Tchaikovsky: Symphony No6, Op74

Editorial Reviews
Amazon.com
There's a big myth in the classical music industry that states that a conductor's latest version of a work must be somehow deeper, more profound, in short--better. This is untrue. As most conductors age, they simply get slower and more decrepit. Some, like Otto Klemperer and Leonard Bernstein, turn this to artistic advantage (sometimes). Others, like Arturo Toscanini, Herbert von Karajan, and Eugene Ormandy--the vast majority, in other words--seldom recapture the flair of their earlier versions. This, Ormandy's last recording of this symphony, is a case in point. His great Tchaikovsky recordings are all on Sony at budget price. Why pay more? --David Hurwitz

Tracks:

I. Adagio; Allegro non troppo
II. Allegro con grazia
III. Allegro molto vivace
IV. Finale. Adagio lamentoso
The Poem Of Ecstasy, Op. 54

Customer Reviews:

Huge dynamic range in Pathetique.......2006-07-03

Perhaps more of a music expert would not find this a drawback, but I find the enormous dynamic range of this recording a bit distracting -- it starts out incredibly quiet, so I have to turn the stereo way up to even know it's playing, and then of course as it gets going it's blasting me out of the living room. I'm sure this would be very exciting to hear live, but it is a small drawback for a living room listener. That said, it's a lovely recording.

How did Philadelphia let Maestro Muti get away?.......2004-01-09

I agree with the other reviewer that states that this is the most emotional and powerful recording of the 'Pathetique' ever. I have all the old Ormandy recordings of Tchaikovksy's last three symphonies and held on with ardent fervor that they were the best ever and never to be bettered, but I must now give in and honor Maestro Muti for his recording of the last three symphonies are without compare.

There is such passion and you feel Tchaikovsky's turmoil. The last movement a lamenting goodbye to the world, and after such a joyous march! He must have been a bi-polar madman because it surely shows up in this music and this incredible performance.

After listenig to this symphony hundreds of times and knowing that the beginning blast of the 'allegro non troppo' of the first mvement is coming, I was so engrossed in the opening, the Maestro's coloring and shaping, in which few others even come close in any of their performances, and already having listened to this recording, at least ten times, I jumped out of my chair and my hair stood on end and I was covered in goosebumps! The movement ends in such majestic motion and that marching effect, something inevitable coming down the road, a reckoning for the composer somehow and it always shows up in the finale of the first movement. I have said this before, but the maestro plays 'maestoso' like no other and you feel this majesty no matter what work he is conducting.

The second movement waltz. Amazing! The maestro's phrasing and the string tone and the overall interpretation of it, just wonderful and when the darkness comes, as it always does in a Tchaikovsky work, the maestro weaves it in with the darkness and the shading that is so emotional, so beautiful and such string tone. I think Meastro Ormandy would be thrilled.

The march of the third movement is played like no other that I have heard. He plays with terrific intensity but with the virtuosity of the orchestra, he holds back. The tension builds and builds until the finale of the movement comes in all its glory and the orchestra plays monumentally.

The last movement; the lamenting of a man who is dying on the inside yet expresses it as if Shakespeare would in a sonnet with fire and grace and impeccability. After the orchestra slowly decrescendoes throughout the movement and then that gong sounds and you know that he has chosen death and you feel the Maestro has succumbed with him and the orchestra has fulfilled its part, as if handing the poison to the composer that he may drink.

Okay, I may have gone over the top here, but this recording is beyond fantastic. The sound of the orchestra, its power and delicacy. Maestro Muti is a master of dynamics; soft to loud to even bombastic, but the magnificent Philadelphia Orchestra bends to his every wish. It is amazing to have an orchestra that not only is, one of the top virtuosic orchestras, but has sound and power and passion like no other, but with incomparable artistry. I still, after over fifty years of listening to it and the other 'great' ones, think it is the finest of the finest. And I know that that is just me, but I have listened to the same works recorded by other orchestras and conductors and all seem pedantic and emotionless by comparison.

