Dmitri Kitajenko’s large-scaled Tchaikovsky brings to mind the late recordings of fellow Russian conductor Yevgeny Svetlanov–he also favored slow tempos and robust orchestra sonority. But whereas Svetlanov cultivated massiveness to dramatic effect, Kitajenko just makes the music sound leaden. This Pathétique’s first movement seems much longer than its 20-minute duration (in fact, it feels even longer than Bernstein’s record-breaking 22 minutes!). It’s not just that it’s slow, but there’s precious little of the liveliness usually found in this music. Where is the wispy, mercurial quality echoing Tchaikovsky’s “Winter Dreams” symphony in the Allegro non troppo? Or the emotional pull of the following “big tune”? The central Allegro vivo lacks fury (not something I would have expected from a seasoned Russian conductor), but at least Kitajenko renders the big climax with the requisite gloom.
There’s nothing graceful about Kitajenko’s torpid Allegro con grazia second movement, and he compounds the dullness by taking the somber trio even slower. But the conductor has an awakening come the scherzo–the march proceeds with sparkle and energy and closes with satisfying bravura. It’s in the Finale where Kitajenko’s approach makes the most sense. He really lays on the lamentoso with the intensity (though not the “heavenly lengths”) of Bernstein. The climax grips, while the close descends into unremitting blackness. It’s too bad the first two movements couldn’t have been as compelling, especially as the Cologne Gürzenich Orchestra plays handsomely throughout, and the sound is first rate. This could have been a contender.
