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We know he had a programme for the work, but he only hinted at what that musical narrative entailed, leading several generations of scholars to posit wildly different theories. See also: After Tchaikovsky's Symphony No 6 - what next? Of course, the true test of these theories depends not only upon extramusical evidence but on whether they adhere to the letter of the score, and much the same can be said for performances.

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I want a performance of the Sixth to be dramatic, poetic and imaginative, certainly, but also to take Tchaikovsky at his word. The second test is whether, in the finale, the consolatory D major theme, marked Andante , is taken at a more flowing tempo than the opening Adagio lamentoso. I was rather shocked by how many conductors failed at least one of these tests.

The inner movements are delightfully characterised — particularly the charming ungainliness of the lopsided Waltz — and although the devotional Andante section of the finale is in more or less the same tempo as the opening Adagio , the sentiment feels right. Koussevitzky from is marvellous in the inner movements. Still, even if he makes free with the text, Mengelberg is memorably persuasive in the finale particularly in , where he unleashes a juggernaut of devastation.

I like the way he makes the outer sections of the second movement sound tipsy, setting the obsessive hand-wringing of the Trio in stark relief. Turning from the extravagances of Stokowski to a quartet of steadfast interpretations from the s is something of a relief. Paul van Kempen , in , draws one into the narrative instantly with a richly atmospheric introduction.

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Indeed, although he maintains relatively steady tempos, the Concertgebouw play with the same kind of character and commitment they did for Mengelberg. Most impressive of all, perhaps, is how the finale is built from phrases that have the visceral impact of bodily gestures. The second movement sings, even in the tiniest grace notes, and the third movement is exceptionally light and articulate — almost Mendelssohnian in the opening minutes.