Sibelius: Symphony No. 2

Editorial Reviews
Amazon.com
The Second is Sibelius's most popular symphony, thanks to its surging melodies and glowing orchestration, and also because it calls for the absolute, standard Romantic orchestra with no "extras," making it economical to perform. But it's by no means easy. The finale, in particular, often seems to come around one time too many when the conductor fails to keep the music moving smartly along. John Barbirolli made a specialty of this symphony, and clearly he solved all of its interpretive problems. He just plays the music as excitingly as possible, all the way through, and the result blazes forth from your speakers like a comet flashing across the night sky. --David Hurwitz

Tracks:

Symphony No. 1 In E Minor, Op. 39: 1. Andante, ma non troppo - Allegro energico
Symphony No. 1 In E Minor, Op. 39: 2. Andante. Ma non troppo lento
Symphony No. 1 In E Minor, Op. 39: 3. Scherzo. Allegro
Symphony No. 1 In E Minor, Op. 39: 4. Finale
Symphony No. 4 In A Minor, Op. 63: 1. Tempo molto moderato, quasi adagio
Symphony No. 4 In A Minor, Op. 63: 2. Allegro molto vivace
Symphony No. 4 In A Minor, Op. 63: 3. Il tempo largo
Symphony No. 4 In A Minor, Op. 63: 4. Allegro

Tracks:

Symphony No. 2 In D, Op. 43: 1. Allegretto - Poco allegro - Tranquillo, ma poco a poco ravvivando il tempo al allegro
Symphony No. 2 In D, Op. 43: 2. Tempo andante, ma rubato - andante sostenuto
Symphony No. 2 In D, Op. 43: 3. Vivacissimo - Lento e sauve - Largamente
Symphony No. 2 In D, Op. 43: 4. Finale. Allegro moderato
Symphony No. 5 In E Flat, Op. 82: 1. Tempo molto moderato - Largamento - Allegro moderato
Symphony No. 5 In E Flat, Op. 82: 2. Andante mosso, quasi allegretto
Symphony No. 5 In E Flat, Op. 82: 3. Allegro molto

Amazon.com essential recording

As so often happens in the classical record business, Sir Colin Davis has been busily rerecording all of this music for RCA, with the London Symphony. And because he's an English conductor working with an English orchestra, the British critics are raving, as if these earlier, much better, and much less expensive versions didn't even exist. Well, ignore the hype. Not only does the Boston Symphony play rings around today's London Symphony Orchestra (Davis's current group), but they are much better recorded too. This first Sibelius cycle was a prime recommendation when it first came out, and it still is, plain and simple. --David Hurwitz

Customer Reviews:

sublime.......2006-12-09

These two discs contain some of the most gorgeous symphonic music and awesome orchestral playing ever committed to disc.

Of Sibelius' seven symphonies, we have here the dark, Tchaikovskian First; the epic, majestic, forlorn Second; the austere, solemn, and noble Fourth; and the affable, complex, understated, and profound Fifth. These works capture something of the essence of the Nordic spirit as poignantly as the Dvorak symphonies do the Slavic, and are quite simply some of the most rewarding, fascinating works of art we have. They have, unfortunately, been largely overlooked since the rise of the current, passionate enthusiasm of the classical music world for the Mahler symphonies began in the 1960s; especially given the bargain, rerelease pricing of these two discs, then, you really mustn't pass on this opportunity to familiarize yourself with these masterworks.

The old Boston Symphony plays with a beautiful, effortless virtuosity that demonstrates why they were known as the dean of American orchestras. This was the orchestra whose timbre Copland, Barber, Piston, Schuman, and Berstein had in mind when they wrote their symphonic scores, and where the Chicago Symphony of the 70s was perhaps better-suited to the bombast of Mahler, Strauss, and Bruckner, the Boston Symphony must have been one of the best two or three orchestras in the world for these more subtle, understated scores (the Amsterdam Concertgebouw and the Vienna Philharmonic being the two other candidates that come immediately to mind).

A real treasure.

Excellent First and Fifth.......2006-11-21

This half of the Colin Davis/Boston Symphony Orchestra Sibelius cycle includes two performances I've long admired, one that's unexceptional, and one that seems a complete misfire.

Writing the finale to a symphony causes problems for young composers. The finale of the Mahler First is by far the weakest movement in the Mahler canon. The same is true of the Sibelius First--or is it? The stunning opening of the First announces a mature, original genius, but the finale can easily sound like imitation Tchaikovsky, as in the Stokowski and Maazel/Vienna recordings. Some people like these recordings; I don't. Other conductors--Berglund, Jansons, and Colin Davis among them--work hard to make the finale worthy of the first three movements. Davis is by and large successful, with only one rather awkward moment. I bought the Davis First when it came out on LP and have liked it ever since.

The Davis Second is a performance one would be happy to hear in concert, but doesn't offer any special insights. Listen to the Barbirolli/Royal Philarmonic Second and you'll hear a conductor who believes completely in the heroism and grandeur of this symphony while presenting a specifically Sibelian sound world. Because this symphony is so popular, some conductors who don't perform much Sibelius apply a generalized romantic veneer. Davis gets the specifically Sibelian sound, but doesn't find the passion.

The Gramophone reviewer applauds Davis for taking the slow movement of the Fourth at a really slow tempo, but I think this wrecks the symphony. In theory, a slow tempo ought to enhance the bleakness of this northern landscape, but in actuality the slow tempo turns the specifics of the score into something generalized, more romanticized, and warmer. This isn't intended to be the kind of slow movement where not much happens. Very specific orchestral events occur, and are defeated by the overall cold. Listen to Berglund or to Maazel/Vienna at the more normal tempo, and see which you prefer.

No problems with the Davis Fifth. Davis gets the tempo relationships right and offers a committed performance. If you're comparing overall cycles, Davis offers a solid introduction to the Sibelius symphonies, especially if supplemented by the Barbirolli/Royal Philharmonic Second and the Maazel/Vienna Fourth. I prefer the Berglund cycle, which also includes good performances of tone poems and incidental music which most Sibelians will want to acquire.

Davis favors reflection over power.......2005-12-12

This widely admired Sibelius cycle from the Seventies, now on two budget Duos from Philips, displays Colin Davis's abiding view of Sibelius as a meditative, inward composer. These aren't powerful, sweeping itnerpretations of the kind conducted by Karajan and Bernstein, nor are they raw material for fervent personal expression, as one finds with Barbirolli. Davis is cool-to-chilly much of the time, abetted by elegant, restrained playing from the BSO. The orchestra had just emerged from a low period under Leinsdorf and had been partially rebuilt by William Steinberg, who unfortunately died suddenly after only a few years with them. Even so, the strings in particular sound very secure.

When this set was first issued I was more taken with it than I am now. In its understated way, despite stretches of inertness, it still sounds more musical than Maazel with the Vienna Phil. (Decca), and the orchestra is miles ahead of the Halle under Barbirolli (EMI) or the various Finnish ensembles condcuted in two cycles by Berglund. Davis's later two cycles with the LSO cross the line and become too static. Claims that these performances are definitve make little sense to me given all the great conductors--Kajanus, Stokowski, Koussevitzky, Beecham, Bernstien, Karajan, Rattle--who offer more than equal competition.

An Introduction to Sibelius.......2005-12-04

The seven symphonies of Jean Sibelius (1865 -- 1957) are among the most impressive musical achievements of the Twentieth Century. His music fell into obscurity briefly at around the time of his death but fortunately has been restored to its rightful place. Few Twentieth Century composers have been so influential.

