Also, Francesca da Rimini. Mikhail Pletnev, Russian National Orchestra. PentaTone Classics PTC 5186 385.
The Symphony No. 5 (1888) by Peter Tchaikovsky (1840-1893) is a personal favorite of mine, and I would hardly have trusted anybody to do it more justice than Maestro Mikhail Pletnev and his Russian National Orchestra. Here, he provides a reasoned, well-proportioned account of the score, without as much of the histrionics we have come to expect from this music. In other words, he doesn't make the piece a show horse, choosing instead to take a more moderate, sensitive approach. It may or may not work for you. To each his own.
The opening Andante sounds fluid, the "fate" theme well defined. But when the composer opens it up to a full-fledged Allegro con anima, the music doesn't have quite the full-throated passion we sometimes hear. In the slow Andante that follows, Pletnev connects the dots, so to speak. We can feel the natural relationship between this leisurely, poetic section and the music that preceded it. So, with Pletnev this is not to be a symphony of contrasts but one of unity, with the recurring hints of "fate" well integrated into the whole.
The little third-movement Valse reminds us that Tchaikovsky wrote some of the most lyrical ballet music ever created. However, again Pletnev never overplays it, determined to bring out the more elegant, symphonic characteristics in the notes. Then, in the finale the composer gives us basically a repeat of the first movement, complete with a slow introduction, the restatement of fate, an energetic march, and a triumphant conclusion. Nevertheless, maintaining his stylish vision to the end, Pletnev seems a tad sedate compared to the more-animated interpretations of people like Mravinsky and the Leningrad Philharmonic (DG), Muti and the New Philharmonia (EMI), Jansons and the Oslo Philharmonic (Chandos), or even Haitink and the Concertgebouw (Philips). Frankly, while I admired Pletnev's intentions, I prefer a more red-blooded rendering of the music.
The companion piece on the disc is Tchaikovsky's tone poem (or symphonic fantasy) Francesca da Rimini (1877). The music tells the story of an illicit love affair that ends in tragedy, so you know you're in for some heavy melodrama here. Pletnev, though, tends to overintellectualize much of it, particularly in the beginning, and it doesn't convey the fervor of Stokowski's old Everest performance. There is no denying the punch of the music in its second half, though, and Pletnev does a fine job communicating the final anguish of events.
PentaTone recorded the multichannel sound at DZZ Studio 5, Moscow, in 2010, and they make it available on the current hybrid disc in five-channel SACD as well as two-channel CD and SACD. So, depending on your playback equipment, you have a choice of options. I listened to the two-channel SACD layer.
The sound is pleasant, if not very exceptional in any way. It is very smooth, exhibiting a moderate degree of front-to-rear depth, a good dynamic range, and adequate impact, easily evident in the SACD playback mode. The areas that are slightly lacking involve ultimate midrange transparency, where things are a tad soft; air around the instruments, where things are a bit flat; and frequency extremes, bass and treble, which are not too deep or sparkling. Not that there is anything terribly wrong in these areas; they just aren't quite in the audiophile range.
John J. Puccio, Editor, Publisher, Reviewer
Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on The Big John and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.
Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.
Karl W. Nehring, Contributing Reviewer
For more than 20 years I was the editor ofThe $ensible Soundmagazine and a regular contributor to its classical review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simple-minded, but I know I appreciate reading reviews by others that do the same for me -- point out recordings that I think I might enjoy.
For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises an Onkyo C-7030 CD player, Legacy Audio StreamLine preamplifier, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE speakers augmented by a Legacy Point One subwoofer. I also do a lot of listening while driving in my 2016 Acura RDX with its nice-sounding ELS Studio sound system through which I play CDs (the ones I especially like I rip to the Acura's hard drive so that I can listen to them whenever I want) or stream music through the system using my LG G7 ThinQ cell phone, which features surprisingly sophisticated audio circuitry. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has remarkably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can't imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.
Bryan Geyer, Technical Analyst
I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.
Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.
It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.
When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.
So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job. --John J. Puccio
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