When I finished listening to this I had to feed my soul something lighter so I pulled out my recording of 'Grieg's favorite hits.In it were Grieg's two suites from Peer Gynt. Here was the orchestra under Maestro Ormandy on RCA, who captured the sound of the Orchestra better than Columbia did.
Again this incredible playing and the sound of the strings and, wonderfully it was the exact sound of the string section under Mestro Muti on this and his other recordings with the orchestra.

I ask myself this nearly all of the time. How did Philadelphia let Ricardo Muti get away!?

All three of the Tchaikovsky Symphonies recorded with the maestro on Seraphim are not only a bargain but the best recordings ever of these symphonies, plus you get a Tchaikovsky tone poem and two Scriabin works with fantastic performances also.

These are a must for any music collector.

Most emotional 6th ever.......2003-01-11

My previous experiences with Muti conducting Tchaikovsky made want to buy this CD because Tchaikovsky's 6th is one of the most emotional and tear-jerking works. And Muti is one of the best, if not the best, Tchaikovsky interpreters. I also have a recording of this with Solti and Chicago and at first I thought that was hard to beat. But while moments of Chicago's 6th are better than Philly's, the overall effect of the symphony is portrayed better through Philadelphia. Even though I wished Philly played some parts as loud as Chicago, I still prefer the sound that Philadelphia puts out. It is a lot warmer but does not sacfrice the intensity. Also, Muti really rings out all the music that is in this symphony. The fourth movement is the highlight of this CD. I warn you of this because it takes a lot out of you. If I were to compare the two recordings by movement the 1st mvt is a tie, Philly wins the 2nd, Chicago wins the 3rd, but the most important movement Philadelphia wins by mile. The low brass chords at the end of the symphony are what will make you start crying. So, I highly recomend this CD because it truly delivers what Tchaikovsky put in to it: all his heart and soul.

Excellent.......1999-12-31

I've only heard two recordings of Tchaikovsky's 6th (the other was Pierre Monteaux), but of those two at least, this one I found to be much superior. Muti conducts it with a lot of feeling.

Tchaikovsky: Symphony No6, Op74; Romeo & Juliet in Bm

Average customer rating:

Competent, well played, but a disappointment from this conductor
OVERRATED GERGIEV
Perfect.
Don't worry, the sound effects only happen between the movements
In just one word: Astounding!

Tchaikovsky: Symphony No6, Op74; Romeo & Juliet in Bm

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Igor Stravinsky: The Rite of Spring / Alexander Scriabin: The Poem of Ecstasy - Valery Gergiev / Kirov Orchestra
Tchaikovsky-1812 Overture (White Nights - Romantic Russian Showpieces)
Shostakovich: Symphonies Nos. 5 & 9 [Hybrid SACD]
Tchaikovsky: Symphonies 4,5 & 6
Prokofiev: The Complete Symphonies

ASIN: B000031X7X
Release Date: 2000-01-11

Tracks:

Symphony No.6 In B Minor, Op. 74 'Pathetique': Adagio - Allegro Non Troppo
Symphony No.6 In B Minor, Op. 74 'Pathetique': Allegro Con Grazia
Symphony No.6 In B Minor, Op. 74 'Pathetique': Allegro Molto Vivace
Symphony No.6 In B Minor, Op. 74 'Pathetique': Finale. Adagio Lamentoso - Andante
Symphony No.6 In B Minor, Op. 74 'Pathetique': Romeo and Juliet, Fantasy-Overture After Shakespeare

