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Tchaikovsky: Symphony No 5; Beethoven / Leinsdorf

ICA Classics

DVD

$20.99 ~~$26.99~~ Save 20% Feb 28, 2012

Leinsdorf belatedly enters the select list of the greatest Tchaikovsky performances on record.

The previous Leinsdorf offering in this series had a very good-to-fine Schubert 9, an even finer Schumann 4 and a wonderful Wagner “Good Friday Music”. However much you enjoyed it, I should think that only those present in the Boston Symphony Hall on 15 April 1969 could be fully prepared for the impact of the present resuscitation.

The first pleasant surprise that the material is in colour, even if definition is not up to modern standards. The second is that Leinsdorf, who was usually seen – before and after 1969 – without a baton and said in a late interview that he felt freer to mould the music expressively with just his hands – marches on with a longish baton and seems accustomed to wielding it. Richard Dyer, whose eye-witness notes continue to be such a valuable feature of this series, makes no mention of this. It would be interesting to know more about Leinsdorf’s use and non-use of the baton.

But all this pales before the fact that this sometimes austere and pedantic conductor is on truly inspired and inspiring form, conducting with total involvement. This doesn’t mean that it’s all fast and loud: the Beethoven goes at a good but not excessive pace and there is plenty of expressive weight to the introduction. The wind phrases in the allegro are beautifully turned and the coda truly blazes.

Leinsdorf’s Beethoven is a known factor. If it wasn’t always this good, I suppose it doesn’t need a lot of imagination to see that, on the right day, it could be. But his Tchaikovsky?

Leinsdorf only recorded one Tchaikovsky Symphony commercially, the Sixth with the Los Angeles Philharmonic some years before his Boston appointment. I’ve never heard this, nor have I ever seen it spoken of with bated breath. Whereas the internet grapevine has been shouting excitedly about this Fifth ever since somebody posted an incomplete sound-only version, as Richard Dyer relates. I can well understand those internet commentators who say they’ll never listen to their other discs of the work now this is available, or one who actually heard it at the time and has been unable to find a performance to match it – not even Mravinsky – ever since.

On the face of it, Leinsdorf doesn’t “do” anything particular with the music. The introduction is brooding but also purposeful – he notes that it is “andante” not “adagio” and one senses a great latent power behind waiting to be unleashed. His “Allegro con anima” does not sidle in slowly, gaining speed later, he sets an up-front tempo straight away. It will sound very fast to some listeners. But this is his tempo, so the first crescendo is not accompanied by an accelerando and the hammering passages go at about the “normal” speed. Nor does he deviate from this tempo, except where Tchaikovsky actually requests a slower pace for the second subject. Leinsdorf plays this with great tenderness and free rubato, even risking some less precise ensemble. On paper, this might sound like one of Leinsdorf’s dogmatic demonstrations, and if he had subsequently taken the performance into the studio I fear it might have turned into just that. I must emphasize that here everything is white-hot and convinces as a free expression of emotions.

So, too, does the slow movement. The tempo is pretty steady but there is a sense of free-soaring passion which completely effaces any sense of the four-square. The waltz has an elegance which does not prevent exploitation of its darker moments while the finale carries all before it. The coda has an air of crude triumph presaging Mahler. Audience reaction is rightly rapturous and even Leinsdorf manages some smiles. It looks as though the Bostonians learnt to love Leinsdorf just as he was on his way out.

I haven’t ventured to compare this with other favourites. Once the initial impact has worn off I cannot believe that performance by such as Mravinsky or Markevich, which have provided inspiration to generations (and to me) can be wholly and eternally eclipsed. The case still remains for a cooler, more brooding approach, notably provided – in very primitive sound – by Landon Ronald. At the opposite extreme, the capacity of late Celibidache to bend your internal clock and suspend disbelief at his time-dilations is not to be dismissed either. What I am quite sure of is that Leinsdorf has belatedly entered the select list of the greatest Tchaikovsky performances on record.

Back to batonless Leinsdorf in black and white for the Mozart bonus. He puts on an incredibly autocratic face with black looks all round. Those used to modern Mozart will gasp at the fullness of the first attack, yet there is lilt as well as majesty, and delicacy later on, Leinsdorf shaping the music with crisp finger-movements.

An interesting filler, perhaps. But don’t miss the Tchaikovsky on any account.

