Pohjola's Daughter (Pohjolan tyt?r), symphonic fantasy for orchestra, Op. 49
Symphony No. 2 in D major, Op. 43: Allegretto
Symphony No. 2 in D major, Op. 43: Tempo Andante, ma rubato
Symphony No. 2 in D major, Op. 43: Vivacissimo
Symphony No. 2 in D major, Op. 43: Finale: Allegro moderato
Sibelius was one of the 20th century's greatest and most innovative symphonists, with a musical style evoking beauty, mystery, colour and light. Influenced as much by a period of living in Italy as by his Finnish homeland,... more » the Second Symphony marked a major step in his development as a composer, and remains one of his most popular works.« less
Sibelius was one of the 20th century's greatest and most innovative symphonists, with a musical style evoking beauty, mystery, colour and light. Influenced as much by a period of living in Italy as by his Finnish homeland, the Second Symphony marked a major step in his development as a composer, and remains one of his most popular works.
CD Reviews
A beautifully played and recorded Sibelius Second
Santa Fe Listener | Santa Fe, NM USA | 05/20/2007
(4 out of 5 stars)
"British critics are slavish admirers of Colin Davis's Sibelius, and this CD is touted as a Gramophone Selection of the Month. I began listening with doubts, since to my ears Davis's Sibelius can be stodgy and uneventful. However, it's hard to resist the utterly clear and natural sonics that the LSO Live engineers deliver, far better than anything Davis got form Philips or RCA/BMG his first two times out--this is his third complete Sibelius cycle.
As for the interpretation, it's patient and measured, but with lots of inner detail and great pacing for effect. I don't know if Davis has become a master or if I am simply more tolerant of his understated style. Barbirolli brought a similar measured individuality to the Sibelius Second in his famous recording (Chesky), but he was more emotional and rhythmically free than Davis. Davis doesn't give us much drama from moment to moment (The Gramophone turns this lack into a virtue, claiming that it's all about long-term buildup and architecture), but the LSO musicians play beautifully, and the engineers keep up the sexcellent sound.
Is there a great buildup to a cathartic climax? In the first movement I'd say yes, although Bernstein is more hair-raising and Karajan more grand. English restraint still counts for a lot in Davis's style--the second movement doesn't pull you back and forth as violently as it could, but the orchestral sound is deep and rich. The Vivacissimo scherzo should be a whirlwind; here it's only a strong breeze, and the gorgeous oboe melody in the trio is lethargic. The finale should burst on the scene in tidal waves of brass chords and swooping strings, but Davis's retraint holds the tide in check. NOt fatally, I should add. Wtihout being volcanic, this Sibelius Second ends with a triumphant sweep.
I am no expert in Davis's other Sibelius cycles, having owned them only for a while, but if knowledgable critics claim that this is his best Second, I don't mind agreeing. It certainly sounds grand."
Another great addition to Davis's LSO Live SIbelius cycle
Daniel W. Fowler | Austin TX | 12/06/2007
(5 out of 5 stars)
"I'm a big Sibelius enthusiast and have long admired the playing (though not the recorded sound) of Colin Davis's first traversal of the Sibelius symphonies with the Boston Symphony Orchestra. I do not have his second cycle, a studio release with the LSO, but thought that its version of the 7th symphony was plodding and somewhat listless and decided not to acquire the rest of the set. The LSO Live recordings of symphonies 3 & 7, 5&6, and Kullervo have all been compelling renditions that I'm glad to have in my collection.
I'm glad I have this new recording as well. Pohjola's Daugher starts with a dark, ominous tone and beautiful cello playing, captured perfectly by the recording engineers. Solo instruments and blended ensembles are clearly distinguished in the hushed sounds and loud climaxes, perfectly complementing Davis's musical telling of the story. Pohjola's Daughter is one of my favorite of Sibelius's tone poems, and this performance now joins performances by Barbirolli,Berglund, Bernstein, Horst Stein, and Vanska in my top tier. The second symphony also offers beautiful phrasing and playing as well as gorgeous recorded sound. The opening of the second movement is perfect -- mysterious and intense. It ties in to the atmosphere created at the beginning of Pohjola's Daughter. This is a wonderful performance overall, if lacking just the top-level of intensity offered by recordings of George Szell (live from Tokyo), Jarvi on BIS, and Beecham.
