Joni Mitchell — Don Juan’s Reckless Daughter

★★★★✰

   One of songwriters and great folk-rock singers who reached great worldwide fame as performing artist is representative of great Canadian American tradition, bright stage personality and guitarist Joni Mitchell. She is famous as singer and well known as performer, but her creative effort in songwriting was on the first place from the very beginning. With strong roots in folk and folk rock, she was close to jazz scene as well. She started as songwriter and folk clubs singer in sixties, her debut album Song to a Seagull was produced by David Crosby and released in March 1968 by Reprise label. She was author of all songs, singer, played guitar and piano in all accompaniments and designed album cover. Bass guitarist Stephen Stills played only one song but became her constant coworker and playing much more on her next albums. Releasing every year new album in five years she became an icon of folk rock.
   Shortly after Mitchell’s first folk rock records reach commercial success, she started to widen stylistic attitude. Consequently, her name was increasingly falling into category of jazz vocalists. It’s interesting process she was keeping the same position towards popular ballad and narrative poetry of rock songs changing only some elements of her musical style. In early seventies it was still somehow risky idea to get against actual trends. Folk rock albums made her famous, so experiments with other styles could eventually cost her losing some of her fans. So, she was moving to folk and jazz crossover in a mild way, adding more and more interesting musicians, and staying herself the same artistic personality. She was recording and touring with super league of jazz musicians. As time goes by she had considerably more listeners on jazz and some other ambitious genres of rock and pop music, but she was still associated with folk rock.
   After the end of Vietnam war in seventies, with social change driven by economic crisis, many artists were searching for new solutions of art representation as a space for culture discourse. This perspective was perfect for continuing some trends popular in sixties. Renewed ideas were consumed as backward wave of folk music. Joni Mitchell as many others was still on top of popularity. It really didn’t matter how innovative she was and how far her new songs were behind borders of the style, she was still considered as folk singer. Like she was intending to confirm this stereotype, in many performances she was still a singer with a guitar, or even a bard with natural vocal technique and nice melodies. Sometimes it had to be a real challenge to reach it in such natural way, and many of her project were stylized to fulfill this idea. This tendency was present in live performances while not clearly visible in Mitchell’s studio recordings, where she was more ambitious on intellectual and artistic level.

Joni Mitchell — Don Juan’s Reckless Daughter (1977)

  
   One of her best works, published in December 1977 double LP album Don Juan’s Reckless Daughter was also the one scandalously underestimated. Recorded for Asylum label in London, New York and Hollywood with huge group of musicians and various arrangements. Definitely, most significant element besides of Joni Mitchell’s voice and guitars was sound of Jaco Pastorius’ fretless bass. As a sideman he gave this music electrifying power of jazz phrasing, finding perfect balance with leader’s voice. In late seventies his sound was iconic element of Weather Report sound. Musicians from this band were saxophonist Wayne Shorter, percussionists Manolo Badrena, and Alex Acuña. Others were also known for their contribution in fusion jazz guitarist Larry Carlton, percussionist Airto Moreira, movie music composer, pianist Michel Colombier, lead singer from funk band Rufus Chaka Khan and drummer John Guerin known from early Frank Zappa’s albums.
   Restricted use of jazz idioms on Don Juan’s Reckless Daughter was visionary. It sounded like jazz moved back to it’s popular music roots. Even in simple songs, for example in Jericho, where Jaco Pastorius bass and Joni Mitchell’s guitar with drums by John Guerin and bongos by Don Alias create thick and intensive instrumental layer. In this fabric soprano sax by Wayne Shorter is so discrete and colorful as it sounds like just extra sound dimension. This corresponds with unusual melody, full of unexpected changes, based on irregular, free verse poetry. It gives a mind-blowing effect. In opposite example Paprika Plains we receive expanded composition spanning whole side B of first LP. Similar group of musicians (except absence of congas and Joni Mitchell plays piano) and symphony orchestra orchestrated by Michael Gibbs gives this composition solid formal frame. Even final jazz solo by Wayne Shorter runs with the whole composition like a cadenza. The other side of musical experience are The Tenth World and Dreamland, both featuring essentially percussion band. For experimenting with styles, balancing ambitious musical creations with intense poetry this album deserves four stars. I am giving four and a half for personal input of Jaco Pastorius – this is one of his best accomplishments.

