Pyotr Il’yich TCHAIKOVSKY (1840-1893)
Symphony No. 6 in B minor, Op. 74 (1893) [49:23]
Robert SCHUMANN (1810-1856)
Overture to Manfred, Op.115 (1848) [13:20]
London Symphony Orchestra/Yondani Butt
rec. 16, 19 November 2012, Abbey Road Studios, London.
NIMBUS ALLIANCE NI 6222 [62:36]
I became acquainted with Yondani Butt’s Tchaikovsky through his Symphony
No 5 (see review),
and while some of my remarks may not have implied huge affection for that
recording I now find myself coming back for more. Either someone has forgotten
to re-type the back sleeve of this release or that was a pretty intensive
two days in Abbey Road, with this Symphony No. 6 apparently having
been recorded in the same sessions as the Fifth. Such feats are by
no means impossible, but some rather vague ensemble amongst the strings in
parts of the first movement and elsewhere may or may not indicate fatigue.
There are innumerable versions of this great symphony available, and finding
an absolute best is a real challenge. I still have a great deal of time for
Antonio Pappano’s EMI recording of Tchaikovsky’s last three symphonies (see
review),
and while his more lyrical view of the Symphony No. 6 won’t do it
for everyone there is a sense of grand design in Pappano’s performances, some
of which involves holding back on intensity in order to make all the greater
impact at climaxes. The St Cecilia orchestra has a roomier acoustic which
helps things along, and the strings are indeed better disciplined. Pappano
does do quite a bit of moaning on the podium which can be mildly disturbing,
but this Sixth Symphony is always an event and demands hearing all
the way though.
Butt does nice work with the Allegro con gracia second movement,
which has plenty of ballroom ease and grace. With ensemble being an issue
in the first movement I was a bit concerned about the Allegro molto vivace,
but everything is held together well enough and the brass plays with rich
sonority. The timpani are a bit massive in the recorded mix, but this is all
good stuff. This is a movement whose conclusion you want bringing the audience
to its feet in premature ecstasies of applause, and Butt whips a suitably
climactic storm. It is of course the final Adagio lamentoso which
we’ve all been waiting for however, and this performance has plenty of tear-jerking
tragedy, Butt wringing the emotion from the score with some magical moments.
He builds magnificently over the first five minutes or so, and digs plenty
deep enough for us to feel Tchaikovsky’s suffering soul reaching out to us.
The basses are satisfyingly present with the pedal tone in the final minutes,
laying that carpet on which we must tread so very softly.
One day someone will explain to me why overtures are so often put after symphonies
on CD programmes, and such is the case here. Schumann’s Manfred overture
is given a good performance here, perhaps without quite the fizz of Georges
Szell’s classic Cleveland recording (see review),
and with over two minutes extra in timing not quite equalling Szell’s keen
sense of direction. Butt doesn’t wallow however, and as with the Tchaikovsky
he digs out plenty of detail and emotional punch.
The London Symphony Orchestra is a reliably good band, and this is a fine
recording of two magnificent romantic masterpieces. This Tchaikovsky Symphony
No. 6 doesn’t topple my favourites but is by no means a weak performance.
A few ounces more accuracy in the strings here and there and I would have
certainly rated its gritty emotion and honesty of expression high enough to
compete with Pappano.
Dominy Clements
Good performances.
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