Amazon.com

Time was that to make Tchaikovsky a whipping boy for the worst excesses of romanticism, an emblem of "hysteria" and bathetic self-indulgence, became critically fashionable. But with this composer, the court of popular opinion has proved more far-sighted than that of the critics. The power of his finest scores--in the hands of a truly sympathetic interpreter--remains unforgettably gripping, and nowhere more so than in the symphony he premiered just days before his controversial death. Valery Gergiev taps into the theatrical sensibility evidenced by his dynamic Kirov Opera recordings of Mazeppa, Iolanta, and Pique Dame to shape a psychological drama of devastating intensity in his account of the nihilistic Pathétique. He fires up the Kirov orchestra to a fevered pitch of inspiration, summoning a great luxuriance of sound and coloristic detail, from brass chorales as rousing as those on Judgment Day and imaginatively sprung wind solos to the composer's trademark roulades, dispatched with thrilling ensemble. The use of vacuum tube equipment for the recording results in a warm sonic focus, with particularly full-bodied bass, giving the score's blackest moments a vividly frightening presence. Gergiev stresses Tchaikovsky's most provocative shocks (you can hear his own gasps on occasion if you listen closely enough), as in the explosive rupturing of the pppppp in the middle of the first movement. But in addition to dramatic savvy, he grasps Tchaikovsky's radical new concept of the symphonic journey, with its reversal of Beethoven's affirmative model through the Adagio finale's valedictory plunge back into silence (Mahler would follow a similar pattern in his Ninth). Also included is a bracing, epic, and thoroughly convincing performance of the Romeo and Juliet Fantasy-Overture showing the Kirov band in terrific ensemble. Stereotypes of Tchaikovsky's music as expressing the "Russian soul" notwithstanding, Gergiev's spectacular, impassioned interpretations give us a composer that is universally moving. --Thomas May

Customer Reviews:

Competent, well played, but a disappointment from this conductor.......2007-02-22

Expectations are high for an great conductor, and since Gergiev aspires to be one, we can't judge this live Pathetique from Finland (1995) by any standard but the highest. Actually, there's no need to go that far, because this stylish, well-played performance is almost tepid at points, and the overall feeling is one of shapeliness and decorm. Why Gergiev thought that Tchaikovsky's intense outbursts needed dampening down is byeond me. Even the waltz rhythm of the second movement is underplayed, almost somber.

The third movement Scherzo, which begins quite fast, has surges of energy that bring a thrill, but Gergiev would go on, in live performances with the Vienna Phil., to turn his Pathetiques into highly charged events. Here we get a hint of that in the climax of the last movement, as well as the Scherzo, but there are other recordings (from Furtwangler, Toscanini, Mravinsky, Temirkanov, Reiner, and Giulini) that burn much brighter and bring deeper cathartic release. Mark this down as one of Gergiev's rare misses in Russian repertoire. The filler, Romeo and Juliet, is just as subdued.

OVERRATED GERGIEV.......2007-02-08

Once again Gergiev proves he is a lousy Tchaikovsky interpreter.The kirov players play well as they have done in years past with Tchaikovskys music but thats the only thing going for this version,there is plenty more out there that are far better namely Eugene Ormandy (columbia 1960)philidelphia,Charles Dutiot (decca)montreal symphony,and some others.karajan,and jansons are good also.

Perfect........2006-09-09

This music is presented in a way that allows your imagination to run wild in essence of the Disney classics such as Fantasia and Sleeping Beauty. And I mean that with all respect, Maestro Gergiev.

This is the recording that I judge all 6th's off of. The incredible depths of depression found in the outer movements are intense to the utmost degree! The more profound tempo that he takes (which is not often found) makes the climactical moments all the more heightened. And the climax of the march is practically orgasmic!!!

A wonderful recording. The passion, imagination, and drive that is demanded by Tchaik!

Don't worry, the sound effects only happen between the movements.......2006-06-22

In preparing this review, I puzzled over the differences between this and Valery Gergiev's Pathetique with the Vienna Philharmonic, also a fine CD. They are clearly different (most notably with the inclusion here of the excerpt from "Romeo and Juliet"), and there are certainly reasons for preferring one over the other. Sifting through the variances has built considerably on my (admittedly meager and highly Osettian flavored) classical education.

