"Sibelius For Dummies.":
Excerpts from Symphony No. 1 in E-Minor, Op.
39
(II. Andante);
Finlandia, Op. 26.;
Violin Concerto in D Minor, Op. 47 (III.
Allegro ma non tanto, Frank Peter Zimmermann,
Violinist).* Oslo Philharmonic
Orchestra, Philharmonia Orchestra*,
Mariss Jansons, Conductor. Recorded
1991-92.
Symphony No. 2 in D, Op. 43 (I. Allegretto);
The Swan of Tuonela, op. 22;
Pohjola's Daughter, Op. 49; Valse Triste, Op. 44.
Halle Orchestra, Sir John Barbirolli, Conductor.
Recorded 1966-67.
EMI
Classics 7243 5 66283 0 4 (Digital Stereo and [Analog Stereo, Barbirolli]).
I found this collection in the local book/cd/overpriced coffee bar that the bored, suburban sophisticates down here like to be seen at, modeling the latest in noveau beatnik, heroin-chic. This disc is part of the book/cd series put out by IDG, "____________________ for Dummies" (fill in your favourite mind-bender in space provided). Perusing the ugly, stark red-and-black on school-bus yellow graphics, I was prepared to find some really obscure and unwanted performances of the Finnish master's works that were easily re-releaseable, without having to pay royalties, such as Hans Klusenheimer conducting the Karl-Marx-Stadt Sinfonieorkester -- poorly recorded Iron Curtain stuff from the '60s. Instead, the Sibelius novice is treated to two of the best Sibelius interpreters in all history: From the past, Sir John Barbirolli and his Halle Orchestra, and from the present, current great Mariss Jansons.
The Jansons performances on this disc are mostly superb; The First Symphony and Finlandia were previously reviewed by The Sibelius Web Pages, and provide a splendid introduction to Jansons' conducting art (though the Finlandia leaves one a bit disappointed, coming from the baton of such an obvious talent). The finale from the Violin Concerto is itself a solid performance, though not masterful. Violinist Zimmermann renders a competent, and sometimes sentimental performance, which unfortunately lacks the passion necessary for this fiery, romantic finale. The Philharmonia Orchestra provide a sumptuous accompaniment, which at times overshadows Zimmermann's playing.
However, it is for the priceless Barbirolli performances that you should
grab this disc off the shelf. John Barbirolli was an enigmatic conductor,
sui generis in his method, rather like his friends Leopold Stokowski
and Bernard Herrmann. The first movement of the Second Symphony,
Allegretto, is typical of Barbirolli's unique ability to render
a Sibelian portrait in sound; Whereas a conductor such as Ormandy
might communicate the movement's motifs primarily through the strings,
and Toscanini would colour it by emphasis on searing brass and raspy winds,
Barbirolli attacks the movement head-on. In this 1966 release, Barbirolli's
Halle comes across with one voice and singularity of 
purpose.
The individual sections (strings, percussion, winds, brass) are flawless
in execution, and never monochromatic, yet they approach Sibelius' thematic
strands as a unit, and speak with one voice.
Unfortunately, this sampler is missing the other three movements. It left me with the feeling of waking up from a dream before it has ended. As a whole, this performance is unavailable, but three of Barbirolli's other recordings of the Sibelius 2nd (New York Philharmonic, Royal Philharmonic and Philharmonia Orchestra) are available from various independent labels. I have yet to hear those, but have ordered them all (expect a review soon) from an online source.
Barbirolli's versions of the tone poems also live up to his well-earned reputation as Sibelius interpreter par excellence. The dialogue between the low strings and the French horn, alternately, with Eric Fletcher's English horn in The Swan of Tuonela is the most gentle, lonely and understated I've heard yet. Though a less tragic Swan than others, it is nonetheless the most beautiful, thus the most heartbreaking.
Pohjola's Daughter also conjures the whole palette of Sibelian colours: Dark, then joyous, festive and eventually exultant; then dark and subterranean again. Barbirolli shifts gears effortlessly between all these moods. This is clearly a tone poem written for the strings, and the Halle executes this piece precisely, especially in the pizzicato sections, with the harps and winds weightlessly gliding over the undercurrent of the low strings and distant timpani. Pohjola concludes with the theme climbing a minor scale on the violins, mp>pp, then the theme plainly restated once on the basses, ppp. Only Sibelius could end such a fantasia of sound in such a simple, unpretentious manner.
Valse Triste was Sibelius' most popular composition in his own lifetime, which fact he regretted, since he literally sold the performance rights for a song, then never reaped the profits from the work's omnipresent performances. The Halle renders this wistful piece with elegance, charm and longing; closing one's eyes, one can easily imagine a wife's last waltz with her departed husband. The flame of their once earthly passion is remembered and revisited, but - alas - ashes to ashes. The fire dies out, and she is left only with her memories. The Halle leave us with this impression, because of their unostentatious lack of interpretation. Sibelius has already provided the elegiac script, and Barbirolli respectfully reads it to us, without embellishment.
What a wonderful find! This collection should be re-titled "Sibelius
for Connoisseurs."
aaaaaaaaaaaaaa