Monteverdi – Madrigals – Leonhardt

THE 450th ANNIVERSARY OF CLAUDIO MONTEVERDI’S BIRTH

★★★★✰

   Claudio Monteverdi was born in Cremona, traditional musical centre of Northern Italy. In 16th century newborn children were baptized as soon as possible, so his baptism day, May 15th, 1567 is widely recognized as a date of his birth. He was composer of two eras, starting his career in late Renaissance style and continuing his work in early Baroque. And it’s hard to overestimate role Monteverdi played as creator of new musical idioms and establishing new forms. He was one of first composers who were developing the idea of opera as combined music, poetry, dance and theatre, and the first one who wrote opera L’Orfeo being regularly played. His late works Il ritorno d'Ulisse in patria (1641) and L'incoronazione di Poppea (1642) remain in common repertoire giving him position of first composer with significant position in the history of opera. These two works, written by composer in his seventies, are considered as his crowning achievements. He died in Venice in 1643.
   Crucial moment in his artistic career was publishing in 1605 his fifth book of madrigals Il quinto libro de madrigali a cinque voci, where he switched main style of musical composition. He resigned of earlier rules of polyphony with strict counterpoint and equity of voices – which he called prima practica. In place of these he used counterpoint more freely with hierarchic voices. These features help him create music with more dramatic emotional shape. In next four books of Madrigals Monteverdi established foundations for the new style. Every book gave new solutions to the problem of relation between lyrics and musical form. Choices of works from Monteverdi’s Libri are common part of musical life, what can be observed in concert programs and record catalogues.

Claudio Monteverdi – Madrigale – Gustav Leonhardt (1979)

   Among many productions some are really significant. Meaningful moment in performing and recording Monteverdi’s music was change from romantic visions of ancient music to historically informed and methodically conscious interpretations. One early examples of such attitude is album called Madrigals (Madrigale in German) published in 1980 under SEON/RCA label. This is one of late issues in catalogue of SEON label, which in 1978 moved from Phonogram to RCA. Recording sessions took place in Haarlem (Holland, Netherlands) in September 1979. Performers were Dutch singers Marjanne Kweksilber (soprano), Marius van Altena (tenor), Michiel ten Houte de Lange (tenor) and Floris Rommerts (bass) and great countertenor from Belgium, René Jacobs. Artistic director was Gustav Leonhardt, who played harpsichord and conducted the ensemble.
   Program of this album was composed with carefully selected madrigals from Monteverdi’s last four books of madrigals. First position of this anthology is four-part Lamento d’Arianna (Libro 6). Second dominant of the programm is three-part Lamento della Ninfa (Libro 8).  Madrigals are often versions of opera arias and duets. Opening second side madrigal Bel pastor (Libro 9) is dramatic scene for two voices where shepherd is seducing shepherdess. This madrigal written to the text by Ottavio Rinuccini was probably a scene from one of lost pastoral operas. Such procedures were normal behavior not only in 17th century. Whole program of 15 madrigals shows also some stylistic dependencies towards earlier style. Monteverdi was using various stylistic means, sometimes even facing to older manners just to give his oeuvres most lucid, credible shape. Such perspective was also shown in collection set by Gustav Leonhardt bringing a lot of musical experience and some further evidences of composer’s greatness.