-- Christopher Howell, MusicWeb International

LEINSDORF CONDUCTS BEETHOVEN AND TCHAIKOVSKY

Ludwig van Beethoven: Egmont, Op. 84: Overture
Pyotr Il’yich Tchaikovsky: Symphony No. 5 in E minor, Op. 64

Boston Symphony Orchestra
Erich Leinsdorf, conductor

Recorded at Symphony Hall, Boston, 15 April 1969

Bonus:
Wolfgang Amadeus Mozart: Serenade No. 9 in D major, K. 320, "Posthorn": II. Menuetto: Allegretto

Recorded at Sanders Theatre, Harvard University, 15 January 1963

Picture format: NTSC 4:3
Sound format: Enhanced Mono
Region code: 0 (worldwide)
Menu language: English
Booklet notes: English, French, German
Running time: 57 mins
No. of DVDs: 1

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Tchaikovsky: Symphony No 5; Beethoven / Leinsdorf
ICA Classics Feb 2012
DVD
~~$26.99~~ $20.99

Bruckner: Symphony No. 5 (Organ Version) / Giesen

Gramola Records

$21.99 Sep 06, 2019

Anton Bruckner's Fifth Symphony is one of the most moving and magnificent of his symphonic works. Matthias Giesen, who has been working for more than 20 years as the organist and stablemaster of the Monastery of St. Florian, where Bruckner started his musical training as a choirboy, presents his transcription for organ of this monumental opus on this recording for Gramola. Matthias Giesen refined his rendition of Bruckner's Fifth on the Bruckner organ of St. Florian, which can be heard on this recording, but also on numerous other organs for many years in order to do justice to the work both in terms of technical and musical matters. In 2017, Giesen presented his adaptation of the "Fantastic", which Bruckner himself never heard in orchestral version during his lifetime, for the first time to an enthusiastic audience.

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Bruckner: Symphony No. 5 (Organ Version) / Giesen
Gramola Records Sep 2019
CD
$21.99

Mahler: Symphony No. 5

Alpha

$20.99 Mar 14, 2025

This recording of Mahler's Fifth Symphony by the Tonhalle-Orchester Zurich under it's Music Director Paavo Jarvi, is the first in a complete cycle of Mahler symphonies. Jarvi has of course conducted Mahler's works many times in his career, but has waited for the right moment to record the complete cycle in the studio: the right moment not only in his life as a musician but also in his relationship with the Tonhalle-Orchester Zurich; the maturity and power revealed in the orchestra's recordings for Alpha Classics have been hailed by the music press since 2019. "Mahler truly opened up a new universe with the Fifth, in which he initiated an incredibly personal style of music-making." says Paavo Jarvi. "It is the very nature of it's opening - a military funeral - and of it's tragedy, in conjunction with the very idea of beginning a symphony in this way, which signals that something completely different is in store for us".

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Mahler: Symphony No. 5
Alpha Mar 2025
CD
$20.99

Shostakovich: Symphony No 5, Etc; Prokofiev / Ormandy
Sony Masterworks Jun 2007
CD
$17.99

Sibelius: Symphony No 5 (2 Versions) / Vänskä, Lahti So

BIS

$21.99 Aug 01, 1997

REVIEWS:
BBC Music (3/98, p.59) - Performance: 5 (out of 5), Sound: 5 (out of 5) - This is a performance that grabs the attention from beginning to end; the Lahti brass have tremendous bite, the wind colour is in primary tones and the sweep of the piece has rarely been caught with such a natural sense of its ebb and flow..."

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Sibelius: Symphony No 5 (2 Versions) / Vänskä, Lahti So
BIS Aug 1997
CD
$21.99

SYMPHONY NO.5 - ROMEO & JULIET

SFS MEDIA

SACD

$21.99 May 12, 2015

Discover powerful and moving music by Tchaikovsky in this all-new release from Michael Tilson Thomas and the San Francisco Symphony. With the heroic Symphony No. 5 and the passionate Romeo and Juliet, featuring one of the best-known love themes ever written, this thrilling, live recording is the perfect addition to any music collection.

