Tchaikovsky: The Nutcracker Op. 71 / Suite pt.1 (Ct.rc.: Antal Doráti, London Symphony Orchestra)

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Pyotr Ilyich Tchaikovsky (1840-1893) The Nutcracker Op. 71 / Suite pt.1 / REMASTERED
00:00 Act 1, Tableau 1: Scene: The Guests Depart. The Children Go to Bed. The Magic Spell Begins (2022-25 Remastered, London 1962)
05:54 Act 1, Tableau 1: Scene: The Guests Depart. The Children Go to Bed. The Magic Spell Begins (2022-25 Remastered, London 1962)
08:48 Act 1, Tableau 2: Journey Through the Snow (2022-25 Remastered, London 1962)
12:25 Act 1, Tableau 2: Waltz of the Snowflakes (2022-25 Remastered, London 1962)

London Symphony Orchestra & Chorus
Conductor: Antal Doráti
Recorded in 1962, at Lodon
New mastering in 2022-2025 by AB for https://classicalmusicreference.com/
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With The Nutcracker, Tchaikovsky composed music that functions on two levels of interpretation: one, on the surface, narrates a plot that can be represented through dance; the other, more hidden, suggests a story that can only be perceived through certain musical elements. With wit and humor, Tchaikovsky contrasts, in the First Scene, the world of adults with that of children: a spirited galop balanced by a stately polonaise, and through the tempo indication tempo di grand-père, the composer mocks the bourgeoisie’s fondness for comfort. The use of toy drums and trumpets (as stage instruments) also lends a tone of ironic gaiety to the children’s world.

True to the spirit of E.T.A. Hoffmann, Tchaikovsky fills the seemingly orderly and intact world of adults with fantastic musical elements. Thus, the clock that marks the beginning and end of the party also signals the arrival of a strange, nocturnal world. And, like the owl that bears Drosselmeyer’s features, his music eventually sends a shiver down the spine, for it carries Drosselmeyer’s characteristic instrumental color, blending the deep tones of trombones, bass clarinet, and oboe.

The astonishing growth of the Christmas tree, evoked with masterful artistry through a crescendo of ever-expanding chromatic figures, is not treated by Tchaikovsky as a mere theatrical effect, but rather as a lyrical and symphonic event. In this way, the seemingly minor incident acquires symbolic meaning, suggesting the child’s process of growing up and the overturning of their former perspective.

It is no coincidence that shortly thereafter, Clara, together with her Nutcracker transformed into a prince, crosses a snow-covered fir forest. There, Clara experiences emotions she has never known before and begins to lose the innocence of childhood. The connection between the two most famous numbers of the ballet—the Waltz of the Snowflakes and the Waltz of the Flowers—underscores this transformation: both symbolize the awakening of feelings, hinted at by the fermata and chromatic harmonies in the first part of the Waltz of the Snowflakes.

The unsettling and ineffable experience of first love is expressed through a magnificent musical image when, in the second part of the Waltz of the Snowflakes, a children’s chorus humming with closed mouths takes up the melody.

In the Kingdom of Sweets, Tchaikovsky made extensive use of the celesta. He had discovered this instrument—invented in 1888 by Auguste Mustel—in Paris (“something between a small piano and a glockenspiel, with a tone of divine beauty”) and had it secretly shipped to St. Petersburg. He was, in fact, the first Russian composer to use the celesta in his works: first in the symphonic ballad The Voyevoda, and later that same year in The Nutcracker.

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Other Album available // Tchaikovsky: Serenade for String Orchestra, Op. 48 by Antal Doráti
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Pyotr Ilyich Tchaikovsky PLAYLIST (reference recordings):    • Pyotr Ilyich Tchaikovsky (1840-1893)