Keith Jarrett — Treasure Island

April 30 - INTERNATIONAL JAZZ DAY celebrated under the auspices of UNESCO since 2012

★★★★

   From the beginning of his recording career Keith Jarrett was musician of huge possibilities. As multi instrumentalist he was playing piano, harpsichord, pipe organ, soprano saxophone, flute, recorder, harmonica, guitar, bass guitar, drums and various percussion instruments. He was also songwriter and singer experimenting with popular song. As composer he was developing some creative continuations of third stream idea. He was as well stylistically versatile as a performer, playing not only various styles of jazz, but also folk rock and giving well established performances of baroque, classical and 20th century music. The catalogue of his albums is huge both for its volume and variety. Considering Jarrett’s achievements in jazz as main stream of his activity, it’s still not easy to point an outward direction or style for whole of his work. Probably the best answer would be defining own style as weave of personal tendencies and generation knowledge, the value system and music technology. And with every expression of these qualities Jarrett’s individual style looks more consistent.
   Keith Jarrett was associated with Impulse label for two years, and in such short period he recorded four albums starting with Fort Yawuh, (rec. live February 24, 1973), continued with Treasure Island and concluded with two albums recorded during one session October 9-10, 1974: Death and The Flower (released 1975) and Back Hand (released 1974). Second album recorded for Impulse was studio recording. Sessions took place in Generation Sound Studios in New York City on February 27 and 28, 1974. Treasure Island was recorded with Dewey Redman playing tenor saxophone, Charlie Haden playing bass, Paul Motian playing drums with guest performances of guitarist Sam Brown (in Treasure Island and Sister Fortune). Apart piano, Keith Jarrett played soprano saxophone in Angles (Without Edges). In effect is affordably inexpensive session gave results of widely developed project.

Keith Jarrett — Treasure Island (1974)

   The idea of Treasure Island was to melt various directions of contemporary jazz, including fusion and soul jazz, funk and free jazz, progressive and popular music. Such attitude was young Jarrett’s idée fixe; he was expanding stylistic frontiers beyond any borders. The more contradictory these currents were, the more interesting was stylistic background and its final effect looked better. Like in treasury found on tropical island we have everything precious in one coffer, here we have various elements of tradition closed in one program. And the best feature is the structure of this album – all compositions are complementary and every element is perfectly set with the others. Sad and joyous, light and heavy moments are balanced and magnificently displayed. If he didn’t develop his own stylistic way, this could be Jarrett’s style as well.
   Interesting mistake happened in my copy of Treasure Island. It is European edition re-released by Impulse in February 2016. The second side of the record contains one more track: Sister Fortune which is last song on B-side, has been cut two times – at the beginning of this side and at the end. Maybe it was intended action to give listener a chance to listen this nice piece in better quality, maybe it was calculated as a provocation showing how passive listeners we are. Whatever it was, it would be nice to read publisher’s information on this. Considering musical quality this album deserves four stars for originality and strong position in early discography of great pianist.

Mstislav Rostropovitch conducts Tchaikovsky’s Symphony No 6 'Pathetique'

★★★✰

   As one of great personalities in music of second half of 20th century, Mstislav Rostropovitch was versatile artist of many qualities. His cello virtuosity and interpretative skills made his name widely recognized as soloist and conductor. Starting from 1962 stage of Lady Macbeth of the Mtsensk District in Gorky Opera (today Nizhni Novgorod) he was active also as opera conductor. In 1967 he was conducting Eugene Onegin at the Bolshoi Theatre in Moscow. From 1977 he was director and conductor of U.S. National Symphony Orchestra in Washington. As Russian patriot, born in Baku, son of Polish noble descent father, he was known for his civil courage and rational views. Year after year he was increasingly famous not only, in musical circles but also for his political attitude. His human rights advocacy was appreciated and rewarded with many awards and orders, especially in post-soviet time. Awards he received show, how unique person he was, for example Stalin Prize in 1951, Lenin Prize in 1964 and Medal of Freedom from President of USA in 1987. His position in musical culture and in 20th century social history is indisputable.
   Starting from his student times, when he quit Moscow Conservatory as a gesture of protest against dismissal of Dmitri Shostakovich form professor’s post he was supporting towards the opposition. In time of cold war he was openly opposed against political control over Soviet Union citizens especially artists and intellectuals. In August 1968 while playing in London at The Proms he made clear gestures of solidarity with Prague Spring. Developing his artistic career, he had more possibilities to fight for freedom of speech and democratic values. He was supporting many dissidents, among them Aleksandr Solzhenitsyn, who was his long time friend. In seventies, after he was banned from official musical life in Moscow, in 1974 he left homeland and four years later he was deprived of citizenship. He remained in exile for 16 years. In 1989 when Berlin Wall was falling down, he gave improvised concert. In 1990 his citizenship was restored and his return was seen as a manifestation of new era in Russian history. He was active in social life also later years; in 1991 he was supporting Boris Yeltsin during coup d'état attempt.

