most brilliant and celebrated symphonies in music history, which glitter wth a dazzling Russian orchestration and the most exquisite harmonies imaginable. But he also weaved parts of himself into the works, and in Symphony No. 4 (1878) he dressed up the theme of merciless fate as a trumpet fanfare which constantly disturbs the symphonic flow and the melodic reverie.

Claude Debussy’s (1862-1918) sound world and harmonies are also a dream to listen to, and his unique musical language has immortalised his writing. Still, there are rare pearls to be rediscovered in Debussy’s body of work. His Fantaisie for Piano and Orchestra (1890) is such a piece, which for various reasons has fallen out of the canon and into obscurity. This isn’t the composer’s most typical or most impressionistic work, and while it is not a classical piano concerto, it still bears traces of French finesse and intriguing harmonies, possibly inspired by his colleague César Franck.

(Text: Thomas Erma Møller; Translation (from Norwegian): Sarah Osa; In photo: Leif Ove Andsnes; Photo: Özgür Albayrak)

Jukka-Pekka Saraste steps in at short notice for Michael Tilson Thomas, who has had to cancel due to illness.