Customer Reviews

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

5 star:		(29)
4 star:		(6)
3 star:		(1)
2 star:		(3)
1 star:		(3)

 

 

Evgeny Mravinsky and the Leningrad Philharmonic Orchestra remain unsurpassed in their 1960 rendering of these Tchaikovsky symphonies. It's not a question of technical precision nor musical beauty, but these recordings create an emotional climate which is totally mind-blowing. Every time one turns back to them, even after having heard several other commendable versions of these Tchaikovsky symphonies, the impact of Mravinsky and his orchestra is as formidable as it was almost forty-five years ago.

A landmark recording which should be part of any serious self-respecting classical music collection.

...And possibly the most "Russian."

First the blemishes: the Fifth is a bit "ratty." It's one of his weaker symphonies anyway to my ear, as though he is going through the motions more than he's convinced by his own symphonic argument. I've never heard ANYONE bring off the finale convincingly: the transition from the opening slow section to the allegro is...well, there is none, and it's hard for any conductor to make sense of the schizophrenic nature of the movement. Mravinsky is fine, though Koussevitsky with the BSO and (believe it or not) Previn with the RPO on Telarc are among the very best here. Mravinsky's Fifth is arguably the most dispensible recording on the set. The Fouth, however, is nothing short of glorious--the only better Fourth I've heard is another Mravinsky, part of Melodiya/BMG's "Mravinsky Edition," on Volume 18, now regrettably out of print. The sound here is better, however. Some may be put off by the harsh brass and the prominent use of vibrato by trumpets and French horns, but this was the style of Russian orchestras at one time, and may have even been the style in the time of Tchaikovsky himself. For those of you raised on Ormandy or Previn, don't expect lush pillows of Romanticism. This is Tchaikovsky straight up, 80 proof. But the anguish of the first movement puts one on edge--they really FEEL this music. The slow movement is appropriately sad. The pizzicato scherzo sounds like it belongs in the Nutcracker--it is so delightful and fleet and serves as a delightful contrast to the movement that preceeded it. The finale requires that you be strapped in and keep your hands inside the car until the ride comes to a complete stop. Only Bernstein is as wild with this symphony, but to me Mravinsky sounds more heartful and convincing. (Berstein is fun, but sometimes sounds showy for showman's sake.)

Under Mravinsky's baton, the Sixth takes on a tragedy as it does with few others. "Steam-rollered" describes it well. Forget Bernstein's 1988 DG recording with the twice-as-slow finale. Yes it has its merits and is an interesting intellectual conception, but while Bernstein's works *harder,* this one just works better, if you get the difference. And Mravinsky accomplishes his goals without resorting to extremes in tempo, dynamics, articulation or anything else. His first movement is as anguished and explosive as any on record. But for my money it's the second movement--often played with the least character and adventurousness--that stands out here. Mravinsky finds a *deep* streak of tragedy throughout this throbbing 5/4 "Waltz," and that is structurally important, because the second theme from this movement returns in the final bars of the finale, to devastating effect. Such an important moment, yet so many conductors overlook it and its emotional connection to *this* (second) movement, and thus it can sound merely tacked on. Yet so much that is key in this symphony happens on the last page-- the funeral gong; the coda containing the second movement's secondary theme (now played with devastating bleakness); and most fascinating of all, something I never find mentioned: the "Rest Him With The Saints" funeral quotation in the first movement has been commented on by critics many times, but they ignore the fact that it apparently returns in a variation (or a development) here in the coda to the finale, right after the funeral gong. To me that seems significant, whether you believe the composer took his life, was poisoned, or merely drank a pitcher of bad water. (And I don't really have an opinion. No matter what the answer, it doesn't change the notes on paper.)

The recordings range from good to fair, but there's nothing that should keep anyone from listening unless DDD sound is mandatory. (And if it is I feel sorry for you, because today's crop of Tchaikovsky conductors cannot hold a candle to Mravinsky, Koussevitsky, Ormandy, [earlier] Bernstein, and others.) Most important, these recordings have the electricity and spontaneity of live performances, especially the 4th and 6th. There is also a stunning Mravinsky 6th in the aforementioned BMG Mravinsky box set (volume 19), but the sound there is very bad and compressed and in this instance I would recommend this DG recording more.

