Tchaikovsky and Beethoven

City of Birmingham Symphony Orchestra


  • Skalkottas Four Images, 12′
  • Tchaikovsky Piano Concerto No. 1, 33′
  • Koukos In Memoriam, 4′
  • Beethoven Symphony No. 7, 38′

Yulianna Avdeeva’s encore – Tchaikovsky – Meditation

“I am the new Bacchus, pressing out glorious wine for the human spirit!” Beethoven wasn’t known for his modesty – but until you’ve heard his Seventh Symphony you’ve never known just how intoxicating music can be. It’s the only way to end a concert that begins with Skalkottas’s riotous Greek wine festival, and which features the virtuosic Yulianna Avdeeva in Tchaikovsky’s barnstorming concerto.


Review by Richard Whitehouse, Arcana FM:

Click here for full review

[…]     “Tchaikovsky’s First Piano Concerto has never wanted for exponents, so credit to Yulianna Avdeeva for her engaging perspective on music to which the ‘war-horse’ epithet is too often applicable. The indelible opening melody was majestic without being portentous, with the imposing first movement convincingly held together so that the accrued momentum carried through to a searching take on its lengthy cadenza. There was no lack of deftness during the Andantino, replete with woodwind playing of real elegance, while the finale had energy to spare on its way to a surging peroration. This is an impressive interpretation in the making.     […]

[…]      Carydis then headed directly into Beethoven’s Seventh Symphony, here given a reading that was always invigorating and often electrifying. Dynamic contrasts occasionally verged on the contrived, and the repeat of the scherzo’s hymnal trio was almost parodic in its stateliness, but these were outweighed by the power and incisiveness elsewhere. Carydis drove the CBSO hard in the finale, but the players admirably rose to the challenge – antiphonal violins to the fore as the coda reached its visceral culmination.  […]


Review by Norman Stinchcombe, MidlandsMusicReviews:

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“Febrile, furious and triumphantly joyous – this was the performance of Beethoven’s seventh symphony one longs to hear. The Greek conductor Constantinos Carydis took risks, which is appropriate for a work which made Weber declare that Beethoven was “ripe for the madhouse”. In the Dionysian finale the CBSO became a musical juggernaut with Carydis pushing the accelerator to the floor and accepting the challenge of Beethoven’s notoriously optimistic metronome marking. I expected the wheels to come off but it’s tribute to the CBSO players that not only did they reach the finishing line in one piece but that they delivered a brilliantly articulated and weighted performance. In the wonderful Allegretto Carydis urged the strings to play with the utmost quietness – clarity aided by his dividing the fiddles left and right – making the most of the movement’s magic.”      […]


(Review by Geoffrey Mogridge, Ilkley Gazette, for same programme but at Leeds Town Hall:

Click here for full review)




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