Also, Marche Slave. Mikhail Pletnev, Russian National Orchestra. PentaTone Classics PTC 5186 381.
Maestro Mikhail Pletnev and his Russian National Orchestra continue their march through the Tchaikovsky symphonies, with only a few more remaining in the cycle. When they finish, PentaTone will probably gather all the recordings together in a complete box set. Who knows. In the meantime, Pletnev has not exactly knocked me over with his eloquent but rather cautious interpretations of Symphonies Nos. 4-6. With No. 1, however, he seems more in command, more in control; either that, or his recent conservative streak better suits the music of No. 1.
Russian composer Peter Tchaikovsky (1840-1893) wrote his Symphony No. 1 in G minor "Winter Daydreams," Op. 13 in 1866 when he was only twenty-six years old. It was among his first large-scale works, and in a way it was somewhat experimental for him. Always the self-doubter, he revised it during the next two years, premiering the completed piece in 1868 and then revising it further in 1874. Although the composer would go on to produce far more dramatic things, in the First Symphony he was at his most lyrical, his most rhapsodic. Perhaps that's why Pletnev, who seems to be becoming more restrained and careful in his approach to music lately, finds himself so secure in the music.
The symphony begins with a movement subtitled "Daydreams on a Winter Journey," which the composer didn't really mean as programmatic so much as evocative. He marked it Allegro tranquillo, and most of it is peacefully lyrical, with Pletnev making the most of it by taking his time in an easygoing, highly poetic manner. We can almost feel the snowflakes swirling around us as we imagine a musical traveler moving through the snowy countryside in an open carriage. Or some such picturesque image.
The second, slow movement, marked Adagio cantabile ma non tanto ("Leisurely, songlike, a little fast but not too much") Tchaikovsky subtitled "Land of Desolation, Land of Mists," and you can guess what sort of imagery that conjures up. Tchaikovsky wrote a lovely, plaintive melody for oboe that Pletnev draws out deliciously.
The composer abandons subtitles for the final two movements, a Scherzo and Finale. Pletnev elicits the best from the Scherzo, making it appropriately playful and doing a good job with the waltz tune at its core, one of the first of many such waltzes that would become a hallmark of Tchaikovsky's music. The Finale, which under Pletnev is perhaps a shade too relaxed, features variations on an old Russian folk song, making it the most "Russian" sounding part of the composition. Tchaikovsky always liked his First Symphony, something he could not bring himself to say about too much of his other work. The performance is also Pletnev's best work in his PentaTone Tchaikovsky cycle thus far.
The album concludes with the Slavonic March, Op. 31 from 1876, a patriotic and triumphant affair that predates the composer's 1812 Overture by several years but bears remarkable resemblances. Here in the Slavonic March Pletnev finally lets the brakes off and goes full throttle. It's among the best, most exciting interpretations of the work you're likely to hear.
Polyhymnia International recorded the performances at DZZ Studio 5, Moscow, in 2011. The sound they obtain is smooth and warm yet remarkably lifelike, captured in both two-channel stereo and multichannel surround on a hybrid SACD. As I heard it played back through a Sony SACD unit, it appears to have less of the ambient veiling I've heard on previous recordings from this source. Although the sound stage is not especially wide and the midrange not particularly transparent, the sonics do display a good orchestral depth, a strong bass, and a solid dynamic impact, so, overall, we get a pleasingly realistic aural presentation. For whatever reason, I enjoyed the sound best in the Marche Slave, perhaps because the music itself is so vigorous.
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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