Koussevitzky conducts Tchaikovsky
View record and artist detailsRecord and Artist Details
Composer or Director: Pyotr Ilyich Tchaikovsky
Label: Gold Seal
Magazine Review Date: 3/1993
Media Format: CD or Download
Media Runtime: 63
Mastering:
Mono
ADD
Catalogue Number: GD60920

Tracks:
Composition | Artist Credit |
---|---|
Symphony No. 6, 'Pathétique' |
Pyotr Ilyich Tchaikovsky, Composer
Boston Symphony Orchestra Pyotr Ilyich Tchaikovsky, Composer Serge Koussevitzky, Conductor |
Romeo and Juliet |
Pyotr Ilyich Tchaikovsky, Composer
Boston Symphony Orchestra Pyotr Ilyich Tchaikovsky, Composer Serge Koussevitzky, Conductor |
Author:
There have been comparatively few Koussevitzky reissues in the 40-odd years since the conductor retired, but in recent times Pearl have put us in their debt with the release of a Sibelius set (7/90) and also a CD devoted to American composers (12/91). Now RCA themselves are putting at least a toe in the water with this new disc, which I hope will be followed by more Koussevitzky on CD.
If one thinks of the average Toscanini performance as being characterized by precision and clarity, then perhaps the equivalent Koussevitzky qualities are power and sonority. Certainly those attributes are apparent on the disc under review. The Boston Symphony Orchestra's range of timbre and depth of tone are very noticeable, even through the limited range of the recordings, as is the sheer weight of the ensemble in full cry. It must have been quite an experience to hear orchestra and conductor together in the concert-hall.
At the quiet outset of the symphony there is at once a strong atmosphere and a feeling of high expectation, which is certainly fulfilled as the movement develops. The playing is highly committed, passionately romantic, and very exciting. Occasionally one is caught off guard by unexpected turns of phrase, but it would be a cold heart who could not respond to such a performance. The contrast of graceful balletic lightness and darkness of mood is very well caught in the second movement, and the third movement march is propelled at a challengingly brisk tempo, which thus makes an effective prelude to the profound despair of the finale. This last movement is most affectingly realized, with the exception of a single but very noticeable piece of bad playing in the lower brass, which should have resulted in the 78 side concerned being re-recorded.
Romeo and Juliet also receives a first-rate performance. The love music is played very tenderly and quite slowly, while the episodes involving the Montagues and Capulets crackle with vitality and aggression. Another strongly characterized interpretation, then, to round off a highly satisfying disc. Transfers are mostly pretty good, but there are one or two bad patches.'
If one thinks of the average Toscanini performance as being characterized by precision and clarity, then perhaps the equivalent Koussevitzky qualities are power and sonority. Certainly those attributes are apparent on the disc under review. The Boston Symphony Orchestra's range of timbre and depth of tone are very noticeable, even through the limited range of the recordings, as is the sheer weight of the ensemble in full cry. It must have been quite an experience to hear orchestra and conductor together in the concert-hall.
At the quiet outset of the symphony there is at once a strong atmosphere and a feeling of high expectation, which is certainly fulfilled as the movement develops. The playing is highly committed, passionately romantic, and very exciting. Occasionally one is caught off guard by unexpected turns of phrase, but it would be a cold heart who could not respond to such a performance. The contrast of graceful balletic lightness and darkness of mood is very well caught in the second movement, and the third movement march is propelled at a challengingly brisk tempo, which thus makes an effective prelude to the profound despair of the finale. This last movement is most affectingly realized, with the exception of a single but very noticeable piece of bad playing in the lower brass, which should have resulted in the 78 side concerned being re-recorded.
Romeo and Juliet also receives a first-rate performance. The love music is played very tenderly and quite slowly, while the episodes involving the Montagues and Capulets crackle with vitality and aggression. Another strongly characterized interpretation, then, to round off a highly satisfying disc. Transfers are mostly pretty good, but there are one or two bad patches.'
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