4 requires more than just beautiful playing to make its effect. However, unlike Tchaikovsky’s Fifth, which Eschenbach and the Philadelphians performed handsomely in their previous Ondine recording (type Q9917 in Search Reviews), Symphony No. Indeed, comparison with Muti reveals an entirely different sort of interpretation–the Italian maestro offering urgency and passion, while Eschenbach takes a more sober, Germanic view, with rock-solid tempos and somewhat restrained phrasing throughout. It’s impressive, but not gripping in the way Riccardo Muti’s was in his 1990s recording with this same orchestra. Christoph Eschenbach presents the Tchaikovsky Fourth’s opening fanfare in a grand, stately manner that brings to mind the triumphal march from Verdi’s Aida.
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