All the performances feature orchestra coloration, particularly in the winds and brass, that is different from what we are used to from "Western" orchestras (or Russian orchestras of today, for that matter,which have become homogenized.) Apparently the sound--with a more distinctive character among the different sections of the orchestra, less blend, less cohesiveness--has put off some people who've reviewed this recording here, but I'd rather hear these war-horses played differently (and arguably more "authentically") than one gets with your typical Bernstein, Ormandy, Szell, Ashkenazy. This isn't meant as a slight to any of those conductors, but there are already plenty of recordings with well-blended, larger-than-life sound that's as pure as the driven snow--This is Tchaikovsky of flesh and bone. If you're interested in Peter Ilych or in 19th century Russian music in general, your collection has a big gap without this issue.

Mravinsky and the Leningrad Philharmonic have produced stunning and electrifying music. I am familiar with these symphonies (having heard them in concert and on other recordings). I had second thoughts about my familiarity, however, after hearing them played Mravinsky's way. Each movement of each symphony is sculpted in a dramatic and quintessentially Slavic fashion revealing a true Slavic sensibility. The Russian musical landscape comes alive in startling colors and textures--a tribute to the Romantic milieu in which these works were conceived. There are passages so deftly articulated that I felt I was, at some points, listening to the music for the first time. The rapid tempi are more than amazing; I doubt that any orchestra has ever played with such fire and at such crisp, break-neck speeds. By contrast, the darker and more tragic moments (second movement of IV; second movement of V; and the Adagios of VI) are alluring and even torturous in their melancholy. This is Russian sentiment and Russian romanticism as it should be heard. Mravinsky is a wizard, a musical magician with demonic incantations at every turn. These recordings are treasures.

These recordings of the last three Tschaikovsky symphonies created quite a stir when they were first released, for they showed how that they could be played for maximum dramatic and emotional impact without descending into bathos or hysteria. Some people have found them too hard driven, but this is the way other Russian conductors, such as Svetlanov and Pletnev, tend to play these pieces as well. Moreover, the sound is very vivid, thus enhancing the qualities of the performances. A must for lovers of this music.

...And possibly the most "Russian."

First the blemishes: the Fifth is a bit "ratty." It's one of his weaker symphonies anyway to my ear, as though he is going through the motions more than he's convinced by his own symphonic argument. I've never heard ANYONE bring off the finale convincingly: the transition from the opening slow section to the allegro is...well, there is none, and it's hard for any conductor to make sense of the schizophrenic nature of the movement. Mravinsky is fine, though Koussevitsky with the BSO and (believe it or not) Previn with the RPO on Telarc are among the very best here. Mravinsky's Fifth is arguably the most dispensible recording on the set. The Fouth, however, is nothing short of glorious--the only better Fourth I've heard is another Mravinsky, part of Melodiya/BMG's "Mravinsky Edition," on Volume 18, now regrettably out of print. The sound here is better, however. Some may be put off by the harsh brass and the prominent use of vibrato by trumpets and French horns, but this was the style of Russian orchestras at one time, and may have even been the style in the time of Tchaikovsky himself. For those of you raised on Ormandy or Previn, don't expect lush pillows of Romanticism. This is Tchaikovsky straight up, 80 proof. But the anguish of the first movement puts one on edge--they really FEEL this music. The slow movement is appropriately sad. The pizzicato scherzo sounds like it belongs in the Nutcracker--it is so delightful and fleet and serves as a delightful contrast to the movement that preceeded it. The finale requires that you be strapped in and keep your hands inside the car until the ride comes to a complete stop. Only Bernstein is as wild with this symphony, but to me Mravinsky sounds more heartful and convincing. (Berstein is fun, but sometimes sounds showy for showman's sake.)

