Of all of Jean Sibelius’ seven symphonies, the two recorded here are those that reveal the furthermost poles of his symphonic art; the one an essay in the received tradition, the other a work so original and inward-looking as to open up an entirely new world. Composed right around the turn of the previous century, the First Symphony may be described as a pivotal work in Sibelius’sRead more career, in that he here took a decisive step away from the Wagnerian world that had occupied him so much in the 1890s, casting a personal vote of confidence in absolute music, and in the symphonic tradition. On the basis of a particular tunefulness, among other aspects, the First is often said to be the most Tchaikovskian of Sibelius’s symphonies. In contrast, the Fourth Symphony is extremely concise and highly concentrated both in terms of its musical material and the way Sibelius uses the orchestral forces – the scoring is in fact often compared to chamber music. Sibelius was well aware that his new symphony opened up an entirely foreign world, and said ‘there is absolutely nothing of the circus about it’. The initial reaction among critics and audiences was one of incomprehension and the work was denounced as ‘ultra-modern’ and even ‘cubist’. The present recording of these two works, by the Minnesota Orchestra and its music director Osmo Vänskä, follows on the same team’s disc with the Second and Fifth symphonies, hailed at its release as ‘a fine start to what may be the benchmark cycle for the 21st century’ by Gramophone, and nominated for a Grammy Award for Best Orchestral Performance. - Bis
The Swedish label BIS Records has released the second recording of the Minnesota Orchestra’s acclaimed Sibelius symphonies series, a disc that includes the First Symphony, the work that confirmed Sibelius’ status as a Finnish national hero, and the enigmatic, starkly emotional Fourth Symphony. Conducting the performances is Music Director Osmo Vänskä, whose Sibelius interpretations have earned international acclaim. - Minnesota Orchestra
R E V I E W:
The Finnish conductor Osmo Vänskä first came to my attention with the superb series of Kalevi Aho recordings he made for BIS. I came to his Lahti Sibelius a little later and, more recently, I heard his Minnesota remake of the Second and Fifth symphonies. At the time of writing the Minnesota Orchestral Association’s lock-out – which began in October 2012 – has resulted in the cancellation of all concerts and recordings until at least the end of April 2013. That’s very bad news for Vänskä, the orchestra’s music director since 2002, and for BIS; the latter are also affected by the turmoil at the Malaysian Philharmonic, with whom they’ve already made a brace of fine recordings.
Given that Vänskä’s Lahti Sibelius set was so well received one might wonder why BIS deemed it necessary to embark on a second one. For the most part concertgoers and music buyers have responded well to Vänskä’s latest thoughts on the Second and Fifth symphonies; indeed, my colleague William Hedley made the SACD a
Recording of the Month. No question, these are supremely assured performances and, in the case of the Second, very spacious too, yet for all that they miss the fallible, all-too-human perspectives that inform the earlier cycle.
To a certain extent it’s about the orchestral ‘sound’; on both new discs the Minnesota band are highly polished – chromium-plated, even – but these dry, not very tactile Orchestra Hall recordings lack the warmth and breadth of the Ristinkirkko, Lahti, ones. Balances are rather different too, so that the gorgeous harp figures that start around 8:08 in the first
Andante of No. 1 – Lahti version – are not so easily discerned in Minnesota. That said, Vänskä is never less than thrilling, and in both versions of this symphony it’s clear he has a rare and wonderful sense of the work’s architecture. What pulls me back to Lahti though is the conductor’s proselytizing zeal – a fire in the belly – that makes the music burn with a magnesium light and heat.
There are many instances in the Lahti First where one is drawn deep into the music – from the eloquent clarinet solo at the outset and those sheer cliffs of brass to that powerful accelerating passage at the end of the first
Andante – a feat the Minnesotans can’t begin to emulate. Take the sense-alerting start to the second
Andante of the Lahti version; such eloquence and inwardness are absent from the new recording, as is the timbral sophistication and presence of the older CD. In short – and thanks in no small part to a very well engineered, sympathetic recording – the Lahti performance breathes and palpitates in a way that the cooler, more metropolitan Minnesota version never does.
I didn’t intend this to be a panegyric to Vänskä’s earlier reading of No. 1, but hearing it in this comparative context underlines just what a superbly realised and deeply affecting version it is. The Minnesota sound – both the orchestral sheen and the closer recording – drains all the colour and character from the gloriously emphatic
Scherzo. Not only that, but the unfolding narrative of the last movement is so much easier to grasp in the Lahti performance; also, at the close of the latter the athletic, forthright Lahti timps strike just the right note of finality.
