Tchaikovsky: Symphonies Nos. 1 - 6 [Box set]

Track Listings

1. Symphony No. 1 - Daydreams On A Wintry Road. Allegro Tranquilla

2. Symphony No. 1 - Oh, Land Of Gloom, Oh, Land Of Mist. Adagio Cantabile Ma Non Tanto

3. Symphony No. 1 - Scherzo. Allegro Scherzando Giacoso

4. Symphony No. 1 - Finale. Andante Lugubre. Allegro Maestoso

5. Suite No. 4 - Gigue

6. Suite No. 4 - Minuetta

7. Suite No. 4 - Preghiera

8. Suite No. 4 - Tema Con Variazioni

9. Symphony No. 2 Op. 17 C Minor- Adante Sostenuto Allegro Vivo

10. Andantino Marziale Quiasi Moderato

11. Scherzo Allegro Molto Vivace

12. Finale Moderato Assai Allegro Vivo

13. Fantasy Overture Romeo And Juliet- Antante Non Tanto Quasi Moderato- Allegro Giusto

14. Symphony No. 3 In D Major Op. 29 - Moderato Assai

15. Symphony No. 3 In D Major Op. 29 - Allegro Moderato E Semplice

16. Symphony No. 3 In D Major Op. 29 - Andante

17. Symphony No. 3 In D Major Op. 29 - Scherzo

18. Symphony No. 3 In D Major Op. 29 - Finale

19. Rococo Variations Op. 33

20. Synphony No. 4 In F Minor Op 36

See all 46 tracks on this disc

Editorial Reviews
Album Details
Special Edition Six CD Box-set Collection of Symphonies 1-6 from P.i. Tchaikovsky.

Customer Reviews:

EXCITING PERFORMANCES VINTAGE STEREO SOUND BUT NOT SACD.......2005-09-27

Despite whar Mr Richman says in his review below this five disc box set does NOT consist of hybrid SACD discs. They are all CDs - generously filled but still basic 16 bit discs. It may be that Mercury's parent company plans to release these discs singly as three channel SACDs but here you get the two channel mixes that originally appeared on LP and on the 1990s CD releases. It would have been great to hear them in three channel - Dorati's "Firebird" sounds magnificent on SACD - but this box is still a bargain. There's some low level hiss and the occasional tape clunk but these are small blemishes on some exciting late 50s and early 60s recordings that make most of today's offerings sound sterile and cautious. Dorati's Tchaikovsky is never winsome or self-pitying. As a masterly ballet conductor Dorati never ignores the lilt and sway of the composer's waltz-inspired lighter moments - but he and the orchestra (London Symphony and Minneapolis) really let rip for the exciting brass perorations. Try the finale of the "Little Russian" symphony, or "Francesca di Rimini", for some real sock-blowing sound! Even if you own other recordings of these popular works try to find a space on your shelf for Dorati and the inimitable Mercury sound.

Dorati's MLP Tchaikovsky Gems Are Back!.......2005-05-25

Those familiar with my reviews on Amazon know my great love for the Mercury Living Presence series. Equally great is my disgust that so many of these brilliant recordings have been deleted in the last few years! Thankfully, some of these legendary performances are resurfacing as SACD hybrids. Unfortunately, they are now being sold at full-price, despite a competing hybrid series on RCA/BMG being available at midline. In spite of the added expense, I hope this MLP reissue trend will continue, and maybe we'll even see a few items getting their CD debut.

This Tchaikovsky Symphony Cycle by the great Antal Dorati has always been one of my favorite MLP offerings. While a two-disc set of Symphonies 1-3 and a single title of the 4th continue to be available in their original CD incarnations, the CDs of Symphonies 5 & 6 have gone out-of-print recently. However, with this box set they are now deservedly restored to the catalog. Even better is the fact that the four 5CD box sets being reissued have been so reasonably priced. This Tchaikovsky set, and the ones of Dorati conducting Bartok, Paray conducting French music, and Hanson conducting a variety of American music, including his own compositions, have a total cost cheaper than the original single issue CDs! Once again, Mercury Living Presence lives!

