Contrapunctus

Compare performersPyotr Ilyich Tchaikovsky

“Pathétique” finale: Furtwängler and the Musopen Symphony

Symphony No. 6 in B minor “Pathétique”, Op. 74 — IV. Finale: Adagio lamentoso

Furtwängler and the Musopen Symphony play the slow finale from its divided opening theme to the quiet low strings at the end.

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1938Performance 01

Wilhelm Furtwängler, Berlin Philharmonic

Berlin Philharmonic Orchestra; Wilhelm Furtwängler, conductor

Furtwängler keeps the broad phrases of the lament moving and takes the climaxes in long spans.

10:09
Date unknownReference recording

Musopen Symphony

The modern recording contains the whole finale, from the opening exchanges between the violins to the final descent in the cellos and basses.

10:18
Selected recordingMusopen Symphony
0:00 / 10:18

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The comparison

In February 1893 Tchaikovsky told his nephew Vladimir Davydov that his new symphony would end with “a most long-drawn-out Adagio”. The finale begins with a falling melody whose notes pass between the first and second violins. The recordings here are by Furtwängler with the Berlin Philharmonic and by the Musopen Symphony. Both play the movement through its loud climaxes to the quiet low strings at the end.

Tempo

Tempo map

Time taken compared with Musopen Symphony: above 1×, the performer takes longer over the same music; below it, less time.

Time taken compared with the reference recordingEach gold line follows a performer. Above 1×, the recording takes longer over the same music. Numbered lines mark the passages below.0×0.5×1×1.5×2×2.5×3×0:002:004:006:008:0010:001. Falling theme divided between violins · 0:0012. Second theme in D major · 2:5023. Descending scales to the climax · 4:3034. Return of the opening theme · 7:0045. Second theme in B minor · 9:055Wilhelm Furtwängler, Berlin PhilharmonicMusopen Symphony (reference)
The reference recording’s clock runs left to right. Each line is smoothed over about eight seconds; pauses can create peaks. Numbers mark the passages below.
  • Wilhelm Furtwängler, Berlin Philharmonic
  • Musopen Symphony · reference
Passages

Passages compared

Each version plays in card order, for up to 12 seconds of reference music or until the next marked passage, whichever comes first.

  1. 01

    Falling theme divided between violins

    0:00 in the reference

    First and second violins exchange notes of the falling tune. Neither section plays the complete melody; it is heard only from the two together.

  2. 02

    Second theme in D major

    2:50 in the reference

    Horns support a broad descending melody in the first violins and violas; trombones answer it.

  3. 03

    Descending scales to the climax

    4:30 in the reference

    Fast descending scales carry the broad melody to its climax. The whole orchestra plays the descent.

  4. 04

    Return of the opening theme

    7:00 in the reference

    The lament theme returns and builds to another climax. Trombones and tuba double the strings as the music moves towards a long-held F♯.

  5. 05

    Second theme in B minor

    9:05 in the reference

    The broad melody returns in B minor. Muted strings descend, and the tune sinks gradually towards the cellos and basses.

Durations

Length of each recording

  1. Wilhelm Furtwängler, Berlin Philharmonic10:09
  2. Musopen Symphony10:18

These times include the lead-in and final fade. Cuts, repeats and disc-side breaks also affect a recording’s length.

Performers and sessions

Recording notes

Sources & method

Further reading

How the recordings are matched

The matching follows sequences of pitches, using a method called dynamic time warping. Every recording is mapped to the reference, so switching between two versions goes through that shared clock. Where several reference times match one point, the middle time is used.

  • Wilhelm Furtwängler, Berlin Philharmonic: match score 0.875. Matched passages available.

Switching stays within the matched span, and trimmed recordings keep their original clock times. Match scores describe similarity in the sound.