The BBC Scottish and others play Sibelius
Posted by: Tam on 03 September 2006
The more eagle-eyed readers may recall that in my Edinburgh thread I mentioned a stunning concert I attended last Sunday. The icing on the cake following Mackerras in Beethoven 8 and an extraordinary piece of Messiaen was to pick up the last remaining flyer in the Usher Hall (or, upstairs, at least) for the BBC Scottish Symphony Orchestra's autumn season, the star attraction of which is a Sibelius cycle (and now that my tickets are safely booked, I thought I'd give it a plug). Indeed, it was odd as only a few days earlier I was waxing lyrical about this year's concert series which featured just a single work in each concert (and made up the Bruckner and Beethoven cycles, and the middle concerts) and that next year wouldn't it be interesting to have Sibelius and Dvorak cycles.
Sadly, they are only doing it in Glasgow (with the first concert repeated in Aberdeen and the second in Birmingham - which features Kullervo and the 3rd). But it will be nice to see and hear the new concert hall, and given the 7:30 start it should be possible to make it over. They take place every Thursday, from the 9th onward) in November and full details can be found here:
http://www.bbc.co.uk/scotland/musicscotland/bbcsso/conc.../index.shtml?2006/11
There was (on the flyer, at any rate) a discount price for the series with prices from 73 down to I think around 35 for the 4 concert series plus the Sunday talk/performance of the second. For some reason this option didn't seem to be available if booking on line, but I would imagine you can phone the box office for it.
For those who can't make it, I imagine they will broadcast it on Radio 3.
Partly in preparation, partly because I've just been waiting for an excuse, I have taken the opportunity to add a few more Sibelius cycles to my collection. Sakari Oramo's wonderful festival appearance make me finally get round to ordering his with the CBSO (along with fond memories of hearing them do the 7th). I have also grabbed the earlier Davis/LSO cycle (as it was madly cheap on Amazon) and, as I know Fredrik is very keen on it, the Barbirolli. So, as well as reporting back on the concerts, I shall, when they arrive, use this thread to survey them.
regards, Tam
Sadly, they are only doing it in Glasgow (with the first concert repeated in Aberdeen and the second in Birmingham - which features Kullervo and the 3rd). But it will be nice to see and hear the new concert hall, and given the 7:30 start it should be possible to make it over. They take place every Thursday, from the 9th onward) in November and full details can be found here:
http://www.bbc.co.uk/scotland/musicscotland/bbcsso/conc.../index.shtml?2006/11
There was (on the flyer, at any rate) a discount price for the series with prices from 73 down to I think around 35 for the 4 concert series plus the Sunday talk/performance of the second. For some reason this option didn't seem to be available if booking on line, but I would imagine you can phone the box office for it.
For those who can't make it, I imagine they will broadcast it on Radio 3.
Partly in preparation, partly because I've just been waiting for an excuse, I have taken the opportunity to add a few more Sibelius cycles to my collection. Sakari Oramo's wonderful festival appearance make me finally get round to ordering his with the CBSO (along with fond memories of hearing them do the 7th). I have also grabbed the earlier Davis/LSO cycle (as it was madly cheap on Amazon) and, as I know Fredrik is very keen on it, the Barbirolli. So, as well as reporting back on the concerts, I shall, when they arrive, use this thread to survey them.
regards, Tam
I'll start by putting my cards on the table - I am no great fan of Karajan - in the past the few of his recordings I have owned haven't moved me much and I have often found them a little over-regimented and lacking in passion. I did not, therefore, intend to sample his Sibelius, despite the good reviews it has got. However, Basil's strong recommendation for his Tapiola, coupled with the fact I haven't really heard a reading of the piece that grabbed me, prompted me to do. And I'm very glad that I did.
The two disc set contains symphonies 4-7, along iwth Tapiola and The Swan of Tuonela (if one goes to his earlier EMI recordings symphonies 1 and 2 can be found, but I haven't noticed a recording of the 3rd - others may be able to put me right).
From the opening bars of the 4th, one of the hallmarks of this set is clear - the exceptional playing of the BPO. While this is not one of Sibelius's really sweeping scores, Karajan brings a good measure of it. As well as a wonderful contrast between light and dark moments. The transition to the second movement is judged to perfection. There is a very nice lightness of touch, even if other interpretations do dance a little more. I like the way he brings out an omnipresent sense of darkness in the background. Another excellent transition into the third movement, and what strikes most is how well he brings out the similarities to the first movement, giving the work a sense of structure which in lesser hands it can lack. (There is also some particularly fine wind and brass playing.) They stylistic differences of the 4th movement don't feel out of place at all (as they often can). Splitting hairs, I would prefer an ounce more passion here. But Karajan does bring off the ending wonderfully, in a way that is both satisfying and disconcerting. All in all, one of the finer readings of the work.