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SYMPHONY NO.5 - ROMEO & JULIET
SFS MEDIA May 2015
SACD
$21.99

BRUCKNER: SYMPHONY NO. 5
LPO Jun 2016
CD
$15.75

Mahler: Symphony No. 5 (Live)

BR Klassik

$19.99 Aug 04, 2017

All Mahler scholars have agreed from the very start that Gustav Mahler embarked on an entirely new path with his Fifth Symphony. Even for his immediate contemporaries, such as the conductor Bruno Walter or the music critic Paul Bekker, the Fifth marked the beginning of a new creative phase, and Mahler himself was also keenly aware of this – which is why he was all the more upset by the fact that his work was not understood at its premiere in Cologne in October 1904 and, even later, met with a largely negative reception. In 1905, following an unsuccessful performance in Hamburg, the composer complained: "The Fifth is an accursed work. No-one understands it.” It was only after Mahler’s death in May 1911 that people slowly began to appreciate the piece. The Fifth ranks today as one of Mahler's most popular symphonies. This is due in part to Luchino Visconti's 1971 film adaptation of Thomas Mann's novella "Death in Venice", which used the symphony’s world-famous Adagietto to great effect: the movement enjoyed unanimous approval from the very start, and has now advanced to become Mahler's “greatest hit” and the most famous work in his entire oeuvre. In its structure, the symphony does not follow the classic four-movement form, but presents us with five movements in three sections. Conceptually, Mahler relies on methods he had already tried and tested in the work’s great predecessors, the Second and Third Symphonies. The centerpiece of the work is a lengthy scherzo full of grotesque humour, inspired by Jean Paul, while its resting-point is the Adagietto, which certainly bears many of the hallmarks of Mahler's slow movements. The harsher sound of this symphony ushered in a new creative phase for Mahler – one that he developed further in the Sixth. The maximum use he makes of the tonal means available already clearly anticipates the Ninth, in which he begins to abandon tonality altogether and encompass the transcendental aspect of the music. This Munich concert event of March 2016, now released as a CD by BR KLASSIK, is an outstanding interpretation of one of the most important compositions of the international symphonic repertoire of the early 20th century. „Gustav Mahler himself feared that the „chaos!“ In his Fifth Symphony would deeply unsettle his audiences. The work has long since become popular, and the Adagietto has even become Mahler’s "greatest hit."

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Mahler: Symphony No. 5 (Live)
BR Klassik Aug 2017
CD
$19.99

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Mahler: Symphony No. 5
SWR Sep 2006
CD
~~$20.99~~ $10.49

P. TCHAIKOVSKY Symphony No. 5 - Uppsala Chamber Orchestra
Swedish Society Mar 2010
CD
$20.99

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BEETHOVEN: SYMPHONIES NOS. 5 &
Medici Masters Jun 2007
CD
~~$18.99~~ $9.49

Heinrich Schulz-beuthen: Symphonie Nr. 5 "reformationshymnus"
Sterling Records Aug 2013
CD
$20.99

Bruckner: Symphony No. 5 in B flat major
Supraphon Feb 2007
CD
$25.99

Symphony 3

Kontrapunkt

$22.99 Apr 15, 1995

The increasingly popular Nielsen symphony series reached its fifth volume here including two pieces for string orchestra: Andante Tranquillo and Scherzo which are premier recordings. Earlier releases received a number of favourable reviews: KPT 321771 “...one of the most interesting interpretations available in the market now...the orchestra presentation is absolutely impeccable...” (The Jutland Post) KPT 32178 “...The Odense orchestra play with sensitivity and a total commitment throughout...” (The Gramophone)

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Symphony 3
Kontrapunkt Apr 1995
CD
$22.99

Santoro: Symphonies Nos. 5 & 7 "Brasilia" / Thomson, Goiás Philharmonic Orchestra

Naxos

$13.99 ~~$19.99~~ Save 30% Mar 11, 2022

Claudio Santoro was one of Brazil’s most eminent and influential composers. Over a 50-year period, he wrote a cycle of 14 symphonies that is widely acclaimed as the most significant cycle of its kind ever written in Brazil. The two selected works in this inaugural volume of the first complete recording of his symphonies focus on the 1950s, a period when Santoro sought a more direct and communicative idiom using Brazilian elements. His use of folk-based material is nonetheless highly creative, sometimes indeed abstract, as in key moments of Symphony No. 5. The Symphony No. 7 is one of his most complex and intense works, a celebration of his country’s new capital Brasília in music of striking modernity.