Colin Davis is a master of Sibelius' music, and his first cycle of the symphonies with the Boston Symphony Orchestra, available on two "duo" CD sets on Phillips, is available at a budget price. Sibelius's symphonies reward a "completist" approach. There are only seven, and the listener can follow the set in order and learn how Sibelius developed from a composer heavily influenced by late romanticism, including Tchaikovsky, Bruckner, and Wagner, to a modernist composer with a difficult, complex voice. For those wanting a guide, I recommend Michael Steinberg's book "The Symphony" (1995). Steinberg obviously loves Sibelius, and he discusses each of his symphonies in a clear, nontechnical way.

This CD includes Sibelius' first, second, fourth, and fifth symphonies which are probably his best-known and most accessible. The four-movement symphony no 1 in E minor opus 39 dates from 1899 when the composer was in his early 30s. Listen to the long, melancholy clarinet solo which opens this symphony. The second movement is lyrical and romantic, uncharacteristic of the later Sibelius, with a lush horn solo. The third movement is a brusque scherzo with a slow fragmented trio which points to Sibelius' later style. The finale builds to a great climax and then the music seems to come apart. It fades away at the end.

The symphony no 2 in D major, opus 43 is a triumphant, victory work in four movements Listen to the soft, repeated chords with which the work begins. They form the basis for the entire symphony as Sibelius creates ambiguities -- shifting from using his opening material as a harmonic backdrop to using it as the theme. The music develops from fragmentary themes as Sibelius embroiders them into a large-scale integrated work. The second movement features horns, bassoons, and rushing strings and includes marked changes in tempo and mood. In the third movement, listen to the nine repeated notes on the oboe with which the trio begins. The famous finale is based upon two stirring themes, the second of which eventually predominates and forms the basis for the inspiring, triumphant close. This is a deservedly loved symphony in the heroic mode.

Sibelius' symphony no 4, opus 63 dates from 1911 and is one of the composer's most difficult and enigmatic scores. It is Sibelius at his most personal, dark, alone, and somber. In this work, Sibelius experiements with tonality. He makes great use of the whole-tone scale, as did Debussy and of an attendant interval consisting of three whole steps called the tritone. This gives the music an unstable, questioning character. Steinberg writes: "aloneness, a sense of the contrast between human and superhuman scale, the impact of enormously concentrated experience -- these are perhaps the images that, unbidden, lodged in Sibelius's mind as he conceived and began to fix the musical gestures of his unsettling masterwork." The symphony is predominantly slow and somber and challenging. Listen to the sad song of the third movement and to the bells (chimes) in the finale of this work. Sibelius' fourth symphony, together with his sixth and seventh symphonies on the other part of this compiliation, are each highly modernistic, unique compositions that grow with time.

The final work on this compilation if the symphony no. 5 in E-flat major, opus 82. Sibelius revised this symphony extensively, and the final version dates from 1919. The key of e-flat major often is used for heroic, broad-scaled music (think of Beethoven's Eroica symphony and Emperor concerto) and, with his own developing sense of restraint and ambiguity, Sibelius so uses it here. The work is generally described as in three movements (some listeners hear the first movement as two movements, joined together without a pause) which are closely integrated. The long first movement builds and builds from basically short, fragmentary material, includes a quick scherzo, which some people consider as the second movement. In any event, the material is tied together and integrated magesterially, concluding the opening section of the symphony. The second movement is a theme and variations in which a woodwind chorale sings througout as the backdrop to a short figure in the strings. The third movement takes materials presented as background in the second movement and makes it the basis for a rolling and repeated chorus in the french horns presented early in the finale. The finale of Sibelius' fifth develops to a stunning climax punctuated by the famous six large and irregularly spaced chords with which it concludes. I find this symphony similar to Sibelius' second, but in a more complex, original, and modernistic voice.

I think Sibelius has entered that relatively small class of composers that every lover of music should get to know. There is no better way of hearing Sibelius than in this CD and its companion CD by Colin Davis.

Robin Friedman

One of my favorite recordings.......2005-04-28

It is hard for me to place a finger on why I identify so much with Sibelius' music. There's a degree of sparseness and simplicity to it, yet also intensity and longing. I welcome it as a sound track to my life because it seems to speak of the individual and a feeling of "aloneness" whether it be walking on a deserted beach, a mountainous trail, or making my way through a busy city. In any case, the cd case that holds my copy of this recording is quite tattered, shattered, and scuffed up. I consider it and volume 2 some of the better cds in my collection. Before I knew much about orchestral music, I used to (and this is probably due to media stereotyping at an early age) connotate it with background music for grandiose social events for the social and political elite. But thankfully the symphonies of Beethoven, Mozart, Brahms, Mahler, and Sibelius make the case for music going far beyond social function to the outer reaches of individual expression and enlightenment.

The Most Soothing Lullabies In The Universe

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The Most Soothing Lullabies In The Universe

Manufacturer: Denon Records
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

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Lullabies | Children's Music | Styles | Music
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ASIN: B0001NBNE8
Release Date: 2004-04-06

Tracks:

CHOPIN: Piano Concerto No. 1, Larghetto
DEBUSSY: Clair de Lune
MANFREDINI: Concerto grosso in C, I. Largo (Pastorale)
MOZART: Eine Kleine Nachtmusik, Andante
BEETHOVEN: Moonlight Sonata, Adagio
BACH: Goldberg
SIBELIUS: Swan of Tuonela
LISZT: Liebestraume
SCHUMANN: Dreaming
MASSENET: Meditation from "Thais"
VAUGHAN WILLIAMS: Greensleeves

Tracks:

HANDEL-WEINER: Sicilienne
A. CORELLI: Concerto grosso in G, Pastorale
VERDI: "When the evening becomes peaceful"
CHOPIN: Three Preludes
MOZART: Clarinet Concerto in A, II. Adagio
BRAHMS: Piano Sonata No. 3, II. Andante espressivo
TCHAIKOVSKY: Swan Lake (excerpt)
MENDELSSOHN: Three Songs Without Words
MAHLER: Symphony No. 3, IV. Sehr Langsam

More Of The Most Relaxing Classical Music In The Universe

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Better than most
Wonderful Music

More Of The Most Relaxing Classical Music In The Universe
Ludwig van Beethoven , Eugene-Auguste Ysaye , Johann Sebastian Bach , Jean Sibelius , Sergey Prokofiev , Jules Massenet , Anonymous , Fryderyk Chopin , Giacomo Puccini , Robert Schumann , Pyotr Il'yich Tchaikovsky , Kazuo Yamada , Claude Debussy , Felix Mendelssohn , Carl Maria von Weber , Enrique Granados , Gustav Holst , and Various Artists
Manufacturer: Denon Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000AINLR
Release Date: 2003-08-12

Tracks:

RACHMANINOFF Piano Concerto #2, Adagio
VERDI Preludio
PAGANINI "Introduzione e tema con variazioni"
BRAHMS Sonata for two pianos, Andante
MOZART Adagio in E Major
BEETHOVEN "Pathetique" Sonata, Adagio
YSAYE Sonate #2, "Malinconia"
BACH Prelude #22, Well-Tempered Clavier, Book I
VERDI "Quando le sere al placido" (When the Evening Becomes Peaceful)
BACH Orchestral Suite #2
SIBELIUS The Swan of Tuonela
PROKOFIEV Romeo and Juliet
MASSENET Meditation from "Tha
RACHMANINOFF Prelude

Tracks:

TRADITIONAL Catalonian Folk Song
CHOPIN Piano Concerto #1, Larghetto
PUCCINI "Crisantemi" (Chrysanthemums)
SCHUMANN "Traumerei" (Dreaming)
TCHAIKOVSKY Swan Lake (excerpt)
K. YAMADA ''Chugoku-Chiho No Komoriuta" Lullaby
DEBUSSY "En Bateau" (By Boat)
BEETHOVEN Symphony #6 "Pastoral", Andante
MENDELSSOHN Songs Without Words
WEBER Introduction, theme and variations
GRANADOS "Goyescas" (Sketches on the works of Goya)
TCHAIKOVSKY Nocturne in F
HOLST The Planets, "Neptune"

Customer Reviews:

Better than most.......2007-02-08

This is a good mixture of elevator music, and some soft relaxing melodies.