If you must have Vänskä’s Sibelius in multichannel – it seems many die-hard SACD fans across the pond simply don’t listen in stereo any more – this new First will be a no-brainer. However, if performance is the most important part of the audio equation the Lahti recording wins hands down. In fact, I’ll wager that in years to come this landmark recording of the First – made in 1996 – will be regarded as a classic.
That said, the Minnesota Fourth has an unexpected trenchancy and power that is very persuasive, and there’s a glow to the sound that I don’t hear in their version of the First. Moreover, the weight and amplitude of this fine orchestra seems better caught than before. In the opening
Tempo molto moderato I was transfixed by the quality of the Minnesotans’ yearning strings and louring bass, not to mention those Brucknerian brass chorales. As for the
Allegro molto vivace it’s darkly skittish, and the
In tempo largo is winningly phrased and remarkably well sustained. As fine as the more pliant Lahtians are in the Fourth they don’t always have the seamlessness and focus of their American counterparts.
The concentration of the Minnesotans really pays dividends in those long, gyre-like unwindings of the
Largo; and for once I can’t fault the recording when it comes to nuance and detail. Perhaps the pared-down textures of this symphony – it’s central tranquillity and poise always a joy to hear – are much better suited to BIS’s recording set-up in Orchestra Hall. It’s only in the big moments that the lack of depth and ‘air’ had me longing for the fullness and three-dimensionality of the Lahti Fourth. I daresay the multichannel layer offers more spatial information, and that the sound is more immersive, but given that the vast majority of listeners are still wedded to two channels I’d welcome a more natural, involving stereo mix.
Anyone hoping for a neat either/or choice here will be disappointed, for the honours are quite evenly divided; the Lahti First is a clear winner, but despite the felicities of the earlier Fourth the formidable focus of the newer one makes it a front-runner too. That means serious Sibelians will have to own both. Now we can only hope that the hiatus in Minneapolis comes to an end soon, so that this impressive – if not always supplanting – cycle can be completed.
Vänskä’s latest thoughts on Sibelius are certainly worth hearing, but the splendid Lahti cycle remains his greatest achievement yet.
Symphony No. 1 in E minor, Op. 39: I. Andante, ma non troppo - Allegro energico
Symphony No. 1 in E minor, Op. 39: II. Andante (ma non troppo lento)
Symphony No. 1 in E minor, Op. 39: III. Scherzo: Allegro
Symphony No. 1 in E minor, Op. 39: IV. Finale (quasi una Fantasia): Andante - Allegro molto
Symphony No. 4 in A minor, Op. 63: I. Tempo molto moderato, quasi adagio
Symphony No. 4 in A minor, Op. 63: II. Allegro molto vivace
Symphony No. 4 in A minor, Op. 63: III. Il tempo largo
Symphony No. 4 in A minor, Op. 63: IV. Allegro
Average Customer Review: ( 4 Customer Reviews )
a winnerFebruary 15, 2014By Marguerite M. (Missoula, MT)See All My Reviews"I knew what I wanted, I ordered it before the Grammys were announced, mainly because the price was the lowest I could find. The CD was great, the price was right, it came quickly, and I still love it!"Report Abuse
The best yetFebruary 14, 2014By Dolores Rivard (Roseville, MN)See All My Reviews"This recording is awesome, very moving. It is now one of my favorites."Report Abuse
Stunning Sibelius from MinnesotaApril 2, 2013By W. Hecht (Exton, PA)See All My Reviews"The Sibelius 4th doesn't enjoy the great popularity of the 2nd and 5th (also available in a fine coupling from these same forces), and in fact many listeners find it hard going. Count me as part of the minority that hears the 4th as the absolute pinnacle of Sibelius' work. Spare, uncompromising, bleak, unconsoling, and desolate are just a few of the adjectives used by program annotator Robert Layton in his description of the piece, which was written by Sibelius following a battle with cancer. Each of these descriptors conveys a piece of the truth, but I'll borrow again from Mr. Layton for the words I find most apt: profoundly individual and deeply felt. This music provides a rare view deep into the heart and mind of a great composer, and Maestro Vanska and his Minnesotans rise magnificently to all of its challenges. This is the greatest 4th I've ever heard, live or recorded. The 1st is hardly lacking for fine recordings and this one holds its own well in the proverbial crowded field, but it's for the 4th that this disc must be heard. In terms of sonics BIS' latest recordings from Minnesota are now among the label's very considerable best, particularly in multichannel sacd mode."Report Abuse