Search - Pyotr Il'yich Tchaikovsky, Oslo Philharmonic Orchestra, Mariss Jansons :: Tchaikovsky: Symphony No. 5

An Outstanding Interpretation.....

Andrew Simco | Morris, IL, USA | 05/17/2000

(5 out of 5 stars)

"There were many recordings of Tchaikovsky's Fifth Symphony on the market when this recording was released in late 1984. The Oslo Philharmonic and Mariss Jansons were thus taking a big gamble by recording yet another version of "the old war horse" in January 1984 and an even bigger gamble by trying to sell it to the record labels. EMI and DECCA were not interested, but Brian Couzens, founder of Chandos Records, listened to it and was convinced enough to take the risk of releasing it. The resulting kudos of praise from the critics lead to a decision to record the rest of the cycle, and the rest, they say, is history! This is an outstanding version of the symphony by any standards. Recorded at the Oslo Konserthus with James Burnett as producer and Arild Erikstad as co-producer, this is a real performance, not just another studio recording. Mariss Jansons chooses tempi that feel quite right. The perfomance as a whole seems to flow as inevitably as the course of a river. The first movement is a case in point. The introduction is superbly done, with just the right amount of pathos in the clarinet, and the strings sounding positively luscious. One of Mariss' strengths is the ability to keep the excitement level high, but never let it get out of hand. This strength is evident throughout the recording. The climaxes are well shaped, and are well prepared. Rhythmic interjections are precise and the orchestra (which made this recording for free) plays with a burning intensity rarely found today, even in the so-called "big league" orchestras. This is one of the aspects that brought this recording to the attention of the critics. The finale in particular is awesome in its inevitability. Much as I personally dislike the coda, the way Jansons and crew handle it, I feel like cheering at the conclusion of the symphony. Only a great performance can elicit that reaction, and this definitely is a great performance. Before closing, I'd like to commend solo hornist Odd Ulleberg on his beautiful performance of the solo horn part in the opening of the second movement. Well played and extremely musical! The whole second movement again flows, with tempi well judged! The third movement has all the grace and charm one can expect. Again, kudos to piccolo player Andrew Cunningham in the trio for some expert piccolo playing!"

Why so much hype ?

Jeffrey Lee | Asheville area, NC USA | 09/22/2002

(3 out of 5 stars)

"After enjoying Jansons' Tchaikovsky Fourth so thoroughly, I sought out his acclaimed version of the Fifth. It proved not to be my cup of tea. In the first movement, the emotional element is slighted. Jansons seems impatient and wanting to get on with things--elsewhere. With the second movement, not enough attention is given to what should be underlying drama. Things sound too innocent. The music doesn't sing enough either, and there are some rather strange oboe sounds. The third movement isn't bad. In some sections, the approach accents the balletic Tchaikovsky. The final movement lacks a real sense of drive and expectancy. It is somewhat laid back. I prefer things to get a little more charged here, with the ante on tension being raised. So where would I go for a humdinger Fifth ? Karajan ? No, because there's not enough soul in his account. Which one ? ANY one. Ormandy ? An otherwise fine performance is a little too tame. For tension, excitement, grandeur and melodiousness; for an air of anticipation as if a real life odyssey was unfolding, George Szell with the Cleveland Orchestra fit the bill. I find he supplies the best balance of all those qualities essential in realizing a truly satisfying Tchaikovsky Fifth. Get it and listen for yourself."

A Convincing Tchaikovsky 5th.

need coffee now! | Bay Area, CA, USA | 04/06/2007

(5 out of 5 stars)

"Tchaikovsky was very negative about this symphony when he completed it. Compared to his other popular symphonies: #4 and #6, he had serious doubts about its merit and I think some of his concern is justified. A conductor would have to work hard at screwing up the 4th, and the 6th can be interpreted either as a valiant human struggle against fate or as a mortally wounded beast in death throes and both interpretations work well. The 5th, although popular seems more difficult to perform. There are too many recordings that do not catch fire. The first movement can seem to be over before you realise and it does need to emerge fully from the morose opening. My problem with this symphony is that the great second movement is too moving and powerful for what follows. The last two movements always seem anticlimatic, especially the last movement which I think is one of Tchaikovsky's weakest. The portentous opening is too long and the coda does not convince. The movement seems contrived and is not of the same quality as those of #4 with its exuberant high spirits or #6 which is gut-wrenching in its sadness.



I think Jansons has recodered the best overall set of Tchaikovsky symphonies to date. If Gergiev completes them all he will offer stiff competition. The Jansons 5th, along with Gergiev is the best I have heard.

The outer movements have the drive and passion needed for this symphony to be convincing. The meltingly beautiful horn melody in the slow movement is done with such tenderness and the brutality of the Fate motif obliterating all the beautiful muisc before it is crushing as it should be. The third waltz movement has always sounded somwhat slight and the strings apart from the main waltz melody are too skittish for my liking. However, high praise to the woodwind players for their velvety touch.



The finale of the last movement has the required assertiveness at the beginning to make you realize all the gloom that has occurred before will be banished completely. Jansons lets loose with all the might at his disposal with sonorous brass and feverish strings that you are almost swept along towards the climax. He takes the predictable coda also in a weighty fashion and brings it to a satisfying conclusion without giving way to bombast, as is so often the case in other performances. A worthy disc and a worthy set. Below are the times of each movement;



1. Andante-allegro con anima 13.45

2. Andante cantabile, con alcuna licenza 12.21

3. Allegro moderato 5.22

4. andante maestoso-allegro vivace 11.20



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