Wonderful Music.......2007-01-18

Wonderful music for your listening pleasure. Very relaxing and soothing. Nothing beats classical music.

Average customer rating:

THE Sibelius set...
Outstanding performances
An Introduction to Sibelius
WONDERFUL SOUND!
Hype and reality

Sibelius: The Complete Symphonies 2

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000041BW
Release Date: 1995-06-13

Tracks:

Symphony No. 3 In C, Opus 52: 1. Allegro moderato
Symphony No. 3 In C, Opus 52: 2. Andantino con moto, quasi allegretto
Symphony No. 3 In C, Opus 52: 3. Moderato - Allegro. Ma non tanto
Symphony No. 6 In D Minor, Opus 104: 1. Allegro molto moderato
Symphony No. 6 In D Minor, Opus 104: 2. Allegretto moderato
Symphony No. 6 In D Minor, Opus 104: 3. Poco vivace
Symphony No. 6 In D Minor, Opus 104: 4. Allegro molto
Symphony No. 7 In C, Opus 105: Adagio -
Symphony No. 7 In C, Opus 105: Vivacissimo - Adagio -
Symphony No. 7 In C, Opus 105: Allegro molto moderato - Allegro moderato -
Symphony No. 7 In C, Opus 105: Vivace - Presto - Adagio - Largamente molto -
Symphony No. 7 In C, Opus 105: Affettuoso

Tracks:

Violin Concerto In D Minor, Opus 47: 1. Allegro moderato
Violin Concerto In D Minor, Opus 47: 2. Adagio di molto
Violin Concerto In D Minor, Opus 47: 3. Allegro, ma non tanto
Finlandia, Opus 26
Tapiola, Opus 112: Tone Poem
The Swan of Tuonela, Opus 22 No. 2: Legend

Amazon.com essential recording

It was clever of Philips to couple Sibelius's least popular symphonies with the extremely popular Violin Concerto and tone poems. Don't let the words "least popular" scare you off, however. If you like Sibelius, you'll love the Third and Sixth Symphonies. The latter, in particular, is one of the most purely beautiful pieces of music in the history of sound; its only flaw is a quiet ending that makes conductors unwilling to play it at live concerts. Sir Colin Davis and the Boston Symphony perform all of this music with idiomatic flair and unflagging enthusiasm. These versions are far superior to Davis's recent remakes on RCA, and a lot cheaper too. So go ahead, indulge. --David Hurwitz

Customer Reviews:

THE Sibelius set..........2006-12-05

Sir Colin Davis has been known as a supreme Sibelius conductor for over 30 years now and this(his first complete cycle with the Boston Symphony Orchestra)is a perfect example of why. Davis gets into the heart of these works and shows why I consider Sibelius to be my favorite overall symphonist. These pieces all have an icy, lonely, quality that I've never heard from any other composer. No doubt part of this sound was highly influenced by the desolate landscape of his native Finland and one can almost feel the mountains and fjords when listening.

The symphonies on this set are basically perfect. Not to discredit his awesome first two, but Symphony no. 3 was his first truly innovative work and an unbelievably memorable and enjoyable piece. The 6th and 7th were his last two symphonies and perhaps his greatest. The richly melodic and inventive 6th is my personal favorite Sibelius work. The 7th is another standout for its unusual single movement structure and epic sound despite its sort length.

I'm usually not a huge fan of concertos in general, and the violin has never been my favorite instrument(I vastly prefer cello or piano), but Sibelius' violin concerto is an unbelievable work. There's no fancy showing off just for the sake of virtuosity here, although this piece does require a top-notch player. It's a bleak and chilling concerto and the orchestra shimmers right along side of the voilin. Admittedly this is the only version of this work I've head, but I was very very impressed. The second disc concludes impressively with 'Findlandia', 'Tapiola', and 'The Swan of Tuonela'- The three most popular Sibelius tone poems.

Philips deserves much credit here for pairing the least popular Sibelius symphonies with a second disc that includes some of his most popular works. Not only does this work perfectly to fill up each disc, but it should hopefully also introduce some hesitant fans to three awesome and neglected symphonies.

Outstanding performances.......2006-11-21

In the 1970s Colin Davis and the Boston Symphony Orchestra recorded a complete cycle of Sibelius symphonies, as well as the violin concerto and a few of the tone poems. A number of the live performances before the recording sessions were broadcast on PBS. The Davis cycle was generally regarded as one of the best available at that time, although the recorded sound was considered below Philips' usual high standard.

As it happens, the performances collected in Vol. 2 are among the stronger in the series. The two weakest performances--the Second and the Fourth--are in Vol. 1. If you're just getting to know Symphonies 3, 6, and 7, these are thoughtful, well-shaped, well-played performances with a strong feeling for the Sibelius sound world. Tempo relationships are reasonable. Davis doesn't rush the (apparently) faster music after the slow opening of the Sixth Symphony, a key point for those of us who love this symphony. A big plus is the violin concerto with Salvatore Accardo. There may be fierier or more virtuosic performances, but Davis makes the orchestra an equal partner. If you like the violin concerto treated as an additional Sibelius symphony, and I do, you'll like this interpretation.

Considering Vols. 1 and 2 of the Davis cycle together, I'd rate them superior to the Maazel/Vienna, but below the Berglund cycle, simply because none of Berglund's performances is as misconceived as the Davis Fourth. If you're looking for the specific works in Vol. 2, I wouldn't hesitate to get the Davis.

An Introduction to Sibelius.......2005-11-22

The music of Jean Sibelius (1865 --1957) has enjoyed a varied reputation over the years, but it today is held in deservedly high regard. His seven symphonies, in their varied forms, are classics of the Twentieth Century.

I have lived for several years with Sir Colin Davis' recordings of Sibelius with the Boston Symphony Orchestra. Davis is an acknowledged master of this music. The recordings date from 1975 -- 1979 and are currently available on two "duo" CD sets from Phillips. Davis later recorded the cycle again and a third version is in process. But the Boston Symphony compilation is highly accessible and modestly priced. If you are looking for an introduction to the essential works of Sibelius, this set is for you.

I supplemented my recent listening to this music by reading the accounts of each of Sibelius' symphonies in Michael Steinberg's excellent reference book : "The Symphony a Listener's Guide" (1995). I also have read the account of the violin concerto in Steinberg's parallel guide to the standard concerto repertory. Listeners wanting a more detailed discussion of the symphonies and concerto than that found in most liner notes, including the notes for this set, will greatly benefit from reading Steinberg.

This CD opens with Sibelius' symphony no. 3 in C major composed in 1904. This is a three-movement work in which the composer finds fully his own voice. The work is spare and neoclassical in style, written with both energy and restraint. The first movement opens with a brisk, characteristic theme for cello and bass. The second movement is intermezzo-like, with rhythmic ambiguity and a lovely singing theme as it progresses. The finale is in two parts with ever-changing tempos and moods leading to a final climax at the end.

The symphony no. 6 in D, opus 104 dates from 1923 and has always been my favorite of the Sibelius symphonies. As Steinberg points out, much of this symphony is written in the Dorian mode (on the piano this consists of playing all the white keys beginning on D) giving the music an etherial and remote character. The scoring of this work is also unusual with Sibelius using a harp and a bass clarinet, both of which add a great deal of color to the orchestration. Although this symphony is in the standard four-movements it is far from traditional, as the music is weightless, enigmatic, and mysterious. It is restrained in tone and ends very softly after a remarkably beautiful theme in the strings. The sixth is a highly idiosyncratic work.

