Music / klassiske symfonier

Symphony no. 4


Reviews (29)


AllMusic

2010

By

By

Mike D. Brownell

2010

"While Pletnev and orchestra certainly deliver a technically flawless execution, their performance may be seen as a bit too nice".


MusicWeb international

2020 June

By

By

John Quinn (musikanmelder)

2020 June

"There's a great deal to admire in Honeck's performance of the Fourth Symphony and the Pittsburgh Symphony plays it marvellously. Honeck certainly made me think anew about this familiar masterpiece and that's a very good thing. Unfortunately, I do find some of his decisions regarding dynamics not only controversial but downright distracting; they might have worked well in live performance - indeed, I found them intriguing the first time I listened - but I'm far from convinced that they stand up to the scrutiny of repeated hearing on a recording".


Jyllands-posten

d. 22. Mar. 2005

By

d. 22. Mar. 2005


Jyllands-posten

d. 30. Dec. 2009

By

By

John Christiansen

d. 30. Dec. 2009


Jyllands-posten

d. 17. Dec. 2007

By

By

John Christiansen

d. 17. Dec. 2007


Jyllands-posten

d. 22. Mar. 2005

By

d. 22. Mar. 2005


Jyllands-posten

d. 28. Dec. 2004

By

d. 28. Dec. 2004


Jyllands-posten

d. 7. June 2004

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d. 7. June 2004


Jyllands-posten

d. 21. June 2005

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d. 21. June 2005


Fono Forum

2012 Januar

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By

Peter T. Köstner

2012 Januar

"Die ideale Ergänzung dazu bildet Tschaikowskys Orchester-Fantasie "Francesca da Rimini", ebenfalls kultiviert, aber keineswegs blutleer dargeboten. Hier kann das City of Birmingham Symphony orchestra einmal mehr seine Virtuosität und klangliche Ausgewogenheit beweisen".


Diapason

2012 février

By

By

Patrick Szersnovicz

2012 février


BBC music magazine

2011 June

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By

Erik Levi

2011 June

"Pletnev's desire to keep things moving at all costs makes the quieter sections seem rather dull ... Things improve noticeably in the rest of the Symphony. Adopting a slightly faster flowing tempo for the Andantino second movement, Pletnev brings a winning simplicity to the openinge melody".


BBC music magazine

2020 August

By

By

Julian Haylock

2020 August

"Orchestral choice: Honeck's interpretative tendency is to emphasise the score's purely symphonic credentials, he still keeps one foot in the ballet theatre - witness the way he magics the slow movement's long phrases; and the scherzo's delightful pizzicato ripplings seem to conjure a choreographic scenario ... There is no doubting the sense of excitement Honeck generates ... Leshnoff's soundworld, unashamedly tonal, possesses a melodic sensuality and textural piquancy reminiscent of Tchaikovsky's great Russian contemporary, Rimsky-Korsakov".


Fono Forum

2020 September

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By

Holger Arnold

2020 September

"Manfred Honeck liebt seine Bläser! In Tschaikowskys vierter Sinfonie lässt er sie in geradezu atemberaubender Virtuosität und Brillanz aufspielen und präsentiert anschliessend zwei von ihnen in einem neuen, attraktiven Konzert ... Im Wortsinne neu ist beim vorliegenden Programm das Doppelkonzert für Klarinette und Fagott des US-amerikanischen Komponisten Jonathan Leshnoff (geb. 1973) ... Ermöglicht werden die musikalisch ungemein spannenden Darstellungen aller Beteiligten durch Manfred Honecks bemerkenswerte Fähigkeit, seinen Musikern trotz unerbittlicher Präzision und Stringenz genügend Freiräume zur solistischen Entfaltung zu lassen. Nach diesem Prinzip gerät Tschaikowskys op. 36 zur Referenzaufnahme".