Peter Ilyich Tchaikovsky: Symphonies Nos. 1-6 - Mikhail Pletnev

Average customer rating:

Not a bad conductor
You could do worse...
More Exciting Tchaikovsky from Pletnev
This Sad Pletnev Story
Not the best around; but DEFINITELY not the worst....

Peter Ilyich Tchaikovsky: Symphonies Nos. 1-6 - Mikhail Pletnev
Pyotr Il'yich Tchaikovsky , Mikhail Pletnev , and Russian National Orchestra
Manufacturer: Polygram Int'l
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Classical | Box Sets | Stores | Music

Classical | Imports | Stores | Music
Similar Items:

Tchaikovsky: Piano Concertos, Symphony Pathetique, The Seasons, & Piano Pieces; Mikhail Pletnev/Russian National Orchestra (4 CD's)

ASIN: B000001GSB
Release Date: 2005-03-21

Tracks:

Symphony No.1 In G Minor Op.13: Daydreams On A Wintry Road - P.I. Tchaikovsky
Symphony No.1 In G Minor Op.13: O Land Of Gloom, O Land Of Mist! - P.I. Tchaikovsky
Symphony No.1 In G Minor Op.13: Scherzo: Allegro scherzando giocoso - P.I. Tchaikovsky
Symphony No.1 In G Minor Op.13: Finale: Andante lugubre - Allegro moderato - Allegro maestoso - Andante lugubre - Allegro vivo - P.I. Tchaikovsky

Tracks:

Symphony No.2 In C Minor Op.17: Andante sostenuto - Allegro vivo
Symphony No.2 In C Minor Op.17: Andantino marziale, quasi moderato
Symphony No.2 In C Minor Op.17: Scherzo - Alegro molto vivace - Trio
Symphony No.2 In C Minor Op.17: Moderato assai - Allegro vivo - Presto
Symphony No.4 In F Minor Op.36: Andante sostenuto - Moderato con anima - Moderato assai, quasi Andante - Allegro vivo
Symphony No.4 In F Minor Op.36: Andantino in modo di canzone
Symphony No.4 In F Minor Op.36: Scherzo - Pizzicato ostinato - Allegro
Symphony No.4 In F Minor Op.36: Finale- Allegro con fuoco

Tracks:

Symphony No.3 In D Major Op.29: Introduzione e Allegro - Moderato assai (Tempo di marcia funebre) - Allegro brillante
Symphony No.3 In D Major Op.29: Alla tedesca - Allegro moderato e semplice - Trio
Symphony No.3 In D Major Op.29: Andante elegiaco
Symphony No.3 In D Major Op.29: Scherzo - Allegro vivo - Trio
Symphony No.3 In D Major Op.29: Finale - Allegro con fuoco (Tempo di Polacca)

Tracks:

Symphony No.5 In E Minor Op.64: Andante - Allegro con anima
Symphony No.5 In E Minor Op.64: Andante cantabile, con alcuna licenza - Moderato con anima - Andante mosso - Allegro non troppo - Tempo I
Symphony No.5 In E Minor Op.64: Valse - Allegro moderato
Symphony No.5 In E Minor Op.64: Finale - Andante maestoso - Allegro vivace - Molto vivace - Moderato assai e molto maestoso - Presto

Tracks:

Symphony No.6 In B Minor Op. 74 'Pathetique': Adagio - Allegro non troppo - Andante - Moderato mosso Allegro vivo - Andante come prima - Andante mosso
Symphony No.6 In B Minor Op. 74 'Pathetique': Allegro con grazia
Allegro molto vivace
Symphony No.6 In B Minor Op. 74 'Pathetique': Finale - Adagio lamentoso - Andante

Amazon.com

A disaster. These dull, lackluster performances demonstrate conclusively that, however interesting Mikhail Pletnev may be as a pianist, he simply does not yet know how to conduct an orchestra. How can you tell? Because as a pianist he's willful, rhapsodic, eccentric, but full of ideas and never boring. As a conductor, he's metronomic, reserved, inhibited, and simply unable to impress any interpretive character on the music at all. And despite the fact that these are recent digital recordings, they don't even sound that great. Avoid. --David Hurwitz

Customer Reviews:

Not a bad conductor.......2007-05-18

Oh, please. These are terrible, yes, but Pletnev is (or can be) a wonderful conductor when he is "in the mood." For example, his Tchaikovsky Overtures (on a 3-disc Virgin set) are wonderful, colorful, musical. Same with his Prokofiev Cinderella.

