One of the most grown-up review sites around

54,416 reviews
and more.. and still writing ...

Search MusicWeb Here



International mailing

Founder: Len Mullenger                                    Editor in Chief:John Quinn             


Harold Moores

Peter Ilyich TCHAIKOVSKY (1840-1893)
Symphony No. 6 in B minor, Op. 74, ‘Pathétique’ (1893).
Boston Symphony Orchestra/Pierre Monteux.
Rec. Symphony Hall, Boston, 26 January 1955. ADD
RCA RED SEAL LIVING STEREO SACD 82876 61397 2 [44’14]

If this seems short measure at less that three quarters of an hour playing time, all is forgiven by a miraculous finale to Tchaikovsky’s last symphony. Throughout, Monteux’s mastery of both his orchestra and Tchaikovsky’s symphonic canvas is utterly masterly. As the blurb on the disc states, this recording dates from Monteux’s reunion with the Bostonians, an orchestra he had commanded in the 1920s. If the recording data is correct, this was recorded in a single day, a monumental achievement it is difficult to imagine, even today with our alleged super-orchestras.

The recording is of huge dynamic range, as it needs to be with this of all pieces. Thus the hushed and concentrated language of the first movement’s Adagio first section (it seems demeaning to call it an introduction) is perfectly caught. It seems that there is a lifetime’s experience going into this; indeed, Monteux, born April 1875, was all but an octogenarian at the time of recording! Definition in the strings is amazing in the first section of the Allegro non troppo. Perhaps the second subject does not creep in miraculously, there is some lower-voltage playing in the development and a spot-lit trumpet can disturb (around 7’10ff). Yet on the credit side are perfectly-placed cross-rhythms, extremely fine pacing and phrasing and strings (around 12’40) surging forth like so much molten lava.

The bright and breezy Allegro con grazia, with its contrastive ‘sighs’ works well. Here, as in the ensuing, chattering Allegro molto vivace, Monteux ensures that if there are references to the world of ballet, they are all encased firmly within a resolutely symphonic whole.

And so to that finale I described as ‘miraculous’. It is – a miracle of control and of shaping; how tender the Bostonian strings can be. The final desolation is fully there as the music expires into silence.

This is a ‘Pathétique’ finale to sit with the greatest. In terms of intensity, there is the feeling that the finale under Monteux is what Bernstein was aiming at in his infamous late DG recording and maybe even achieved, live. Monteux succeeds without resorting to emotional extremes and, in doing so, avoids the bathetic.

Colin Clarke

Advertising on

Donate and keep us afloat


New Releases

Naxos Classical
All Naxos reviews

Chandos recordings
All Chandos reviews

Hyperion recordings
All Hyperion reviews

Foghorn recordings
All Foghorn reviews

Troubadisc recordings
All Troubadisc reviews

all cpo reviews

Divine Art recordings
Click to see New Releases
Get 10% off using code musicweb10
All Divine Art reviews

All APR reviews

Lyrita recordings
All Lyrita Reviews


Wyastone New Releases
Obtain 10% discount

Recordings of the Month

November 2022
Bach Orchestral Suites

del Cinque
Del Cinque Cello sonatas

Fujita Mozart
Mao Fujita Mozart

Stanczyk Acousmatic Music


October 2022

Berg Violin Concerto
Violin Concerto Elmes

DEbussy Jeux
Debussy Jeux

Romantic pioano masters
Romantic Piano Masters

The future is female - Vol 2
Volume 2 - The Dance

impromptu harp music
Complete Harp Impromptus


Return to Index

Untitled Document

Reviews from previous months
Join the mailing list and receive a hyperlinked weekly update on the discs reviewed. details
We welcome feedback on our reviews. Please use the Bulletin Board
Please paste in the first line of your comments the URL of the review to which you refer.