Sibelius' completed his final symphony, no. 7 in C in 1924. This is a work of only about 21 minutes in what is nominally a single movement. But in its short space, the symphony moves through a variety of tempos and moods, all tightly unified and flowing from one section to the next. Some hear the work in five sections while others hear it in three. Many critics have noted that "The Seventh Symphony consummates the nineteenth-century search for symphonic unity". (Steinberg, page 607, quoting Robert Layton.) The work opens with a long slow section based upon a drum-tap and an ascending scale and concludes with a loud, triumphant chord in the brass on C major. This is tightly-written yet romantic and passionate music that will repay many listenings. Even though Sibelius lived more than 30 years after completing this work, he composed no more symphonies.

This CD also includes Sibelius' violin concerto in D minor opus 47 which the composer wrote in 1903 and revised in 1905. This work has at least found its place in the standard concert repertory. (It was recently programmed a few weeks apart in my area by the National Symphony Orchestra in Washington D.C. and by the Fairfax Symphony Orchestra in suburban Virginia.) The work is performed here by Salvatore Accardo with Colin Davis conducting the London Symphony Orchestra. The violin concerto differs from Sibelius' symphonic writing in that it is unabashedly and passionately romantic in character and a crushingly difficult, virtuoso piece for the soloist. The first movement includes a long, famous and showy cadenza followed by a long meditative slow movement and a lively, icy finale. This is one of the finest twentieth-century violin concertos and worthy to stand with its great nineteenth century predecessors.

The CD closes with three of Sibelius' shorter works for orchestra including his most familiar work, "Finlandia" , composed in 1899, which for some years was the only work of the composer to get a hearing. It also includes the long tone-poem "Tapiola", one of the composer's last important works and written after the seventh symphony. But the highlight of these last three works is "The Swan of Tuneola" opus 22, which includes an inimitable solo for the English Horn performed here by Laurence Thorstenborg.

This CD and its companion are ideal ways to get to know the music of Sibelius.

Robin Friedman

WONDERFUL SOUND!.......2005-09-15

The orchestra here sounds so vast and powerful--but also it carries a mellowness, a smoothness. Fantastic listening!
It's a bit like the gutsy sound of Beethoven melded with the easy sound of Faure's choral stuff. Can't say enough about this!

Hype and reality.......2005-07-03

I recently bought the Sibelius Volumes 1 and 2 in 2-in-1 sets. I wont comment on the artistic content as they are covered in others reviews of this page. The sound quality of Vol 2 is decidedly degraded - almost unlistenable - compared to the much much higher quality of Volume 1 (with magnificient artistry). The transfers are AAD on the Phillips label which, like DGG, of the 1970's are not meant for better quality music systems (even of that period) and unless remastered disappoint the listener. It is possible that reissues for this particular packaging could be faulty or may be that the repackaging is so cleverly done that all the goodies are on Volume 1 and the second-best on the second. Davis is redoing the Sibelius Synphonies with LSO and that may account for the rush to get this set out of the way!

Average customer rating:

Try the rest, but buy the best
Very Fine!
Good Sibelius Introduction

Sibelius: Complete Symphonies

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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Deutsche Grammophon: Music | Specialty Stores | Music
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ASIN: B0000942LP
Release Date: 2003-07-01

Customer Reviews:

Try the rest, but buy the best.......2005-12-31

You will hear about Berglund, Sir Colin Davis, Leonard Bernstein, Jarvi and others and their renditions of Sibelius' Symphonies but having listened to almost all renditions I come away with this set as my favourite.

Sibelius' music is "wide open" - big - expansive, and Herbert von Karajan and Okko Kamu do an excellent job of bringing this out. Sir Colin Davis' interpretation sorely lacks the sonority, the vibrance and clarity the gives the Symphonies shape and logic. If you listen, just as an example, to the second movement of the 3rd Symphony, you will be astounded by how amateurish the Davis version is. It lacks direction, robustness and majesty. Kamu makes it shine.

This set is highly recommended.

Very Fine!.......2004-10-14

As to characterization in Sibelius no one has the idiom mastered so well as Karajan...even Sibelius agreed that Herbert was the man for his music...he relishes in the incredible simplicity and austere melodic beauty of this music. No sentimentality here...purchase with out guilt!!!

Good Sibelius Introduction.......2004-01-10

Chances are that if you are reading this review, you may be searching for a good Sibelius symphony cycle to purchase. This set, split between the Finnish conductor, Okko Kamu, and the legendary Herbert von Karajan, is a mixed blessing.

Overall, the performances are perfectly acceptable. Kamu gives some fairly convincing readings of the First and Second Symphonies, but the tempi are a bit inconsistent, the brass loud and blatty, and there are some glaring faults in the First Symphony. He does an average job on these great masterpieces.

The prizes in the set are the performances by von Karajan. He does a much finer job bringing out details, controlling dynamic and musical direction, and giving more polished, prepared readings with his superior orchestra. The Fourth Symphony is particularly fine, full of intense, concentrated emotion and commitment from the players.

Overall, if you want a budget set of the symphonies and cannot afford the sets by Sir Colin Davis or Paavo Berglund (both outstanding and worth the money), then you can purchase this cycle and be happy with decent performances of the Jean Sibelius symphonies. Otherwise, I recommend that you search elsewhere (Sir Colin Davis, Paavo Berglund, Lorin Maazel--I haven't heard, but know from reputation).

Sibelius: Symphony No. 2; Pohjola's Daughter
Average customer rating:

A beautifully played and recorded Sibelius Second

Sibelius: Symphony No. 2; Pohjola's Daughter

Manufacturer: Lso Live UK
ProductGroup: Music
Binding: Audio CD

All Works by Sibelius | Sibelius, Jean | ( S ) | Featured Composers, A-Z | Classical | Styles | Music
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Sibelius: Symphonies Nos. 5 & 6

ASIN: B000O78IWQ
Release Date: 2007-05-08

Tracks:

Pohjola's Daughter
Allegretto
Tempo Andante, Ma Rubato
Vivacissimo
Finale: Allegro Moderato

Customer Reviews:

A beautifully played and recorded Sibelius Second.......2007-05-20

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.

Average customer rating:

A good taste of Heifetz's musical style and technical supremacy
This is Great stuff
Long review, but please read.
ok for bargin
Heifetz shows his supremacy

Jascha Heifetz: The Supreme

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Preludes | Forms & Genres | Classical | Styles | Music

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Heifetz Showpieces
Heifetz: Double Concertos
Tchaikovsky & Mendelssohn: Violin Concertos
Beethoven, Mendelssohn: Violin Concertos
Bach: Sonatas & Partitas

ASIN: B00003CWJU
Release Date: 2000-02-08

Tracks:

Partita No.2, BWV 1004: Chaconne
Violin Concerto, Op.77: Allegro non troppo (Cadenza - Heifetz)
Violin Concerto, Op.77: Adagio
Violin Concerto, Op.77: Allegro giocoso ma non troppo vivace
Violin Concerto, Op.35: Allegro moderato
Violin Concerto, Op.35: Canzonetta: Andante
Violin Concerto, Op.35: Finale: Allegro vivachissimo

Tracks:

Scottish Fantasy, Op. 46: Introduction: Grave - Adagio cantabile
Scottish Fantasy, Op. 46: Allegro
Scottish Fantasy, Op. 46: Adagio - Andante sostenuto
Scottish Fantasy, Op. 46: Finale: Allegro guerriero
Violin Concerto, Op.47: Allegro moderato
Violin Concerto, Op.47: Adagio di molto
Violin Concerto, Op.47: Allegro ma non tanto
Violin Concerto, Op.82: Moderato
Violin Concerto, Op.82: Andante sostenuto
Violin Concerto, Op.82: Tempo!
Violin Concerto, Op.82: Allegro
3 Preludes: Allegro ben ritmato e deciso
3 Preludes: Andante con moto e poco rubato
3 Preludes: Allegro ben ritmato e deciso