It might be my imagination (and I haven't gone back to listen to the other LSO Live recordings), but this is the best-recorded of the LSO lot. A welcome addition, indeed!"
Honest Nordic Triumph
M. Zimmermann | Vienna,Austria | 06/10/2008
(5 out of 5 stars)
"This latest release in Colin Davis' ongoing LSO Sibelius Cycle is really among if not THE best Sibelius Second to have. The atmosphere which is created especially in the second movement can hardly be compared to other recordings, not even Davis' own three former interpretations on disc or Bernstein's great romantic recording with the Vienna Philharmonic. I wouldn't say that this one is anywhere near heroic, but let's be honest...does it always has to be heroic? "Heroic" seems to be the key word in other reviews concerning Sibelius grand Second Symphony but I think that almost all these "heroic" accounts lack some kind of inner detail in the slow movements and tend to be somewhat superficial. This new recording by Davis isn't heroic at all but it's honest....and that's far more important to me. In contrast to the great atmosphere and perfectly woven inner themes of the orchestra the first and last movement show such a Grandeur that one literally sees Sir Colin sweeping away with grand gestures. Although some will find his relative slow tempi (even compared to his own earlier recordings) hard to swallow, it's exactly this choice that makes this recording grand and a sovereign of it's own!
The tone poem Pohjola's Daughter is also much more than just a filler and makes the single instruments and performances incredible transparent.
Let's hope that Sir Colin will soon finish his (probably last) Sibelius cycle with the fabulous LSO and will end it with a great Sibelius First with exactly as much grandeur as this awesome Second has!"
Mostly a Crushing Bore
Moldyoldie | Motown, USA | 02/28/2009
(3 out of 5 stars)
"Colin Davis' conception here of the popular Sibelius Symphony No. 2 (I've not heard any of his other recordings of No. 2, but have read his approach hasn't changed much over the years) is hardly heroic in the grand sense; it's more one of brooding rumination as heard in consistently broad, heavy-handed phrasing and a minimum of overt dynamic variation -- it's also mostly a crushing bore. I've put myself at the mercy of this three times and hear less and less of what I would deem to be "inspiration".
The orchestra still plays very well -- the all-important transitions and climaxes are handled with subtlety and consummate skill; from a generally lush orchestral sonority emerge rare snippets of sparkle and color. However, Davis is loath to whip up any fire and froth to suggest a composer in the throes of Romantic fervor (Bernstein, Barbirolli, and Karajan in equally expansive renderings), nor does he offer up much of an intellectually interesting interpretation (Vänskä, in a cool and similarly sober vein, and also perhaps Segerstam, who also reins in the emotion) -- forget about tuneful, invigorating, or merely entertaining (Ormandy, Szell, Berglund, and even Levine). For the experienced listener, hearing this Second is akin to having one foot in the barren Sibelian landscape of his Fourth Symphony; I leave it to that listener to determine if it's worth exploring as this one is hesitant to return -- the novice should probably stay clear.
The program starts off, however, with a very expressive performance of Pohjola's Daughter, replete with more mournful portamento from the solo cellist than I've ever heard in the piece. Here Davis allows the optimism to emerge with finely judged phrasing, dynamic bursts and crescendi. The piece affectingly winds down and ends with the quietest strings imaginable, perhaps partly a function of a recording which is wide in dynamic range, but noticeably shy of resonance and bass presence.
Speaking of which, I've read many complaints about the exceedingly dry acoustic of the Barbican venue heard on this series of releases from the LSO Live label. It's never been a big problem with me as it seems oddly suited to the Sibelian repertoire and particularly to Colin Davis' mostly intimate and cerebral take on it."
Track Listings (5) - Disc #1