Pyotr Ilyich TCHAIKOVSKY (1840-1893)
Symphony No. 5 in E minor (1888) [44:48]
Francesca da Rimini (1876) [24:30]
Russian National Orchestra/Mikhail Pletnev
rec. DZZ Studio 5, Moscow, June 2010
PENTATONE SACD PTC 5186 385 [71:41]
In the spring of 1885 Tchaikovsky was exhausted, in despair and full of self-doubt.
Then suddenly he was inspired to write his Fifth Symphony which he completed
in less than eight weeks: four to sketch it out and three to orchestrate it.
I will confess that I had not visited this Symphony for many years. I know
I was ‘knocked out’ by it when I heard it for the first time in my late teens.
What excitement, what lyricism, and what wonderful tunes. Who cares that some
snobs declared its second movement as vulgar just because one of its themes
was borrowed for films and radio programmes. One of my fondest memories is
of the 1950s Karajan recording that featured Dennis Brain as the horn soloist
in that second movement. I stupidly let that LP out of my collection when
CDs superseded LPs. I believe it resurfaced recently in the huge collection
of Karajan recordings. If it was offered as a single CD I would jump at it
- a hint for somebody?
To the present recording and straight to the point - that solo horn in the
second movement. Alas it just does not compare with Dennis Brain’s heartfelt
rendering; and the timbre of Pletnev’s soloist’s instrument, as so many Russian
horns do, tends towards, if I may dare say it, a certain sourness. Pletnev’s
second movement favours a dour countenance until it is lifted by that splendid
noble march tune. The older ones amongst us will remember that this tune introduced
the American documentary series The March of Time seen in cinemas between
1935 and 1951.
Despite my disparagement of the horn-playing it must be said that the virtuosity
of the Russian National Orchestra is undoubted. This performance generally
is very impressive. The strings glow, the violins have a gorgeous sheen and
the woodwind are very expressive; the jubilant brass section sings out triumphantly
in the finale in which Pletnev generates white heat excitement. The opening
Andante thrills too, its drama well paced. The lovely waltz third movement
is very successful: it lilts delightfully while the enchanting woodwinds and
strings chatter and pirouette.
Turning to Francesca da Rimini, Pletnev draws a most sinister opening.
This vividly suggests the descent into nether regions where Francesca and
her brother-in-law, Paolo suffer unending and hellish tortures for their illicit
love. Tchaikovsky’s magnificent tone poem offers not so much a detailed narrative
rather a character study. Tchaikovsky’s diabolic vision of hellfire is thrillingly
realised by Pletnev. In the central section, that ravishing romantic melody
is spun out bewitchingly, the coy woodwinds singing out, tentatively as if
Francesca is trying to resist her longing. The strings suggest Paolo’s insistent
ardour before voluptuous harp and flute figures make temptation irresistible
and their ignominious fate is sealed.
The Pentatone sound is first class.
A sizzling Francesca with a Symphony that’s also very good but which
is spoilt by the delivery of that vital horn solo in the second movement.
Ian Lace
see also review by Brian
Reinhart
A sizzling Francesca with a Symphony that’s also very good but which
is spoilt by the delivery of that vital horn solo in the second movement.