Reviews for some of the recordings that make up this set:
Symphony No 1, The Nutcracker Suite
Abbado's Adagio begins mysteriously, but soon becomes rapturous in a way that belies its subtitle, “Land of gloom, land of mists.“ The scherzo is not particularly playful—perhaps the fault is Tchaikovsky's, but I think a lighter approach, which I heard in Thomas and hear in Mariss Jansons's recording, would have helped this movement. The last movement is impressive in its breadth, and in the lovely sound that Abbado gets from his orchestra. I find Abbado's Nutcracker Suite delightful. I find almost any Nutcracker Suite delightful. This one is exquisitely played and recorded. Abbado approaches these pieces withRead more exuberance and fervor, and the recording brings out the full range of his orchestra, including the sweeping accompanying figures in the March.
– Michael Ullman, Fanfare
Symphony No 2, The Tempest
In every detail—pacing, shaping, instrumental balance—Abbado and the sumptuous-sounding orchestra bring us a marvelous realization of the exhilarating Second Symphony. I don't know of a more detailed—yet spontaneous-sounding—performance, every section of each movement flowing with a wonderful sense of continuity, with fresh, pointed, refined phrasing from the solo winds and with a rich, glowing sound from the strings.
The Tempest is a fine piece deserving more frequent performances. Again, Abbado and the virtuosic orchestra are compelling, with some especially imposing playing from the brass.
– Howard Kornblum, Fanfare
Symphony No 3, 1812 Overture
Abbado shapes and paces the music with great effect. Abbado gives us a sharply contoured, rousing version of the 1812, culminating in the now requisite display of high-caliber ordnance.
– Howard Kornblum, Fanfare
Symphony No 4
Abbado's Tchaikovsky Fourth is one of the outstanding recordings of recent years.
– Don C. Seibert, Fanfare
Symphony No 5
Here is a first-rate Tchaikovsky Fifth, most notable for its vigorous, forthright sense of continuity and its razor-sharp orchestral playing. Abbado's pacing is on the quick side for the most part, and his shaping of the music is unswervingly straightforward, producing from the orchestra alert, urgent, ardent, tonally suave playing, with the brass especially robust, sonorous, and cleanly articulated.
Marche slave, Op. 31by Peter Ilyich Tchaikovsky Conductor:
Chicago Symphony Orchestra
Period: Romantic Written: 1876; Russia
Average Customer Review: ( 1 Customer Review )
Tepid TchaikovskyDecember 5, 2015By owen r. (lakewood, CA)See All My Reviews"I expected this to be a first rate set of symphonic works from Abbado and the powerful Chicago forces. However, I think the Pathetique is the only one I managed to listen to in its entirety. The audio on these discs sounded like it was being filtered thru a wet blanket, the performances were restrained and within one movement I would become bored. As a check I compared some of these performances to ones from a Vox box set featuring Maurice Abravanel and the Utah Symphony Orch. The Vox recordings are from '72-73 by the Elite recording team of Joanna Nickranz and Marc Aubort-- infinetly better audio. Abravanel gets exciting performances from the Utah Symphony. I think I'll stick with the Vox set and dispose of this Sony set."Report Abuse