Tchaikovsky: Symphony No. 5, Romeo and Juliet (Royal Philharmonic Orchestra, Daniele Gatti)

Chronique

Considering that the marketplace is saturated with too many recordings of the same masterpieces, there ought to be compelling reasons to record works as overplayed as Tchaikovsky's Symphony No. 5 and Romeo and Juliet. Daniele Gatti takes the position that Tchaikovsky's original tempi and dynamics have been ignored for generations and that restoration of these markings presents the works in a dramatically different light. Faster tempi make a real difference, and the music sounds less tortured and maudlin at Gatti's brisk clip. The symphony has a clear trajectory, and Romeo and Juliet is more combative and driven without the usual languid pacing. But the speed of the performances is possibly less interesting than Gatti's close attention to dynamics, for this is where the works benefit most. Tchaikovsky's orchestration is brilliant in Gatti's lucid and finely gauged readings, and the Royal Philharmonic Orchestra offers great depth of sound and vivid timbral distinctions. Is the restoration Earth-shattering? Perhaps not to the extent that Baroque works sound radically changed in authentic re-creations. With Tchaikovsky, the differences are subtle and may be less obvious to the untrained ear. Even so, these are refreshing alternatives to the commonplace performances of the past, and Gatti's reappraisal of these warhorses opens a new area for debate.
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