I admit it is interesting to learn about Pletnev's rather flashy religious conversion. It explains a lot about his "sleepiness" at the keyboard post 1990. (For some horrific examples of this bad trait, listen to his two Chopin albums, or his Rachmaninoff Third Piano Concerto, or his Scarlatti Sonatas - ugh. Where's the color, drive, and music in these performances?)

It also explains strange little comments made by some reviewers about Pletnev, stuff about "his truly human humility," "his deep, unaggressive humility," that sort of thing. If the Russian Orthodox religion is THAT boring - placing a premium on "humility" and "nonaggression" in artistic matters - then we're in for a lot of boring records by Mikhail. It isn't "touching" or "profound" to play the Rachmaninoff or Prokofiev Third as if you haven't had your morning coffee yet.

You could do worse..........2003-03-06

You could do worse'Pletnev isn't as bad a conductor as some make him out to be (his recording of Tchaikovsky's Sixth on Virgin records is actually quite spectacular). Tchaikovsky is my favorite symphonic composer, and while only his later 3 have achieved popularity, his first 3 are very enjoyable. They may lack the intensity of the 4th or 6th, and the poignancy of the 5th, and the form is noticeably sophomoric, but they do contain some fairly ingenious musical ideas and thematic elements. If you are thinking of buying just 2 or 3 of the symphonies, it is undoubtedly worth the money to purchase all 6 (7 if you include Manfred). This set is the best you can get for the under fifty dollars, but it isn't the best set you can buy. Pletnev does am outstanding job with the quieter and less intense moments of the music. His slow movements are absolutely touching (with the exception of the final movement of the final symphony, which, though slow and mournful, requires a more underlying intensity that is lacking here). The second movement's heart stopping opening chord sequence is simply some of the most beautiful music ever written, and Pletnev and the Russian National Orchestra make it all the more touching. Unfortunately, the music does lack intensity. The climax of the sixth symphony's first movement is very intense, but other many other points in the music lack that same passion. At times, the balance of the orchestra can be a little off as well. There are actually several themes and motifs that I never knew were there (because they were drowned out) until I looked at the score. So if you don't want to spend to much money on these amazing pieces, this is a good set, but if you a more dedicated classicalist, I would recommend springing for an alternate set.

More Exciting Tchaikovsky from Pletnev.......2000-02-12

Mikhail Pletnev burst onto the conducting scene nearly a decade ago with an electrifying account of Tchaikovsky's 6th with this same orchestra on Virgin classics. Indeed, that recording is the most viscerally exciting account of the 6th ever committed to disc. Though this set of all Tchaikosvky's symphonies does not quite attain the same heights, it is still an exciting traversal of the great Russian's output in this genre. (And, contrary to the opinion expressed by the Russian reviewer below, Tchaikovsky's first three symphonies are also brilliant masterworks.) It is a pity that DG was not more generous, failing to include the fill-ups mentioned by the reviewer from Singapore; nevertheless, this is authentic Tchaikovsky from one of the most exciting Russian conductors (and pianists) alive today. Do not hesitate to hear this!