The tones are much warmer on this recording of the maestro's own band--The Mariinsky--(Gergiev, ever the salesman, struck early on the idea of keeping the Soviet label "Kirov" for Western audiences; there are Russian fans who have never heard that name)and for good reason. These are musicians he hand picked even at that stage in the former USSR, and forged into the force they became. The tempi are slower than with the Vienna, in many ways bringing out the pathos of the first and last movement in a more heartbreaking way. This recording is more intimate, and to me seems more a reflection of Tchaikovsky's certain anguish as he grappled with the themes of life and death in this symphony (and otherwise, as he died three weeks after it was written, perhaps by his own hand). On the other hand, it seems less "crisp" and defined in places.

And then there's that picture. Yesssss indeedy. And the sound effects (I like to play this in my Discman and pretend Valery Abisalovitch is breathing in my ear....)

In just one word: Astounding!.......2006-02-28

This must be one of my favorite recordings of any symphony ever. I bought it once just because I wanted to acquaint myself more intimately with this magnificent work and because I did not already own any recording of Tchaikovsky's (to me) most beautiful symphony on CD. Also, the fact that I thought (and of course still think) highly of Valery Gergiev as a person and as an artist, made me buy this recording. It is one of my treasured recordings now, as I value this recording even higher than the famous Jansons/Oslo Philharmonic Orchestra recording.
The playing of the Kirov Orchestra under this conductor is (to my quite amateur ears) so intense and so virtuosic - just that bitter-sweet, soft clarinet in the Adagio, litteraly rising from the depths of nothingness! - as to defy belief sometimes, Valery Gergiev really pushing the orchestra to the edge of their capacities (and thereby the music to the extremes of its emotional depths)! There is a kind of what I could only describe as 'tension' and 'astutely intelligent attention' in the playing of this particular orchestra here that - to my ears - really lifts the music to a higher plain of excellence. Maybe what I love the most, is that there is no added 'gloss' or 'shine' to this performance, no 'polishing' the orchestral sound to try to make it extra 'beautiful' (to gloss over the raw emotions), as it were, laying bare all of the raw nerves (could this be called typically 'Russian' or 'Slavic'?).
Anyhow, Valery Gergiev's muse must indeed have been one of fire, lifting him and the artists under his guidance to the highest heaven of invention and art! The same goes for the astounding 'Romeo and Juliet', whose tragically doomed love is as bitter-sweetly and as intensely evoked as can be ...
As of course with all great art, one simply has to hear and feel - to fully experience - for oneself, to be able to believe, but here we can experience true genius ...

Tchaikovsky: Symphony No6, Op74; Wagner: Siegfried Idyll in E WWV103

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Tchaikovsky: Symphony No6, Op74; Wagner: Siegfried Idyll in E WWV103

Manufacturer: Tahra
ProductGroup: Music
Binding: Audio CD

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ASIN: B000003O6L
Release Date: 1995-10-27

Tchaikovsky: Symphony No6, Op74; Hamlet in Fm Op67

Average customer rating:

THIS IS A RECORDING TO STRIKE THE FEAR OF FATE INTO YOU!

Tchaikovsky: Symphony No6, Op74; Hamlet in Fm Op67

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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ASIN: B000003F0K
Release Date: 1993-04-06

Customer Reviews:

THIS IS A RECORDING TO STRIKE THE FEAR OF FATE INTO YOU!.......2003-12-10

Goosebumps. Fear. Fright. Terror. That's mov't I.

Dread. Dead. Dying. Resignation. That's mov't IV.

If you have Ormandy's earliest *Sony* stereo version, you'll have an inkling of what this recording is like. Ormandy's recording is to cherish. Slatkin's is to horde and covet. You MUST have this Pathetique in your collection! American Record Guide, who panned a lot of Slatkin's Tchaikovsky series (unjustly in some instances, I might add (IMHO, of course)), called this THE recording of this work (if there is such a thing).