Mstislav Rostropovitch • Tchaikovsky's 6th Symphony 'Pathetique' (1977)

   In mid-seventies Mstislav Rostropovich recorded complete six Symphonies by Peter Tchaikovsky with London Philharmonic Orchestra for His Master’s Voice label of EMI Records Ltd. This English production with addition of the Manfred Symphony op. 58 was published in 1977 by EMI branch offices all over the world. In England it was available as complete of 7 LP records in the box, but for various markets it was also released apart. It was possible to buy standalone symphonies or the whole cycle promoted in various collections and club editions. Next year EMI released record with Tchaikovsky’s two orchestral fantasies Romeo and Juliet and Francesca da Rimini. These recordings were reissued by EMI as 5CD set in 1995. Although all of Tchaikovsky’s symphonic works are eminent achievements, the whole series most featured are last symphonies, especially Symphony No. 6 in B minor, Op. 74 ‘Pathétique’ which was last great work composed by Peter Tchaikovsky, premiered only nine days before his death.
   Recording session for Symphony ‘Pathétique’ took place at Kingsway Hall in London during three days September 13th to 15th, 1976. The place was known for its perfect acoustic space for orchestra sound and it was heavily used for recording sessions with London Philharmonic Orchestra (280 recordings) and London Symphony Orchestra (421 recordings). When London Philharmonic Orchestra was recorded Tchaikovsky under the baton of Rostropovich, it has 44 years of recording experience with Kingsway Hall. The orchestra in Pathétique sounds perfect as in organic unity. Rostropovich’s recordings were made during the years Bernard Haitink was on the post of principal conductor (1967-1979) so the period was propitious for plastic and massive sound of late romanticism. With this orchestra Russian artist found great partnership to create sophisticated performances of Tchaikovsky’s symphonies, thus the interpretation idea is rather balanced than dramatic, closer to classical spirit, although composition by itself is dramatic and narrative-like in post-Romantic manner. This credible performance uncovering lots of inner beauty demands some friendly attention.

Original Broadway Cast Hair: The American Tribal Love-Rock Musical

★★★★

   In the history of musical theatre, projects winning best position were always connected with some historical changes or social issues. In fact this refers to any work of art especially when it’s a narrative one. The tension between political or economical processes and particular moment in the life of a hero is the energy moving storytelling from oldest times. When in short period of time and on one stage takes place whole story, with music, acting and dance, whole production needs to be concentrated – the stage works as a focusing lens. With this presumption we need to take into account also artistic qualities, good music, sense of humor and breathtaking dance scenes. Commercial success was always connected with various factors, but most efficient was its impact and popularity. Phonographic recordings played significant role as a step to wide promotion of any work. During first decades such albums were main step outside the Broadway to any place where music has a chance to find new listeners. Not only blockbusters were released as musical recordings. For those with higher budget LP records or CD albums were sometimes a second chance to find its way to listeners.
   Every period has its stories, songs and hit musicals. When there is such need it could be more conservative, in other moments radical or even revolutionary. Music, arts and letters were always synchronous with deep needs of at least some significant part of the society. In second half of 1960’s postwar stability for great part of society was seen as no longer a value. Young, well educated Americans perceived it as a stagnation atoned with unacceptable price of deaths in Vietnam and social inequality. Rebellious behavior and riots were side-effect of young counterculture. In couple years young minority became power enough significant to reshape official culture. This process was background for probably most ambitious musical project of the era. Breaking many taboos Hair: The American Tribal Love-Rock Musical became famous as the voice of young Americans in late sixties.

