Tchaikovsky - Symphony No.6, Serenade For Strings (2006)

Tchaikovsky, Piotr Ilyich Tchaikovsky

Royal Philharmonic Orchestra

Daniele Gatti

The conflict between public persona and private feelings was never more deeply felt than by Tchaikovsky in his life’s final years, and never expressed with greater poignancy than in the Pathétique Symphony. Or so we’ve been led to believe. (For a variety of interpretations, see Tchaikovsky: A Self-Portrait, by Vladimir Volkoff, p. 322ff, Robert Hale & Co., London, 1985.)

“Tchaikovsky Agonistes,” a composer tormented by his homosexuality, is a 20thcentury invention. While not without concerns about his emotional peace of mind – and who can say otherwise ? – the composer’s personal predilections were neither flaunted nor hidden. If homosexuality was not embraced by Imperial Russia, it was tolerated both by members of the Romanov Court and the musical establishment.

Outwardly, Tchaikovsky’s last years were triumphant. In 1892, the Académie Française elected him a member and Cambridge University chose him to receive an honorary Doctorate of Music. His works were performed throughout the Continent, and his career as guest conductor was flourishing, with engagements booked into May of 1894. Most important, perhaps, he continued to compose prolifically. For the Mariinsky stage he created Pique Dame in 1890, Iolanta in 1891, and The Nutcracker in 1892, and his orchestral scores included the symphonic ballad Voyevoda in 1890-91 and the Pathétique Symphony in 1893, his last completed work.
For the Pathétique and its surrounding mystique, Tchaikovsky himself set the stage. While planning it, he wrote to Vladimir ‘Bob’ Davydov, his nephew and lover and the Symphony’s dedicatee: “During my stay in Paris last December I had the idea of writing a program symphony; but to a program that should remain an enigma for everyone but myself; let them try and guess it! For my part, I intend to call it simply ‘Program Symphony.’ The theme of it is full of subjective feeling, so much so that as I was mentally composing it during the journey, I frequently shed tears…”

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Royal Philharmonic Orchestra

 The history of the Royal Philharmonic Orchestra is inextricably linked to its founder, Sir Thomas Beecham, one of Britain’s greatest conductors and classical music’smore colourful figures. When in 1946 Beecham set out to create a world-class ensemble from the finest players in the country, he envisioned an orchestra that would bring the greatest music ever composed to every corner of the United Kingdom. Since Sir Thomas’ death in 1961, the Orchestra’s musical direction and development has been guided by a series of distinguished maestros including Rudolf Kempe, Antal Dorati, André Previn and Vladimir Ashkenazy. Today, under the inspired leadership and gifted musicianship of Daniele Gatti (Music Director since 1996), the Orchestra continues to expand its international reputation while maintaining a deep commitment to its self-appointed role as Britain’s national orchestra. 
The RPO’s performances and recordings receive rapturous acclaim from the public and the press around the world, which has praised the Orchestra for the “quality of its playing, which [is] incisive, insightful and extremely beautiful.” (The Guardian)
 Over the years, the RPO has enjoyed long-standing partnerships with important contemporary and living composers, and with the finest film composers of our time, from Brian Easdale’s score for The Red Shoes  (1948) to Maurice Jarre’s music for A Passage To India  (1984)—both of them Oscar® winners.

Daniele Gatti

Considered the ‘foremost conductor of his generation,’Italian conductor Daniele Gatti has galvanized the music world with his dramatic and instinctive style. A charismatic maestro, he demonstrates an equal mastery of the orchestra and the opera stage, delivering consistently probing inter-pretations imbued with fire and refined sensitivity.

Music Director of the Royal Phil-harmonic Orchestra since 1996, Gatti has inspired audiences and critics alike with his enraptured performances; his recordings have attracted enthusiastic notices. Since 1998, Gatti is also Music Director of Bologna’s opera house, the Teatro Comunale, and has conducted opera to great acclaim the world over. 
A native of Milan, Daniele Gatti studied piano and violin at the Giuseppe Verdi Conservatory, earning his degree in composition and conducting. Following his La Scala début at the age of 27, he led productions at Venice’s Teatro La Fenice, the Chicago Lyric Opera, the Berlin Staats-oper and New York’s Metropolitan Opera. Maestro Gatti was Music Director of the Accademia Nazionale di Santa Cecilia in Rome from 1992 to 1997 as well as Principal Guest Conductor of the Royal Opera

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Tchaikovsky - Symphony No.6, Serenade For Strings (2006)

Tchaikovsky, Piotr Ilyich Tchaikovsky

Royal Philharmonic Orchestra

Producer: Robina G. Young
Recording Engineer: Brad Michel (DSD engineer - Craig Silvey)
Recording location: Watford Colosseum, London
Recording Type & Bit Rate: DSD64

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HMU907394: Tchaikovsky - Symphony No.6, Serenade For Strings
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Tracks.
1.
Symphony No.6 - Pathetique in B minor, Op.74 - I. Adagio - Allegro non troppo
Tchaikovsky
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2.
Symphony No.6 - Pathetique in B minor, Op.74 - II. Allegro con grazia
Piotr Ilyich Tchaikovsky
00:07:09   Select quality & channels above
3.
Symphony No.6 - Pathetique in B minor, Op.74 - III. Allegro molto vivace
Piotr Ilyich Tchaikovsky
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4.
Symphony No.6 - Pathetique in B minor, Op.74 - IV. Finale: Adagio lamentoso
Piotr Ilyich Tchaikovsky
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5.
Serenade for Strings in C major, Op.48 - I. Pezzo in forma di Sonantina
Piotr Ilyich Tchaikovsky
00:09:53   Select quality & channels above
6.
Serenade for Strings in C major, Op.48 - II. Walzer
Piotr Ilyich Tchaikovsky
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7.
Serenade for Strings in C major, Op.48 - III. Elegie
Piotr Ilyich Tchaikovsky
00:09:58   Select quality & channels above
8.
Serenade for Strings in C major, Op.48 - IV. Finale- Tema Russo
Piotr Ilyich Tchaikovsky
00:07:49   Select quality & channels above

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