From the first fff chord in I, there is a terror that permeates the work. It lies silently in wait in II and III, which have always seemed a little out of place in this work of gloom and doom to me. The terror from I returns in IV, transformed into a helpless resignation. Limp on the ground. Alone. Desolate. As in, bury-me-know-I've-lost-the-battle-with-life despair. It's not Bernstein's over the top, whip the resigned guy with more emotional tassles. Slatkin is true to the music to the very end.

Tracks:

Sym No.6 in b 'Pathetique': I. Adagio-Vivace
Sym No.6 in b 'Pathetique': II. Adagio Ma Non Troppo
Sym No.6 in b 'Pathetique': III. Allegretto
Sym No.6 in b 'Pathetique': IV. Finale: Presto Assai
Pictures At An Exhibition: Promenade I
Pictures At An Exhibition: The Gnome
Pictures At An Exhibition: Promenade II
Pictures At An Exhibition: The Old Castle
Pictures At An Exhibition: Promenade III
Pictures At An Exhibition: Tuileries
Pictures At An Exhibition: Bydlo
Pictures At An Exhibition: Promenade IV
Pictures At An Exhibition: Ballet Of The Unhatched Chicks
Pictures At An Exhibition: Samuel Goldenberg And Schmuyle
Pictures At An Exhibition: Promenade V
Pictures At An Exhibition: Limoges
Pictures At An Exhibition: Catacombs
Pictures At An Exhibition: Cum Mortuis In Lingua Mortua
Pictures At An Exhibition: The Hut On Fowl's Legs
Pictures At An Exhibition: The Great Gate Of Kiev

Customer Reviews:

Mussorgsky Masterpiece.......2005-12-21

This 1937 recording was the first made by Eugene Ormandy
with the Philadelphia Orchestra. Ormandy's reading of the
Pathetique Symphony is a fine one played with skill,passion
and driving tempos. It doesn't quite have the power of his later
recording with Columbia/Sony . The 1937 version seems to be
played at a brisker pace.
This CD includes Lucien Cailliet's arrangement(not Ravel's)
of Pictures at an Exhibition. Cailliet had a long career with
the Phila. Orchestra's woodwinds section and assisted Stokowski with his famous transcriptions.Cailliet uses woodwinds in the
opening of the first Promenade, in contrast to Ravel's solo
trumpet.I love this recording, despite being recorded in 1937
and when I play "Pictures" in my brain,this is the version
I'm listening to.Passion,rhythm,great solo playing,and
musicality are all there.

Tchaikovsky: Symphony No6, Op74; Mussorgsky: Pictures at an Exhibition

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Tchaikovsky Revisited

Tchaikovsky: Symphony No6, Op74; Mussorgsky: Pictures at an Exhibition

Manufacturer: BBC Legends
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

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ASIN: B000042NZ8
Release Date: 2000-03-28

Tracks:

Pictures At An Exhibition: Promenade. Allegro Giusto, Nel Modo Russico; Senza Allegrezza, Ma Poco...
Pictures At An Exhibition: I. Gnomus. Vivo
Pictures At An Exhibition: Promenade. Moderato Comodo E Con Delicatezza
Pictures At An Exhibition: II. Il Vecchio Castello. Andante
Pictures At An Exhibition: Promenade. Moderato Non Tanto, Pesante
Pictures At An Exhibition: III. Tuileries. Allegretto Non Troppo, Capriccioso
Pictures At An Exhibition: IV. Bydlo. Sempre Moderato, Pesante
Pictures At An Exhibition: Promenade. Tranquillo
Pictures At An Exhibition: V. Ballet Des Poussins Dans Leur Coques. Scherzino: Vivo Leggiero
Pictures At An Exhibition: VI. Samuel Goldenberg Und Schmuyle. Andante
Pictures At An Exhibition: VII. Limoges - Le Marche. Allegretto Vivo, Sempre Scherzando
Pictures At An Exhibition: VIII. Catacombae: Sepulchrum Romanum. Largo
Pictures At An Exhibition: Cum Mortuis In Lingua Mortua. Andante Non Troppo, Con Lamento
Pictures At An Exhibition: IX. La Cabane Sur Des Pattes De Poule (Baba-Yaga). Andante Con Brio...
Pictures At An Exhibition: X. La Grande Porte De Kiev. Allegro Alla Breve. Maestoso. Con Grandezza
Sym No.6 in b, Op.74 'Pathetique': I. Adagio - Allegro Non Troppo
Sym No.6 in b, Op.74 'Pathetique': II. Allegro Con Grazia
Sym No.6 in b, Op.74 'Pathetique': III. Allegro Molto Vivace
Sym No.6 in b, Op.74 'Pathetique': IV. Finale. Adagio Lamentoso - Andante

