Tchaikovsky’s Sixth

Wednesday 17 February, 7.30pm

City of Birmingham Symphony Orchestra


  • Berlioz Roman Carnival Overture, 9′
  • Prokofiev Sinfonia concertante, 37′
  • Tchaikovsky  Symphony No. 6 (Pathétique), 45′

“Pathétique” means “full of emotion”: simple as that. And from first bar to last, Tchaikovsky’s epic Sixth Symphony brims with anguish, longing and unforgettable Tchaikovsky tunes. The charismatic young Venezuelan conductor Rafael Payare won’t stint on the passion; nor will his wife Alisa Weilerstein – soloist in Prokofiev’s huge, brooding “symphony concerto”. Hector Berlioz lights the fuse amidst a riot of Italian sunshine.


Review by Katherine Dixson, BachTrack:

Click here for full review

…    “From the opening notes it was clear we were in for a warm, emotional time of it. By the end of the first movement, with interventions from different quarters of the orchestra but basically an improvisation for the cellist, you could sense that Weilerstein held the audience in the palm of her hand. The middle movement also held the gems of a heart-rendingly lyrical melody and a captivating extended cadenza, as well as some noteworthy wind highlights. 

Theme and variations was the order of the day for the final movement, with a relentless sensation of impetus throughout.  The cello played the stately main theme, contrasting with a more light hearted cadenza. This in turn led to a little comic relief courtesy of bassoon then cameo for soloist and a sextet of solo strings, which they all clearly enjoyed. Countless high arpeggios on the cello concluded this passionate interpretation and the audience responded equally warmly. 

If Prokofiev hadn’t long to live after Sinfonia Concertante was finished, Tchaikovsky’s death came even harder on the heels of his Symphony no. 6 in B minor, “Pathétique”. He famously commented on being pleased with this symphony: “I give you my word of honour that never in my life have I been so contented, so proud, so happy in the knowledge that I have written a good piece”, but he died just over a week after its première, rumoured to be suicide although never proven.

Unusual in its mood, since minor key symphonies in the 19th century were generally darkness-to-light journeys, this remains dark, reflected in the “Pathétique” label which conveys deep feeling and suffering. By the end of the finale, the music fades away into the darkness from which it emerged in the first place. A sense of struggle is highlighted by dynamic extremes and it’s full of powerful emotion. But there are plenty of beautiful lyrical melodies, as well as opportunities to showcase the various orchestral forces, with the balance well-handled by Payane – the violas were under the spotlight for a couple of passages, and rightly basked in their applause afterwards. The whole indulgent performance got an enthusiastic reception from the packed Symphony Hall audience.”



Rimsky-Korsakov’s Scheherazade


Thursday 1st May 2014 at 2.15pm

Symphony Hall, Birmingham +44 (0)121 345 0600

City of Birmingham Symphony Orchestra

Rafael Payare  conductor
Jonathan Biss  piano

Brahms: Tragic Overture 13′
Schumann: Piano Concerto 31′
Rimsky-Korsakov: Scheherazade 45′
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Watch on YouTube

Schumann poured out his feelings for his beloved Clara. And Scheherazade just wanted to keep her head! But every one of them told an unforgettable musical story, and from Brahms’s epic drama to Rimsky-Korsakov’s fantastically tuneful musical fairytale on One Thousand and One Nights, Rafael Payare – the latest graduate of Venezuela’s legendary El Sistema – will make each one blaze with colour. Pianist Jonathan Biss finds poetry amidst the passion in this concert of much-loved classics.



Review by Norman Stinchcombe, Birmingham Post:

Click here for full review

“The brilliance of Rimsky-Korsakov’s orchestration for Scheherazade – he even makes the bassoon sound beguiling – means that it easily becomes a series of discrete beautiful moments. It’s to the credit of up-and-coming Venezuelan conductor Rafael Payare that while the incidental orchestral felicities were all in place there also was a strong narrative thrust to this exotic fairytale suite.

While motifs metamorphosed and themes reappeared we never lost sight of a story being told. The first violin is our Scheherazade and in self-indulgent performances she’s a musical Houri who flutters her eyelashes and wears too much make-up.

The CBSO leader Laurence Jackson gave us a storyteller whose music was subtle, tender and seductive. Every featured play received deserved applause with a loud ovation for principal timpanist Peter Hill in his last concert, retiring after twenty-five years with the orchestra.”     …