Hair • The Original Broadway Cast Recording (1968)

   The power of Hair is in its creation of collective hero. The idea of the story was developed by Gerome Ragni and James Rado using method described as “non-book” and based on free notes and snippets as base for creation series of stage situations like pagan rituals, happenings, street demonstrations, theatrical equivalent of human be-in and scandalous performances. In many parts this non-book script has references to works by William Shakespeare, Romeo and Juliet and Hamlet, with famous citation “What a Piece of Work Is Man” from Hamlet (Act II, scene 2). After many rejections from Broadway producers, Ragni and Rado found support from Joseph Papp who had choose this work to opening run for his Public Theatre. Premiere took place in October 17, 1967. This was also first non-Shakespearean venture by Papp who was New York Shakespeare Festival founder. Second off-Broadway production was Cheetah stage in December 1967. Both were enough successful to be continued in Broadway.
   For Broadway stage authors made some changes, adding final song Let The Sun Shine In (yet another reference to Hamlet). Nonetheless Papp decided to drop his support for this production. Opened in April 1968 Hair stage had 1 750 performances and pave the way for international recognition of this musical. The same year London West End stage of Hair had 1 997 performances and the consequence of this success were dozens of productions all over the world. In 1979 United Artists premiered film adaptation of the musical directed by Milos Forman. This moment became one of highest achievements in history of musical movies, although only stars were actresses playing the role of Sheila Franklin – Diane Keaton in Broadway cast and Beverly D’Angelo in the movie. Original Broadway cast recording had sold in three millions of copies. The record published by RCA Victor label became great success and was charted on 1st position of Billboard 200. Considerig its position in the era, the album along with others recordings is worth to remember, significant document of its time.

Shakatak — Night Birds

★★★

   In seventies all styles of popular music were the subject of deep change. Although many kinds of jazz and rock were still continuing artistic quest in old directions, the wide public and main labels were choosing more dance and rhythmic kinds of music. After all bastions of intellectually ambitious jazz and progressive rock fallen, after jazz rock pave comfortable ways to all regions of popular music and new electronic instruments were giving more and more possibilities for disco and popular song producers, it became clear music is just another kind of product, just like anything else made in industrial facilities. In fact this was the great time for many musicians. After years of some strange ideas basing on invention value, commercial kinds of music gave musicians many chances to develop their careers on basis of virtuosity being a primary quality and a source of recognition. That was the background for the new wave of bands and musicians playing various kinds of smooth jazz mixed with elements of disco, rhythm and blues, or some local folk traditions. And one of most popular in Europe was English band Shakatak.
   The band called Shakatak was formed in 1980 and it’s first recorded tune Steppin’ by Bill Sharpe in August 1980, as well as their first album Drivin’ Hard released in May 1981, were placed on charts. The end of seventies and early eighties was the time jazz lost its momentum. Even most popular jazz rock bands were looking for any exit from stagnation. Many bands have suspended their artistic activities – Mahavishnu Orchestra in 1976 and Return to Forever in 1977, Herbie Hancock and Chick Corea were developing their individual projects, Weather Report was still active but changing with every album their direction and looking for new possibilities in world music. But wider public was ready for fusion, which was commonly used as an accompaniment arrangements for many popular and disco songs. This was best moment for converting fusion jazz into pop music with high commercial potential. When one year later, in May 1982 Polydor released Shakatak’s second album, Night Birds, the band was already a definition of pop music crossover with funk-jazz and fusion idioms.