This Sad Pletnev Story.......2000-02-07

I have to respectfully disagree with the other two gentlemen who left rather excited reviews, and agree with the editorial blurb. Pletnev is no conductor. It's a sad example of this typical trend when every good actor presumes s/he will and, for some reason, should make a good director, just as every other pianist rushes into conducting for the same reasons. This just doesn't work -- Julia Roberts directing and Pletnev conducting... oh, please! -- they only deprive us all and themselves of great performances they could have done in the areas where they are professionals. (Thank goodness Richter was doing what he was doing, and wasn't worried about "conductor's fame"). Think of Ashkenazy, too -- an outstanding pianist but a mediocre conductor. His conducting isn't bad, it's okay, but for every performance of his, there are always at least a couple of other recordings you would unmistakably choose over. The first thing about Pletnev is, his performance (including that of a pianist) has notably worsened over the last 15 years or so (these were the years of his infatuation with conducting, and with Russian Orthodox religion -- the latter has made him duller in every sense). When he was younger, he had a very fresh pianistic style and there was much excitement about him (same story with Kissin, by the way, who is getting duller and duller as the time goes). Then, under Gorbachev, when religion suddenly became a fashion among Russian intellectuals, he started doing these weird things -- he would come to a concert with a huge pretentious cross hanging over his dress (you'd think religion is a personal thing and a cross, if it means something, is to be kept under your shirt). There was much window-dressing in that. I was a student in Moscow at the time, and we would just laugh at the guy when we sat at his performances in Moscow Conservatory. The problem is, not only did he look like a boring Russian Orthodox "pop" (ie. priest), but he eventually started to "behave" like one. What I mean is, this stupid show he put on influenced his entire performing style. He became "slow and dull". He would stand there in front of the orchestra with his head down, his eyes closed and his face depicting some super-tragic emotion without any movement every other minute in the middle of the play, putting both the orchestra and everybody listening asleep. A similar thing happened to his style of a pianist -- a young energetic Pletnev who played Prokofiev's 8th sonata on par with Horowitz was gone; a new boring Pletnev who would sleep over the keyboard was born. That's the whole story. I simply can't listen to Pletnev's late work. As for his conducting in particular, I have to agree again with the editorial opinion -- it lacks any interpretive qualities. It is sour and dull. When I listened to these Tchaikovsky's pieces, I couldn't but vividly imagine Pletnev standing there "asleep" with his head down and the orchestra just going without him. By the way, speaking of the orchestra, the so called "Russian National" is a rather boring collective too (well, I guess, they found each other). It used to be "Moscow State Philharmonic" at the time of the Soviet Union, and it was only good at playing pop arrangements at "gala" kind of events. At about the same time Pletnev took over it, they renamed it "Russian National" but it didn't make it any better -- it never lived up to the standards of, for example, Svetlanov's orchestra (leave alone former Mravinsky's Leningrad Philharmonic...). I wouldn't advise this dull record to anyone -- the only justifiable reason to buy it is: you are a music student and have to learn all pros & contras around. If you are just after a nice performance of Tchaikovsky's symphonies, check the 5th in Gergiev's version and the 6th in Karajan's or even Muti's (or Svetlanov's, if you are into a more "Russian" experience). As for Tchaikovsky's earlier symphonies, I don't know why anyone would want to listen to them (the guy was a big phony in his early years). Basically, with the name Pletnev, stay away from everything that was recorded after 1990. Some of his earlier piano stuff is wonderful, though.

Not the best around; but DEFINITELY not the worst...........1999-11-10

Pletnev's Tchaikovsky cycle though not the best around ( c.f Jansons/Oslo PO ; Karajan/BPO) but yet is still very much worth a listen. Sound carries much of a typical Russian orchestra which Tchaikovsky might have intended when writing these works -big and brassy. Carries some unique and memorable moments eg. beginning of Sym. No. 6 1st Movt - the air of mystery and groom before the basoon entrance. Though it might have the sheer white-heat of the same sym. previously recorded under Virgin ( by Pletnev/RSO)previously, interpretation and performance is still marked to be one of the best around...Major minus point is that this set ( which is full-price for 5 CDs) is also available separately in 6 CDs which carries interesting fillers like the Tempest, R&J Overture and Capriccio Italtien just to name a few. Janson with Oslo PO is still first choice ( together with a electrifying performance of the Manfred) but interesting performances as this should not be missed as well...

Tchaikovsky: Symphonies Nos. 1-6 (Box Set)

Average customer rating:

Tchaikovsky: Symphonies Nos. 1-6 (Box Set)

Manufacturer: Capriccio
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Classical | Box Sets | Stores | Music
ASIN: B00000JQHW
Release Date: 1999-10-19

Average customer rating:

Tchaikovsky: Symphonies Nos. 1 - 6
Friedmann , and Russian Philharmonic Orchestra
Manufacturer: Arte Nova
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
ASIN: B0000247CS
Release Date: 1999-07-15

Tracks:

