As one of the giants of musical imagery this century, Sibelius' reputation
rests chiefly on his magnificent symphonies, seven utterly beguiling and
fascinating creations, all with their particular points of grandeur and
originality. Of course, other Sibelius works clamour for attention, compositions
such as the Violin Concerto, most of the later symphonic poems (especially
Tapiola) and incidental music all have qualities which show the masterbrushes
of a gifted artist. This survey is not intended to provide any scholarly
or technical appreciation of the works in question, it is rather an appreciation
of the musical structures and to fuel interest within the would be collector
to experience the magic and qualities that permeate these superb works.
The first two symphonies - post-Tchaikovskian influences, getting to grips.
If one can discount the early choral symphony, 'Kullervo' (well represented
by Berglund (EMI) and Salonen (Sony), Sibelius' first symphonic achievment
is his broodingly romanticised First Symphony. It is a beautiful four-movement
work full of deep longing and contains that familiar sense of Nordic picture
paiting in musical blocks, a feature that runs through all of the composers'
works like a leitmotif. The first movement begins with those shimmering strings,
almost Brucknerian charactersitics but develops with marvelous momentum and
sense of purpose. That magical opening is well-caught by Anthony Collins
(LSO/Decca/Beulah), Rattle (CBSO/EMI) and also Maazel (VPO/Decca). As the
movement expands and unfolds, I still believe that Anthony Collins is the
best guide through this musical landscape. The slow movement is also quite
beautiful, short notes scattered in great blocks, creating that utter sense
of desolation. Here Maazel has the luscious strings of the VPO at his disposal
and some magnificent Decca engineering by James Brown, it must be admitted
that Collins' 1952 mono recording has some acidity in the strings. The Scherzo
is typical Sibelius with scurrying strings and deft use of the percussion,
here it is difficult to match Maazel with his legendary Viennese timpani
at their best. Fantasy and flair are present in the beautiful Finale, a motley
crux of themes assembled from the previous movements but resolved collectively
to provide a movement of shattering orchestral power. For maximum excitement,
I would turn to Collins who really understands Sibelius' markings but Rattle
and the CBSO are also wonderful guides through the landscape. Sibelius' First
is a satisfying start to a symphonic cycle and in many ways it is the most
approachable of the seven in the canon.
With the Second we move a step further into truly authentic
Sibelian territory. Although this is the longest of the symphonies, it still
contains a certain amount of note-spinning and rhetoric that is clearly absent
from its many distinguished successors. However, as a panegyric of grandeur
and emotion it lies unparalleled in the canon. My selected recordings begin
primarily with Anthony Collins and the LSO, Vladimir Ashkenazy with the
Philharmonia (Decca) and the two Karajan EMI recordings with a particular
preference for the former with the Philharmonia. I also enjoy Colin Davis
and the Boston Symphony and find time for Rattle with the CBSO although that
recording is rather dull and unfocused. The First Movement begins almost
out of nothing with a wisp of a theme gently wafting through and getting
larger. As the strings are joined by scuppering woodwind and flurrying brass
the music takes on an angrier and bolder nature. Here I greatly admire Davis
and the luscious BSO strings although Collins' thrilling 1953 recording is
more than a match too. Mystery and brooding pervade the slow movement which
is quite fragmentary at times. That however does not detract from the charm
of the movement. Ashkenazy's Philharmonia strings are quite difficult to
beat whilst Collins and his swift tempo cannot always be the best option.
We are then woken up to the shattering fortissimo sounds of the third movement.
In reality all passes through in one giant sweep as third and fourth movements
are linked to form one giant build-up of sound. The beauty of it all lies
in the ostinatos that create such tension that one can almost feel the intensity
of the music rising to fever pitch. In one of the most glorious moments in
the history of music, the coda creates a sense of heroism and release from
oppression, a cry for freedom one could say. Here it is difficult to fault
conductors but for memorability and glory, it is hard to beat Karajan and
the magnificent sonority of the Philharmonia strings in their 1960 recording.
