Peter Iljitsch Tschaikowsky: Symphonie Nr.5 (Super Audio CD)

Peter Iljitsch Tschaikowsky (1840-1893)

Gothenburg Symphony Orchestra, Neeme Järvi

Super Audio CD

SACD (Super Audio CD)

The SACD uses a higher digital resolution than the audio CD and also offers the possibility to store multi-channel sound (surround sound). To enjoy the music in high-end quality, a special SACD player is required. Thanks to the hybrid function, most of the products marked "SACD" in our store can also be played on conventional CD players. In this case, however, the sound does not differ from that of a normal CD. In case of deviations, we point this out separately (non-hybrid).

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+The Voyevoda; Capriccio Italien

Sound Format:: stereo & multichannel (Hybrid)
Artists:: Gothenburg Symphony Orchestra, Neeme Järvi
Label:: BIS
Year of recording ca.:: 2002/2004
Item number:: 1684021
UPC/EAN:: 7318599914084
Release date:: 24.2.2005

BIS Sonderpreise

On the third volume of the Neeme Järvi / Gothenburg SO cycle of Tchaikovsky’s symphonies, the turn has come to Symphony No. 5 – one of the composer’s ‘fate symphonies’. The work, which begins in deathly sadness but ends in a jubilant mood, was first performed in 1888 under the baton of the composer himself. In spite of the audience’s enthusiastic response, Tchaikovsky had reservations about the work, worrying that it was ‘too colourful, too massive’ and speculating that he had reached the end of his creative career.

In spite of this crisis he did go on composing, and one of his next orchestral works was The Voyevoda, a symphonic ballad based on a poem by Alexander Pushkin. Depicting the sad story of a military commander (‘voyevoda’) and his discovery of his wife’s unfaithfulness, the composer found occasion to use – for the first time – the celesta, which he had recently heard in Paris.

On a lighter note, the present discs ends with one of the most popular and joyful works by Tchaikovsky: Capriccio Italien. Written some 8 years before Symphony No. 5, it was inspired by the composer’s experiences while visiting Italy, and actually begun during his stay in Rome in 1880. Even at the time, Tchaikovsky himself felt that the work had a future: ‘Because of the splendid themes which I was fortunate enough to have at my disposal (partly from collections, partly from what I heard on the street) it will certainly make an impact.’ And how right he was!