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Yakov Kreizberg's catalog with PentaTone tends to represent familiar classics, ranging from Mozart's violin concertos to Strauss' waltzes, so it's not surprising to find an account of Dmitry Shostakovich's widely acclaimed and highly accessible Symphony No. 5 in D minor included on this 2007 hybrid SACD. What's less expected is that the rest of the program is occupied by the comparatively unfamiliar Symphony No. 9 in E flat major, a far less popular work that has left many puzzled by its ambiguity.
If one is searching for an extra-musical heading under which to bracket the con- tent of the Symphonies Nos. 4, 5 & 6 by Peter Ilyich Tchaikovsky, one cannot really avoid the word “fate”. Personal fate, to be exact. Thus his Symphony No. 4 (1876-78) was a frank confession straight from the soul, a subtle psychological portrait printed on paper. In a letter to his patroness, Nadezhda von Meck, he talked of “fate, this disastrous power, which prevents our urgent desire for happiness from achieving its objective”. After this, a further 11 years passed before Tchaikovsky attempted to compose another “purely” symphonic work – his Symphony No. 5.
Following the completion of the 4th’s subtle psychography, 11 years would pass before Pyotr Ilyich Tchaikowsky would return to the composition of a ‘purely’ symphonic work – the 5th Symphony (the composer considered his mighty Manfred Symphony dating from 1885 as his only explicitly programmatic symphony). Despite having just returned from a spectacularly received European concert tour, he commenced the project in a state of complete exhaustion, self-doubt & uncertainty. From his new country residence in Klin, he wrote in the spring of 1888: “I frequently have doubts about my own abilities & wonder if it is not time to stop, & if my creativity has not been stretched to the limit.” His comments in a letter to his benefactor, Nadeshda von Meck, in June, are similar; he fears that “the well may be dry.”