Twenty years later and the Philharmonia is still at the top of the pile for
virile excitement with Ashkenazy sweeping through those bars like an irresistible
force. Other versions of importance which however, have to make allowances
for sonic deficiencies include the two Beecham versions (EMI/BBC SO nla,
RPO/Dutton CDLX7035) and Barbirolli's thrilling 1942 NYPO account (also on
Dutton) The Second was my introduction to Sibelius and along with Finlandia,
it remains one of the loudest and most approachable pieces that Sibelius
ever wrote.
Third and Fourth Symphonies - Compactness to severity of form
The Third is also a fine example of Sibelian thought and symphonic
compression. Whilst being a brilliant example of the composer's capabilities
and gifts, it is also a remarkably simple and esay musical work to grasp.
Melodies and a firm logical structure are constant strongpoints whilst an
ethereally conceived slow movement reveals Siblius' penchant for all things
delicate. The First Movement ( like most Sibelius works) almost begins out
of nowhere, but gradually the themes begin to take shape and a coherent sonata
form movement is the result. Here, I must disagree hotly with Gramophone's
AA who states that Anthony Collins' thrilling LSO account is like watching
a beautiful scene from the window of a high speed bus! Granted, Collins is
swifter than most but the virile excitement he stirs up is nothing short
of amazing. Solemnity and beauty also pervade that slow movement which is
built on a simple theme but also grows with magnificence into a solemn statement
of nostalgic Finnish countryside. Obviously a slower approach pays dividends
and I have to admit that Ashkenazy's thoughtfully paced interpretation is
obviously better than Collins fleeting glimpse. Maazel also disappoints but
Davis and Rattle are simply masters here. It is a pity that Karajan was not
tempted enough to record this work as I can imagine the stature he would
have managed to conjure, a stature that is ever apparent in all his recordings
of the symphonies. The Finale begins like a bolt out of the blue with fragmentary
themes making fleeting appearances until the right type of momentum is found.
Then as if in paradise, a triumphant theme takes the way, almost like a victory
procession that moves with inexorable momentum towards its close. Masters
in this Finale include Ashkenazy, Rattle and (a particular favourite), Davis
whose utter sense of tempo make for a wonderfully vivid experience. Sibelius
uses the orchestra sparingly but his sense of corporate vision is unique
and already began to open new vistas and horizons on symphonic thought.
Starkness, desolation and despair, three adjectives which should suffice
to sum up the gloomy and morbid soundworld that inhabits the composer's Fourth
Symphony. Although the composer reverts to the more conventional four-movement
structure, there is nothing normal about this score A brooding dark First
Movement shows how deep the composer's intentions are. In this world of Tuonela,
many conductors have triumphed and foundered. Of the former, I must single
out Karajan's exceptional mid-Sixties BPO account for DG matched with Maazel's
contemporaneous Decca version. Both conductors get to the bleeding heart
of this troubled music without sounding sentimental or underpowered, that
is some achievment. The short Second Movement offers better opportunities
for showmanship with ist delightful percussion abut still the music remains
fragmentary and troubled. I enjoy Beecham's blistering pace on his pioneering
1937 performance but must also yield to Sir Anthony Collin's majestic glimpse
of this movement as a whole. 'Il Tempo largo' is the marking of the third
movement, but this is no fresh Largo! Indeed the desolate nature of the music
causes it to shift harmonics with alarming frequency, dissolving fragments
of music appear only to disa[ppear without any sort of development. Once
again, I turn to Karajan in Berlin and London (Philharmonia/1955) for sheer
technical mastery, the corpulent visceral playing of the BPO strings is
particularly alluring throughout. Mystery of the highest order pervades this
movement, a composition that demonstrates the very essence of Sibelius as
a composer of towering vision. We go on to the Finale with bated breath and
here the mysterious clicking of the glockenspiel or tubular bells ( pre-dating
Mike Oldfield!) provides for some harrowing moments of spine tingling experience.
