Search - Pyotr Il'yich Tchaikovsky, Daniele Gatti, Royal Philharmonic Orchestra :: Tchaikovsky: Symphony No. 5; Romeo and Juliet

A fresh look at an old favorite

cwb | Carmel, IN | 01/16/2006

(5 out of 5 stars)

"Congrats to Daniele Gatti and the Royal Philharmonic Orchestra! Just when I thought that not much new could be brought to the table with Tchaikovsky's Fifth (there are so many recordings out there!), they came along and did it.



The irony is that Gatti delivers a fresh perspective by presenting the Fifth in a manner much closer to that which the composer intended. The tempi may seem brisk at first, but they more closely match Tchaikovsky's markings. The introduction, which is marked "Andante, Quarter Note = 80," is usually played much, much slower. And listen to how exciting the end of the first movement is when the orchestra continues to push forward rather than give in to the tradition of slowing down. Gatti also pays close attention to Tchaikovsky's dynamic markings, bringing out subtle, often overlooked, details and exploiting the composer's use of color and understanding of balance.



Gatti manages to bring out these subtleties in the score without causing the performance to sound micromanaged or stiff. There is much passion throughout, and the level of intensity is always high where appropriate. The climax in the second movement, though not overdone, is moving, and the many changes in thematic material in the fourth movement are brought together coherently.



Gatti is, of course, helped by the flawless playing of the Royal Philharmonic. Each section plays beautifully, and the group's sound, balance, intonation are exceptional. The big horn solo in the second movement is absolutely gorgeous.



The Romeo and Juliet Fantasy Overture is also played wonderfully. Gatti takes his time with the opening and closing sections (showing off some fabulous woodwind playing), brings much excitement to the battle scenes, and manages to pull off the main theme romantically, but tastefully.



Overall this disc is incredible. I recommend it highly to those seeking a first recording and to those who already have several in their collections."

Just shy of great

Prescott Cunningham Moore | 05/31/2007

(4 out of 5 stars)

"I wanted to like Daniel Gatti's Tchaikovsky 5th more than I actually did. Considering the successes of the installments of the neighboring 4th and 6th symphonies, I was slightly disappointed. Still, this is a very good recording, just shy of great, that finds both Gatti and the Royal Philharmonic in their element.



If anything, what makes this recording so fine are Gatti's quick tempos, which enliven this all-too-familiar music with a sense of fresh spontaneity. The introduction to the allegro is appropriately rapt and somber but Gatti (rightfully) keeps the music from sounding lugubrious or heavy - this isn't a funeral dirge after all. This creates a great deal of tension that carries into the allegro proper, taken at a swift, but by no means hurried tempo. Gatti pays a great deal of attention to orchestral balance and to drawing our attention to the important aspects of the score. The bass line (especially the trombones) is always present, the horns and winds well balanced against each other, and the strings are warm and rich. There is, however, a certain homogeny of sound throughout that robs the music of its intrinsically Russian character. Furthermore, this timbral nuance is further exacerbated by Gatti's tendency to curb Tchaikovsky's emotionalism to excess. The rhythmic outbursts that close both the exposition and the recapitulation don't bite the way they should and the climax in the development lacks the frenzied energy necessary for the movement's success. The coda also suffers; Gatti smothers the crucial bassoon parts in lower strings, making a murky mess of the movement's close. On the other side of the interpretive spectrum, when Gatti tries to draw out the more typically emotional moments in the score, he does so tastelessly. His annoying retard during the second theme group only becomes more and more annoying upon each repeated listening - it destroys the forward momentum of this dance-like music and is completely unnecessary for the musical argument; it is the equivalent of interpretive graffiti. However, I am being very critical and on the whole, the first movement is wonderful. But these complaints keep Gatti's interpretation stubbornly behind those reference readings by Mravinksy and Jansons.



The two inner movements run much more smoothly. Gatti's sense of musical architecture and drive are certainly evident in the beautiful andante, which features wonderfully mellifluous solo work from the horn and various winds. Gatti places the dynamic outbursts appropriately within the context of the movement, which is wholly refreshing considering the tendency of some conductors to just let the music scream at the expense of taste. It is wonderfully mature, well paced, and thoroughly satisfying. The same holds true for the waltz. Gatti's tempo is just right, the music really sings and flows naturally at this pace. The trio is balletic without sounding rushed and the reoccurrence of the opening music on the low winds is appropriately surprising.



The finale is, again, good without being great, missing the energy both Mravinsky and Jansons bring to this music. Gatti really pours on the legato which, coupled with the warm string sounds, makes the opening sound overly-sentimental. Still, Gatti builds a great deal of tension before the transition into the faster sections, where the Royal Philharmonic really plays their collective heart out. The strings have bite and the brass deserve special mention for clearly articulating their descending notes at the fast tempo. The fanfares are all good fun, due again to the full-bodied brass that, although lacking in Russian character, certainly have real presence. The coda is wonderfully sunny - the musicians are giving Gatti their all and it shows. The mad-dash to the finish is fast, energetic and the final declamatory statement grandly blazes from the trumpets and horns. All in all, for all my complaints, this is a marvelous release which, again, is just shy of great; anyone wanting a SACD Tchaikovsky 5th in wonderful modern sound should have no reservations about purchasing this release. And, although it can't quite compete with the above reference recordings muscle for muscle in the excitement department, it still holds its own in this ever-increasing field and is a recording to trump most.



The same holds true for Gatti's well played Romeo and Juliet. The emotional extremes aren't quite as, well, extreme as Bernstein's Sony edition which remains a classic, but Gatti does wonderful things throughout. Friar Lawrence is rapt in tension, setting the stage for a frightfully energetic quarrel. The love theme is romantic without becoming excessive leading into the development, which receives a wonderfully vigorous reading. And although the final collapse and death could sound more frenetic, the final entrance of the love-theme sounds appropriately heavenly, ending in the typical Tchaikovskian blaze of passion.



More so in this release than in the other two, I had an issue with the orchestral sound. The Royal Philharmonic is a particularly warm sounding ensemble that lacks the timbral characteristics necessary for a true "Russian" sound. Those of us familiar with the wonderfully steely strings of Mravinsky's Leningrad Philharmonic or the chilly atmosphere of Jansons' Oslo Philharmonic will find the Royal Philharmonic's sound is excessively warm. The brass doesn't bark, winds aren't tart, and the strings too full-bodied to capture the Russian idiom. But again, the playing is nothing but world-class.



A very good 5th and Fantasy Overture that belongs in any collectors library. And fans of the series will certainly find as many moments to cherish in this entry as they did in the other two. Recommended."