Symphony No. 1 - Daydreams On A Wintry Road. Allegro Tranquilla
Symphony No. 1 - Oh, Land Of Gloom, Oh, Land Of Mist. Adagio Cantabile Ma Non Tanto
Symphony No. 1 - Scherzo. Allegro Scherzando Giacoso
Symphony No. 1 - Finale. Andante Lugubre. Allegro Maestoso
Suite No. 4 - Gigue
Suite No. 4 - Minuetta
Suite No. 4 - Preghiera
Suite No. 4 - Tema Con Variazioni
Symphony No. 2 Op. 17 C Minor- Adante Sostenuto Allegro Vivo
Andantino Marziale Quiasi Moderato
Scherzo Allegro Molto Vivace
Finale Moderato Assai Allegro Vivo
Fantasy Overture Romeo And Juliet- Antante Non Tanto Quasi Moderato- Allegro Giusto
Symphony No. 3 In D Major Op. 29 - Moderato Assai
Symphony No. 3 In D Major Op. 29 - Allegro Moderato E Semplice
Symphony No. 3 In D Major Op. 29 - Andante
Symphony No. 3 In D Major Op. 29 - Scherzo
Symphony No. 3 In D Major Op. 29 - Finale
Rococo Variations Op. 33
Synphony No. 4 In F Minor Op 36
Synphony No. 4 In F Minor Op 36
Synphony No. 4 In F Minor Op 36
Synphony No. 4 In F Minor Op 36
Suite From Ballet -The Nutcracker-
Suite From Ballet -The Nutcracker-
Suite From Ballet -The Nutcracker-
Suite From Ballet -The Nutcracker-
Suite From Ballet -The Nutcracker-
Suite From Ballet -The Nutcracker-
Suite From Ballet -The Nutcracker-
Suite From Ballet -The Nutcracker-
1. Andante. Allegro Con Anima
2. Andante Cantabile Con Alcuna Licenza
3. Valse. Allegro Moderato
4. Finale. Andante Maestoso. Allegro Vivace
Slavonic March. Moderato In Modo Di Marcia Funebre
Coronation March
Adagio. Allegro Non Troppo
Allegro Con Grazia
Allegro Molto Vivace
Finale. Adagio Lamentoso
No. 1 Introduction- La F Des Lilas
No. 2 Adagio- Pas D' Action
No. 3 Pas De Caracte Le Chat BottEt La Chatte Blanche
No. 4 Panorama
No. 5 Valse

Album Details

Special Edition Six CD Box-set Collection of Symphonies 1-6 from P.i. Tchaikovsky.

Tchaikovsky: Symphonies Nos. 1-6; Orchestral Works (Limited Edition)

Average customer rating:

Is Abbado better or worse in Tchaikovsky than his reputation?

Tchaikovsky: Symphonies Nos. 1-6; Orchestral Works (Limited Edition)

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
Similar Items:

Mendelssohn: 5 Symphonies; 7 Overtures
Beethoven: Symphonies Nos. 1-9; Overtures; Violin Concerto (Limited Edition)
Stravinsky: SYMPHONIES
Prokofiev: 7 Symphonies; Lieutenant Kijé
Schubert: 8 Symphonies

ASIN: B00006OA67
Release Date: 2002-01-01

Tracks:

Symphony No 1 In G Minor
Symphony No 2 In C Minor
Symphony No 3 In D Major
Symphony No 4 In F Minor
Symphony No 5 In E Minor
Symphony No 6 In B Minor

Customer Reviews:

Is Abbado better or worse in Tchaikovsky than his reputation?.......2007-02-17

Claudio Abbado spent considerable time with the CSO in the 1980s but rarely returned (so far as I know) after he was appointed as Karajan's successor in Berlin. His complete Tchaikovsky cycle was a flagship enterprise for Sony, and yet the results divide listeners, some of whom categorically dismiss Abbado's interpretations as boring and fussy, lacking in Slavic passion. I had casually bought into that judgment but decided recently to listen to the whole cycle afresh, leading to the following, sometimes surprising conclusions:

Sym. #1: We start off on a high point. This work, subtitled 'Winter Dreams,' is the most immature of the symphonies, relying on much repetition in place of solid sonata development, and at times it's hard to distinguish why this is a symphony and not part of a ballet suite. However, the melodies are gorgeous, and a conductor with real conviction can make the music come across. Abbado spins out the balletic first movement with energy and verve--it makes the often recommended Tilson Thomas version from Boston (on DG) seem overly refined. The lyrical second movement evokes real tenderness, the Scherzo (another balletic movement) skips along lightly but could use more rhythmic emphasis, and the finale, after an Andante lugubre introduction that could be darker, sweeps convincingly into the grand allegro, which has lots of punch and vitality. In all, an excellent performance. After you count in the fine sonics and the gorgeous playing of the Chicago Sym., Abbado outshines all his Western competition, including Karajan, Mehta, and Bernstein in their complete sets.

