Pyotr Ilyich Tchaikovsky - Symphony No. 6 ''Pathétique'' (Ferenc Fricsay)

Information

Composer: Pyotr Ilyich Tchaikovsky

1. Symphony No. 6 in B minor, Op. 74 - "Pathétique": 1. Adagio - Allegro non troppo
2. Symphony No. 6 in B minor, Op. 74 - "Pathétique": 2. Allegro con grazia
3. Symphony No. 6 in B minor, Op. 74 - "Pathétique": 3. Allegro molto vivace
4. Symphony No. 6 in B minor, Op. 74 - "Pathétique": 4. Finale (Adagio lamentoso - Andante)
5. Eugene Onegin, opera, Op. 24: Waltz (Act 2)
6. Eugene Onegin, opera, Op. 24: Polonaise (Act 3)

Radio-Symphonie-Orchester Berlin
Ferenc Fricsay, conductor

Date: 1959, 1960
Label: Deutsche Grammophon

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Review

Ferenc Fricsay died before approving this performance for release, and so it was only issued in 1996 despite being recorded in 1959/60. Shockingly, it never enjoyed a formal, international distribution, although it is easy enough to find now. This is without question one of the most intensely moving versions of Tchaikovsky’s last symphony ever captured on disc. The first movement is thrilling, from the dark-as-night opening to a development section of positively soul-crushing hysteria. I’m usually not one to indulge in sentimental speculation, but if both orchestra and conductor were not playing as if they knew that these would be their last sessions together, then the very notion has no meaning. 

The second movement waltz proceeds at a measured pace, gracious but wistful, while the ensuing march is really exciting: urgent and athletic, never bombastic or excessively heavy. The finale has to be the darkest before Bernstein’s recording on this same label. At eleven minutes it’s also on the slow side, but such is Fricsay’s concentration that time seems to be suspended. The climax before the soft stroke on the tam-tam offers just about the last word in world-weary despair. This is not, as my colleagues at Gramophone might say, “the ideal Pathétique for daily listening.” No indeed, this is a performance for those special occasions when you want to experience the music’s fullest emotional range, from manic heights to suicidal depths.

The couplings, the Waltz and Polonaise from Eugene Onegin, are quite well done, but need to be played separately. After the symphony there’s nothing more to be said. The sonics, by the way, are excellent.

-- David Hurwitz, ClassicsToday

More reviews:
http://www.amazon.com/Tchaikovsky-Sym-No-6-Friscay/dp/B00004VCQP

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Pyotr Ilyich Tchaikovsky (25 April/7 May 1840 – 25 October/6 November 1893) was a Russian composer of the romantic period who wrote some of the most popular music in the classical repertoire. He was the first Russian composer whose music made a lasting impression internationally. Tchaikovsky wrote many works that are popular with the classical music public, including his Romeo and Juliet, the 1812 Overture, three ballets, last three symphonies, the 1st Piano Concerto and the Violin Concerto. Despite his many popular successes, Tchaikovsky's life was punctuated by personal crises and depression.
http://en.wikipedia.org/wiki/Pyotr_Ilyich_Tchaikovsky

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Ferenc Fricsay (9 August 1914 – 20 February 1963) was a Hungarian conductor. Fricsay was born in Budapest and studied music under Béla Bartók, Zoltán Kodály, Ernst von Dohnányi, and Leo Weiner. He was known for his interpretations of the music of Mozart and Beethoven, as well as that of his teachers Bartók and Kodály. From the 1950s until his death, He spent much of his time in Germany as music director of the Bavarian State Opera (1956–1958) and as conductor of the RIAS Symphony Orchestra, the Deutsche Oper Berlin and the Berlin Philharmonic, recorded for the Deutsche Grammophon record label.
http://en.wikipedia.org/wiki/Ferenc_Fricsay

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