Search - Jean Sibelius, Colin Davis, Boston Symphony Orchestra :: Sibelius: The Complete Symphonies 2

This is the One to Own

Christopher Forbes | Brooklyn,, NY | 01/30/2003

(5 out of 5 stars)

"I was introduced to the symphonies of Sibelius back in grad school as I was writing my own symphony. My teacher felt that Sibelius was onto something innovative that wasn't being followed up by many 20th century symphonic composers, most of whom at the time had fallen under the spell of the Viennese school and as a result under the spell of Mahler. Indeed, Sibelius and Mahler were probably the two most important symphonic composers of the early 20th century (with Nielsen also up there) and yet their view of the symphony could not be more diverse. Mahler's symphonic canvases are huge edifices that contain diverse material brutally juxtaposed...and ultimately end up being ironic and often despairing commentaries on the material (though Mahler could just as often be jubilant, as in the finale of the 2nd symphony.) Sibelius, by contrast, was an organic composer, and valued concision over legnth. His unique approach toward form was based on the gradual growth of a theme from it's basic elements. This is a reversal of tradition classical structures where the theme is stated and then broken down and developed. Often, Sibelius' expositions of thematic material sound more like developments and you don't hear the complete theme until the recapitulation. So Mahler appeals to composers who are formed by the angst of the 20th century, while Sibelius appeals to more mystical composers. It's no surprise that after the psychadelic awakening of the 60s, more and more younger composers are taking Sibelius to their hearts. It's about time. The Colin Davis cycle of Sibelius symphonies is a great cycle, and at the price, it's the one to own. Volume two is devoted to some of the less popular symphonies, but throws in the ever popular Violin concerto and Swan of Tuonela as temptations to the more reticent. It is a shame that these three symphonies are not so well known. They are delightful. The Third is hard to program. It is not long enough to fill out the "symphony" portion of a modern concert program and is likely to get passed over for the 2nd, which fits the second half of a concert much better. Audiences are missing a delightful work. The Third is Sibelius at his most "neo-classical" Though based on his organic development of motives, the material of the third is almost Haydnesque. Like a more romantic and better constructed version of Prokofiev's 1st, this work is all charm and grace, but with darker underpinnings. The 6th symphony is also less well known. The reason for this truly escapes me as it is almost 16th century in it's spiritual outlook. The first movement particularly is a lovely thing. It maintains a serene landscape which is only momentarily clouded by Sibelius' characteristic "foggy" ostinati. The 7th is a true masterwork, but like the 3rd, it is rarely performed in concert, mostly due to it's less than 20 minute length. Formally, the 7th is Sibelius' greatest creation. Scored in one long movement, Sibelius rejects the traditional Lisztian one movement cyclical form (telescoping the movements so that the first theme equates with sonata allegro, the second with the slow movement, the development section with the scherzo, and the recapitulation with the finale) and aims at something more organic. Elements of the traditional 4 symphonic movements are found all over the work, but cut up and rearranged in a kalaidoscopic manner. Each motive seems to grow out of the previous motive and all are bookmarked by a glorious chorale theme announced in the trombones. This symphony literally takes your breath away. Colin Davis is excellent in this material. I currently own three versions of the Sibelius symphonies, Davis, Berstein, and Rattle. I find that I return to the Davis most often. He seems more in tune with the organic approach of the composer than Bernstein, who, though magnificent, seems to see Sibelius as another Mahler and overstates some of the material. Davis was a major figure in the Sibelius community of Britian, (outside of Scandinavia, Britian has always been the most receptive to the composer, just as it has always kept alive the name of Bruckner) and as such was a major conductor of the composer. His 7th is especially revelatory. He keeps the disparate parts of the piece organically related and maintains the forward thrust that is essential in this work. For my mind, he is the best interpreter of the composer on record. The filler material is excellent as well. The Violin Concerto is popular, though it has never been my favorite Sibelius piece. The reading here is quite good, though I would not buy the CD just for this. The tone poems are terrific, particularly the overwhelming Tapiola. This late tone poem is a masterpiece of sound painting, based on a pre-Christian Finnish legend of the god of the forest. No other composer captures the wild ferocity of nature as well as Sibelius. And the Swan of Tuonela is terrific as always. At the price, I can't think of any reason not to get this CD. All of the Sibelius symphonies are important to hear and with the possible exception of the 1st, they are all masterpieces. At this price point, do yourself a favorite and get this disc and it's companion. You won't regret it."

The only miss is the violin concerto

John Grabowski | USA | 02/01/2002

(4 out of 5 stars)

"This, along with its partner 2-fer, is the Sibelius set I'd recommend above all others. Some may think Davis too "straight on" but to me he finds the poetry and icy drama without having to work too hard--or at least show you how hard he's working. These are superb readings of the Third and Sixth, and the Seventh is only slightly below that. In that last and to me greatest of all Sibelius symphonies, we need more majesty and "moment" than Davis brings to his reading, but in the enigmatic Third or the lyrical and lonely Sixth Davis is at the top of the heap. The Third is a great illustration of what's so right about Davis' Sibelius. No eccentric tempi, no unusual twists in rhythm, Davis has the confidence to make the symphony "uncomplicated" and the beautiful simplicity is most appealing. Ditto for the Sixth. Boston's golden strings sing longingly without ever straining for effect, the sound is well-recorded, and the BSO is one beautiful orchestra (in the right hands). Davis manages a minor miracle in that sounds are thick and plummy where needed (the tympani, for example) but also lean and crystaline where needed (string and often woodwinds, for example). He has a sound conception that I feel is ideal to Sibelius.The one disappointment is the Violin Concerto, with Salvatore Accardo. I love this work, and this sounds to me a perfunctory performance, though well-played and filled with interesting detail in its own right. But it lacks the sweep and line of other performances. (Compare Oistrakh/Rozdestvensky or even Mullova/Ozawa to see what I mean.) Still, that's a minor blemish in an otherwise excellent set. This and Volume One would be welcome on my desert island any day, and this may also be the least expensive Sibelius cycle to boot."

Best CD in my collection

British listener | England | 04/05/2000

(5 out of 5 stars)

"Well, it is. Nearly 3 hours of my very favourite music, perfectly played. Almost perfectly, the brass at the end of the 7th are disgustingly heavy. But Accardo's concerto is the 2nd best of the millions I've heard (can't match Joshua Bell/LAPO for incredible excitement). RECOMMEND THIS CD MOST HIGHLY!"