Search - Sibelius, Stene, Mattei :: Kullervo Op 7

Best Kullervo by Far

ozvaldo8 | Virginia | 03/13/2003

(5 out of 5 stars)

"Kullervo is above all Finnish, in its mythical roots and its evocation of an ancient memory. The baritone Peter Mattei, who plays Kullervo, delivers a performance rivaled by none. Mattei hits every note with eloquence in the beginning of the third movement, and then explodes into an appropriate rage near the end, leaving a lasting impression on the listener. The Royal Stockholm Philharmonic under Jarvi and the Estonian National Male Choir impeccably interpret the piece. The RSP handle the first movement with passion and fervor, taking on every new theme with ardor and enthusiasm.

For reference, this recording was highly recommended by the BBC on CD Review (it was also commended for having the best soloists) and was picked by the Belgian Radio as the best Kullervo Recording on the market."

Kullervo Symphony...

jean couture | Quebec city - Canada | 10/22/2005

(5 out of 5 stars)

"Nowadays the symphonic poem "Kullervo" is considered one of Finland's greatest musical achievements ; however faulty here and there it stands as Sibelius's first large-scale work, in the form of a choral symphony (two movements out of five). In nature, the work is familiar with most of the composer's tone poems.



Whether Jean Sibelius wasn't aware how just great was---or could have become---his "Kullervo" or was just afraid his composition couldn't be understood outside Finland is a relevant question. Biographers have reported how much the composer was concerned by the perception of eventual future listeners in respect to this work, made in a specific context and at a particular time. As we know, Sibelius expelled the work---as he often did---and forbade performances of it during the rest of his life. Perhaps he felt that revisions to the score were unsafe and could destroy altogether its very raw nature instead of improving it. The work remained unknown until 1958 when it got a revival thanks largely to Jussi Jalas (Sibelius's son-in-law). In 1970, Paavo Berglund's EMI recording broke the silence : "Kullervo" was recorded professionally for the first time.



The case of the extraordinary work "Kullervo" makes for a special study in itself, not only because of its importance in the composer's evolution but also for the reason it has been crucial in the development of symphonic form at the dawn of the 20th century. The "pure spring water" once referred by Sibelius is equally present in the orchestral apparatus of the early work. The dismal reality of the drama "Kullervo" (sourced in the Kalevala) is matched perceptively by the score. Before Sibelius, conductor Robert Kajanus (1856-1933) composed his "Kullervo's Funeral March" in 1880. We can assume Kajanus's initiative had a significant influence over the young Finn, as revealed by the latter's own early essays. From start to end "Kullervo" is a great work on the emotional scale (it is a huge and relatively complex composition, as well) ; "Kullervo", as seen by Sibelius, is modern music in collision with old musical structures and ancient myths. Such a work was revolutionary. Kajanus's pioneering insight sounded like a little revolution, as the very first known composition on the theme of "Kullervo", though Sibelius's design is larger in scale and more ambitious. From the perspective of a young, "rookie" composer, that such a composition is so intense and powerful in expression, being fully developed musically, is a major achievement.



"Kullervo" is more mythical than magical, even if the subjects of rite and magic can be traced back in some of its Kalevalian themes. We shouldn't forget that the work took sources in the Kalevala, the mythologic tale par excellence. It had a big influence upon the composer, as a good number of works were scored after the Scandinavian legends. The seemingly cold desolation and solitary milieu of the Nordic forest are much in evidence (in several passages, at least, such as heard in the Introduction---the prologue to this chef-d'oeuvre---or in some parts of the second and third movements). Such qualities, as well as the "somber quiet" which permeates this work---a typical feature of Sibelius, build bridges between "Kullervo" and some of his late masterpieces (in example, "Tapiola" and the Seventh Symphony). A link exists between most of the works, if not all : There seem to be an inexorable direction, much like a stream, in Sibelius's handling of the musical shapes and structural contours. With "En Saga" or "Kullervo" Sibelius experiments composition, taking huge risks---it was a transitional period for the young Finn. With the example of "Kullervo", his "Opus 7", Sibelius shows possibilities through the apparently impossible : To devise a huge symphony, in five movements, and manage to gather soloists, chorus and orchestra in coherent way---this with correct timing and adequate coordination of the various musical sections! It certainly looked pretentious at first sight but soon proved to be at once unassuming and daring, if not squarely the product of a genius.



Paavo Jarvi's recording is simply magnificent. It demonstrates the vivid authenticity of this long (nearly 80 minutes) work. The two soloists, Sterne and Mattei, are positively voluminous in terms of vocal range and emotional impersonation. The male chorus of Estonia is excellent in every way, although the best of the best is likely to be found from the Helsinki University Chorus. The fine Swedish orchestra plays quite well (it has that same kind of humility and hugeness i've heard from the Danish orchestra under Segerstam). Jarvi's direction is praiseworthy ; quite unlike his father Neeme, who chose a fierce, almost rugged approach---however spectacular and energetic, he develops the themes in a broad, expansive way. Some reviewers have criticized his longer than usual conclusion : I don't think it is overly long. Concentration is greater, perhaps, and the effect is rather meditative than interminable. At only 9'18", senior (Neeme) Jarvi concludes the work swiftly and nervously in a decidedly shorter account. Jorma Panula closes the same movement at 10'14", while Osmo Vanska ceases at 12'22". Paavo Jarvi's is, admittedly, the longest at nearly 15 minutes but i do not think it "drags" along. I'd like to highlight the sorrowful and dark ambience, lucidly depicted by the latter in that movement (more or less reminiscent to a requiem, in attitude). There we see and hear, again, how fascinating this music really is.



A music critic and scholar, Mark Stryker, noted that the Jarvis are both wise, fiery and dramatic musicians. But if the elder Jarvi favors impulsive sweep and momentum in his Sibelius recordings, the son etches the same music with sharper details and greater fastidiousness. 'He always has his own ideas,' Neeme Jarvi says, pointing to his son's recording of Sibelius's epic symphonic poem Kullervo. 'The last movement is so slow, but so deep and so sad. He has gone through this piece deeply ; much more than me.' The sound of the Virgin Classics cd is superb, with great stereo image and dynamic range ; still, it doesn't beat his father's fantastic, crystal clear recording on that point (BIS CD-313). I positively compare Paavo Jarvi's obviously solid performance to those of Berglund (1970), Segerstam or Vanska. Jarvi's is one of the superior accounts and this is what we should expect from a full price disc, anyway. Update: I can report that the now deleted album was reissued at mid-price as Virgin Classics VCL-913632. Good advice : Grab it now while it's available!"

The best performance of Kullervo

jean couture | 04/18/1999

(5 out of 5 stars)

"A powerful performance that perfectly captures the brooding power and atmosphere of this strange and compelling piece. Excellent sound and surprisingly good playing by an orchestra which certainly isn't ranked among the world's finest. Contrary to the Gramophone's review, I found the drawn-out last movement mesmerizing - it certainly doesn't feel overblown or excessively slow."