Tchaikovsky: Symphonies Nos. 4, 5, 6 "Pathetique"

Tchaikovsky: Symphonies Nos. 4, 5, 6 "Pathetique"

Tchaikovsky: Symphonies Nos. 4, 5, 6 "Pathetique"
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Music CD Cover

Brand: MRAVINSKY/LENIN
Composer: Pyotr Il'yich Tchaikovsky
Conductor: Yevgeny Mravinsky
Orchestra: Leningrad Philharmonic Orchestra
Edition: Music CD
CD Release Date: 1990-10-25
Music Label: Deutsche Grammophon
Soundtracks:
Music CD 1
  1. Symphony No. 4 In F Minor, Op. 36: 1. Andante sostenuto- Moderato con anima - Moderato assai, quasi Andante - Allegro vivo
  2. Symphony No. 4 In F Minor, Op. 36: 2. Andantino in modo di canzone
  3. Symphony No. 4 In F Minor, Op. 36: 3. Scherzo. Pizzicato ostinato. Allegro
  4. Symphony No. 4 In F Minor, Op. 36: 4. Finale. Allegro con fuoco
  5. Symphony No. 5 In E Minor, Op.64: 1. Andante - Allegro con anima
  6. Symphony No. 5 In E Minor, Op.64: 2. Andante cantabile, con alcuna licenza- Moderato con anima- Andante mosso- Allegro non troppo- Tempo I
Music CD 2
  1. Symphony 5 In E Minor, Op. 64: 3. Valse. Allegro moderato
  2. Symphony 5 In E Minor, Op. 64: 4. Finale: Andante maetoso - Allegro vivace - Molto vivace - Moderato assai - Moderato assai e molto maestoso - Presto
  3. Symphony No. 6 In B Minor, Op. 74 'Pathetique': 1. Adagio--Allegro non troppo
  4. Symphony No. 6 In B Minor, Op. 74 'Pathetique': 2. Allegro con grazia
  5. Symphony No. 6 In B Minor, Op. 74 'Pathetique': 3. Allegro molto vivace
  6. Symphony No. 6 In B Minor, Op. 74 'Pathetique': 4. Finale: Adagio lamentoso

Free Music Notes for Tchaikovsky: Symphonies Nos. 4, 5, 6 "Pathetique"

Free Music Review: From the review in Gramophone
Hit: 5 Stars

"These stereo recordings are classics of the gramophone, landmarks not just of Tchaikovsky interpretation, but of recorded orchestral performances in general. The Leningrad Philharmonic play like a wild stallion, only just held in check by the willpower of its master. Every smallest movement is placed with fierce pride; at any moment it may break into such a frenzied gallop that you hardly know whether to feel exhilirated or terrified. The whipping up of excitement towards the fateful outbursts in Symphony No. 4 is astonishing---not just for the discipline of the stringendos themselves, but for the pull of psychological forces within them. Symphony No. 5 is also mercilessly driven and pre-echoes of Shostakovichian hysteria are particularly strong in the coda's knife-edge of triumph and despair. No less powerfully evoked is the stricken tragedy of the Pathetique.

"Are the gentler aspects of the music overshadowed by such unremitting intensity? Perhaps. But it was after all the composer himself who wrote, a propos No. 4, that 'One's whole life is just a perpetual traffic between the grimness of reality and one's fleeting dreams of happiness.' With one or two exceptions all Mravinsky's interpretative decisions are rigorously based on the score---they sound startling because of the sharpness of profile he gives them, and because of the extraordinary unanimity of the orchestral playing. Rarely, if ever, can the prodigious rhythmical inventiveness of these scores have been so brilliantly demonstrated. The fanatical discipline is not something one would want to see casually emulated---few orchestras would stand for it in any case---but it is applied in a way which sees far into the soul of the music and never violates its spirit.

"Strictly speaking there is no real comparison with the Chandos issues, despite the fact that Jansons has for long been Mravinsky's assistant in Leningrad. His approach is warmer, less detailed, more classical, and in its way very satisfying, although his fondness for softening dynamics prior to a crescendo is close to a mannerism. The Oslo woodwind are clearly more refined---the fruity Leningrad horn solos are legendary, and their tremulous oboe sounds as though under threat of an extended Siberian holiday for any cracked notes. But the strings are no match for the cold steel of Leningraders, and there would be no question, one feels, of a nasty slip like the tuba's misreading in the first movement development of No. 5 being passed by Mravinsky. DG's refurbishing has been most successful, enhancing the immediacy of sound so appropriate to the lacerating intensity of the interpretations."

Tchaikovsky: Symphonies Nos. 4, 5, 6 "Pathetique" Poster

No Description Available.
Genre: Classical Music
Media Format: Compact Disk
Rating:
Release Date: 1-JAN-2002
These recordings by Evgeny Mravinsky and his Leningrad Philharmonic, taped in the autumn of 1960 while they were on tour in London, are among the absolute classics of the catalog. They are readings of hair-raising intensity--the finale of the Fourth is marked allegro con fuoco, and if you want to know what con fuoco means, all you have to do is listen for a moment. No one else has ever had the nerve, or the ability, to play the music this way. The treatment is very Russian: the extremes are more extreme, the passions more feverish, the melancholy darker, the climaxes louder. In that department, the development section of the first movement of the Pathètique has to be heard to be believed. The sound is remarkably good for the time, a little edgy in the loudest pages but wonderfully present, just like the performances themselves. --Ted Libbey

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