The music grows out of small blocks like in minimalist form and the conclusion
leaves us unresolved and still waiting, but that in an essence is the Fourth
Symphony, a work of towering greatness leaving one emotionally drained. Sir
Simon Rattle's Finale is quite superbly structured, the music unfolds with
natural gravitas and a sense of power in reserve. Karajan is also masterly
in this movement although sometimes you feel that the music could do with
a bit more push. As an all-round recommendation, Anthony Collins and his
magnificent LSO top the pile, there is a married sense of greatness and urgency
that makes the symphony sound so high voltage that you almost jump at the
climaxes! Although I still maintain that we have not yet fully understood
this symphony, these distinguished guides map out the terrain with inspired
knowledge.
'God opens his door and the musicians play the Fifth Symphony'
A brash statement, perhaps uncharacteristic of Sibelius who was by nature,
a quietly reserved man but I would be inclined to agree with him. Op. 82
is probably one of the greatest works of the 20th century and
it has fascinated many by its unique combination of soul searching humanity
and divine power, a combination that poses for symphonic grandeur on a unique
scale. The compact nature of the score does not detract from expansiveness,
indeed so many ideas are packed into the work that as they pass by and return
forged with a difference, the listener becomes entangled in his own web of
mysticism. The composer's struggle to produce the work ahve been better
documented elsewhere and one could do worse than investigate Osmo Vanskaa's
stunning recording of the original four-movement version of the Fifth, this
is coupled with an eminently satisfactory reading of the revised version
that is under discussion. As with most Sibelius symphonies, the music grows
out of small germ cells which inflate and reach exalted heights of inspiration
with great climaxes. The First Movement was intended as two separarte movements
although you couldn't tell where they start and finish. For classical mastery
and poignancy I turn to two mono recordings that rekindle the Sibelius fire
like no other. The first is Karajan's magnificent 1952 mono account where
the grand spacious Nordic vistas come alive in the most pompous way possible.
On the other hand, Sir Anthony Collins is more circumspect, more down-to-earth
in his vision but no less excitable. That superb coda is played with virile
intensity by the Philharmonia and the LSO, where others such as Maazel/VPO
and Davis/BSO falter. This first movement is full of pitfalls and uncharted
territories but the rewards are great indeed as that headlong rush to the
finish line creates a sense of unbelievable tension and exhilaration. Conversely,
all is quiet and placid in the Second Movement. Here the sense of Nordic
peace is communicated with a singular statement of vision, tranquility and
spirituality all in one. Although I admire Karajan in the outer movements,
I still think that Collins and Rattle go the heart of this music with
unparalleled sentimentality. Sometimes (especially in Berlin), the orchestra
under Karajan sound as if it is playing a mere interlude sandwiched between
two movements. This is music of epic grandeur built on a simple theme but
always rising to a high point of emotional ardour. With the Finale, Sibelius
is on home ground. The opening is confidently assured, there is a firm resolve
to reach the end with two contrasting themes of stultifying power meshed
together. As the orchestra bounds and leaps over glaciers and fjords, the
magnificent summit is in sight. This comes with a general crescendo and reprise
of the Finale's theme followed by the famous six hammer blows that signify
the end of one of the greatest classical symphonies of modern times. Parallels
may be drawn with Nielsen's Fourth and Fifth but Sibelius' Fifth stands on
its own, like a majestic eagle on a mountain. For sheer excitement and
magnificence I would never be without Karajan's magnificent first account
with the Philharmonia (EMI/1952). The conclusion and sense of epic grandeur
is earth-shattering and the sound is superb for 1952. Other satisfying
interpretations come from rattle, Collins and Ashkenazy, the latter an excellent
digital bargain. Karajan's 1966 BPO recording is also excellent but for that
Finale, I must plump for 1952 in London.
Calm and humanity....Sixth and Seventh symphonies.
After the earth-shaking glories of the Fifth, Sibelius relaxed in the cool
spring waters of the Sixth. This is a genially laid out symphony
with four classical movements that almost defy description. A soft opening
on the strings sets the tone for a burgeoningly classical first movement
that moves along as if propelled by some mystical force. Here, it is Anthony
Collins who is closer to the heart of the matter with some superb LSO strings
although Karajan's fleeting BPO performance (DG) runs him close. One cannot
forget Beecham's pre-war relay although that suffers from obviously indistinct
sound, nonetheless it is a scorching performance throughout. The short Scherzo
is almost goblin like with ist dancing elves and mythical characters whilst
the third movement is indeed deeply felt, a sort of pastoral homage to the
Finnish forests. The Finale is also unhurried, uncomplex and relaxed, a true
picture of a composer at peace with himself. There are many near misses for
this symphony and one can count Ashkenazy, Barbirolli and Maazel among them.