The 5th opens fairly slowly, once again with exquisite playing. But, as a general rule, I prefer this movement slightly brisker and the fire, while it is there, does feel slightly calculated. None of which detracts from a particularly fantastic final few bars. The beautiful andante that follows is much better suited to Karajan's approach. The finale is pretty fine too. Karajan brings a wonderful energy and the playing is exceptional (though different, I should note, to Bernstein's Vienna Phil who bring a level of texture which Karajan doesn't, however, that has it's own costs, discussed above). The whole thing builds to a pretty magnificent close.
As might be expected by now, the 6th has a beautifully measured opening, but there is darkness on hand. But, listening, I detect more than elsewhere in this set the over-regimentedness I dislike about Karajan, and as I felt with some moments in the 4th, the brisker passages don't dance as they might. None the less, this is a compelling account (assisted by the BPO's fine playing). As elsewhere, the transition into the second movement, which is very well played, is managed wonderfully and here, for the first time, the orchestra really seem to dance. The third movement again showcases his exquisite lightness of touch coupled with a real fire. There is a wonderful weight to the opening bars of the finale. The orchestra beautiful as ever (though never quite as evocative as the VPO under Bernstein). There is a potent mix of fire and beauty on display here which, all in all, is rather splendid.
It's probably getting a little repetitive to say so by now, but the opening bars of the 7th are very well played indeed, though rather slowly (the reading weighs in at just over 23 minutes which on the face of it is a little long, though not of Bernsteinian or Segerstam proportions - and it doesn't feel wayward in the same way either of those do). I mentioned Mahler 9 syndrome earlier (wherein this piece can, in the wrong hands sound like a disconnected series of miniatures), if anything Karajan brings the reverse and the seamlessness of his reading makes it very special indeed (which makes me think I ought to seek out his Mahler 9th). The playing of the brass (and in particular the all important trombones) deserve special praise. The relative sloth (and, in truth, that word is perhaps unkind, since I don't mean its negative connotations) doesn't prevent the orchestra from dancing when called for (though it could be more, particularly in the vivacissimo section - but to some extent I am probably splitting hairs). There is fire a plenty in the louder moments and he gets a really Bernsteinian chill from his . The slower moments have a really wonderful weight to them. It is true that in the quick passages, he does not quite bring the same sweep as Davis. There is a real quality to the orchestra's quiet playing (one of the things I think marks the distinction between good and great ensembles), there is a wonderful fierceness to the brass. The 'journey's end' (at least that's how it feels to me) motif in the final allegro is satisfying to near perfection (though perhaps a touch quicker than I would like it). The string playing in the closing adagio is superb, as are the trombones. Karajan perhaps goes a little slowly for my tastes, but he sustains it. The closing bars are more satisfying and vivid than any I have heard before (and it does slightly make me wish I had the score before me, as I wonder if he is drawing out the last note longer than he ought - not that I'm complaining mind).
As to the couplings, the Swan is very pleasant. And Tapiola, the reason for buying this set? I still don't entirely feel like I understand this work, but Karajan brings me closer than anyone else I've heard - in a cliche I feel like I begin to understand, and doubtless the more I listen to this fine reading, the more I will.
So, in summary, I think sampling some Karajan is a must for Sibelians and am indebted to Basil for the very fine performances of 4 and 7 (the stars, though 5 and 6 are very fine too), for best Tapiola I've heard to date and for turning me around somewhat on Karajan.
regards, Tam
The two disc set contains symphonies 4-7, along iwth Tapiola and The Swan of Tuonela (if one goes to his earlier EMI recordings symphonies 1 and 2 can be found, but I haven't noticed a recording of the 3rd - others may be able to put me right).
From the opening bars of the 4th, one of the hallmarks of this set is clear - the exceptional playing of the BPO. While this is not one of Sibelius's really sweeping scores, Karajan brings a good measure of it. As well as a wonderful contrast between light and dark moments. The transition to the second movement is judged to perfection. There is a very nice lightness of touch, even if other interpretations do dance a little more. I like the way he brings out an omnipresent sense of darkness in the background. Another excellent transition into the third movement, and what strikes most is how well he brings out the similarities to the first movement, giving the work a sense of structure which in lesser hands it can lack. (There is also some particularly fine wind and brass playing.) They stylistic differences of the 4th movement don't feel out of place at all (as they often can). Splitting hairs, I would prefer an ounce more passion here. But Karajan does bring off the ending wonderfully, in a way that is both satisfying and disconcerting. All in all, one of the finer readings of the work.
The 5th opens fairly slowly, once again with exquisite playing. But, as a general rule, I prefer this movement slightly brisker and the fire, while it is there, does feel slightly calculated. None of which detracts from a particularly fantastic final few bars. The beautiful andante that follows is much better suited to Karajan's approach. The finale is pretty fine too. Karajan brings a wonderful energy and the playing is exceptional (though different, I should note, to Bernstein's Vienna Phil who bring a level of texture which Karajan doesn't, however, that has it's own costs, discussed above). The whole thing builds to a pretty magnificent close.