Under Mravinsky's baton, the Sixth takes on a tragedy as it does with few others. "Steam-rollered" describes it well. Forget Bernstein's 1988 DG recording with the twice-as-slow finale. Yes it has its merits and is an interesting intellectual conception, but while Bernstein's works *harder,* this one just works better, if you get the difference. And Mravinsky accomplishes his goals without resorting to extremes in tempo, dynamics, articulation or anything else. His first movement is as anguished and explosive as any on record. But for my money it's the second movement--often played with the least character and adventurousness--that stands out here. Mravinsky finds a *deep* streak of tragedy throughout this throbbing 5/4 "Waltz," and that is structurally important, because the second theme from this movement returns in the final bars of the finale, to devastating effect. Such an important moment, yet so many conductors overlook it and its emotional connection to *this* (second) movement, and thus it can sound merely tacked on. Yet so much that is key in this symphony happens on the last page-- the funeral gong; the coda containing the second movement's secondary theme (now played with devastating bleakness); and most fascinating of all, something I never find mentioned: the "Rest Him With The Saints" funeral quotation in the first movement has been commented on by critics many times, but they ignore the fact that it apparently returns in a variation (or a development) here in the coda to the finale, right after the funeral gong. To me that seems significant, whether you believe the composer took his life, was poisoned, or merely drank a pitcher of bad water. (And I don't really have an opinion. No matter what the answer, it doesn't change the notes on paper.)

The recordings range from good to fair, but there's nothing that should keep anyone from listening unless DDD sound is mandatory. (And if it is I feel sorry for you, because today's crop of Tchaikovsky conductors cannot hold a candle to Mravinsky, Koussevitsky, Ormandy, [earlier] Bernstein, and others.) Most important, these recordings have the electricity and spontaneity of live performances, especially the 4th and 6th. There is also a stunning Mravinsky 6th in the aforementioned BMG Mravinsky box set (volume 19), but the sound there is very bad and compressed and in this instance I would recommend this DG recording more.

All the performances feature orchestra coloration, particularly in the winds and brass, that is different from what we are used to from "Western" orchestras (or Russian orchestras of today, for that matter,which have become homogenized.) Apparently the sound--with a more distinctive character among the different sections of the orchestra, less blend, less cohesiveness--has put off some people who've reviewed this recording here, but I'd rather hear these war-horses played differently (and arguably more "authentically") than one gets with your typical Bernstein, Ormandy, Szell, Ashkenazy. This isn't meant as a slight to any of those conductors, but there are already plenty of recordings with well-blended, larger-than-life sound that's as pure as the driven snow--This is Tchaikovsky of flesh and bone. If you're interested in Peter Ilych or in 19th century Russian music in general, your collection has a big gap without this issue.

Whenever I mention Mravinsky's name in the presence of my clarinet teacher, he takes a deep breath and utters in a reverent tone, "He was a 100% musician down to the last hair on his body." Every Mravinsky recording I've ever heard typifies this description. The results are always breathtking in its committment to the music and all the risks involved in accomplishing this feat.

One only needs to watch video footage of Mravinsky conducting the Leningrad PO on the video tape, "Legendary Conductors of a Golden Age" to see all this. The orchestra follows every little gesture from the maestro even when the musical stakes are high.

These symphonies ask a lot from the musicians emotionally. The period when Tchaikovsky wrote these works were his most triumphant and simultaneously, his most tragic times, ultimately ending in his death. He was at his creative peak and was experiencing the rewards of this fruitful period. But at the same time, he was being persecuted for his homosexuality. Being as sick as he was didn't help him either. Everything from the score markings to the jarring juxtapositions of disparate emotions in these symphonies clearly reflect the state of Tchaikovsky's psychological state when those works were composed.

Mravinsky clearly understands the conditions in which Tchaikovsky wrote these masterpieces. No one captures the manic qualities of these works like Mravinsky does. At times, Mravinsky seems to do the following. He lets the orchestra loose like a wild stallion and after a while, he draws in the reins, regaining control with the complete faith that even when he's not in control, he really is. These moments produce astonishing results that adds to the pathos Tchaikovsky exhibits throughout his late works.

I was fortunate enough to see this orchestra twice under Mravinsky's successor, Yuri Temirkanov. They still embody the same qualities that I spoke of earlier. One cannot disagree that these uniquely Russian sounds were aural brush strokes Tchaikovsky had in mind when composing, not the slick, polished execution of orchestras like the great American powerhouses. Most definitely definitive recordings.

