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The symphonic poem “Francesca da Rimini” stands opposite one of Tchaikovsky’s most popular works on this SACD – the Symphony No. 5 in E minor. The poetic-dramatic work “Francesca da Rimini”, based on an episode from Dante’s “Inferno”, which unfolds a splendid and captivating tableau ranging from lyrical passages with a beguiling wealth of colour all the way to dramatic-theatrical outbursts. No question about it: Mariss Jansons has just the right pinch of “Russian soul” to bring out both these works in their full power: the recordings in October 2009 and July 2010 reveal the conductor in perfect unity with his orchestra, a combination capable of bringing ecstasy and control into perfect balance here.
Recent recordings from October 2009 and July 2010
Mariss Jansons conducts Tchaikovsky – a classic example of Russian music interpretation.
Booklet: German, English
Pyotr Il'yich Tchaikovsky: Symphony No. 5 in E minor, Op. 64
I. Andante - Allegro con anima
II. Andante cantabile con alcuna licenza
III. Valse: Allegro moderato
IV. Finale: Andante maestoso - Allegro vivace
Pyotr Il'yich Tchaikovsky: Francesca da Rimini, Op. 32
Francesca da Rimini, Op. 32
“[Jansons's] concern with clean, lean but intense articulation is just what is needed...[He] pays a lot of attention to structure, and only puts on the brakes or accelerates where Tchaikovsky indicates - which is unusual. Yet there is no parsimony in his interpretation, or indeed in the superb playing of theBavarian Radio Smphony Orchestra, one of the most impressive in the world.”
“Jansons sees to it that nothing is exaggerated, and the orchestra's exceptional playing offers real grace besides all that formidable German firepower...These live concert recordings are truly state-of-the-art (I'm not sure I've heard a finer all-round one of the Fifth Symphony).”
“one could hardly fail to admire the painstaking preparation, miraculous precision and breathtaking coordination of the orchestral playing (the third movement especially glides along with effortless poise). Moreover, Jansons's control is phenomenal, and no fleck of detail would appear to escape his hawk-like gaze.”
“these are involving and fresh performances that recall the thrill of discovering these works for the first time...both scrupulous and artless, tempos (and their relationships) well judged, Jansons avoiding the unconvincing phrasal distortions that some conductors impose on the first movement....[The horn soloist] offers poise and bountiful tone”