Amazon.com

The effective retirement of Carlo Maria Giulini has left the concert world without one of its most singular maestros. Equaled by few in Mozart and Verdi operas, his select concert repertoire is equally distinctive. Both works featured here receive dynamic and subtle studio recordings; the 1959 Pathétique, in particular, is an absolute classic. Maybe this live Edinburgh Festival account doesn't have the same control and symphonic integrity, but it's a gripping performance all the same. Giulini has a very Italianate ease with Tchaikovsky's melodic generosity, but never at the expense of the work's originality and tautness of structure. The third movement march is powerful and intense--no question of the audience applauding here--while the finale is passionate but never sentimental. Ravel's orchestration of Mussorgsky's Pictures at an Exhibition was a Giulini favorite; clearly he reveled in its orchestral sophistication. The present account sacrifices studio poise for live excitement, to thrilling effect. You'll need to make allowances for the limited 1961 sound, but as the "Great Gate of Kiev" reaches its spine-tingling apotheosis, the sense of "being there" is palpable. --Richard Whitehouse

Customer Reviews:

Tchaikovsky Revisited.......2003-10-28

For the most part, I have resisted buying titles in the BBC Legends series -- even us serious collectors have to draw the line somewhere, or we'll never listen to anything more than once! However, I have made a few exceptions such as Mahler Symphony recordings by Barbirolli and Horenstein, and this CD of Tchaikovsky's 6th Symphony and Mussorgsky/Ravel's "Pictures at an Exhibition" with conductor Carlo Maria Giulini. The performances featured here were taken from a September 7, 1961 concert at Edinburgh's Usher Hall and are in mono. My reason for selecting this disc instead of the dozens of others in the BBC Legends series is the Tchaikovsky 6th. My hands-down favorite account of the "Pathetique" has always been Giulini's 1959 recording with the Philharmonia, previously available in several CD incarnations from EMI but currently out of print. I was simply curious to see how this account, with the same orchestra from two years later, stacked up against the glorious studio rendition. I have enjoyed listening for the subtle differences in the two performances, and even though this isn't a great stand-alone disc, it was certainly worth the purchase for educational reasons alone.

Tchaikovsky: Symphony No6, Op74; Symphony No5, Op64

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Tchaikovsky: Symphony No6, Op74; Symphony No5, Op64

Manufacturer: Royal Classics
ProductGroup: Music
Binding: Audio CD

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Tracks:

Sym No.4 in f, Op.36: I. Andante Sostenuto-Moderato Con Anima
Sym No.4 in f, Op.36: II. Andantino In Modo Di Canzona
Sym No.4 in f, Op.36: III. Scherzo (Pizzicato Ostinato)
Sym No.4 in f, Op.36: IV. Finale (Allegro Con Fuoco)
Romeo And Juliet: Fant Ov

Tracks:

