CD Review: Tchaikovsky Symphony No 4 * Francesca da Rimini * Mstislav Rostropovich * London Philharmonic Orchestra * Parlophone * 1977

 

London Philharmonic Orchestra

Mstislav Rostropovich, conductor

Warner Music re-release box set of 6 CDs, containing Tchaikovsky's Symphonies 1-6, 'Manfred' Symphony, Romeo & Juliet, Francesca Da Rimini, '1812' Overture, and the Rococo Variations

Disc 3:

Symphony No 4 in F minor

Francesca da Rimini

In October of 1976, a week after recording Tchaikovsky's Third Symphony in Abbey Road Studio 1, Mstislav Rostropovich and the London Philharmonic returned to Kingsway Hall in London to resume the rest of the cycle with Symphony No 4 in F minor.

Perhaps more than any other of Tchaikovsky's symphonies, No 4 lays bare the contrast between Eastern and Western styles. When these recordings were made, there was still as distinct difference between Russian and Western European symphony orchestras. Soviet era ensembles such as the Leningrad Philharmonic and the State Symphony of the USSR Ministry of Culture featured aggressive, pointed, brass sections and drastic, extreme dynamic contrasts between the sections. Performances that would be considered savage, barbaric, or excessive (however much they might impress technically) in the West were routine in the East. The Berlin Philharmonic of the time, directed by Herbert von Karajan, was notable for their consummate blending, the richness of sound, and the desire to always make the music beautiful, however loud it might get. What might be called the London style (as practiced by the major orchestras there) focused less on the type of merged blending of Berlin, instead presenting each color of the orchestra in as balanced and dynamic a way - emphasizing the different sounds of the orchestra's sections distinctly. By contrast, the Soviet era orchestras would drive with passionate energy to the degree that, at times, all winds and strings blend to a white frenzy of fortissimo. This is not to everyone's tastes in the West, but it remains an important part of the tradition of performing Tchaikovsky. (I personally love it). So, as with my trepidation when approaching the Soviet cycle of Vaughan Williams symphonies by Rozhdestvensky, I admit to wondering if the LPO would deliver a satisfying performance for one of my leanings.

Short answer: they did.

Longer answer: The french horns open with an almost Russian bite to their sound, and we're off! The trumpets are slightly more staid than you'll hear from Mravinsky or Svetlanov's Soviet era recordings, but those are extreme examples, and the LPO sounds magnificent. Rostropovich focuses more on beauty than passion in this music, and the tempi are often slightly broader than most recordings, but once again Kingsway Hall is a major star of the show - and I enjoy the lingering to hear the beautiful playing. Also, and I can't stress this enough: Rostropovich has an arc to the emotion in this music. Symphony after symphony of this cycle - and even Romeo and Juliet - are paced to deliver the absolute climax towards the end of the pieces. This includes the interior movements: where other conductors might opt to go for climax after climax within the piece itself, Rostropovich sees the whole work and gages the drama to reflect the whole.

In other words, patient listening is rewarded - wait and let Rostropovich unfold his vision. It's worth it, believe me. The slow movement here is quite gentle compared to many other recordings, and lingers more too. The Pizzicato Scherzo is one of the finest for clarity and melodic direction, but the real satisfaction comes in the finale. By the end, the passion and fire are fully lit - and we understand what Rostropovich was driving at this whole time.

This is a highly satisfying Tchaikovsky 4 by a Western orchestra.

They returned to Abbey Road Studio 1 for in May of 1977 for the recording of Francesca da Rimini, and you really can hear the difference between the Studio and the magnificence of Kingsway Hall. Still, it is beautifully recorded. And what an orchestra! Mountainous sound, but each part distinguishable. This is the strength of the British approach, in my opinion: each instrument delineated beautifully and fully, regardless of dynamic. It makes the color palette of the composition shine, and with Tchaikovsky there is always plenty of color. Having said this, the brass sound absolutely Russian in their brashness of the climax! The strings sound like the flames of hell (and I mean that in...uh...the best possible way). The ending is, as it should be, terrifying.

I'm not sure if I would buy this individually, but as part of the cycle, it's great. Bottom line: this is a successful disc three, and the cycle continues to impress.