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Symphony No 6 [Import]

Pyotr Il'yich Tchaikovsky , Royal Philharmonic Orchestra , Daniele Gatti Audio CD
5.0 out of 5 stars  See all reviews (2 customer reviews)


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MP3 Music, 8 Songs, 2006 $8.99  
Audio CD, Import, 2006 --  

Listen to Samples and Buy MP3s

Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.
                                                                                                                                                                                                                                                                                                                                         

Samples
Song Title Time Price
listen  1. Tchaikovsky: Symphony No. 6: I. Adagio - Allegro non troppo17:59Album Only
listen  2. Tchaikovsky: Symphony No. 6: II. Allegro con grazia 7:09$0.99  Buy MP3 
listen  3. Tchaikovsky: Symphony No. 6: III. Allegro molto vivace 8:31$0.99  Buy MP3 
listen  4. Tchaikovsky: Symphony No. 6: IV. Finale: Adagio lamentoso11:02Album Only
listen  5. Tchaikovsky: Serenade For Strings: I. Pezzo in forma di Sonatina 9:52$0.99  Buy MP3 
listen  6. Tchaikovsky: Serenade For Strings: II. Walzer 4:03$0.99  Buy MP3 
listen  7. Tchaikovsky: Serenade For Strings: III. Élégie 9:57$0.99  Buy MP3 
listen  8. Tchaikovsky: Serenade For Strings: IV. Finale: Tema Russo 7:48$0.99  Buy MP3 


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Product Details

  • Performer: Pyotr Il'yich Tchaikovsky, Royal Philharmonic Orchestra, Daniele Gatti
  • Audio CD (February 14, 2006)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Format: Import
  • Label: Harmonia Mundi Fr.
  • ASIN: B000E42MQM
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Best Sellers Rank: #392,986 in Music (See Top 100 in Music)

Editorial Reviews

Amazon.com

A new Pathetique may seem superfluous given the many fine versions available, with Mravinsky (DG) and Markevitch (Philips) at the top of the heap. But Daniele Gatti easily holds his own with the best: his is perhaps the most vivid, wide-ranging sound of any. What makes Gatti's version special is his firm sense of structure, heard most clearly in his careful buildup of tension to climax points, rather than exaggeration of dynamics. He refuses to wallow in the work's pathos and sentimentality, while at the same time giving full due to its powerful emotional content. The waltz movement benefits from Gatti's accurate rhythmic control, the third, from his propulsive energy, setting up the tragic Finale, all the more moving as the final destination of a symphony that's better than it can seem from routine performances. The Royal Philharmonic follows his every nuance with splendid, world-class playing. The substantial Serenade for Strings, one of Tchaikovsky's most gorgeous Mozartian tributes, never sounded better than in Gatti's flowing, bright interpretation, with the RPO's strings glowing. Highly recommended, even if you have a dozen Pathetiques. --Dan Davis

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Most Helpful Customer Reviews
15 of 15 people found the following review helpful
5.0 out of 5 stars Mravinksy, Jansons, and now, Gatti May 24, 2007
Format:Audio CD
When I first listened to this recording of Tchaikovsky's valedictory symphony, I dismissed it on two accounts: 1) It was too similar to Jansons' Oslo Philharmonic recording for Chandos and, thus, I found it derivative. 2) I did not feel Gatti had a particular point of view regarding this work. However, upon repeated listenings, my original thoughts have altered somewhat. Regarding my first qualm, Gatti's reading contains some wonderful moments unique to his interpretation that separate his recording from Jansons. Secondly, many of the elements that made Jansons' interpretation so riveting - great attention to detail, curbing Tchaikovsky tendency for hysterics, highlighting structural aspects, and an overarching sense of musical purpose in the drive towards the finale - are not artistic choices but rather choice traits of great conducting. Thus, rather than being derivative, it seems Gatti's interpretational choices are "correct" - correct in the sense that both he and Jansons have worked through the problems of Tchaikovsky's symphony and come up with similar solutions. And in light of the many other possible interpretive choices - just listen to Lorin Maazel's particularly disastrous Vienna Philharmonic recording on Decca or Gunter Wand's insensitive NDR Symphony recording on RCA - perhaps Jansons and Gatti have hit upon something of a canonizing interpretive solution to the Pathetique. Thus, Gatti does have a point of view after all, even when a point of view is difficult in work as personal and autobiographical as this. But lets get to the recording itself.

Gatti's first movement is nearly identical to Jansons' in time, spirit, and energy. And like the latter, Gatti is aware that the key to this movement is creating unity out of Tchaikovsky somewhat episodic parts.
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1 of 1 people found the following review helpful
5.0 out of 5 stars Not Quite Perfect December 27, 2010
Format:Audio CD|Verified Purchase
This may be the best available recording of the Tchaikovsky Symphony no. 6 "Pathetique". It seems to strike the perfect balance between sounding grandly romantic and bringing out the many details contained in the music. The sound is appropriately full and spacious while delivering abundant clarity and detail. The orchestral sound is sufficiently lyrical and beautiful where necessary but also visceral and agressive where the score calls for it. The playing displays plenty of emotion without resorting to histrionics, in the first movement with its many changes of mood and tempo but especially in the finale adagio lamentoso which is adequately full of anguish and despair without relying on excessive length as does Bernstein in his final recording of this piece with the N.Y.Phil. In fact at 10:48 it is nearly perfect. The timings of the other three movements are also good at 17:59 for the first, 8:31 for third movement march(perfect), and although at 7:09 the second movement Allegro con grazia is a little fast its still reasonable.

My Only significant problem with this performance is the volume of instrumments at the opening of the symphony especially the double basses and/or cellos which are all but inaudible. They seem to be played at a dynamic of about ppppp or even pppppp while on most recordings they are significantly louder at ppp or sometimes pppp. They are so quiet that if I was not familiar with this piece I would not know they were there. I don't think this is the way its suposssed to be or more conductors would have it played that way. I just don't get the point of music you virtually cannot hear; I believe it is supposed to convey a sense of brooding and sorrow, not rise out of the mists of nothingness.
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