Bychkov’s dramatic instincts craft a Resurrection full of light and shade.

Bychkov's new Mahler Five puts all the others in the shade.

Norman Lebrecht suggests that the Berlin Phil's decision to bypass the record industry by establishing their own label is the reason. Not so, says Gramophone.

The Russian conductor talks to Clive Paget about how he fell in love with the music of Mahler as a schoolboy back in Leningrad in the 1950s.

A wondrous start to Bychkov and the Czech Phil’s Mahler symphony cycle.

The piano leads the field with front runners Mitsuko Uchida and Leif Ove Andsnes, but first an auspicious start to a brand new Mahler cycle.

A wonderful Dvořák compendium worth checking out.

A fitting memorial to Czech music’s most vocal advocate.

Like encountering some extraordinary Pietà, listening to Dvořák’s grandiose evocation of Mary at the foot of the Cross leaves a lasting impression on the imagination. Written at a time when the composer was finally gaining recognition, it was to be the best and the worst of times. To have lost one child (as Dvořák did in 1875) was tragedy enough, but to lose his remaining two children the following year would have been more than most parents could bear. The surging opening of the Stabat Mater in particular witnesses to this deep grief. Bělohlávek and his forces harness all of this turbulent emotion, creating towering climaxes that immerse the listener in the crucifixion drama. Lasting nearly 20 minutes, the sonata-form first movement signals Dvořák’s intent to create a work in which his skills as symphonist, melodist, nationalist and believer are all given potent expression. To a large extent Dvořák succeeds in this artistic quest. The nine shorter, succeeding movements are creatively varied. After the Quis est homo in which we hear the well balanced solo quartet at close quarters, the pulsing, choral Eja Mater, fons amoris ushers one of the most striking movements of the work, Fac, ut ardeat. Here… Continue reading Get…

These recordings are not without poetry – it’s just that there’s not enough of it.

The Czech conductor, best known for his recordings of Janáček, Smetana, Dvořák, Suk and Martinů, has passed away aged 71.

Russian conductor Semyon Bychkov is a life-long Tchaikovsky devotee, and the Tchaikovsky Project is a personal homage to the composer with whom he first fell in love. The Project consists of performances in London and New York (initially), plus recordings with the Czech Philharmonic for Decca. The first of these is the monumental “Pathetique”, a musical autobiography of Tchaikovsky’s short life of 53 years. Its devastating final movement has been the source of much speculation, but for Bychkov, “it’s obvious to me the whole piece is a protest against death… the last movement tells us that the triumph [of the previous movement] is just an illusion. Death can’t be avoided, but the anger in the music tells us Tchaikovsky refuses to accept it.” It’s paired with another slice of doom-laden anguish, the instantly recognisable and gorgeously lyrical Fantasy Overture, inspired by art’s most famous lovers, Romeo and Juliet. Bychkov immersed himself in Tchaikovsky’s letters and other archival material and insisted on “unusually luxurious” recording conditions in order to “invest everything” in these sessions. The result is a robust, lush reading, deeply Romantic with well-paced climaxes… Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log…