REVIEWS:

Claudio Santoro (1919-89) composed fourteen symphonies over the course of about fifty years, making him one of the most noteworthy twentieth-century Brazilian composers in large forms. On evidence here, they are uneven in quality, with the problems occurring when you might expect – in the larger, more complex outer movements. I’m thinking especially of the Fifth Symphony, whose opening Andante mosso–Allegro moderato consists of a series of crescendos leading, essentially, nowhere. The thematic material isn’t too memorable either. The situation improves in the central scherzo and slow movement (a set of variations), but the same “sound and fury signifying nothing” returns in the finale. Santoro’s style incorporates obvious Brazilian elements without ever turning blatantly “folksy.” Clearly the idiom is his own.

This is even more evident in the Seventh Symphony, subtitled “Brasilia,” and designed for the dedication of the country’s new capital city. A more ambitious and successful work than the Fifth, this time with the scherzo played third rather than second, the music evolves from the relative harmonic simplicity of its opening to a more challenging language in the finale–from rural to urban, you might say. Whether this was Santoro’s intention I have no idea, but I like the result. There’s a good bit of stomping and pounding in this symphony–indeed in both works–with some enthusiastic use of the bass drum, but it all seems to be part and parcel of the music’s boldness and energy, and its confrontational gestural language never sounds merely gratuitous.

Certainly the Goiás Philharmonic under Neil Thomson has every reason to be proud of its achievement here. This is not easy music to play. Santoro’s writing for the violins, in particular, sounds positively wicked, with lots of passage-work at high speed, often reaching upwards into the nether regions of the instrument. The scherzos too offer plenty of rhythmic kinks to keep everyone alert, and the crispness of the orchestra’s response can only provoke admiration.

-- ClassicsToday.com (David Hurwitz)

Neil Thomson conducts strongly committed readings of these fine works, and Goiás Philharmonic Orchestra play with confidence. The recording is very fine and the notes are exemplary. This first instalment of the Naxos cycle of Santoro’s symphonies augurs well indeed.

-- MusicWeb International

The journey is navigated with aplomb by Neil Thomson and the Goias Philarmonic Orchestra. Deftly woven counterpoint is contrasted with off-beat rhythms and expansive melodies that showcase each section of the orchestra to effect.

-- BBC Music Magazine

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Santoro: Symphonies Nos. 5 & 7 "Brasilia" / Thomson, Goiás Philharmonic Orchestra
Naxos Mar 2022
CD
~~$19.99~~ $13.99

Bruckner: Symphony No 5 / Abbado, Lucerne Festival Orchestra [blu-ray]

Accentus Music

Blu-Ray

$41.99 May 29, 2012

Also available on standard DVD

BRUCKNER Symphony No. 5 (Nowak ed.) • Claudio Abbado, cond; Lucerne Fest O • ACCENTUS ACC 10243 (Blu-ray: 80:33) Live: Lucerne 8/19–20/2011

Claudio Abbado formed the Lucerne Festival Orchestra in 2003 after his return to musical life following successful treatment for stomach cancer. His appearances each summer with this group, built upon the core of the Mahler Chamber Orchestra plus first-chair players from many top ensembles, are highly anticipated events. So, when Lucerne videos are released during the year following a festival, it’s like returning to a favorite summer vacation town. What’s the same? What’s changed? As the cameras scan the orchestra, we see that the older female cellist (Natalia Gutman) is missing, but many other familiar faces are back, including violist Wolfram Christ, flutist Jacques Zoon, and the eccentric-appearing principal trumpet (Reinhold Friedrich, who, for some reason, is permitted to wear an extravagant velvet jacket and as a result looks like a cross between Ben Franklin and a circa 1910 patent medicine salesman). Plus, as always, there is a healthy number of young musicians who must be marveling at their good fortune to be participating in such an extraordinary endeavor. Because of the degree of continuity from year to year, a strong sense of artistic purpose and, of course, the man on the podium, the orchestra consistently performs at a level equal to the very best permanent ensembles on earth, even though they are together only relatively briefly each summer.

