Tchaikovsky - Symphonies #4, #5, #6 - Mravinsky - 1960, 2013 (FLAC, 24BIT – 48KHZ)

Tchaikovsky – Symphonies #4, #5, #6 – Mravinsky – 1960, 2013 (FLAC, 24BIT – 48KHZ)

Composer: Piotr Ilyich Tchaikovsky
Orchestra: Leningrad Philharmonic Orchestra
Conductor: Yevgeny Mravinsky
Audio CD
Number of Discs: 1 CD
Format: FLAC (tracks)
Bit Depth: 24bit / 48kHz
Number of channels: 2.0
Label: Pristine Classical
Size: 1.42 GB
Recovery: +3%
Scan: yes
Server: rapidgator

Tchaikovsky – Symphonies #4, #5, #6

Tchaikovsky Symphony No. 4 in F minor, Op. 36

01. 1st mvt.-Andante sostenuto 19:03
02. 2nd mvt. – Andantino in modo di canzone 9:25
03. 3rd mvt. – Scherzo: Allegro 5:54
04. 4th mvt. – Finale: Allegro con fuoco 8:16

Tchaikovsky Symphony No.sin E minor, Op. 64

05. 1st mvt. – Andante – Allegro con anima 14:48
06. 2nd mvt. -Andante catabile, con alcuna licenza 12:04
07. 3rd mvt. – Valse: Allegro moderato 5:32
08. 4th mvt. – Andante maestoso – Allegro vivace 11:55

Tchaikovsky Symphony No. 6 in B minor, Op. 74, “Pathetique”

09 1st mvt.-Adagio-Allegro non troppo 17:52
10. 2nd mvt. – Allegro con grazia 8:12
11. 3rd mvt. – Allegro molto vivace 8:27
12. 4th mvt. – Adagio lamentoso – Andante 9:55

Recorded in stereo 1960

Producer’s note

Yevgeny Mravinsky made these recordings with the Leningrad Philharmonic Orchestra for DGG whilst on a tour of western Europe in the autumn of 1960 in sessions which took place in London (Symphony No. 4) and Vienna (Symphonies 5 & 6). Although regarded still today as pillars of the recorded canon, reviews both upon release in 1961 and, quoted here, upon reissue in the 1970s, found something lacking sonically. Likewise contemporary reviews of the currently-available DGG CDs.

My aim in carrying out a 32-bit XR remastering of the recordings was to see whether a harmonic rebalancing of the recordings might serve to eliminate these reservations, and I’m pleased to report that substantial improvements have been possible. The sound of the originals was unusually boxy for 1960, with a rather constricted top end and a lack of real depth in the bass. All three of these shortcomings have been resolved here, bringing an even greater sense of immediacy and realism to these fabulous performances.

Andrew Rose



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