Exploring German Electrola: Tchaikovsky Symphonies with Rafael Kubelik and the Vienna Philharmonic

Between the 18th and 28th of January, 1960, Czech conductor Rafael Kubelik recorded the last three Tchaikovsky symphonies with the Vienna Philharmonic Orchestra for His Master's Voice (HMV). These were released as ASD 398 (1961), ASD 428 (1962), and ASD 462 (1962). All three of these recordings are highly collectible on the used LP market and fetch prices in the several hundreds of US dollars. A quick survey of Popsike yields the following data:

• HMV ASD 398 (mean $208, max $956 USD)
• HMV ASD 428 (mean $136, max $757 USD)
• HMV ASD 462 (mean $136, max $525 USD)

The good news is that the recordings were also issued contemporaneously by German (Electrola) and French (La Voix de Son Maitre) EMI, and these records appear to be far more affordable. I have not heard the French VSM pressings but recently had the opportunity to listen to the German Electrola releases for the fourth and sixth symphonies. 

Electrola STE 91 132

Tschaikowsky: Sinfonie Nr. 4 f-moll op. 36

Die Wiener Philharmoniker

Rafael Kubelik, conductor

Recording dates: January 18 and 19, 1960 at Großer Musikvereinssaal, Vienna

Matrix numbers: 2 YEA 425-2 / 2 YEA 426-2

This is an overall enjoyable performance of Tchaikovsky's fourth symphony. Kubelik and the VPO deliver plenty of drama in the first movement. While the sound of this German Electrola is quite dynamic and powerful at times, unfortunately, some of the louder orchestral passages in this movement suffer from some congestion and loss of clarity. It's not clear to me if this is characteristic of all the German Electrola pressings of this record or if it represents some prior groove wear on my pressing that is not visible to the naked eye. In the Scherzo movement, the pizzicato passages exchanged by the strings are crisp and resonant and very nicely imaged across the soundstage. When the winds enter, each instrument is heard with an almost lifelike presence. For me, this third movement was easily the sonic highlight of this record. The final movement is energetic and builds to a triumphant conclusion.  

The Stereo Record Guide, Volume 2 (Long Playing Record Library Ltd, 1961) gave HMV ASD 398 two (out of three) stars, stating the following:

"Kubelik's recording arrived just as were were going to Press and I spent a rewarding afternoon and evening with it. Without being as breathtaking as Montreux, Kubelik offers here a fine and brilliant reading, and he is given by HMV the best sound of all the available recordings. I was very tempted to award the disc three stars, but no, this is not a 'great' performance, only an immensely good one. Yet it has the very real qualities of understanding and sympathy for the composer's intention plus a remarkable freedom from idiosyncrasies, which makes for an ideal record to live with.

Its felicities are many, and not least is a most beautifully played and shaped Andantino. This is one of Tchaikovsky's most successful symphonic movements, and Kubelik misses nothing. The full grace of the lovely principal melody is conveyed both by wind soloists and strings alike, and the delicately embroidered accompaniments are etched with affectionate skill. The central climax is passionately conveyed and the very fine coda is shaped with care. The Scherzo too goes particularly well, and the stereo makes us more conscious than usual of the composer's apt contrasting of the three orchestral sonorities: plucked strings, woodwind (dominated by the brilliance of the piccolo), and the crisp richness of the brass.

The finale is splendid, and the coda is among the most exciting on record. HMV's sound here is rich and satisfying. Which brings us to consider last the opening movement. This is well balanced as a whole, offers both drama and excitement, especially in the climax of the development section and in the closing pages. The second subject is very sensitively played and the accelerando which follows (the rocking strings over the timpani pedal) is strongly controlled, both in the exposition and recapitulation.

In short the whole performance is remarkably successful and enjoyable, and is preferable to many more spectacular and individual readings, for it will give lasting pleasure."

Electrola STE 91 138

Tschaikowsky: Sinfonie Nr. 6 h-moll op. 74 "Pathétique"

Die Wiener Philharmoniker

Rafael Kubelik, conductor

Recording dates: January 24-28, 1960 at Großer Musikvereinssaal, Vienna

Matrix numbers: 2 YVH 35-1 / 2 YVH 36-1

I may be an outlier here, but the sixth symphony is not among my favorite Tchaikovsky symphonies. I like the Allegro molto vivace movement, but the rest of the symphony doesn't particularly draw me in emotionally, even if it is given the nickname "Pathétique Symphony". The German Electrola release of Kubelik's recording with the VPO is decent but doesn't have quite the dynamic range as that of the fourth symphony discussed above. I have not heard the UK ASD for comparison, but The Stereo Record Guide, Volume 3 gave the HMV ASD one out of three stars, with the following commentary:  "Kubelik is simply dull and the playing is not very immaculate. Neither recording [referring also to Eugene Ormandy's CBS recording] is outstanding, the CBS is over-brilliant, almost brittle, and the HMV mellow but ordinary." 

For the sixth symphony, I prefer Giulini's recording with the Philharmonia (Columbia SAX 2368).

What are your favorite versions of the Tchaikovsky 4th and 6th symphonies? Please feel free to share your preferences in the comments below.

That rounds things up for Miles and Mozart this week. Stay tuned for more and, as always, happy listening!