. . . [the mighty sostenuto passage of Tchaikovsky's Sixth] is one of the great soul-baring moments in 19th-century symphonic music and Bychkov and the Czech Philharmonic give it the fullest intensity . . . Again playing that is infused with an in-the-moment spontaneity: no flash, just honest, musical, shapely playing . . . which builds from sprightly and festive to menacing with great panache . . . A very fine performance, then, no question, and supplemented by a "Romeo and Juliet" of similar qualities -- keen and articulate in strife, rich in romance. And it feels personal in a way that the warm, homespun playing of the Czech Philharmonic only accentuates.
[Symphony no. 6]: Bychkov takes a literalist approach, dependent on the glowing timbre of his ensemble to radiate Tchaikovsky's emotional transports. The orchestral response remains excellent, alluring in the strings, and heady and opulent in the trumpets. The low bassoon at the outset invokes at once a dark odyssey and turbulent outburst that concludes with "walking pizzicati". At the close, the "ffff" marking, audibly lugubrious, heralds the end of a life's tragic journey . . . ["Romeo and Juliet"]: Once more, the warmth of the performance glows, courtesy of recording engineer Stephan Reh. At the funeral march at the symphonic poem's end, the sense of fateful doom lingers long after the fermata.
. . . the serious listener will have no trouble recognizing and appreciating the performance insights that Bychkov has brought to both compositions on this album . . .
. . . [an] outstanding recording . . .
. . . ["grand"] is the word for these performances. Semyon Bychkov and the world-class Czech Philharmonic give Tchaikovsky space and depth, and a richness of sound and ambience, without missing any of the excitement at moments of high drama. The Symphony No. 6, "Pathétique", gets a performance that eschews hysteria in favour of heartfelt lyricism.
. . . these are musically intense and illuminating readings superbly played and clearly and openly recorded . . . [Symphony no. 6]: he ebbs and flows it convincingly, ensures that details and dynamics are immaculately tailored, appreciates structure, and has the Czech Philharmonic playing for all its considerable and seasoned worth, brilliantly and beautifully. Musical values are paramount, there is also no lack of emotion and eloquence; this "Pathétique¿" is certainly compelling and illuminating . . . "Romeo and Juliet" is similarly balanced between sterling musicianship and vivid narrative. It's an account laden with incident and revealing observations . . . this is a thoroughly impressive and involving collection on its own terms and further volumes are keenly anticipated.
. . . a wonderful recording . . . a wonderful reading and I highly recommend it.
Dignified, compassionate and keenly proportioned readings . . . there's absolutely no want of edge-of-seat tension or giddy spectacle in the first movement's hair-raising development. Elsewhere, the Allegro molto vivace third movement effortlessly builds to a superbly exciting culmination, while the towering finale is all the more moving for its unexaggerated flow and refusal to play to the gallery. Moreover, the delectable poise and lustrous sheen displayed by the incomparable Czech Philharmonic Orchestra will surely give great pleasure . . . Likewise, the present "Romeo and Juliet" brings another performance to savour in its enticing glow, bracing cut and thrust, and ample generosity of feeling . . . Decca's engineering is wonderfully ripe, wide-ranging and detailed to match.
. . . the impeccable preparation shows in the orchestra's beautiful and passionate playing . . . Bychkov gives a performance of "Romeo and Juliet" that generates an intense passion such as I could scarcely imagine being surpassed. The sense of mystery in the opening section is remarkable, yet Bychkov keeps the music flowing with assurance . . . the combination of strings and brass could have been made in heaven. Under Bychkov's accomplished baton it is hard to imagine this glorious music being played any better . . . [Symphony no. 6]: beautifully proportioned . . . stylish and highly engaging playing . . . there is a gloriously temperamental power which erupts into action at point 9.20 . . . Strikingly, amid the heightened tension of the performance there is a distinct undertow of mystery. From start to finish the judiciously paced Allegro con grazia flows buoyantly with all the dreamlike elegance of a Viennese waltz . . . The way Bychkov builds up the orchestral weight and volume is compelling and highly dramatic . . . Bychkov and his Czech Philharmonic players obtain an array of emotions that can leave the listener crushed . . . This new release from the Czech Philharmonic under Bychkov is a stunning reading full of beauty and intense passion and can stand comfortably alongside the catalogue's greatest . . . Bychkov and the Czech Philharmonic are in breathtaking form and this first volume of "The Tchaikovsky Project" on Decca augurs remarkably well for its future releases.
These are nice performances. The Czech Philharmonic plays beautifully; the sonics are warm and well balanced. Bychkov has some good ideas: the relatively swift first movement introduction, for example, or the characterful phrasing at the start of the recapitulation. The watchword is elegance . . .
. . . [this recording] is so impressive as to render the distinction between technique and imagination irrelevant . . . [Bychkov's approach seeks to give us a sense of the whole man Tchaikovsky,] who, in his last months, was becoming more and more aware of his impending mortality . . . Whatever the work's connection to the composer's death, Bychkov views its mood as one of protest, not resignation. But Bychkov's strategy is not to give the "Pathétique" an extra dose of anger. Instead, he employs accuracy of execution as a pathway for a clearer perspective on the work's complexity . . . [we] get a heightened sense of conversation among the work's contrasting ideas, a welcome diversion from routine . . . Bychkov, helped by a fresh and open recording acoustic, does a wonderful job of treating the orchestra's different instrumental departments as equal colleagues, bringing distinctive gifts to a common effort. Clarity of articulation is key to the conductor's approach . . . Commenting on the "Romeo and Juliet" Overture-Fantasy (which also gets a winning recording here), Bychkov reminds us of Tchaikovsky's overlooked genius as a "deeply polyphonic composer", not just as a master of sumptuous melody and orchestration. This deeply personal disk amplifies that concept, giving us a multidimensional view of the composer's greatest symphony.