PASC024:
Symphony No. 6 in B minor (Pathétique), Op. 74 - Tchaikovsky
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L'Orchestre
de la Societé
des Concerts du Conservatoire de Paris
Conductor: Charles Münch
Recorded
24-27 May 1948.
Originally released as six ffrr 78rpm discs, Decca K 1968-1973. This remastering from Decca LP LXT 2544 (in its US 'London' incarnation,
LLP275), first issued in the UK in 1952 and transcribed from the
78rpm masters by Decca.
Download ID: 157559/432812
Duration 45'44"
Play
sample movement:
"The Pathetique is the one symphonic work in which Tchaikovsky solved
his own formal problem on a really large scale. Success in performance
of this very neurasthenic music depends on the extent to which the conductor
suppresses the natural temptation to over-dramatise it. Rational tempi,
an iron control of rhythm (especially in the third movement), and a certain
broadness in the treatment of the themes, are minimum requirements without
which the symphony falls to bits."
So
wrote the authors of the 1951 Record Guide. Never ones to be held
back in their opinions by mundane consistency, just one year later they
criticised this recording, as follows: "We are not too enthusiastic
about Munch's reading of this symphony, for he does his best to tone down
the hysteria which is fundamental to the music." Well in our
opinion, somewhat less hysteria is to be welcomed compared with some performances
we could name; and here we certainly have a well controlled reading with
a very pronounced 'French' orchestral tonality both of which to our taste
suit the work better than teutonic Sturm und Drang and wild-haired
conducting.
Our
transfer is from a test pressing made by Decca for their US 'London' label
and the matrix number shows it to be one of Decca's early ffrr
recordings - almost the earliest one we have seen. Made in Paris in May,
1948, it was first issued on twelve 78rpm sides, then in 1950 transcribed
from the masters and issued on LP in early 1951. This put it alongside
newer recordings exploiting the rapid advances in recording technology
that had been made in the interim, particularly the greater tonal and
dynamic range of magnetic tape, and it is perhaps for this reason that
it was somewhat neglected.
Clearly
there remained some unusual tonal qualities on the LP disc. Fortunately
for the twenty-first century listener we have digital wizardry to allow
us to coax further musical greatness from the grooves of this recording.
We feel sure that the authors of The Record Guide would have been
highly appreciative!
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