Sym. #2: Outstandings recordings of the First Sym. are thin on the ground, but not of the 'Little Russian,' which boasts a classic from Giulini (EMI) and a committed reading from Bernstein (Sony). Abbado has a great advantage in outstanding solo parts played with style and commitment by the Chicagoans--you won't hear better from Karajan's Berliners. Rather than aiming for folk-style earthiness, Abbado takes the work to be grander, more symphonically European. In that vein the first movement is convincing and thrilling. But the march that follows is reticent and fussy. The performance is back in form with an energetic, propulsive Scherzo, a total success. The finale is imposingly grand at the outset, rich with brass sonorities, and although the main allegro section sounds a bit fussed over, it has requisite vigor and enthusiasm. In sum, another success, much better played and recorded than esteemed rivals like Dorati on Mercury and Markevitch on Philips.

Sym. #3: The "Polish" Sym. is the problem child, a score so drawn out and balletic (Balanchine based his full-length "Jewels" on it) that few conductors can hold it together symphonically. It doesn't help matters that so much of the music hovers around Andante instead of a vigorous Allegro, or that the harmonies are often ambiguous. Abbado takes the shadowy first movement as a processional, delicately nuanced in the phrasing but moving along. It works well, but the next movement "Alla Tedesca" sounds exactly the same; he hasn't found any contrast in tempo or mood. The third movement, which is yet another shadowy andante, sounds inward and melancholy. By now the wandering nature of the piece has won out; attention begins to wander, to. Abbado doesn't find enough earthiness in the mercurial Scherzo to salvage matters, so we might as well give in and enjoy this as ballet. Tchaikovsky wants the finale to be played "with fire," but Abbado remains at low temperature, smooth and flowing. I've been highly critical here, so let it be said that none of Abbado's Western rivals do any better. Call this attempt to interpret a sprawling ballet-symphony a middling success, with reservations.

Sym. #4: The last three symphonies are meat for every great conductor, needless to say, so Abbado had little chance of rising to the very summit. He competes with himself, in fact, given that his Decca recording of the Fourth with the Vienna Phil. ranks among his best recordings from the Seventies. A good or even very good reading won't do, and that's about all that Abbado gives us. The CSO brass suddenly begin to snarl a bit, a la Solti, and softer passages get fussed over. The first movement fails to cohere convincingly, and one wonders exactly where the interpretation is going. Is this just big-band international Tchaikovsky? On the whole, yes. The oboe solo in the Andante flows by without much individuality or expression, and you realize that this music doesn't mean much to anyone here. The Scherzo is virtuosic without being thrilling. The finale is heavy and not fast enough to raise one's blood, immediately turning tepid in the lyrical second subject. All in all, not an inspired reading. In fact, a definite miss unless you simply must hear the CSO run thorugh its paces.

Sym. #5: Although much loved, the Fifth suffers from repeating the same motive in the first and last movements, as well as repetitive development sections that hammer simple rhythmic patterns over and over. To really succeed, an interpretation must be intense, dramatic, and played with edge of the seat intensity (in a word, the way Mravinsky does it). Abbado starts out with a full, broad statement that isn't premonitory enough (it doesn't promise great things to come), but no one can doubt how detailed and beautiful the playing is. There's a lot to be said for avoiding banality in this music or hollow grandiosity. Add in the outstanding Chicago playing (thankfully less blaring in the brass), and the first movement turns into a real success. Likewise the Andante, which begins with ravishing cellos and a natural, unforced solo horn. Here Abbado moves things along rather quickly, perhaps too much so for the music to tell as expressively as it might. But again, no sentimentality allowed. The waltz Scherzo is weaker in its characterization, coming off as well played but faceless. Up to this point, I've been feeling that Abbado's reading deserves respet, which is confirmed by a sober but full-voiced finale, the place where sentimentality and false heroics lay real traps. In all, I like this Fifth and rate it higher than the Fourth. Those who prefer blood-and-thunder won't agree. This is a Fifth for those who usually avoid the work.