Sym No.5 in e, Op.64: I. Andante-Allegro Con Anima
Sym No.5 in e, Op.64: II. Andante Cantabile, Con Alcuna Licenza-Moderato Con Anima
Sym No.5 in e, Op.64: III. Valse (Allegro Moderato)
Sym No.5 in e, Op.64: IV. Finale (Andante Maestoso-Allegro Vivace)
Ser in C, Op.48: I. Pezzo In Forma Di Sonatina - LSO/Sir John Barbirolli
Ser in C, Op.48: II. Waltz (Moderato) - LSO/Sir John Barbirolli
Ser in C, Op.48: III. Elegie (Larghetto Elegiaco) - LSO/Sir John Barbirolli
Ser in C, Op.48: IV. Finale (Tema Russo) - LSO/Sir John Barbirolli

Tracks:

Sym No.6 in b 'Pathetique' Op.74: I. Adagio-Allegro Non Troppo-Andante-Moderato Mosso-Adagio...
Sym No.6 in b 'Pathetique' Op.74: II. Allegro Con Grazia
Sym No.6 in b 'Pathetique' Op.74: III. Allegro Molto Vivace
Sym No.6 in b 'Pathetique' Op.74: IV. Finale (Adagio Lamentoso-Andante-Tempo I-Andante Non Tanto...)
Marche Slave Op.31
Str Qt No.1: Andante Cantabile

Tchaikovsky: Piano Concerto No1, Op23; Symphony No6, Op74

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Tchaikovsky: Piano Concerto No1, Op23; Symphony No6, Op74

Manufacturer: Madacy Records
ProductGroup: Music
Binding: Audio CD

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Tracks:

Romeo And Juliet: Fantasy-Ov After Shakespeare - New Philharmonia Orch London/Lawrence Siegel
Con No. 1 In b flat Op. 23: Allegro Non Troppo E Molto Maestoso/Allegro Con Brio - Slovac Nat Phil Orch/Bystrik Rezucha
Nutcracker Ste Op. 20A: Flower Waltz - London Festival Orch/Alberto Lizzio
Song Without Words: Op. 2 No. 3 - Michael Ponti
Ser In C Op. 48: Waltz: Moderato - Cham Orch Conrad Con Der Goltz/Condrad Von Der Goltz
Sym No. 6 In b Op. 74 'Pathetique': Finale: Adagio Lamentoso - Slovak Phil Orch/Bystrik Rezucha

Tchaikovsky: Symphony No6, Op74; Strauss: Salome

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Tchaikovsky: Symphony No6, Op74; Strauss: Salome

Manufacturer: Historic Collection
ProductGroup: Music
Binding: Audio CD

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Tracks:

Symphony No. 6 In B Minor, Op. 74 'Pathetique': I. Adagio non troppo - Andante, Moderato mosso - Andante - Moderato assai, Allegro vivo - Andante mosso
Symphony No. 6 In B Minor, Op. 74 'Pathetique': II. Allegro con grazia
Symphony No. 6 In B Minor, Op. 74 'Pathetique': III. Allegro molto vivace
Symphony No. 6 In B Minor, Op. 74 'Pathetique': IV. Finale - Adagio lamentoso - Andante
Der Zigeunerbaron, Overture (1885)
Salome: Dance of the Seven Veils

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Tchaikovsky: Symphony No6, Op74; Strauss: Salome

Manufacturer: Magic Master
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

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Tracks:

Symphony No. 6 In B Minor, Op. 74 'Pathetique': I. Adagio non troppo - Andante, Moderato mosso - Andante - Moderato assai, Allegro vivo - Andante mosso
Symphony No. 6 In B Minor, Op. 74 'Pathetique': II. Allegro con grazia
Symphony No. 6 In B Minor, Op. 74 'Pathetique': III. Allegro molto vivace
Symphony No. 6 In B Minor, Op. 74 'Pathetique': IV. Finale - Adagio lamentoso - Andante
Der Zigeunerbaron, Overture (1885)
Salome: Dance of the Seven Veils

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Track Listings

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