Amazon.com

For many violin fans, Jascha Heifetz (1901-1987) remains, quite simply, the greatest. Heifetz's perfect tone and electric playing weren't always subtle, but you can't deny the awesome power of his virtuosity and precision. Heifetz: The Supreme gathers some of his best-loved works--violin concertos by Sibelius, Glazunov, and Tchaikovsky--along with a few gems (Gershwin's Three Preludes, Bach's Chaconne from Partita No. 2) into one, remastered two-CD package. The Bach may be too intense for some tastes--it's an impassioned, romantic reading--but Heifetz is merely being himself. On the Sibelius and Tchaikovsky violin concertos, though, his skills are undeniable. Fritz Reiner and the Chicago Symphony provide the perfect accompaniment for the violinist, and Heifetz simply lets loose. Heifetz's Gershwin transcriptions are an added, fun bonus. If you haven't been introduced to the glory of Heifetz, here's your chance. With remastered sound, he's never sounded better. --Jason Verlinde

Customer Reviews:

A good taste of Heifetz's musical style and technical supremacy.......2006-04-09

As always, Jascha Heifetz shows his technical mastery of the violin in this CD. He plays each note with intent and a precise control unparalleled by other violinists. His tone quality is also quite good.

While the Tchaikovsky showcases Heifetz's finesse, Heifetz's rendition of the Brahms concerto (esp. the first movement) is very moving. He also shows off his musical range in other pieces; for example the first movement of the Sibelius violin concerto has a quiet & mysterious element, while the last movement of the Glazunov is full of energy.

However, Heifetz's rendition of Bach's Chaconne is different than most. For those who enjoy a more traditional interpretation, I would go with Nathan Milstein's version.

This is Great stuff.......2005-03-27

That Jascha Heifetz was a great violinist, no one can quibble;
but if you want only one version of the Tchaikovsky violin concerto it has to be Isaac Stern's for perfection. It must be said, though, that Heifetz and Ricci play a much more difficult version of this concerto than does Stern. Stern's score has more cuts. If you've got enough money to get Heifetz' complete discography, do so. If you want only one disk of the Tchaikovsky, it has to be Isaac's. Nobody did it better. You can get the other Heifetz tracks on other compilations. I would recommend owning both the Heifetz and the Stern recordings because the versions are so different, and Heifetz shows you in this recording the
phenomenal technique he possessed that was made the standard of all violinists after him. You can also see Heifetz perform this
concerto (excerpts) in the video 'Carnegie Hall'. The man was simply astounding.

Long review, but please read........2005-02-16

I am also a violinist myself of 13 years. I have played most of these violin concertos almost a year ago.
Heifetz delivers his interpretation to the audience. I always viewed Heifetz as very stern and a reserved man, that he did not show any emotion.
After listening to this CD, my judgment was suddenly changed.

To start with, the Bach Chacconne deserves much credit. Heifetz recorded this live (I have the video)around the age of 70. Despite his age, he performed this piece with such passion and power. His vibrato was perfect for Bach's baroque style. I have listened to this over 300 times (no exaggerating).

Then, there's the Brahm's violin concerto. Heifetz DID play a little fast, but his interpretation made up for it. I personally loved his 3rd movement, which was flawless. As I listened to it, I could feel his bow contact with the violin string. It was unbelievable.

Then, the favorite of mine, Tchaikovsky's violin concerto was incredibly played. Even Kyung Wha Chung's musical ideas could not compete with Jascha Heifetz's perfection. I loved the musical parts, which was very emotional. It was great. Also, I just want to point out the 3rd movement. In his harmonics (the notes that sound like whistling) it was so pure and neat that I simply could not describe it in words, You must hear for yourself.

The Bruch's Scottish Fantasy was one of my favorites. The introduction was so mellow and sad. Once again, I really cannot describe it in words. I advise you to listen to this right now.

The Sibelius Violin Concerto, one of my favorites, was simply played inconceivably. His tone quality was exceptional, and I could not believe such power that Mr. Heifetz had in him.

His Glazunov Concerto was great too. I loved his tone quality and interpretation.

Finally, his Gershwin preludes added a final jazz touch to the album which would enlighten all the listeners after all those minor keyed concertos.

I encourage, no recommend, no COMMAND you to get this album now. I promise you. You will not regret it.

ok for bargin.......2003-09-20

This two cd set is a good bargin for $16. It has good song selection including the chaconne by Bach, Concerto in D major by Brahms and Tchaikovsky, etc..

The remastering of the concerto's by brahms and tchaikovsky were not as good as what I had expected. If you are only looking for these two concertos, you may want to try the "living stero" version. The Scottish fantasy, chaconne, and sibelius in this recording sounds better than the brahms and tchaikovsky.

Overall, this is not the best cd for serious collections, but a good deal for those who want lots of songs for a bargain price.

Heifetz shows his supremacy.......2003-07-19

Jascha Heifetz is the most influential violinist of the 20th century. No contest. He played the most difficult pieces with unnerving speed that most professionals today would prefer to slow down. In Jascha Heifetz: The Supreme, there is a select few of violin pieces that are very commonly played in his vast repertoire. Of this I particularly enjoyed the Bach Chaconne, Bruch Scottish Fantasy, Brahms, Sibelius, and Tchaikovsky Violin Concertos. I was most pleased when I heard Heifetz play Tchaikovsky for it is a piece I am currently playing and it was hard for me to find a recording of the Auer version, notably harder than the original score. Heifetz plays it flawlessly. The Finale is played in the style of Auer, his teacher. Auer merely took out parts the seemed repetitive in this fun movement. However, Tchaikovsky is not the only reason why I highly recommend you to buy this CD. The other pieces are performed at the usual Heifetz perfection. This select 2CD represents the top works of Heifetz, showing his supremacy.

Sibelius, Prokofiev, Glazunov: Violin Concertos [Hybrid SACD]

Average customer rating:

Perfect Sibelius
Nice package, exemplary sound and solid performances
Outstanding

Sibelius, Prokofiev, Glazunov: Violin Concertos [Hybrid SACD]

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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ASIN: B0006PV5U8
Release Date: 2005-01-25

Tracks:

Allegro Moderato
Adagio Di Molto
Allegro Ma Non Tanto
Allegro Moderato
Andante Assai
Allegro Ben Marcato
Moderato
Andante Sostenuto
Tempo I
Allegro

Customer Reviews:

Perfect Sibelius.......2005-12-29

The word I used to describe how I feel about Heifetz's Sibelius, although ostentatious in it's literal meaning, is somewhat frowned upon in it's artistic meaning. Most listeners want "explosive" or "deeply moving", but "perfect"? That is precisely the point of my review. First off, one must understand that most violinists, save a select few, can even play through the first movement of the Sibelius without major miscues; many few can accomplish the following and still hold true to it's interpretation. In the case of Heifetz, technicality was not a problem, which can be said for just about every single piece he's ever played.

I believe Heifetz was a man who above all respected the composers. He also understood the art of "withholding". What do I mean? Unlike the plebeian approaches of most modern violinists, Heifetz knew that contrast is attained not only through more, but also less. Here is a perfect example. In the first movement of the Mendelssohn, Heifetz has been infamously accused of playing the main theme using harmonics and flying through the movement with zero sentimentality. This demonstrates ignorance and a strong lack of respect on the modern generation. Concomitant with the rise of 20th Century music (most of which Heifetz detested), appreciation for professionalism declined and indulgence in emotionalism became commonplace. Heifetz understood that there is no payoff, no climax to any piece of music, unless there is patience and sensitivity. After a withheld first movement and a sweet second movement, Heifetz bursts open the doors in the third playing with unbelievable speed and liveliness. The concerto climaxes towards the end as Heifetz passionately pounds through the main theme one last time then finishes with a flourish. This epiphany would not have been possible had he sentimentalized the whole concerto; one would not have been able to tell the difference in significance between the minor skirmishes of the opening movement, and the heroic triumph of the closing measures.