I still maintain that Collins is one of the greatest interpreters especially
in this symphony and would place his recording as a clear first choice above
all the others.
Sibelius' experiments with severity of form in symphonic thought culminated
in the Seventh, a work of outstanding beauty and sleek harmony. It is almost
too humane for deep thought although the single movement form is not altogether
distinct with clear breaks between movements. There are moments of deep passion
throughout especially when the strings play a melody that almost sings with
its soulful longing for peace. There have been many who have traversed this
higher ground with aplomb. Amongst the most priolific in this exclusive territory
have been the justly legendary Sir Thomas Beecham with the NYPO in 1940,
followed by Collins' magisterial rendering for Decca, a seemingly consistent
point of reference in our article! I am also enamoured with Lorin Maazel's
superbly concertrated reading with the 1967 VPO and, Herbert von Karajan's
classic accounts with the Philharmonia in 1955 and the BPO of ten years later.
The work can be curiously elusive but there is no denying ist greatness in
the symphonic canon, it is a worthy conclusion to the numbered symphonies.
Tapiola, the 'lost' Eighth and some afterthoughts.
Many eminent Sibelians classify Tapiola as a sort of symphony but that work
belongs chiefly to the forest of imagination and is thus better described
as a 'symphonic fantasia' for it does not really classify as a symphonic
poem neither. The dark brooding pages and ominous overtones are masterly,
indeed it seemed that Sibelius could go no further after such magnificence.
Other symphonic poems have been questioned as abandoned symphonies, these
include chiefly 'Pohjola's Daughter' with its four-movement structure and
'Nightride and Sunrise', a marvelous evocation of the Northern latitudes.
What is definite is that Sibelius achieved harmony and purity in compact
symphonic form, indeed his admiration of severity was completely alien to
Mahler with his all-embracing brusquely gargantuan creations. Today, the
symphonies by Sibelius have an important place in the catalogue but this
was not always so. Indeed it was left to the master Sibelians such as Beecham,
Koussevitzky, Barbirolli and Karajan to resurrect the greatness behind these
unique symphonic works. We now bask in an embarasse de riches' of recordings
which should definitely serve to build a future for posterity in the Sibelian
school.
Recommended recordings: (prices correct Nov 1999)
Symphony No. 1:
London Symphony Orchestra/Anthony Collins (Beulah with Symphony 7
and Karelia)
purchase
£9.99
Symphony No. 2:
CBSO/Rattle (EMI)
purchase
£5.99 / VPO/Maazel (Decca)
purchase
£4.50
Symphony No. 3:
Boston Symphony Orchestra/Colin Davis (Philips Duo with symphonies 6&7)
purchase
£11.50
Philharmonia Orchestra Vladimir Ashkenazy (Decca double Decca with symphonies
5,6 & 7)
purchase
£11.50
Symphony No. 4:
Philharmonia Orchestra/Herbert von Karajan (EMI)
purchase
£8.50
BPO/Karajan (DG originals with symphonies 5.6 & 7)
purchase
£12.50
Symphony No 5:
Philharmonia Orchestra/Herbert von Karajan (EMI with symphony 2)
purchase
£8.50
BPO/Karajan (DG)
purchase
£12.50
Symphony No 6:
London Symphony Orchestra/Anthony Collins (Beulah with Symphony No 2)
purchase
£9.99
Symphony No. 7:
LSO/Collins (Beulah with Symphony 1 and Karelia)
purchase
£9.99
PO/Karajan (EMI with Symphony 6 & Tapiola)
purchase
£8.50
VPO Maazel (Belart with Symphony 5)
purchase
£4.50
by
Gerald Fenech
