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Tchaikovsky: Symphony No. 5

Orchestre National du Capitole de Toulouse, Tugan Sokhiev

Awards:

How refreshing in a work of such familiarity to find oneself unable to take a single bar for granted. Don't get me wrong, this isn't the kind of performance which draws attention to itself,...

Tchaikovsky: Symphony No. 5

Orchestre National du Capitole de Toulouse, Tugan Sokhiev

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This release includes a digital booklet

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Awards:

How refreshing in a work of such familiarity to find oneself unable to take a single bar for granted. Don't get me wrong, this isn't the kind of performance which draws attention to itself,...

About

Following three highly praised recordings of Russian orchestral music (V5068, V5073, and V5256), this is the latest recording made for Naïve from the Orchestre National du Capitole de Toulouse and its exciting young conductor Tugan Sokhiev. It pairs two more great Russian masterpieces, Shostakovich’s effervescent Festive Overture, and one of Tchaikovsky’s best-loved symphonies, No. 5 in E minor.

After spending three years as its principal guest conductor and artistic adviser, Tugan Sokhiev became music director of the Orchestre National du Capitole de Toulouse in 2008. Since then their first three discs for Naïve have received exceptional reviews, and they have performed many critically acclaimed concerts across Europe and Asia. Tugan Sokhiev has just been named music director designate of the Deutsches Symphonie-Orchester Berlin and will take up his new role at the start of the 2012-13 season.

Contents and tracklist

I. Andante - Allegro con anima
Track length14:39
II. Andante cantabile con alcuna licenza
Track length13:18
III. Valse: Allegro moderato
Track length5:42
IV. Finale: Andante maestoso - Allegro vivace
Track length12:03

Awards and reviews

  • Gramophone Magazine
    April 2012
    Editor's Choice

April 2012

How refreshing in a work of such familiarity to find oneself unable to take a single bar for granted. Don't get me wrong, this isn't the kind of performance which draws attention to itself, which somehow courts individuality, but rather one which re-evaluates how phrasing relates to sound in pursuit of the greatest spontaneity.
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