In the case of the Sibelius, Heifetz knew that this was a different composer with different intentions than the formal Brahms and the powerful Beethoven. This was a piece in which emotionalism and improvisation were required; although both would need to come in the context of the piece. The well-known and well-accepted myth that Heifetz does not know how to play with feeling is one of absolute ignorance. Such unfounded criticism needs to be challenged and defeated. The first movement includes some of the highest peaks ever brought forth from the romantic movement. Many other violinists tend to slow down during the more challenging measures due to technical inadequacy, or in the words of musicians with no ear: "playing with feeling." Heifetz brings the romantic ideas of Sibelius to astronomical heights not by slowing down, but by utilizing different techniques to exploit the wide range of tones his Stradivarius offers. For example, during the second movement, the first explosion of deep emotion comes with the violin take a the theme higher and higher with the orchestra following. Heifetz plays the theme on the G-string with extremely rapid vibrato; most other violinists would play the theme on the D-string to attain the clear strong tone and try conjure some form of emotion by playing it at a slower tempo. Heifetz plays the measure in the higher position so it sounds almost as if the violin is weeping with passion, a tone one must hear to understand.

Then of course, there is the 3rd movement, often imitated, never duplicated. Most violinists will start out strong with the main theme and maintain the same speed and energy for a while. But this movement shows no mercy on technical mediocrity. Sooner or later, the violinist will bow to the towering requirments of the movement, and will slow the tempo. This is not true for Heifetz. Even in the most difficult measures, one will not be able to find one moment in which he loses control. And unlike others, Heifetz doesn't need to overextend any passages to cover-up for a lack of technical/musical confidence.

Before I end, a word about Walter Hendl who directed the Chicago Symphony in place of an ill Fritz Reiner. One of the more less-known characteristics of Heifetz playing, was he actually preferred lesser-known conductors to well-known ones such as Maestro Reiner. This was so he could impose his musical ideas on the orchestra with less tension. THe Sibelius is a good example of this. However, the technical differences between a Hendl led orchestra and a Reiner led one, is sadly obvious. The tempo is at times uneven and the orchestra unbalanced. This however should not be of any importance when considering whether to purchase this album. It is Heifetz's statement, not Hendl's, that should be considered.

Nice package, exemplary sound and solid performances.......2005-05-25

This is my first foray into the reissued RCA Living Stereo hybrid SACD disks that have gotten a lot of publicity in recent months. Others in the batch of releases include some Rubinstein piano concertos, French music by Charles Munch and some of Fritz Reiner's orchestral specialties in Chicago.

This CD features legendary fiddler Jascha Heifitz mated to three different conductors and orchestras doing the Sibelius, Prokofiev No. 2 and Glazunov concertos. Heifitz was closely linked with the first two, less so with the third one. He does them all quite well here in sound that is as good as advertised, at least based on what my equipment tells me.

I bought this both before and after I converted to 5.1 SACD. The recording is wonderful in SACD and almost as good in traditional stereo. In particular, the timpani underpinning of the Prokofiev accompaniment by Munch and the Boston Symphony is quite thrilling. So to is the backup by Hendl and the Chicago Orchestra in the Sibelius.

However, a better recording can also show flaws that perhaps weren't as obvious before. In the waning moments of the Sibelius opening movement, there is a time -- maybe 5-6 bars in duration -- where Heifitz, Hendl, the symphony and one of its principal woodwind players seem to be missing connections by a half-beat or so. This is a minor quibble and will do little to discourage enjoyment of this otherwise fine issue.

As to the performances, the Sibelius is an example of Heifitz's searing tone and remarkable bowing. The accompaniment by Hendl and the CSO is a bit more severe than some of the more romanticized accounts but fully in sync with Heifitz direction.

I've heard accounts of the Prokofiev that concentrated more fully on the music's dreamy legato. In this version Heifitz and Munch seem more attuned the the spiky nature of Prokofiev's creation while maintaining a marginal aloofness, as if they are old juveniles having fun with the 20th century creation. It works fine both ways and this is a good one.

Heifitz and Hendl, this time with the RCA Symphony Orchestra, seem more romantically engaged in the slight 18-minute concerto by Glazunov. This romantic trip through lightweight Russian music is a fitting end to a wonderful CD brought up to 21st century speed by the new technology of SACD.

This issue is handsomely packaged in a durable CD case and includes the original LP notes plus other notes by Joseph Wechsberg from 1959. There are also notes on the history of Living Stereo and some chatter on technical details, plus a separate set of notes on SACD and how it works.

Wechsberg's notes begin: "There can be no doubt today (1959) that Jascha Heifitz is the greatest violinist of our generation. When all is listened to and said and done, Heifitz' supremacy as fiddler and musician emerges as one of the few unchallenged facts of our clouded musical age."

There is still little debate today (2005) about the first half of Wechsberg's thesis -- that Heifitz is the greatest fiddler. His tone, technique, bowing and sound continue today to blow away most competitors and this splendid sounding CD reinforces his greatness as a player.

But as an artist? Well, there's the rub. The performances on this CD are very good but I have heard more artistic renderings of the Sibelius and can imagine more committed versions of the Prokofiev. The legend of Heifitz was, generally speaking, of his stature as a player, where he continues to be without parallel.

But his artistic approach to the music he played has been questioned for many years. Lots of listeners -- especially those that more fully appreciate the Oistrakh-Vengerov approach -- will prefer other fiddlers in these works.

I don't belong to either camp and appreciate players with all viewpoints. I found this CD to be well worth the $12 list price. The sound puts it into direct competition with today's best new DDD recordings, something you couldn't say about past issues. For collectors that have yet to sample the legend of Heifitz, this would be a good starting point.

Outstanding.......2005-04-02

These performances by Heifetz are amazing. Heifetz owned the Sibelius concerto all his life (and was the first to really standardize it as one of the great concertos beside Beethoven's Mendelssohn's Brahms's and Tchaikovsky's). The disc is worth the price simply for the Sibelius, yet you also get two outstanding performances of the Prokofiev and Glazunov as well. The sonics are spectacular; it sounds as if these masterpieces were recorded yesterday. Heifetz was the undisputed master of the bow, and this disc proves it; it is a must for all lovers of music.