I really don't derive the same level of satisfaction from Mravinsky's Tchaikovsky Fourth and Fifth as I do his Sixth. His interpretations of those earlier symphonies are not bad, but not terribly noteworthy, save for the Fourth's stirring finale. Additionally, there is some stridency in the horns. I consider Mariss Jansons' Fourth with the Oslo Philharmonic to be more engaging and much better recorded. In the Fifth Symphony's first movement, Mravinsky's efforts in embellishing some of the melodies yield mixed results. The second movement is rendered fairly nicely, though again trumpets are intrusive. The waltz is presented a little more sprightly than usual, but is fine. The finale is punchy and charged. While the entire presentation is a good one, I'll stick with the more straightforward but still exciting and eloquent Szell/Cleveland account. With the Sixth ("Pathetique") Symphony, Mravinsky "steals the show". His interpretation stands apart from all others I have ever heard. It's all about the soulful connection. In the first movement, one not only feels the sadness, but also a sense of emerging resignation. The rich emotional canvass is properly and sensitively represented, but it is sorrow that occupies center stage in a most convincing fashion. One gets the feeling that this is exactly what the composer felt. The second movement waltz comes across perfectly---as both a respite from the dark and bittersweet first movement and a portent of the final movement. Seemingly, there is a hint of weariness which is interspersed with what seems to be Tchaikovsky's valiant momentary effort to ignore or hide from what is the inevitable outcome. The third movement march is a convincing tour de force. Listen to the way Mravinsky urges the strings into the rushing mix with the horns and winds. Also, note his manner of driving the instruments up and down. Catch the syncopated rhythms and the propulsive drive--- fanfare properly displayed, without exaggeration. The impression of Tchaikovsky's sealed fate is made immediately by the conductor in the beginning of the final movement. The sadness becomes more intense. The plunge deepens. The total effect becomes riveting, resigning, final. While Karajan and some others have their individually insightful and powerful moments, none seem able to convey so completely and compellingly the meaning of the "Pathetique" like Mravinsky. Take a good listen for yourself.

Sonically speaking, the recordings made by Yevgengy Mrvinsky and the Leningrad Philharmonic (captured by DG when the orchestra was on tour)are not up to current standards. However, as I usually find with recordings of Russian music by Russian orchestras, there is an authority brought to the music that is otherwise missing.

For me, Mravinsky brings a clarity to the last three symphonies of Tschaikovsky that I cannot get from other conductors. While some may find tempos that are unaccustomed and one will listen in vain for the strike of the gong in the Pathetique's final movement, Mravinsky powerfully conveys the essence of this music.

A few years ago, Gramophone made a list of what they thought were the 100 most significant recording, and this set by Mravinsky made this select list. This does not mean you will like what you hear but if one has an open mind and will bear in mind that there is more than one way any work of music can be played, then you will find this CD set a rewarding adventure.

There is little that I can add to the mainly superlative reviews this set has garnered, except to say that it has completely changed my view of Tschaikovsky's stature as a composer. This is music stripped of all sentimentality and given truly heroic strength (and utterly grim terror in the "Pathetique") that is absolutely Furtwaenglerian! (Compare Mravinsky's "Pathetique" to Furtwaengler's and hear the great similarity). I cannot praise this set highly enough.

This is one of my three favourite Tchaikovsky recordings (the other ones being the Donohoe 2nd Piano Concerto Op. 44 and Ozawa's Queen of Spades). I grew up with this recording; the fourth is in fact the first classical recording I ever bought - on LP. It is searingly intense, and whereas I appreciate that some may experience a sense of shock when they are first confronted with Mravinsky's work, please take your time to take it in. Too often I have heard Tchaikovsky's symphonies being almost ruined by an overly expansive approach; take, for instance, Solti (a conductor I admire very much in other works) performing the 5th symphony on Decca to get my drift. To the one reviewer remarking that the brass doesn't sound like American: you're absolute right, and that Russian brass sound is exactly one of the things that makes this such a special recording for me and one element that I can't imagine these symphonies without. To paraphrase a review I once read: if you want to know what 'con fuoco' means, try the opening to the 4th movement of the 4th symphony (or the 3rd of the 'Pathétique'). All in all, a wonderfully rugged interpretation.