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We suggest works to explore after Tchaikovsky’s Romeo and Juliet
After setting to work on Romeo and Juliet, Tchaikovsky went on to write two further pieces based on Shakespeare plays: the symphonic poem The Tempest (1873) and another fantasy-overture, Hamlet (1888). The latter work focuses on creating a mood – dark and feisty, in the main – rather than depicting specific events in the play, though a dolefully beautiful oboe tune clearly marks out the character of Ophelia. (Bamberg Symphony Orchestra/josé Serebrier BIS BISCD1073).
Ten years before prodding Tchaikovsky into action on Romeo and Juliet, Balakirev made his own contribution to Shakespeareinspired orchestral repertoire. Packing drama aplenty into its ten minutes, the 22-year-old composer’s tautly structured King Lear overture shows consummate craft in the portrayal of its subject’s haughty character and the chain of tragic events he brings upon himself and his family. (BBC Philharmonic/ Vassily Sinaisky Chandos CHAN 241-29).
Tchaikovsky himself, meanwhile, was so impressed by the young Glazunov’s Poème Lyrique (1887) that he personally recommended it to his publisher. As one listens to Glazunov’s long, sweeping string lines, rippling harp, chattering flutes and evocative horn and woodwind solos, it is easy to imagine Tchaikovsky detecting his own influence in the music and finding himself highly flattered. (Russian State So/valeri Polyansky Chandos CHAN9961).
Tchaikovsky’s great friend Taneyev turned not to Shakespeare but to the Ancient Greek dramatist Aeschylus for inspiration. His 1889 symphonic poem Oresteia is comprised of moments from his own opera of the same name, and contains much blood and thunder – plus flashing blades, reminiscent of the fight in Romeo and Juliet – on the way to a radiant finale. (Helsinki Philharmonic/ Vladimir Ashkenazy Ondine ODE9592).
There’s no such sunny ending, alas, to Stanis¯aw and Anna Oswiecim by Mieczys¯aw Kar¯owicz, a great admirer of Tchaikovsky. Though this 1907 symphonic poem launches with a spring in its step, the course of incestuous love is destined never to run smoothly – Kar¯owicz holds no emotion in check as Stanis¯aw heads off on an ultimately pointless journey to seek the Pope’s approval of his and Anna’s union. (BBC Philharmonic/yan Pascal Tortelier Chandos CHAN 9986).
The 22-year-old Balakirev packs drama aplenty into King Lear’s ten minutes