As might be expected by now, the 6th has a beautifully measured opening, but there is darkness on hand. But, listening, I detect more than elsewhere in this set the over-regimentedness I dislike about Karajan, and as I felt with some moments in the 4th, the brisker passages don't dance as they might. None the less, this is a compelling account (assisted by the BPO's fine playing). As elsewhere, the transition into the second movement, which is very well played, is managed wonderfully and here, for the first time, the orchestra really seem to dance. The third movement again showcases his exquisite lightness of touch coupled with a real fire. There is a wonderful weight to the opening bars of the finale. The orchestra beautiful as ever (though never quite as evocative as the VPO under Bernstein). There is a potent mix of fire and beauty on display here which, all in all, is rather splendid.
It's probably getting a little repetitive to say so by now, but the opening bars of the 7th are very well played indeed, though rather slowly (the reading weighs in at just over 23 minutes which on the face of it is a little long, though not of Bernsteinian or Segerstam proportions - and it doesn't feel wayward in the same way either of those do). I mentioned Mahler 9 syndrome earlier (wherein this piece can, in the wrong hands sound like a disconnected series of miniatures), if anything Karajan brings the reverse and the seamlessness of his reading makes it very special indeed (which makes me think I ought to seek out his Mahler 9th). The playing of the brass (and in particular the all important trombones) deserve special praise. The relative sloth (and, in truth, that word is perhaps unkind, since I don't mean its negative connotations) doesn't prevent the orchestra from dancing when called for (though it could be more, particularly in the vivacissimo section - but to some extent I am probably splitting hairs). There is fire a plenty in the louder moments and he gets a really Bernsteinian chill from his . The slower moments have a really wonderful weight to them. It is true that in the quick passages, he does not quite bring the same sweep as Davis. There is a real quality to the orchestra's quiet playing (one of the things I think marks the distinction between good and great ensembles), there is a wonderful fierceness to the brass. The 'journey's end' (at least that's how it feels to me) motif in the final allegro is satisfying to near perfection (though perhaps a touch quicker than I would like it). The string playing in the closing adagio is superb, as are the trombones. Karajan perhaps goes a little slowly for my tastes, but he sustains it. The closing bars are more satisfying and vivid than any I have heard before (and it does slightly make me wish I had the score before me, as I wonder if he is drawing out the last note longer than he ought - not that I'm complaining mind).
As to the couplings, the Swan is very pleasant. And Tapiola, the reason for buying this set? I still don't entirely feel like I understand this work, but Karajan brings me closer than anyone else I've heard - in a cliche I feel like I begin to understand, and doubtless the more I listen to this fine reading, the more I will.
So, in summary, I think sampling some Karajan is a must for Sibelians and am indebted to Basil for the very fine performances of 4 and 7 (the stars, though 5 and 6 are very fine too), for best Tapiola I've heard to date and for turning me around somewhat on Karajan.
regards, Tam
Dear Fredrik,
A quick search has turned this up,
CATALOGUE NR: 27801
RECORD LABEL: Divine Art Historic
FORMAT: CD
PRICE: £ 11.75 including VAT, or £ 10.00 excluding VAT
RELEASE DATE: 11-Apr-2005
COMPOSER: Jean Sibelius
TRACKS: Symphony No.5 in E flat op.82. Tapiola op.112. Symphony No.6 in D minor op.104.
ORCHESTRA: London Symphony Orchestra and Finnish National Orchestra
CONDUCTOR: Robert Kajanus and Georg Schneevoigt
Based on your reputation, and having confirmed that it is Kajanus conducting Tapiola I've gone ahead and ordered it.
You'd better hope I like it!
A quick search has turned this up,
CATALOGUE NR: 27801
RECORD LABEL: Divine Art Historic
FORMAT: CD
PRICE: £ 11.75 including VAT, or £ 10.00 excluding VAT
RELEASE DATE: 11-Apr-2005
COMPOSER: Jean Sibelius
TRACKS: Symphony No.5 in E flat op.82. Tapiola op.112. Symphony No.6 in D minor op.104.
ORCHESTRA: London Symphony Orchestra and Finnish National Orchestra
CONDUCTOR: Robert Kajanus and Georg Schneevoigt
Based on your reputation, and having confirmed that it is Kajanus conducting Tapiola I've gone ahead and ordered it.
You'd better hope I like it!
The Kajanus Sibelius Symphony No.5 & Tapiola and the Schnéevoigt symphony No.6 arrived this morning. It's judgement day, Fredrik!
Also, more Karajan Sibelius. The EMI recordings of Tapiola, En Saga, Finlandia, The Swan of Tuonela, Karelia suite and Valse triste. I'd assumed the CD was the same as the LP but the Karelia suite and Valse triste are not on the LP release and I've not heard Karajan and the BPO playing the Karelia suite before. I have a feeling it's going to suit Karajan and the BPO perfectly and be very good indeed.
Also, more Karajan Sibelius. The EMI recordings of Tapiola, En Saga, Finlandia, The Swan of Tuonela, Karelia suite and Valse triste. I'd assumed the CD was the same as the LP but the Karelia suite and Valse triste are not on the LP release and I've not heard Karajan and the BPO playing the Karelia suite before. I have a feeling it's going to suit Karajan and the BPO perfectly and be very good indeed.