Bruckner’s Symphony No. 5 is a work that can be condescended to. If a conductor begins with the premise that the Fifth is a piece that—however powerful and popular—is constructed from simplistic elements and lacking refinement, well … you’ll get a performance that’s simplistic and unrefined. Abbado finds layers and layers of nuance and meaning in the symphony. (Benjamin Zander is another conductor who shows the work a similar respect.) Any aura of ritual or of a grinding symphonic machine is banished and something much more organic is in evidence; it’s less a sonic cathedral (to use the standard Bruckner cliché) and more of a Beethovenian or Mahlerian evocation of the natural world. The chorales—strings in the second movement or the “11 apostles” in the Finale—are thankfully shorn of any Hollywood religiosity and just seem to blossom inevitably from musical seeds planted much earlier on. Abbado leads the Scherzo with exceptional lift and lightness, but still allows the obsessive quality to come through without nearly as much hard-headedness—the “country bumpkin” cliché—as is often the case. And then there are the felicities provided by all those world-class instrumentalists. For just one example, listen to the seamless manner with which phrases are passed from horn to oboe to flute at the very end of the second movement.

The sound is glorious in stereo and, especially, with multichannel—richly sonorous, dynamic, detailed, and dimensional. I’ve never witnessed a large audience listen so quietly before; everyone present in the Concert Hall of KKL Luzern for the two performances generating this video last August knew, I’m sure, that they were witnessing something special. They seem afraid to breathe, much less cough or fidget in their seats. As has become the custom, flowers rain down on the performers after the concert’s conclusion. The audience rises to its feet, something that doesn’t happen all that often in Europe (as opposed to the U.S., where every performance, however routine, typically gets a standing ovation). Abbado will be 80 next year and he looks well. Here’s hoping there are many more of these Blu-ray treasures to come.

FANFARE: Andrew Quint

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Bruckner: Symphony No 5 / Abbado, Lucerne Festival Orchestra [blu-ray]
Accentus Music May 2012
Blu-Ray
$41.99

Milken Archive - S. Adler: Symphony No 5, Etc / Adler
Milken Archive Mar 2004
CD
$10.99

Schubert: Symphony No 5, Etc / Spivakov, Moscow Virtuosi
RCA Jul 2007
CD
$17.99

Mahler: Symphony No. 5

SWR

$9.99 Apr 12, 2019

This is a new installment in the new series "SWR Century Classics." The recording gives testimony of Norrington's specific "Stuttgart Sound" and contains one of the best-known symphonies by Gustav Mahler. This is a re-release of a SWR bestseller, and is published on the occasion of Sir Roger Norrington's 85th birthday. Sir Roger Norrington was born in Oxford, and comes from a musical University family. He was a talented boy soprano, studying the violin from the age of ten and singing from the age of seventeen. He read English Literature at Cambridge University, and spent several years as an amateur violinist, tenor singer, and conductor, before attending the Royal College of Music as a postgraduate student of conducting, studying with Sir Adrian Boult. Norrington's work on scores, orchestral sound and size, seating and playing style has had a growing effect on the perception of 18th- and 19th- century orchestral music. He is in great demand as a guest conductor for symphony orchestras worldwide, working regularly with orchestras in Berlin, Vienna, Leipzig, Salzburg, Amsterdam, Paris, New York, San Francisco, Los Angeles and London. He is Chief Conductor of the Stuttgart Radio Symphony Orchestra and of the Camerata Salzburg, and is closely associated with the Orchestra of the Age of the Enlightenment (which has taken over the work of the London Classical Players) and with the Philharmonia.

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Mahler: Symphony No. 5
SWR Apr 2019
CD
$9.99

Mahler: Symphony No. 5
Reference Recordings May 2026
SACD
$24.99

Mix & Match

Mahler: Symphony No 5 / Leinsdorf, Boston Symphony Orchestra
RCA Jun 2007
CD
$17.99

TCHAIKOVSKY: Symphony No. 5 / Marche slave (Slavonic March)
Naxos Dec 1988
CD
$19.99

Mahler: Symphony No. 5

ICA Classics

$14.99 Feb 26, 2013

Francis Poulenc said ?in 1954, 'Music buffs believe that the greatest living conductor is Toscanini, musicians know that it is Hans Rosbaud.' This 'live' studio recording from 1951 is a new addition to the Rosbaud discography, released for the first time on ICA Classics. It has been regarded by a number of German musicologists as a truly legendary performance.