Shakatak – Night Birds (1982)

   Easy structures of musical pieces were based on attractive sound. It was possible thanks to band’s recording equipment including collection of acoustic and electronic instruments. Leader Bill Sharpe was playing Bosendorfer grand piano, ARP Odyssey synthesizer, and Fender Rhodes electric piano. Also Nigel Wright, arranger of brass section and producer of the album who played Fender Rhodes Electric Piano and additional trombone. Plus both keyboardists were playing Oberheim O.B.X. and Prophet 10 synthesizers. Guitarist Keith Winter was equipped with Yamaha SG 2000, Gibson 345, Ovation Acoustic, Mesa Boogie amplifier and custom pedal board. George Anderson played Music Man Sting Ray and G&L 2000E basses. Drummer Roger Odell played Sonor and Avedis Zildjian cymbals. Members of the band were singers Jackie Rawe and Jill Saward. This set was augmented by additional personnel including singer Lorna Bannon, percussionist Simon Morton who was also vocalist, trumpeter Stuart Brooks and saxophonist Dick Morrissey.
   Starting from the very beginning of this album, its idea is brightly exposed. Title track Night Birds founded on gentle and careless piano melody has been exposed in soft funky outfit. As an answer for piano theme we hear vocal refrain with uncomplicated lyrics and easy melody. After repetition and synthesizer bridge, we hear one chorus guitar solo and grand piano solo leading to one more repetition of theme and vocal refrain. The concluding piano solo is muted. In second track Streetwalkin' we have almost the same construction plan: saxophone based theme and vocal refrain, saxophone solos and backing vocals on concluding solo. Comparing to typical song construction it was more light and airy, giving listeners more chance to chat, or just listening each other, or even to play or sing with it. Such attitude makes this production as just perfect music for many purposes, from easy listening to weather reports musical background. In next song we have guitar theme and solos and again some voice cast. In rhythmic and melodic idioms this music is related to various styles of dance and popular music from decades of fifties to eighties. Lots of enthusiasm and positive energy is source of its success. Although this is one of classical albums for this kind of music, in my opinion three stars grade on five stars scale is enough good.

Chick Corea — The Mad Hatter

★★★★★

   In the middle of 1970’s decade Chick Corea was one of best recognized musicians on jazz scene. He was appreciated as pianist, composer, arranger, improviser and leader. He was known for his band and artists he played with. But first of all he was famous for his own style. Since his first fusion experiments in late sixties, Chick Corea was artist connecting and melting Spanish music idioms with elements of jazz genre. First great work, opening the sequence of such productions was Stan Getz’s Captain Marvel recorded in 1972 where Corea composed almost complete material. Musicians involved in recording sessions with Stan Getz, the same time were creating first album of Return to Forever – the band aiming to take vanguard position in jazz-rock of seventies. 

   Time spend with Return to Forever was this period when Corea has focused on symphonic type of arrangement. This was idea clearly taken from progressive rock. In 1976 composer of La Fiesta published groundbreaking double LP album My Spanish Heart where he developed great new vision of Latin jazz. Two years later in 1978 Chick Corea released next album experimenting with jazz-rock and fusion genres, combining jazz elements with progressive rock ideas. Titled The Mad Hatter this was a concept album with lyrics written by Gale Moran and clearly connected by some symbolic, graphic and narrative ideas with Alice’s Adventures in Wonderland by Lewis Carroll. And the tendency of creating intricate concept albums with plenty of references was further evidence for strong bonds between fusion jazz and progressive rock.

Chick Corea — The Mad Hatter (1978)

   Chick Corea released The Mad Hatter album in 1978. It was recorded in Kendun Recorders studios in Burbank with jazz line-up and chamber sections. Jazz section were Joe Farrell (tenor saxophone, flute, piccolo), Herbie Hancock (electric piano), Jamie Faunt, Eddie Gómez (basses), Steve Gadd, Harvey Mason (drums) and Gayle Moran (vocals). Brass parts were played by Stewart Blumberg, John Rosenburg, John Thomas (trumpets) and Ron Moss (trombone) and string section was Charles Veal and Kenneth Yerke (violins), Denyse Buffum and Michael Nowack (violas), Dennis Karmazyn (cello). The leader himself played piano, electric piano (Fender Rhodes), synthesizers (Mini-moog, Poly-moog, Moog 15, Moog Sample & Hold, Arp Odyssey, Oberheim 8 Voice, Mxr Digital Delay, Eventide Harmonizer) and percussion (African shaker, marimba, cymbal and cowbell). He was also composer and arranger.
   As it has been indicated above, main contribution of progressive rock into jazz-rock crossover style was symphonic narrative and orchestral structure of arrangements. One of consequences of this attitude was concept album idea, which was not used before but so often convention in mainstream jazz. Chick Corea as pianist and composer was always closer to classical music than rock, especially in his sound ideas. In his albums he was constantly developing structural means giving in result various kinds of closed compositions and cycles. This feature played decided role also in construction of The Mad Hatter album. It is so rich in qualities, ideas and conceptions, fragments of modal improvisations are entwined with modernistic chamber arrangements and neoclassicist elements of compositions, it’s just perfect subject for structural analysis. Nonetheless all of these make this album more ambitious than it was acceptable in 1978. Four stars is lowest grade for such ambitious and well done project. Fifth star I am giving for my personal reasons - it was just one of my high-school favorite albums.

