Tchaikovsky: Symphony No. 6 - Petrenko

Tchaikovsky: Symphony No. 6 - Petrenko

Berliner Philharmoniker  ?

Stereo/Multichannel Hybrid

Classical - Orchestral

Tchaikovsky: Symphony No. 6

Berliner Philharmoniker
Kirill Petrenko (conductor)

When Kirill Petrenko performed Tchaikovsky’s Sixth Symphony with the Berliner Philharmoniker in March 2017, one critic was “stunned at how beautiful and breathtakingly exciting this music can be”. This first audio release of the orchestra and its new chief conductor reflects the whole sonority and intensity of the interpretation – and offers a taste of an exciting new beginning.

The orchestra’s musicians, audiences and journalists had high expectations of the concert. After all, this was their first appearance together since the Berliner Philharmoniker had elected Kirill Petrenko as their chief conductor two years earlier. In the end there were loud cheers, and the press’s verdict: “A triumph”. In fact, all the qualities of this artistic partnership which had led the orchestra electing Kirill Petrenko came together here. While the rehearsals were still characterised by concentrated work on sound, colouring and phrasing, during the concert itself, musicianship took over, born entirely of the moment, full of commitment, energy and emotion.

With its both finely balanced yet uninhibited expressiveness, the interpretation perfectly meets the requirements of Tchaikovsky’s last symphony. In this work, the composer not only reveals the pain and drama of a troubled soul, but also his whole compositional art – with sophisticated inflections and formal concepts, including a waltz in a complex 5/4 beat.

The high-quality hardcover edition presents the recording on a CD/SACD which can be played on all CD and SACD players. It allows playback in either best CD sound or, when used as SACD, in high-resolution audio quality plus in surround sound. The extensive booklet includes an essay which, among other things, reflects Kirill Petrenko’s view of Tchaikovsky’s symphony and this recording.

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PCM recording

Recorded 22-23 March 2017 at the Philharmonie, Berlin, Germany, 24/192

Sound engineer: René Möller

Executive producers: Olaf Maninger, Robert Zimmermann

Project manager: Felix Feustel
Comments (9)

Comment by SteelyTom - May 14, 2019 (1 of 9)

Reports of the death of the SACD format are, perhaps, greatly exaggerated.

Comment by hiredfox - May 18, 2019 (2 of 9)

Many of the top European ensembles support the format whereas most of their US counterparts do not. To a large extent this reflects the location of the labels still supporting SACD.

This is all the more frustrating as there are some truly world leading sound recording houses in the US like Sound Mirror and the Super Audio Centre.

Comment by STEVEN J DEMENA - May 22, 2019 (3 of 9)

Sound Mirror and the Super Audio Centre could record and have their recordings released on Blu-Ray Pure Audio discs, no? Everyone with a BR player can play those.

Comment by Ray Latham - May 24, 2019 (4 of 9)

Let's be realistic. SACD is a slowly dying format and no amount of wishful thinking will change this. Once its inventors (Sony and Philips) abandoned it, its eventual death was inevitable. Such a pity!

Comment by hiredfox - May 24, 2019 (5 of 9)

I refer you back to Steely Tom's comment above. He is very much a realist.

Comment by john hunter - May 24, 2019 (6 of 9)

SACD has been dying for a decade if not longer.A very slow demise thank the gods.!!

Comment by DYB - May 24, 2019 (7 of 9)

Sony never tried very hard to make SACD attractive in the US market. I worked at Tower Records at Lincoln Center, the retailer's flagship store. I was one of the supervisors of the classical department. We had an SACD demonstration system from Sony. And none of us ever received even a minute's training from anyone about how it worked or what it did. Some customers came to ask about it - and we just had the barest minimum info to give them. We'd put on a disc and play and just let them stand there in the middle of the floor, surrounded by other customers and noises of the store. Inevitably each and everyone one of them shrugged and walked away without any idea what they were supposed to be listening for. And none of us could help them either.

Comment by hiredfox - May 25, 2019 (8 of 9)

... and it all started so well. Tower Records in Piccadilly Circus tried their best I think, from the early days they had nearly all the early release SACD in stock in a special section and it piqued my curiosity even 'though the SQ of SACD players of the time left much to be desired in terms of performance by today's standards as you might expect.

I felt then and still do so that had Naxos stuck with it things would have turned out very differently. Their arrival on the scene had had such a huge influence on the purchase of classical RB-CD before SACD arrived as a commercial proposition. They decided to go another route, split the market and the rest as they say is history. The Naxos SACD that did get released are very good indeed and worth buying if/when available

Comment by Jared Sacks - May 26, 2019 (9 of 9)

Don't forget that at the same time SACD started in 2001, the IPOD and mp3 came out. Philips and Sony did not abandon SACD, the major labels did after two years because it was clear that the generation that produced sales was indeed going the other way.Philips and Sony gave it another three years. Let us also not forget that through the SACD we now have DSD files in stereo and multichannel at even higher sampling rates. (though for me is 128 sufficient!)
I understand that the physical disc is what is important for this site and respect your efforts to support this format, but in the end it is just a format. The proof is that you accept the labels that do not even record in DSD but you still buy their SACDs. You do this because the recordings and performances are first rate and you want the 'music'. In the end it is about the music no matter what the format. In that we are all on one line.