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Mahler: Symphony No. 5
ICA Classics Feb 2013
CD
$14.99

Mahler: Symphony No. 5 / DePreist, London Symphony

Naxos

$9.99 ~~$19.99~~ Save 50% Dec 12, 2006

MAHLER Symphony No. 5 • James DePreist, cond; London SO • NAXOS 8.557990 (72: 43)

The Mahler symphonies have had a somewhat episodic history on Naxos: most of the recently completed cycle features Antoni Wit conducting either the Polish National Radio-TV Orchestra or the Warsaw National Philharmonic; but the recordings of the First, Seventh, and Ninth Symphonies were conducted by Michael Halász. Now, another Fifth appears, conducted by a distinguished American with the mighty LSO.

Whatever its provenance (and why look such an attractive gift horse in the mouth?), this is a sturdy, musically solid performance. The first movement is characterized by commanding fanfares and the steady tread of the funeral march. DePreist doesn’t linger over the latter, but he isn’t as hasty as Sir Roger Norrington in his view of the fanfares, either. One unusual gesture is the sudden ritenuto immediately after the eruption of the quicker tempo at the first Trio; this seems to suggest that the struggle is almost too much. The timpani introduction to the second Trio is muted, becoming almost an echo at the end of its phrase, an effect repeated at the end of the coda, where the muted trumpet, which echoes the opening fanfare, is almost inaudible—a very haunting effect, made that much more interesting by the final note, which is decisively sforzando.

The second movement is a convincing extension of the first, as the stormy opening gives way to the subdued echo of the funeral march. The two themes are convincingly alternated, the occasionally imploring character of the second theme suddenly giving way to optimism in the chorale that ends the development section; this is reinforced by its later D-Major variant, aptly described by Dr. Floros as “Vision of Paradise.” This performance amply demonstrates how apposite that characterization is, while the coda plunges the listener back into the maelstrom.

DePreist takes Mahler’s indication of nicht zu schnell to heart for the Scherzo, as a very expansive tempo (very similar to that of Michael Tilson Thomas in his new Fifth) produces music of geniality rather than robust jollity, and it is a bit short on vigor for a movement marked kräftig (the last minute is an exception, as the music dashes to the end). The LSO copes easily with the relaxed tempo, producing music of strength in addition to good humor. The sound production from Abbey Road Studios is clarity itself, allowing the wide variety of instrumental effects in this mammoth score to be heard while producing the necessary sonic punch when required. The soundstage is satisfyingly wide and deep, and on the whole this recording can stand comparison with most of the Mahler Fifths on the market. Fanfare ’s headnotes used to include the producer’s name, so I am happy to note here that the producer of this splendid-sounding recording is our own Michael Fine.

The Adagietto is decidedly old school, clocking in at 10:42; as with the MTT performance, this can work if one accepts that there are often conflicting feelings being voiced, and if, as is the case here, there is some flexibility in the tempo. The prominent harp assists in giving the illusion of movement in this otherwise timeless music. On the whole, DePreist makes a better case for this kind of interpretation than Tilson Thomas.

An echo of the amiability (and tempo) of the Scherzo is heard as DePreist ushers in the finale; the movement gains momentum as the rondo takes shape. The tempo marking Allegro giocoso , and the term Frisch, are utilized by Mahler to characterize this movement; “jolly” and “fresh” this interpretation certainly is, and the whole performance comes to an exhilarating close.

For a symphony as oft-recorded as the Mahler Fifth, there have been (surprisingly) few featuring this orchestra; I for one am grateful to Maestro DePreist and his crew for producing such a successful performance with one of the world’s premier Mahler orchestras. At the Naxos price, this is one of the Mahler bargains of the decade.

FANFARE: Christopher Abbot

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Mahler: Symphony No. 5 / DePreist, London Symphony
Naxos Dec 2006
CD
~~$19.99~~ $9.99

ALFVEN: Symphony No. 5

Naxos

$13.99 ~~$19.99~~ Save 30% Feb 27, 2007

A gifted musician, writer and watercolourist, Hugo Alfven is regarded in his native Sweden as the most significant composer after Berwald. The Fifth Symphony occupied Alfven throughout the 1940s and 1950s, and draws on themes from his ambitious 1923 ballet.

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ALFVEN: Symphony No. 5
Naxos Feb 2007
CD
~~$19.99~~ $13.99