Sibelius: The Complete Symphonies & Tone Poems

Average customer rating:

5 stars for the syms
Beautiful and comprehensive compilation of Sibelius works
excellent collection
A must for Sibelius lovers
A terrific and near-perfect set

Sibelius: The Complete Symphonies & Tone Poems

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

Modern & 20th Century | Symphonies | Classical | Styles | Music

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Debussy, Ravel: Orchestral Works
Liszt: Works for Piano and Orchestra
Symphonies 1-3 / Piano Concerto 1-4 / Isle of Dead

ASIN: B00005MIZT
Release Date: 2001-11-20

Tracks:

I: Andante, Ma Non Troppo - Allegro Energico
II: Andante (Ma Non Troppo Lento)
III: Scherzo: Allegro
IV: Finale (Quasi Una Fantasia): Andante - Allegro Molto
I: Allegretto
II: Tempo Andante, Ma Rubato
III: Vivacissimo - Lento E Suave - Tempo Primo - Largamente -
IV: Finale: Allegro Moderato

Tracks:

I: Allegro Moderato
II: Andantino Con Moto, Quasi Allegretto
III: Moderato - Allegro (Ma Non Tanto)
I: Tempo Molto Moderato, Quasi Adagio
II: Allegro Molto Vivace - Doppio Piu Lento
III: Il Tempo Largo
IV: Allegro

Tracks:

I: Tempo Molto Moderato - Largamente - Allegro Moderato
II: Andante Mosso, Quasi Allegretto
III: Allegretto Molto - Un Pochettino Largamente
I: Allegro Molto Moderato
II: Allegretto Moderato - Poco Con Moto
III: Poco Vivace
IV: Allegro Molto - Allegro Assai - Doppio Piu Lento

Tracks:

Adagio -
Un Pochettino Meno Adagio - Vivacissimo -
Poco Rallentando Al Adagio - Allegro Molto Moderato - Allegro Moderato - Vivace -
Presto - Adagio - Largamente Molto - Affettuoso
Cantata: Oma Maa, Op.92: 'Our Own Land'
Tulen Synty, Op.32: The Origin Of Fire

Tracks:

I: Introductione: Allegro Moderato
II: Kullervo's Youth: Grave
III: Kullervo And His Sister: Allegro Vivace
IV: Kullervo Goes To Battle: Alla Marcia
V: Kullervo's Death: Andante

Tracks:

The Oceanides, Op.73
I: Intermezzo
III: Alla Marcia
I: All'overtura: Grave - Allegro/II: Scena: Tempo Di Menuetto - Allegro Moderato/III: Festivo: Tempo Di Bolero
Tapiola, Op.112
Finlandia, Op.26
Serenade No.1 in D, Op.69a
Serenade No.2 in g, Op.69b (Lento Assai)

Tracks:

Luonnotar, Op.70
Pohjola's Daughter, Op.49
En Saga, Op.9
I. Nocturne
II. Elegie
III. Musette
IV. Serenade
V. Ballade
The Bard, Op.64

Tracks:

Spring Song, Op.16
III. The Swan Of Tuonela
IV. Lemminkainen's Return
I. At The Castle Gate
II. Melisande
IIa. By The Seashore
III. A Spring In The Park
IV. The Three Blind Sisters
V. Pastorale
VI. Melisande At The Spinning-wheel
VII. Entr'acte
VIII. The Death Of Of Melisande
Valse Triste
Scene With Cranes
II. The Harp
III. The Maidens With Roses
IV. Listen, The Robin Sings
VI. Swanwhite And The Prince

Customer Reviews:

5 stars for the syms.......2006-03-18

with the Helsinki
3 Stars for the Bourgemouth on the poems.
But truth be told, no matter how EMPHATIC statements that his syms are not programmatic, that is fall into a logical step by step order, they are just that, very predictible.
I've given these syms 30 yrs, and lately I've lost interest.
While Schonberg, Berg, Webern, Varese were scoring creative new atonal/poloytonal works of new genius, here was Sibelius struggling with old forms, that fail to deliver anything really new. And he knew it, and bothered him to no end.
I feel there is way too much Beethoven/Bruckner(I like neither) influence in the syms for me to become a fan of the syms. I like the 1st sym "somewhat" that is I never listen to it, and small parts of the 4-7 syms. But I'm afraid I only like Sibelius pre 1905, the Kullervo, VC, tone poems. Here is where the genius of Sibelius truly lies.
The syms long ago held some interest, but lately i've moved on to Schnittke and Pettersson.
I also much prefer Vaughan Wialliams syms to all of Sibelius.
Sibelius was a genius in his element, that of representing the folk ideas of his land. His syms are like a string of ideas that lack the connective passages. IOW the whole is less than the few interesting parts.

Beautiful and comprehensive compilation of Sibelius works.......2005-09-29

For me, this has been the year of Sibelius. Previously, I had listened to (and enjoyed) Finlandia. I also had a couple of the symphonies but hadn't listened too them but once or twice. After listening to Finlandia again, I decided to seek out more SIbelius to sample. After some searching through reviews, I settled upon this compilation of works because it offered a large variety of Sibelius and seemed to be well-received. I have been very happy with this purchase! Not only have I spent countless hours listening to each of the 8 disks in this set, the enjoyment of the music has led me to many other wonderful performances of Sibelius by other worthy conductors such as Ashkenazy and Vanska. Still, this boxed set will always be fondly remembered as the one that introduced me to the wonders of so many of these pieces.

I was immediately captured by the haunting clarinet solo that begins the first symphony. All of the symphonies, performed by the Helsinki Orchestra, are recorded in very clear digital sound -- so the solo and the pecussion accompanyment were perfectly captured. I was hooked by the first symphony, but all of the symphonies are presented clearly and with outstanding interpretations. The Helsinki Philharmonic has always had a strong affiliation with Sibelius's music, and Paavo Berglund is a renowned Sibelius conductor who has recorded three separate symphony cycles (once with the Bournemouth Symphony orchestra, the 2nd time with these recordings, and a third time with the Chamber Orchestra of Europe). The commitment felt by the conductor and orchestra comes through in these performances.

In addition to the complete symphony cycle, there are a number of other treasures. A fine version of Finlandia is accompanied by a number of truly delightful tone poems such as Tapiola, the haunting Swan of Tuonela and Lemminkainen's Return (from the Lemminkainen Suite). These tone poems were inspired by the Finnish Kalevala. Other tone poems such as the Oceanides and Spring Song were inspired by Sibelius's love of nature. All receive strong performances by Berglund conducting the Bournemouth Symphony (in analog sound that is still quite good). The violin serenades (especially no. 2) were unexpected delights. The version of Kullervo is magnificent, as is the singing in Luonnotar and Oma maa. This set is a treasure trove of Sibelius treats!

excellent collection.......2004-06-28

This box set includes Sibelius' all symphonies, with Kullervo and his almost complete tone poems. The Symphonies are performed by Helsinki Philharmonic Orchestra, Kullervo and tone poems with Bournemouth Symphony Orchestra. All of them conducted by Paavo Berglund, who always a champion on performer of Sibelius.

Even so there are his incidental musics: Pelleas et Melisande, Swanwhite, Kuolema and King Christian II.
Especially Pelleas and Kuolema (which includes ever famous Valse triste) are the most beautifuls. Pelleas et Melisande is a very impressive music, and the best "Pelleas" music with Debussy's Pelleas (opera).

Kullervo is symphony-cantata for two soloists, men-chorus and orchestra, which be constitued in 5 movements, comparable in artistically with Mahler's 2nd Symphony "Resurrection". Especially the last movement "Kullervo's Death" is very effective, pathetique.

And one more a vocal work, a tone poem for soprano and orchestra: Lounnutar. This is based on Kalevala again, and Luonnotar is creator of nature in this poem. It is a very radical work, like his darkful 4th Symphony and The Bard. I think, The Bard is one of the best works of the composer, with it's harmonis, dark colours, contemplative mood. Still, this was written in tragic E-flat minor. It is based on a mythologic creature which plays an harp, like lyre in Greek mythology. And in the last minutes there is a dramatic climax and then music slowly fades out.

And there is the best Tapiola recording, I've ever heard (with Petri Sakari's version at Naxos). This is based on Kalevala, again. Tapio is the name of the forest god, according story. There are very impressive contrasts between hypnotic, a little hesitated, light colours and dramatic darkful colours. The orchestration is marvellous again. Especially, in last minutes there is a terrific storm scene and it's very spine chilling. Climaxes (which played by brass) are very powerful...

This is a very good addition to collectors of Sibelius fans and any classical music lovers. Highly recommended.

A must for Sibelius lovers.......2003-01-07

Jean Sibelius is one of those composers who I feel that even on his off days he did well. While I certainly can't say I enjoy all of his music enough to buy (Sacaramouche for instance), most of his music is highly pleasureful. All of the pieces on this set, conducted by Paavo Berglund, save maybe one or two, are part of the later catagory.

