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Talk:Symphony No. 2 (Tchaikovsky)

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Note that this article was copied from the French wikipedia. It will need minor translation. -- A. Wang ^{(talk/contrb.)} 17:00, 16 December 2006 (UTC)[reply]

The expansion should discuss the movements of the symphony primarily. It may talk about the history of the symphony, the composer's state when he wrote it, more about the form and composition of this piece. -- A. Wang ^{(talk/contrb.)} 22:45, 16 December 2006 (UTC)[reply]

I have reverted some of Jonyungk's edits following their recent insertion of a significant amount of material (originally in a section titled "Folk song versus symphonic development") that I subsequently tagged as an essay.

I don't know what their intention was, but their subsequent edits removed my tag, and integrated the new section into the main text of the article, with no section header. This has the effect, intentional or not, of disguising their edits. Please discuss your material here. I don't think it's defensible in its current form, with no references whatsoever, and what seem like subjective opinions. +ILike2BeAnonymous 18:46, 21 April 2007 (UTC)[reply]

Geoffrey Simon's recording, made with the London Symphony Orchestra for Chandos in 1982, remains the only recording to date of the Original Version. In the Gramophone (February 1983) John Warrack reviewed the disc and wrote: "For myself, I can sympathize with Tchaikovsky's embarrassment over the 1872 version of the movement as 'difficult and noisy and disconnected' compared with the greater ingenuity, balance and delicacy of the 1879 version, feeling only that it is too hard to dismiss the piece as 'disconnected': whatever its faults of over-emphasis, it is an impressive movement. Of the remaining movements, the March remains the same (and is not reprinted in the Soviet edition); the Scherzo is much the same but includes some extra Trio material (including a surprising col legno passage); and the finale includes in the original 150 extra bars that are well worth hearing and must have been dropped only because of fears of length. So, in sum, the real difference is in the first movement; and especially in the urgent, disciplined performance by Geoffrey Simon and the LSO, I am bound to say that it can be brought off more effectively than I have ever thought likely from the score. The digital recording is splendidly vivid and well balanced, pulling no punches but never distorting." Philipson55 (talk) 21:20, 4 March 2010 (UTC)[reply]