Markevitch conducts Tchaikovsky

Markevitch recorded a complete cycle of Tchaikovsky symphonies with the LSO for Philips between 1962 and 1966. As time went by they were overshadowed by both the Karajan and Haitink sets, and to some extent by Muti, too. Now they have arrived in a bargain four-CD boxed set, admirably remastered. The recording was always brilliant and resonantly full with fine deep brass sonorities; now it is that bit clearer, yet the strings remain rounded and the ambient bloom is retained. The layout on four discs means that Symphonies Nos. 2 and 5 are centrally divided (between movements), but that is a small price to pay for such bounty. Overall, these performances match the best available, with the adrenalin running free, a fine understanding of the music and a spontaneous Tchaikovskian feeling pervading the music-making throughout. (Only No. 5 brings interpretative reservations and those are not serious.)

I have only space here to mention a few details concerning these interpretations, but it is worth noting that in Symphony No. 1 Markevitch chooses a fast tempo for the first movement, at the same time retaining the light Mendelssohnian flavour, while the opening of the slow movement is full of evocative atmosphere. In No. 2 the rhythmic vigour in the outer movements is very telling with a superb final climax for the variations in the finale. Symphony No. 3, after a similarly dynamic first movement, is full of warmth and charm, its ballet-music associations well brought out and its finale involving and full-blooded. Symphony No. 4 also has thrilling outer movements, as exciting as any I have heard. Markevitch's way of leaning on the rocking crescendo phrase in the first movement is a nice individual touch, while the climax of the development provides a really thrilling moment, matching the unbuttoned Russian fervour at the close of the finale. The central movements are no less appealingly imaginative. Symphony No. 5 has a similarly direct first movement, with everything moving forward (perhaps a shade inflexibly) in a single sweep, and the slow movment generating plenty of emotional power. The main controversial point here is that the re-statement of the big tune in the finale is rather slow and solid. The intensity of No. 6 (Pathetique) is in no doubt: the first movement presses on with passionate energy, the central movements are well contrasted—the scherzo/march ebullient—and the finale is often elegiac in feeling without loss of passion. Throughout the set the LSO's playing is both committed and polished. This issue certainly represents outstanding value (CD 426 848-2PB4: 256 minutes: ADD). I.M.