Sym. #6: It's as difficult to produce a truly memorable 'Pathetique' as it is to produce a truly memorable Beethoven Fifth, and yet neither work ever misfires under a good conductor. So the challenge is greatness, pure and simple. Abbado had looming over his head Reiner's acclaimed Sixth with the same CSO in Living Stereo on RCA, a classic. Let's note right off that the playing and recording here are up to Reiner's standards. Reiner was a cool customer, perhaps the greatest technicin of his day. Abbado is cool, too, but without the intensity of a master craftsman. His 'Pathetique' is too loose-limbed at the beginning; one soon realizes that as with the Fourth, he has no pressing thing to say in this music. One episode follows another beautifully, if at times cautiously (E.g., a tepid second subject in the opening movement that needs to soar). The succeeding movements don't change that impression, even though everyone concerned tries to thrill us in the Scherzo, and do. Tchaikovksy's last symphony rises and falls on its tragic finale--I want a wrenching catharsis--but Abbado has decided that pathos is the dominant feeling. He's not alone in that, so if you want less than catharsis, here is a well-played finale that I find unmemorable. In all, I'd place Abbado's Sixth a little higher than the Fourth but well shy of the Fifth.

Overall judgement: I was surprised, given its lackluster reputation, that this is often a spectacular set, full of exciting playing. Abbado has no riveting conception in the last three symphonies, and in fact rises to his best in the First and Second. For overall conviction, I'd buy the Temirkanov set on RCA, but Abbado is more convincing to me than Karajan, and better in the early works than Bernstein. Experienced collectors will already have multiple favorites among the individual suymphonies and won't want a complete set. For them, Abbado's "Winter Dreams" is the overlooked gem.

Average customer rating:

Tchaikovsky: Symphonies Nos. 1-6 (Box Set)

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
ASIN: B00005YAS7
Release Date: 1995-04-07

Music Review:

Music Review

music review

Music Review

Boogie Daze & Disco Night [Import]

From Sousa to Spielberg [Soundtrack]

Elly Ney

Music: Jukin'

Hamlet: Music from the Miramax Motion Picture (2000 Film) [Soundtrack] [Soundtrack]

Shut-Up [Explicit Lyrics]

Heaven Is in Your Mind: An Introduction to

Give Me Sanity

Gainsbourg Versions Femmes [Import]

Contemporary Piano Concerti

Gambler [Import]

Canta Macondo: Hits Explosivos

Drama Az Usual [Explicit Lyrics]

Kaplan

For You

1. Symphony No. 1 - Daydreams On A Wintry Road. Allegro Tranquilla
2. Symphony No. 1 - Oh, Land Of Gloom, Oh, Land Of Mist. Adagio Cantabile Ma Non Tanto
3. Symphony No. 1 - Scherzo. Allegro Scherzando Giacoso
4. Symphony No. 1 - Finale. Andante Lugubre. Allegro Maestoso
5. Suite No. 4 - Gigue
6. Suite No. 4 - Minuetta
7. Suite No. 4 - Preghiera
8. Suite No. 4 - Tema Con Variazioni
9. Symphony No. 2 Op. 17 C Minor- Adante Sostenuto Allegro Vivo
10. Andantino Marziale Quiasi Moderato
11. Scherzo Allegro Molto Vivace
12. Finale Moderato Assai Allegro Vivo
13. Fantasy Overture Romeo And Juliet- Antante Non Tanto Quasi Moderato- Allegro Giusto
14. Symphony No. 3 In D Major Op. 29 - Moderato Assai
15. Symphony No. 3 In D Major Op. 29 - Allegro Moderato E Semplice
16. Symphony No. 3 In D Major Op. 29 - Andante
17. Symphony No. 3 In D Major Op. 29 - Scherzo
18. Symphony No. 3 In D Major Op. 29 - Finale
19. Rococo Variations Op. 33
20. Synphony No. 4 In F Minor Op 36