Andrew Palmer, Group Editor

Classical Music: Tchaikovsky Symphony 5

Tchaikovsky Symphony 5 Op 64
Rimsky-Korsakov The Legend of the invisible city of Kitezh


London Symphony Orchestra
Conductor: Gianandrea Noseda

LSO0858 / LSO Live
https://lsolive.lso.co.uk/

There are a plethora of recordings of Tchaikovsky’s fifth and, therefore, obviously an abundance of interpretations. We all have our favourite recording and can pinpoint why our chosen disc is the preferred option.

The LSO has delivered yet another recording to add to the catalogues and it certainly has much to commend it: superb, committed playing from all orchestral sections, good tempi and dynamics, plus an excellent job from the recording engineers.

Composed in 1888 and conducted by Tchaikovsky for its November premiere that year, the symphony makes use of a recurring main ‘Fate theme’ to bring together the work’s four movements.

The unmistakable haunting opening of the first movement's two clarinets set the brooding tone well with the low strings perfectly accompanying, and as the theme develops, the crescendos deliver. The second movement has that familiar horn solo, exquisitely played and sensuously drawing the listener in. There are equally lovely entries from the woodwind, especially at the conclusion where the clarinet and strings round the movement off beautifully. In the short Valse - Allergro moderato third movement, the LSO's rhythmic waltz is lovely leading into the finale with its sombre opening before the brass fanfares are heard and the pace and drama intensify.

Gianandrea Noseda’s reading lacks a little charisma despite moments of great beauty and fabulous attention to detail. I would have liked a little more emotional intensity towards the life-affirming glimmer of optimism.

Rimsky-Korsakov dug deep into Russian legends and folk tales for his opera The Legend of the Invisible City of Kitezh. In this orchestral suite, the LSO take the listener on a mythical, magical story of the ‘Russian Atlantis’, told through the composer’s glittering orchestral palette.

The strings entry to the Prelude is evocatively played and the woodwind once again is outstanding especially the oboist. Noseda brings out all the colour and imagery in the composer’s wonderful orchestral writing and there are moments one thinks of Scheherazade.

Excellent playing from the LSO.

Gianandrea Noseda & the LSO 
Photo: Mark Allan
Gianandrea Noseda & the LSO Photo: Mark Allan