Tchaikovsky: Symphony No. 6; Hamlet (CD Review)

by Karl Nehring

Tchaikovsky: Symphony No. 6 in B Minor, Op. 74 “Pathetique”; Hamlet: Fantasy Overture after Shakespeare. Maurice Abravanel, Utah Symphony Orchestra. VOX-NX-3024CD 

Here we have another of the recordings from the Vox vaults that have been given new life thanks to the good folks at Naxos, who have been digging out some of the old analog master tapes  recorded by Elite Recordings back in the 1970s and preparing new digital masters using state-of-the-art 192 kHz/24-bit technology. As the note on the back cover proclaims, “The Elite Recordings for Vox by legendary producers Marc Aubort and Joanna Nickrenz are considered by audiophiles to be amongst the finest sounding examples of orchestra recordings.” They have also been choosing some fine performances to resurrect, including these Tchaikovsky recordings by the late American conductor Maurice Abravanel (1903-1993). Although his name may be unfamiliar to many music lovers, his story is an interesting one and his musical achievements are noteworthy. He was born in Greece and raised in Switzerland, where his family lived in the same house as the conductor Ernest Ansermet, with whom young Maurice played four-hand piano music and was able to meet composers such as Stravinsky and Milhaud. He later studied under Kurt Weill in Berlin, then moved to Paris, where he was music director for Balanchine’s Paris Ballet for three years. Abravanel then moved to the United States and became the youngest ever conductor ever hired at that time by the Metropolitan Opera. In 1943, he became an American citizen, then in 1947 left New York to become the conductor of what was at the time a rather provincial orchestra in Salt Lake City, Utah. He built that orchestra into what became the Utah Symphony Orchestra, the orchestra over which he presided until his retirement for health reasons in 1979. Abravanel and his orchestra made numerous recording for several labels, including the first complete Mahler symphony cycle by an American orchestra, for the Vanguard label, and the complete orchestral works of Tchaikovsky for Vox, from which this new remastering was taken. 

 

Although the Salt Lake Tabernacle was far from an ideal recording venue, its oval domed shape being highly reflective, the Elite Recordings team did their best to deaden the space, draping blankets over the seats and taking special care with microphone placement.  The end result is excellent, the orchestra sounding as though it is playing in a large hall, but nothing is blurred. As for the performances, they are also excellent, Abravanel careful not to overplay the dramatic elements to the point where they start to sound hysterical. The “Pathetique” possesses its own drama as written; it does not need to be stretched and pulled out of shape to make its points. I have special memories of this symphony, for in my high school concert band days our band director chose an arrangement of the third movement march, marked Allegro molto vivace, as the centerpiece of our performance for the Indiana State Concert Band Contest (I played bass clarinet). Needless to say, we practiced and practiced and practiced until I felt as though I knew not only my part but every note of the piece. Curious as what the original orchestral version sounded like, I purchased a recording to play on our home stereo (Reiner/Chicago, as I recall) and listened to that over and over again with avid fascination. Although my playing had very little to do with it, our band got the highest score in the state, and to this day, the “Pathetique” is one of my favorite symphonies, even though I am not that much of a Tchaikovsky fan, to be honest. But back to the performances at hand. Along with a convincing performance of the symphony, Abravanel delivers a Hamlet  that is lively and entertaining, with plenty of drama and flair. This is simply very good, straightforward, well-played, and excellently recorded Tchaikovsky, well worth a recommendation.