Tchaikovsky: Symphony No. 6 "Pathetique" (CD review)

Teodor Currentzis, MusicAeterna. Sony 88985404352.

You'll forgive me if I keep thinking of the Greek-born conductor, musician, and actor Teodor Currentzis as a new and upcoming young conductor. He was, in fact, in his mid forties (b. 1972) at the time of this writing, he's won numerous awards, conducted even more concerts, and made a dozen recordings. In 2004 he formed the MusicAeterna Orchestra (and later the MusicAeterna Chorus). Although audiences probably best know him for his opera productions, he's no slouch at purely orchestral music, either, where critics have found his direction everywhere from electrifying to terrifying. At the very least, you can say he's enthusiastic, as this recording of Tchaikovsky's Sixth Symphony demonstrates.

Russian composer Peter Tchaikovsky (1840-1893) wrote his Symphony No. 6 in B minor, Op. 74 "Pathetique" in the last year of his life, and it was his final work before he died. The ensuing century brought it growing fame, and today person can hardly doubt its value as one of the late-Romantic period's most-popular works. The title "Pathetique" in Russian means "passionate" or "emotional," which is how most conductors, like Currentzis, play it--big, bold, and red-blooded. It's just that Maestro Currentzis perhaps takes the "passionate" direction a step further than most.

The work begins with a fairly lengthy introduction, building in agitated fashion before culminating in the music's famous central theme. Currentzis takes this opening with more than adequate agitation; indeed, with more agitation than one normally hears. Then, he goes into the main theme with a delicacy one doesn't often hear, as well. Although the result is a timing for the first movement that differs little from the half dozen comparison recordings I had on hand, it's made up of more variable rubato, more stops and starts, more lengthened and shortened notes and phrases, and definitely more volatile dynamics than I have ever heard before in a performance of this music. There were several moments in the proceedings when the orchestra positively jolted me upright. One can question whether this is purely showmanship on Currentzis's part or whether it suits the mercurial nature of Tchaikovsky's music. There is no doubt it will keep you awake.

Teodor Currentzis
The second-movement is another of the composer's famous waltzes, followed by a zippy third-movement scherzo, and ending in a mournful Finale. Currentzis takes the waltz in headlong fashion, perhaps faster than the usual waltz tempo; yet, like the rest of the performance, it seems perfectly attuned to the idiosyncratic nature of the rest of the reading. The scherzo is as peppy and lively as any you'll hear, but by this point we expect that of Currentzis. The Finale is probably the least controversial part of the recording, with Currentzis calming down and offering a fine, passionately soulful conclusion to the music.

In all, I dunno. If you like your Tchaikovsky expressive and emotional to the nth degree, you'll get that from Currentzis. It's not subtle, not terribly nuanced, not delicate or polished. It's Tchaikovsky unrefined, undiluted. Like the sound I'll mention next, listeners are apt to find the performance immensely satisfying or overwhelmingly unwelcome.

The disc's jewel box comes enclosed in a glossy paper slipcase and a booklet essay by Maestro Currentzis himself. I'm afraid I couldn't get through much of the conductor's prose, which tends to be as flashy as his music making.

Damien Quintard produced, recorded, mixed, and mastered the album at Funkhaus Nalepastrasse, Berlin in February 2015. To put this kindly, think of your seating position as being in the front one or two rows of an auditorium. The orchestra is spread out very wide in front of you, and the instruments are practically in your lap. The effect is not without its commensurate thrills, but it may take a moment to get used to. This is the kind of close miking one usually associates with live recordings; however, nowhere on the packaging does it indicate this is a live recording. So, it's apparently just a close-up studio performance. It certainly gives clarity, life, and dynamism to the sound, although there isn't a lot of orchestral depth to give us a feeling of reality; nor is there much hall resonance; and there are some odd, audible effects in the final movement. The dynamic range and sonic impact may for some listeners compensate for the recording's eccentricities, though, and provide more excitement than they've ever heard before in this symphony. Like Currentzis's interpretation of the music itself, the sound may either delight or infuriate you.

JJP

To listen to a brief excerpt from this album, click below:


No comments:

Post a Comment

John J. Puccio

John J. Puccio

About the Author

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.

Mission Statement

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.

Contact Information

Readers with polite, courteous, helpful letters may send them to pucciojj@gmail.com.

Readers with impolite, discourteous, bitchy, whining, complaining, nasty, mean-spirited, unhelpful letters may send them to pucciojj@recycle.bin.

"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa