Tchaikovsky: Symphony No6, Op74; Romeo & Juliet in Bm
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Composer: Pyotr Il'yich TchaikovskyConductor: Valery Gergiev
Orchestra: St.Petersburg Kirov Orchestra
Edition: Music CD
CD Release Date: 2000-01-11
Music Label: Philips
Soundtracks:
- Symphony No.6 In B Minor, Op. 74 'Pathetique': Adagio - Allegro Non Troppo
- Symphony No.6 In B Minor, Op. 74 'Pathetique': Allegro Con Grazia
- Symphony No.6 In B Minor, Op. 74 'Pathetique': Allegro Molto Vivace
- Symphony No.6 In B Minor, Op. 74 'Pathetique': Finale. Adagio Lamentoso - Andante
- Symphony No.6 In B Minor, Op. 74 'Pathetique': Romeo and Juliet, Fantasy-Overture After Shakespeare
Free Music Notes for Tchaikovsky: Symphony No6, Op74; Romeo & Juliet in Bm
Free Music Review: Competent, well played, but a disappointment from this conductor
Hit: 3 Stars
Expectations are high for an great conductor, and since Gergiev aspires to be one, we can't judge this live Pathetique from Finland (1995) by any standard but the highest. Actually, there's no need to go that far, because this stylish, well-played performance is almost tepid at points, and the overall feeling is one of shapeliness and decorm. Why Gergiev thought that Tchaikovsky's intense outbursts needed dampening down is byeond me. Even the waltz rhythm of the second movement is underplayed, almost somber.
The third movement Scherzo, which begins quite fast, has surges of energy that bring a thrill, but Gergiev would go on, in live performances with the Vienna Phil., to turn his Pathetiques into highly charged events. Here we get a hint of that in the climax of the last movement, as well as the Scherzo, but there are other recordings (from Furtwangler, Toscanini, Mravinsky, Temirkanov, Reiner, and Giulini) that burn much brighter and bring deeper cathartic release. Mark this down as one of Gergiev's rare misses in Russian repertoire. The filler, Romeo and Juliet, is just as subdued.
Tchaikovsky: Symphony No6, Op74; Romeo & Juliet in Bm Poster
Time was that to make Tchaikovsky a whipping boy for the worst excesses of romanticism, an emblem of "hysteria" and bathetic self-indulgence, became critically fashionable. But with this composer, the court of popular opinion has proved more far-sighted than that of the critics. The power of his finest scores--in the hands of a truly sympathetic interpreter--remains unforgettably gripping, and nowhere more so than in the symphony he premiered just days before his controversial death. Valery Gergiev taps into the theatrical sensibility evidenced by his dynamic Kirov Opera recordings of Mazeppa, Iolanta, and Pique Dame to shape a psychological drama of devastating intensity in his account of the nihilistic Path?tique. He fires up the Kirov orchestra to a fevered pitch of inspiration, summoning a great luxuriance of sound and coloristic detail, from brass chorales as rousing as those on Judgment Day and imaginatively sprung wind solos to the composer's trademark roulades, dispatched with thrilling ensemble. The use of vacuum tube equipment for the recording results in a warm sonic focus, with particularly full-bodied bass, giving the score's blackest moments a vividly frightening presence. Gergiev stresses Tchaikovsky's most provocative shocks (you can hear his own gasps on occasion if you listen closely enough), as in the explosive rupturing of the pppppp in the middle of the first movement. But in addition to dramatic savvy, he grasps Tchaikovsky's radical new concept of the symphonic journey, with its reversal of Beethoven's affirmative model through the Adagio finale's valedictory plunge back into silence (Mahler would follow a similar pattern in his Ninth). Also included is a bracing, epic, and thoroughly convincing performance of the Romeo and Juliet Fantasy-Overture showing the Kirov band in terrific ensemble. Stereotypes of Tchaikovsky's music as expressing the "Russian soul" notwithstanding, Gergiev's spectacular, impassioned interpretations give us a composer that is universally moving. --Thomas MayClassical Music CDs
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