Fono Forum

2007 April

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By

Werner Pfister

2007 April

"Zumal es an vorzüglichen Refenrenzaufnahmen nicht mangelt ... zählt Pappanos Neueinspielung aus Rom zweifellos nicht: jedenfalls spüre ich hier nichts von äterischen Höhenflügen, sondern es wird eher in Erdennähe musiziert".


The gramophone

2012 March

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By

Edward Seckerson

2012 March

"It's really hard to fault any of Nelsons's choices here. Like Tchaikovsky, he is a classicist at heart: nothing is overcooked, nothing distorted; positively no histrionics. There is an integrity and an inevitability about the phrasing and expressivity is always at the behest of good taste ... The City of Birmingham Symphony Orchestra certainly earned their cheers in this live event".


International record review

2012 January

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By

Richard Whitehouse

2012 January

"The Fourth Symphony in a reading which exibits all of the re-creative freshness and the urgency that has marked out his music-making with the City of Birmingham Symphony Orchestra thus far ... This ranks with Leopold Stokowski's and Charles Munch's as among the most revealing accounts of what is arguably the finest of Tchaikovsky's non-symphonic works".


Fono Forum

2006 März

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By

Peter T. Köster

2006 März

"Ewgenij Mrawinskijs legendäre Aufführung der letzten drei Tschaikowsky-Sinfonien".


International record review

2011 May

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By

Colin Anderson

2011 May

"Perhaps the most remarkable thing about these performances is their straightfowardness ... However, I'm not sure I don't prefer the earlier Romeo and Juliet, it's rather more fateful, although the swirling strings are really something on PentaTone. Swings and roundabouts!".


The gramophone

2020 September

By

By

Andrew Farach-Colton

2020 September

"Manfred Honeck's reading is not as tightly wound as, say, Mravinsky og Muti but nevertheless conveys a strong sense of structural integrity while simultaneously portraying the unfolding drama in vivid colours ... Indeed, the symphony's final moments are absolutely thrilling ... Jonathan Leshnoff's Double Concerto may seem an odd bedfellow to the Tchaikovsky on paper but ... it's wholly engaging ... and played with affection and finesse by the orchestra's first-desk clarinettist and bassoonist".


Politiken

d. 2. Oct. 2003

By

d. 2. Oct. 2003


High fidelity (Kbh.)

Årg. 38, nr. 5 (2005)

By

Årg. 38, nr. 5 (2005)


The gramophone

2012 December

By

By

Edward Seckerson

2012 December

"Vurdering: Recording of the month - Vurdering: Gramophone choice" - "Both these performances exemplify what makes Jurowski's approach to Tchaikovsky so special. The tension between the classical and the romantic is at the heart of things ... The playing throughout ... is marked by a oneness with Jurowski's vision and, it goes without saying, a now well-established empathy between the players of the London Philharmonic and their principal conductor".


BBC music magazine

2012 December

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By

David Breckbill

2012 December

"The LPO acquits itself well, and climaxes possess all the fizz and firepower one could want".


Politiken

d. 6. Aug. 2000

By

d. 6. Aug. 2000


Jyllands-posten

d. 1. Mar. 2004

By

d. 1. Mar. 2004


International record review

2007 March

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By

Peter J. Rabinowitz

2007 March

"The Santa Cecilia orchestra may not be one of Europe's most prestigious but under Pappano it sounds magnificent with ripe strings, solid brass and generally fluent woodwinds ... I'm no ready to place these new recordings up there with the classics by, say, Mravinsky or Cantelli ... if you prefer to listen to Tchaikovsky from a slight emotional distance ... you may find this an important addition to your collection".


The gramophone

2007 March

By

By

Edward Seckerson

2007 March

"All three display a suppleness of phrasing that comes from working with voices. But getting through to the soul of these pieces - well, that's another matter and only in the Fourth Symphony am I entirely sure that Pappano and his orchestra have crossed that indifinable threshold to achieve something exceptional".



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