Yevgeny Mravinsky conducts Symphony Pathétique

★★★★★

   In history of culture we have many mysterious phenomenons giving scope to our imagination. Facing chef-d'oeuvre we can’t rationalize all of its qualities, so we are mythologizing the story of its creation or just seeking any reason to explain its uniqueness. One of such masterpieces is Symphony B minor, Op. 74 by Pyotr Ilyich Tchaikovsky. The work has been called Symphony Pathétique by composer’s brother Modest, and approved by composer himself. This emotional work was intended as program symphony, A Programme Symphony was even its projected name, but composer decided not to reveal the program as it was too much private, as Tchaikovsky wrote “suffused with subjectivity”, so he decided to leave it without any comments.
   Pyotr Ilyich Tchaikovsky wrote his 6th Symphony in February and March 1893 and orchestrated the work in the summer of the same year, although there are some rumors connecting this composition with his death assuming he committed suicide. The official cause was cholera, and the idea of connecting Symphony Pathétique with his death is again testimony of our inability to accept some phenomenon exceeding our understanding. Facts are simple and still significant. He died three months after he finished this composition. October 28th, he conducted the premiere of this symphony in St. Petersburg, and after first performance he said: “Something strange is happening with this symphony! It's not that it displeased, but it has caused some bewilderment. So far as I myself am concerned, I'm more proud of it than any of my other works”. Nine days later, November 6th, 1893 he died.

Pyotr Tchaikovsky - Symphony Pathétique - Yevgeny Mravinsky (1956)

   The same city Tchaikovsky premiered his last symphony, 63 years later was the scene of unforgettable recording session when great performance of this work was captured. This was the time of growing recognition and interesting focusing on Leningrad Philharmonic Orchestra and its artistic director, conductor Yevgeny Mravinsky. Series of great premiere performances including symphonies by Dmitri Shostakovich, international fame was already huge, even if conductor was traveling reluctantly and did not like recording sessions. As conductor he devoted his career to orchestra, to create its artistic profile and to build technical possibilities. The results of his work were astonishing. Precision of articulation and sound of Leningrad Philharmonic Orchestra was recognized as one of most characteristic achievements of Russian universal musical culture, as well as Tchaikovsky’s symphonic music, especially his last symphony. The only reason this recording has few releases, definitely not as much as it deserves, was its monophonic technology, which as the moment was out of date already. Despite of this, published by Deutsche Grammophone Gesellschaft it remains one of most significant recordings of this symphony.
   Symphony Pathétique belongs to core repertoire of symphonic orchestras and with huge range of possible readings and interpretations it’s good to know some essential and most meaningful renditions. The one that can play referential role and one of most famous is monaural recording made by Yevgeny Mravinsky with Leningrad Philharmonic Orchestra in 1956. What tells the difference between this and many other performances is intensity of musical action. Every phrase of this recording is clear and strong sentence of the whole story which is the 6th Symphony in itself, although devoid of program, it remains a strong narrative construction. Profound and expressive, perfect in every moment, this album is document of artistic potential of the Leningrad Philharmonics one decade after the war. And this is the reason to see such recordings as corner stones of the orchestra’s and conductor’s fame.