Gramophone Notes

Radio Record, Volume III, Issue 52, 11 July 1930, Page 33

Gramophone Notes

Pathetique Symphony. ALTHOUGH the title suggests such, the music is not modelled, upon pathetic scenes, though the author was going downhill in life, and this found an effect upon the music. In fact, the title was not given the symphony until after its initial presentation, and then at the suggestion of the brother of the composer. This famous work is one of the most often rendered symphonies, and is the last great work of its kind attempted. by the author. "Without exaggeration, I have put the

whole of my soul into this symphony," wrote Tschaikowsky shortly after its completion. It was first presented in England after the death of the author, and has since been performed more times than any other symphony. The extreme pessimism of the music is probably the result of the moods of despon-

dency to which the author was subject towards the end of his career. There are many splendid recordings of the symphony, and one of the best is that of the Symphony Orchestra, conducted by Albert Coates. (H.M.V. D 1190-4). Depicting mysterious gloom, the opening bars for, the deepest notes of the bassoon, introduce the symphony. The violas followed by the violins take up the melody and work up to lively pussages. Other ideas are introduced by instruments, only to return to the melody, though it is given different forms. But the despondency soon asserts itself ngain, and sorrow is expressed by the bass instruments; it finally wears it‘elf out and the orchestra returns to ‘he main theme. Thus the first move1ent closes.. The second movement is unusual in 2zmpo. Five-four time is common ‘nough in the Slav countries, the home f£ the author, but most unusual to the Vestern mind. The movement _ is wrighter in outlook than the first, but tis disturbed by a sinister effect wh*ch, ‘owever, cannot prevent the final trimph of the strings. ‘The third movement, which was at ae time considered should be the last, s the most dramatic. The theme is not nnounced for some time. A march is ntroduced by the clarinets and worked 1p to a dramatic climax by the orchesra, and a new theme is introduced. [ft s wildly treated by all sections of the wrchestra, tossed and torn in a frenzy intil the movement ends amid wild ex‘itement. The final movement is one of contrasts. It is a sudden return from unfettered boisterousness of the third movement to the sorrow that was announced in the first. One would think that the composer felt himself almost within the grip of death, and several times we think death has claimed the symphony-but hope is again sounded. The opening theme returns, but the happiness is momentary and the symphony fades out in the throbbings of the bass.