This set consists of most of Sibelius's major orchestral music, with the notible exceptions of Night Ride and Subrise, the first two sections of the Lemmenkainen Suite, and the Violin Concerto. It also contains such rarities as Origin of Fire, Our Own Land, and excepts from Swan White.

Berglund, I believe, was the first to fully record a complete cycle of Sibelius symphonies. The recordings here are not from his first set (which I have not heard), but the second cycle recorded in the mid-80s. The symphonies and two canatas mentioned above are recorded in digital, while the rest is analog. It's all in very good sound, though not perfect. That they wanted to keep the D and A recodings on seperate discs is the only possible reason I can see for why they left out the Violin Concerto (there's plenty of room on disc 4).

Now of course, contents are one thing, but what really matters is performance. And suffice it to say, they for the most part shine. This has easily the finest Symphony 1 I've heard, and the finale of Symphony 5 (truly one of the greatest works of the 20th century) shines with brillance. Symphony 3 makes its mark nicely, and Symphony 2, while perhaps a bit on the fast side, is certainly up to par. The only disappointment is Symphony 7, which falls totally flat compared to Davis/BSO.

The two cantatas are wonderful rarities, but its disc 5 where the choral aspect is full played out -- Kullervo. If you've never heard this piece, it's a 75 minute long programatic symphony (to use to term losely) with many ups and downs. This was the first ever recording, and most say it hasn't been topped.

The final three discs contain shorter works. Especially noteable are the absolutely beautiful Serenade #2 for Violin and Orchestra, the hauntingly lovely Luonnotar, a very rousing version of Lemminkainen's Return, and a passionate Pelleas and Mellsande.

Of course, it's almost impossible to have this big a set without some disapointments. Beyond the aformentioned Symphony 7, there's also not overly convincing Finlandia, and a WAY too slow Karelia Intermezzo. Thankfully, the rest of the set makes up for it. It's a great deal at only about $7 a disc retail, and if you're like me, on you'll keep coming back to.

A terrific and near-perfect set.......2002-04-05

This release couples Berglund's classic Bournemouth recordings of the Kullervo Symphony and a host of tone poems with his most recent cycle of the Symphonies.

The Bournemouth recordings are legendary, especially the Kullervo, which belongs in every classical music library. There is a real warmth to these readings, which charms me into letting the minor flaws in playing pass. The sound is pretty good, though slightly muddy at times (particularly in Tapiola), and the selections have been excellently remastered.

The Symphonies, recorded with the Helsinki Philharmonic in superb digital sound, are a real peak in the discography. Berglund doesn't play his Sibelius lukewarm; his readings are sharp, neo-classical and very powerful. You won't confuse these recordings with those of Colin Davis to be sure. Very comparable to Maazel's earlier readings with the Vienna Philharmonic, but with less over-dramatization. His First, Second, Third, Sixth and Seventh are as good as any, and his reading of the Fourth, while rather bleak for my taste (I like the idea of some kind of softening at the end) is a coherent vision, almost harsh in it's execution.

I really like Maazel's Pittsburgh Fifth, and Berglund's recording in no way comes close to Maazel's splendor or power as a total conception. But, Berglund's middle movement is the best I've heard by far; the obsessively repeated melody seems to weave in and out of the orchestral fabric very seductively. Berglund's knack for architecture is spot on here.

Tracks:

I. Andante, Ma Non Troppo - Allegro Energico
II. Andante (Ma Non Troppo Lento)
III. Scherzo. Allegro
IV. Finale (Quasi Una Fant). Andante - Allegro Molto
I. Tempo Molto Moderato, Quasi Adagio
II. Allegro Molto Vivace
III. Il Tempo Largo
IV. Allegro

Tracks:

I. Allegretto
II. Tempo Andante, Ma Rubato
III. Vivacissimo - Attacca
IV. Finale. Allegro Moderato
I. Allegro Moderato
II. Andantino Con Moto, Quasi Allegretto
III. Moderato - Allegro (Ma Non Tanto)

Tracks:

I. Tempo Tranquillo Assai
II. Allegro Commodo
III. Andante Mosso
IV. Allegro Commodo - Largamente Molto
I. Tempo Molto Moderato - Allegro Moderato
II. Andante Mosso, Quasi Allegretto
III. Allegro Molto - Largamente Assai

Tracks:

I. Allegro Molto Moderato
II. Allegretto Moderato
III. Poco Vivace
IV. Allegro Molto
Symphony No.7 In C Major
Tapiola

Customer Reviews:

Something Inherently Right About This Complete Symphonies Set.......2006-11-04

Jean Sibelius remains somewhat of an enigma to concertgoers: nearly everyone is enraptured with the second symphony and many swoon over the fifth and seventh symphonies, but so often symphonies one, three, four, and six are overlooked. Yes, his violin concerto is well represented in nearly every contemporary violinist's repertoire, but the tone poems evade popularity. That is why it is exciting to own this fine set of four discs that not only surveys all seven symphonies but also adds the Tapiola as an encore.

Osmo Vänskä conducts the Lahti Symphony Orchestra in an echt recording of Sibelius. Yes, some may prefer a different approach to the more familiar symphonies such as the second, but taken as a whole Vänskä coaxes stunning performances from his ensemble. He allows the massive 'organ pedal' sustaining notes that occur repeatedly in all of the symphonies to sound as if they are the earth itself emerging through splits in the glacial craters of the Scandinavian landscape. His tempi are so correct that they constantly encourage the sense of urgency few other conductors find in the works. If this listener had to select a favorite among the works it would clearly be the performance of the rarely heard and somewhat musically retrospective Symphony No. 3. Rarely has this work seemed so coherent and so ripe with all the ideas that constantly sprang from Sibelius' mind. It is a gem of a performance.

Not one for boxed sets usually, this particular one, recorded with some of the finest sound available, is a mighty exception. It is a solid, consistently inspiring reading of the Sibelius symphonies. Grady Harp, November 06

Rock-solid performances in superior BIS sound.......2003-06-17

Perhaps I've heard more memorable performances of some of these symphonies -- which, along with Debussy and Ravel's orchestral music, are my all-time favorite symphonic works -- but taken as a whole these are quite well played, with tempi reasonably judged and plenty of Sibelian atmosphere. The strings are a tad thin but have an appealing and appropriate "chill" to their sound, and the woodwinds and brass parts are persuasively characterized.

As a bonus, you get BIS' wonderfully natural recorded sound, superior examples of how to properly record a symphony orchestra. If you're looking for one-stop Sibelius symphony shopping, you will be pleased with this collection.

Great performances.......2003-01-23

I own three sets of the Sibelius symphonies: Maazel/VPO, Davis/LSO, and this one. There are still a lot of other ones out there that I haven't heard yet, but if were to make a recommendation this one would be my pick. Vanska and the Lahti Symphony Orchestra give some really fine performances of these works. A few bonuses with this Sibelius cycle is the symphonic poem Tapiola, and the 1915 version of the 5th symphony which is very interesting to compare with the final version. The sound quality is great, and the rather extensive liner notes give some very helpful information about each piece. This set costs a little bit more than some of the other ones available out there, but I think it's worth it.

To be truly honest, my only disappointment with this set was the the 2nd symphony, which seemed to lack some of the intensity that I find in all the other performances in this collection. It's probably because the 2nd is my favorite Sibelius symphony and I'm really picky about it (I own 6 recordings of the 2nd). All I can say is don't let that keep you from buying this set. There are plenty of good recordings of the 2nd out there, so don't be discouraged.

Still, I highly recommend this set. Just listen to some Sibelius. More people need to hear his music.

Music Review: