Sibelius: Kullervo, Op. 7

Track Listings

1. Introduction: Allegro moderato

2. Kullervon nuoruus: Grave

3. Kullervo ja hanen sisarensa: Allegro vivace

4. Kullervon sotaanlahto: Alla marcia

5. Kullervon kuolema: Andante

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.

All in all a wonderful set. An easy first choice for newcomers to Sibelius and a necessary addition for confirmed fans.

Sibelius: Kullervo, Op. 7
Average customer rating:

Beautiful and Inspiring

Sibelius' Best

A Tale from the Kalevala.

Sibelius: Kullervo, Op. 7

Manufacturer: Bis
ProductGroup: Music
Binding: Audio CD

All Works by Sibelius | Sibelius, Jean | ( S ) | Featured Composers, A-Z | Classical | Styles | Music
Tone Poems | Theatrical, Incidental & Program Music | Forms & Genres | Classical | Styles | Music
General | Symphonies | Classical | Styles | Music
General | Classical | Styles | Music
Similar Items:

Bartók: Kossuth; The Wooden Prince [Hybrid SACD]

Tone Poems

Sibelius: The Tempest, Op. 109

Franck: Symphony in Dm; Chasseur maudit

Kalevi Aho: Symphonic Dances; Symphony No. 11

ASIN: B00005BGWT
Release Date: 2001-04-24

Tracks:

Introduction: Allegro moderato
Kullervon nuoruus: Grave
Kullervo ja hanen sisarensa: Allegro vivace
Kullervon sotaanlahto: Alla marcia
Kullervon kuolema: Andante

Customer Reviews:

Beautiful and Inspiring.......2007-02-09

This is the best version of Kullervo I have heard. So beautiful, this powerful opus will stay in your memory and on cold winter days will inspire you and give you strength.

Sibelius' Best.......2006-03-05

I hear Kullervo as orchestrated poetry. It has a tone, rhythm and pace which remind me of what Finland must be like---vast forests, green meadows, sparkling lakes, snow. The mood is somber, even tragic, as was the life of Kullervo, a Finnish warrior. This, combined with the singing in Finnish, gives the work a haunting character-a bit like Carmina Burana by Carl Orff. It has at least five "endings" with the crash of drums and cymbals, etc.-I love that. The work, to me, seems totally Finnish in that it has no similarity to any of the classic European composers--it is refreshingly different.

A Tale from the Kalevala........2005-10-19

THE PREMIERE of this huge work was given in Helsinki, on April 1892, Sibelius conducting. It was an enormous success for the young composer : "He had created music of great originality and individuality in his very first major effort. True, the influence of Bruckner, Tchaikovsky and others was unmistakable. Though no flawless masterpiece, it has imposing dark roughness, full of sparks of genius." The work is at once ancient and contemporary. It has a distinctive, archaic tonal quality comprising elements foreseeing the mature Sibelius---and beyond. Perhaps this is why Kullervo is a timeless work, revolutionary and refreshing for a nation in a quest of its own identity.

''Despite its successful premiere, the ever self-critical Sibelius withdrew it from the world, and only allowed the third movement to be performed in celebration of the centenary of the publication of the Kalevala in 1935. The work was not performed in its entirety until 1958, and received its first recording only in 1970 under Paavo Berglund''. Whether Sibelius feared that later revisions to the score would alter it too much or simply ruin its mythic nature is unclear.

Kullervo is an episode from the Kalevala ; the score was sketched by Sibelius in the early 1890's and is based on the poetry and folk legends of his native Finland. According to Kimmo Korhonen and the Finnish Music Information Center, "although he never used actual folk tunes in his music," Sibelius "was influenced by the older Eastern tradition, with which he had become acquainted for instance through the singing of the famous Ingrian runo singer Larin Paraske". I think this facet of Kullervo is important, because it denotes a strong source of inspiration for the composer, also determining many later works to some extent. The interesting notes by Andrew Barnett (for this album) also observe that "numerous themes and motifs in Kullervo show the influence of runic melody, although such melodies are not quoted directly". Is it not coincidence that the work has such evocative powers, since it is impregnated by very old incantations? It seems also interesting to note the strange affinity that connects the early work with the vision of forests found many years later in Tapiola : Sibelius has gone full circle, the charm is broken.

This orchestral epic is a genuine choral symphony (at least in part) and, indeed, the work is often associated with tone poems---the main reason it is called a "symphonic poem". It is, as well, in a direct link with works such as Tulen synty ('The Origin of Fire') and the Four Legends. The story of Kullervo is the rather dark adventure of a tragic fate (in a Shakespearian sense). I'll quote an article from the Guardian Unlimited (UK) : ''Sibelius explores the edges of the Wagnerian operatic world that fascinated him as a young composer. The story is profoundly Wagnerian too : Kullervo falls in love with a girl he encounters in the woods and seduces her, only to discover that she is his long-lost sister. She kills herself, and he goes off to war to escape his guilt, only eventually to kill himself too''. The texts behind the music of Jean Sibelius are sombre. The "gruesome, bloody battles" between two ancient tribes, the images of guilt, despair and suicide, and the doomed conclusion to Kullervo might seem repulsive at first. However, the music sparkles like a sudden light coming out of a dark room ; the result might sound more like hope than despair. Because the conclusion is so tragic, one can easily forget the translucent beauty of the melodies, the subtleties and contrasts lost and found within the work. The nationalist context linked to this early work is undeniable (the same is true of 'Finlandia', often seen as Sibelius's patriotic hymn). Still, there's more than merely nationalistic visions. Basically, the phenomenon goes beyond any political thread, though fully justified in the context. Kullervo is a journey, a journey that portrays the story of a soul, but also a story of survival---a Tale of life and death---where a tragic fate comes to an end in a climax of hate and vengeance. In fact, this chef-d'oeuvre deals with some of humanity's great concerns and ruminations. Many of the themes in Kullervo bring to mind how "current" it sounds. There's an Oedipean quality (the story is also vaguely related to Hamlet) in the tribulations and conflicts that permeate the texts. Thus, the powerful, and eminently universal, nature of the Kalevala was intrinsically suitable for music. Kullervo contains passages merged with the characteristic Sibelian grandeur we usually find in some, if not all, of the seven symphonies. Every recording conveys the depths and shadows of that great Scandinavian epic (not unlike the legends of the Valhalla, with Thor and Odin, although the context is, obviously, different).

The Introduction has something that recalls 'Finlandia', but i still find this instrumental theme to Kullervo ''more universal'' in its chant. No wonder the work had such a profound effect and, as a result, a great impact upon the listeners in 1892. Throughout this long work (more than 80 minutes on this disc) we can hear the echoes of some Slavic themes (analogous to pre-Russian folk music) : Tchaikovsky or Borodin. Still, Kullervo has the epitomic quality of being "genuine" Sibelius. Vanska goes for a softer sound than is usual, at the very opening, but soon floods with his orchestra in full rapture. This movement is hymnic in quality. The second part depicts the youth of the hero. After the epic scale of the Intro, the slow movement flows with clever continuity. This movement alone contains a few examples of the most beautiful music made by the famous composer. His melodic timbres have depth and the easy flow of the work make for rarely heard naturalness, shaped with grace and conviction. The central section ('Kullervo & his sister') opens landscapes of a vibrant, moving northern ethos. It presents the characteristics of a cantata, as does the last movement, although the orchestral part is more prominent than is usual in a cantata (as Bach demonstrates). The vocals highlight the narrative of this work. Under Vanska, the magnificent string tone and brass section of the Lahti Symphony unveil a sense of 'live' music : This recording is first-rate quality, certainly among the best on the label as concerns sonics. The recording was done in the Sibelius Hall (city of Lahti), an example of "new technology and modern wood construction", where acoustics were expertly designed by Artec Consultants of New York. The soloists, Lilli Paasikivi (mezzo soprano) and Raimo Laukka (baritone), are both outstanding---Laukka, although he does not equal Jorma Hynninen for sheer intensity, is excellent. His voice has the required "heroic" tone, vigorous, dark and profound. Paasikivi has a "first class" voice ; in my opinion, she manages to equal or even surpass Marianne Rorholm (Salonen, L.A. Phil.), though she does not quite possess the particular tenebrous timbre of Karita Mattila (Neeme Jarvi, Gothenburg). Choral parts are remarkably well-done by the Helsinki University Chorus (known as YL), no doubt the best chorus in the world to render this repertoire. The coordination and "melting" of choral and orchestral blocs are executed seamlessly. The huge dynamic range provides a solid background to this masterpiece. The recording venue also gives that sense of space one can feel (that sense of air needed to achieve a stereophonic illusion of "grands espaces" typical of Finnish landscapes). 'Kullervo goes to war' and the finale ('Kullervo's death') are simply glorious under Vanska. Fully in control of his musicians, Finnish conductor Osmo Vanska proves he's a master in the genre. In the 'goes to war' section, for instance, one can actually hear a distinctive, unobtrusive Russian-like tone---but with just the right degree of vagueness. This is much like a sort of Scherzo, either rustic or modern in its musicality. Still, no one---including Vanska---can beat the high energized version, with that little extra in terms of lucidity and grandeur, of the first Berglund recording. There's a bit of truth in the argument of some people who say there Sibelius did really find "his own voice". The last movement begins quite like a requiem ; the Intro---theme to the first movement---sorts of reappears toward the end, announcing the conclusion of this (long) journey, but here it sounds gloriously different and has greater power in its culmination. A great ending to a great work.

The somewhat long pauses encountered during the course of the work might seem odd ; it must be said that Vanska, apparently, follows exactly the original score---as it was intended by the composer. Timings are also another interesting matter : At 80'34" the version under review is the second longest one, just under Colin Davis's LSO recording with a duration of 80'59". Paavo Jarvi's ends at about 79 minutes, while Panula (on Naxos) closes at 72'34". As a contrast, Berglund's classic 1970 recording has a duration of 71'45", while Neeme Jarvi (on Bis) concludes at 68'49". Breitkopf & Hartel (publishers of the score) suggests an average total time of 72 minutes (in order, roughly 14-16-25-10-15). My opinion is that timings alone do not necessarily mean "better" or "worse", as far as music is concerned. All the recordings i have mentioned, no matter the flexible timings, are at least very good. The integrity of the work, its very raw nature and the fact that the score requires a certain level of comprehension (this also demands a certain knowledge of the composer), is probably more important. Timings reveal a different approach but, in the end, they do not determine, per se, the qualities of a specific version. On that point, Davis and Vanska take some parts more slowly than others, but they do not drag---they certainly do not lack intensity or verve, as those are truly fine versions. Vanska's account has a "mythic" quality which is not without its magnetic effect. In any case, each different interpretation adds something in the understanding and growing appeal of this relatively underestimated work by Jean Sibelius.

In conclusion, it was -and still is- a huge moment in music. I think Kullervo contains, perhaps, "the most beautiful music in the world". Too bad the composer dismissed the work for some reasons. Kullervo was much more than just another early-stage work by a great composer. It was the promise of all the works to come and sounds like the table of contents of a creative life. It doesn't mean the piece is flawless, but it is neither clumsy nor amateurish. According to David Hurwitz of Classics Today, ''There are no bad recordings of Sibelius' epic Kullervo Symphony, only good and a bit less so.'' That's absolutely right. There are good and great versions on disc : The budget priced Naxos directed by Panula is highly recommendable as it is a very good and enthusiastic performance. Paavo Jarvi (on Virgin) is quite probably the top performance next to Vanska and Berglund. I do like, as well, the performances by Salonen and Saraste (both very good explorations of the work, with the advantage of the great Hynninen). Segerstam has recorded Kullervo with Laukka (on Chandos) in a significant, cutting-edge performance. And, last but not least, Paavo Berglund (two recordings, especially the first one which remains the touchstone) and the classic Colin Davis (on RCA). Neeme Jarvi's account (on Bis) is also a very fine, if not great, recording of Kullervo---thanks primarily to a top notch Hynninen whose contribution is vital. My reference is Vanska. His "no compromises" approach is stamped with nobility and grandeur. I think his reading, while imperfect in minor areas, is a step forward and, thus, can stand comparison with the powerful Berglund (solid interpretation, great sound and, yes, the magic is there). Perhaps, the Vanska is now a version against which all other Kullervos should be judged.*****

Sibelius: Kullervo: Symphonic Poem for Soprano, Baritone, Chorus and Orchestra

Average customer rating:

Horrid Tale, But Brilliant Music
Another Outstanding Naxos Bargin!

Sibelius: Kullervo: Symphonic Poem for Soprano, Baritone, Chorus and Orchestra
Jorma Panula , Esa Ruuttunen , Johanna Rusanen , Jean Sibelius , Turku Philharmonic Orchestra , and Laulun Ystavet Male Choir
Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

4-for-3 Classical | 4-for-3 Music | Stores | Music

4-for-3 All Music | 4-for-3 Music | Stores | Music
Similar Items:

Lemminkinen Suite: Four Legends from the Kalevala, for orchestra, Op. 22
Alan Hovhaness: Symphony No. 60; Guitar Concerto; Khrimian Hairig

ASIN: B0000014F7
Release Date: 1997-04-08

Tracks:

Intro
Kullervo's Youth
Kullervo And His Sister
Kullervo Goes To War
Kullervo's Death

Customer Reviews:

Horrid Tale, But Brilliant Music.......2002-01-19

"Kullervo" was just a name to me - and not even a name I had any particular curiosity about - until I learned from a "virtual acquaintance" that the text was taken from the same episode in the Finnish national epic "Kalevala" on which JRR Tolkien based a chapter in the "Silmarillion" as published by his son Christopher, "Of Túrin Turambar," a prose synopsis of Tolkien's own verse "Narn i Hin Húrin" (The Lay of the Children of Húrin).

So I came to Sibelius' "Kullervo" after (1) knowing Tolkien's work for an old literary friend, (2) knowing Tolkien's adaptation of what I later realized was a folk epic, and (3) getting to know and love a great deal of Sibelius' mature orchestral works.

A fellow reviewer writes to the effect that Sibelius "called it a work to be ashamed of" ... I am curious about this. But the first thing I should say is, from a purely musical viewpoint, this is a work of which Sibelius need never have been ashamed. It is wonderfully written, masterfully orchestrated; as music, it is simply and unabashedly beautiful, and rich in narrative power.

It is a creepy, unseemly story, though. Even in the enriched-artistic setting of Tolkien's, the story is dark, catastrophic, almost nihilistically fatal; Tolkien's broader canvas, in which this story is one strand in a kind of worldwide moral struggle, makes the characters more humane, perhaps, and opens up more avenues to pity for the miserable siblings. For that very reason, though, I find it difficult even to read this passage from the "Kalevala," and an old friend of mine who heard Spano lead the Boston Symphony in this work, came away from it with an impression of its being more pornographic than anything. There is something so elemental in the moral horror of the story, which may interfere with the reception of a musical work based on it, on a purely artistic plane.

But Sibelius' musical accomplishment in the piece, in the instrumental movements particularly (but not only there) is considerable and undeniable. So, while it is not a work I could listen to every day, and while I might wish that Sibelius had performed such a feat of artistic creation with some other, less stark and gruesome folk-tale, I nonetheless admire the piece for its great musical merits.

... This is one of those ultimately inessential musicological questions - which I should pull the "New Harvard Dictionary of Music" off the shelf to resolve, when I get home - but I wonder if it is still a symphonic poem, if the piece features soprano and baritone soloists, and men's choir ....

Another Outstanding Naxos Bargin!.......2001-05-20

Once again Naxos delivers great music with some of the best sound in the business. This is an early work of Sibelius, some call it a symphonic poem, some call it a symphony. Sibelius called it a work to be ashamed of, fortunately we listeners can decide for ourselves. With the price this is at, this is a good way to introduce yourself to a great work of Sibelius with a performance that I think is better than most of the full price ones.

Average customer rating:

Sibelius' Greatest Work
Sibelius experiences youthful angst

Sibelius: Kullervo

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
ASIN: B0000028MW
Release Date: 1993-05-04

Tracks:

Kullervo, Op. 7: I. Introduction. Allegro moderato
Kullervo, Op. 7: II. Kullervo's Youth. Grave
Kullervo, Op. 7: III. Kullervo And His Sister. Allegro vivace
Kullervo, Op. 7: IV. Kullervo Goes To Battle. Alla marcia
Kullervo, Op. 7: V. Kullervo's Death. Andante

Amazon.com

This magnificent choral symphony, which Sibelius wrote at the very beginning of his career, has acquired quite a following in recent years. It was his very first orchestral work, and its confidence and energy simply blew away contemporary audiences. Then Sibelius, always highly self-critical, prohibited any further performances during his lifetime. About two seconds into the very opening you realize just how wrong he was. The story tells of Kullervo, a tragic hero from Finnish mythology who destroys his family and friends before finally taking his own life. Scored for a large orchestra, male chorus, and two soloists, the music is truly epic in scale. Follow the words as you listen--it's terrific. --David Hurwitz

Customer Reviews:

Sibelius' Greatest Work.......2000-08-11

This is an absolutely spectacular performance of Sibelius' early "Symphonic Poem". Always in the shadow of his symphonies, this youthful and epic masterpiece is my favorite work by Sibelius. It has everything - drama, great melodies, folk overtones, brilliant structure, etc. Esa-Pekka Salonen has the measure of the music like no other conductor I have heard. He understands fully the heroic, romantic idiom of this work and how it differs from Sibelius' later, more austere works. The soloists are excellent, especially baritone Jorma Hynninen, who has performed the work many times and made the title character his own. The dark-tinged male chorus of Helsinki University, whose role is very similar to that of the chorus in a Greek tragedy, are exceptional. Throw in superb sonics and you have one of the most treasured discs in my large collection.

Sibelius experiences youthful angst.......2000-06-21

Kullervo is unmistakably early Sibelius. Anyone who has heard En Saga and Four Legends from the Kalevala will be familiar with the surging heroism (apparent from the beginning of the first movement), the youthful pathos, the extravagant formal ambition and the exotic touches characteristic of early Sibelius on display in this work. Structurally, it is not quite as accomplished as Sibelius' better-known works but the invention, resourcefulness and originality are most striking. No Sibelian will want to be without it, and this present recording seems hard to beat. The playing, singing and recording are excellent and whereas some versions take up more than one disc (which would seem to make it unnecessarily drawn-out), this version fits neatly onto one disc.

Average customer rating:

Sibelius: Kullervo Symphonie (Matrix 8)

Manufacturer: Capitol
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
Similar Items:

Munch Conducts Berlioz

ASIN: B000025XMV
Release Date: 1994-03-15

Average customer rating:

A Tribute to Martti Talvela

Manufacturer: Ondine
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music
Similar Items:

Martti Talvela

ASIN: B000026CVV
Release Date: 1999-11-16

Tracks:

South Ostrobothnian Folk Songs: I'll March Through The Streets
South Ostrobothnian Folk Songs: Cry From The Bottom Of The Grave
South Ostrobothnian Folk Songs: O Those Thousand Hours
South Ostrobothnian Folk Songs: The Lads Go Round The Village Streets
South Ostrobothnian Folk Songs: The Wind It Bent The Birchtree Top
South Ostrobothnian Folk Songs: Ketolan Jukka
South Ostrobothnian Folk Songs: People Think I'm Full Of Joy
Kullervo Symphony: Kullervo's Lament - Sibelius
Die Entfuhrung Aus Dem Serail: Solche hergelaufne Laffen
Don Carlo: Ella giammai m'amo
Der fliegende Hollander: Mogst du, mein Kind
Mephistophele's Song Of The Flea - Moussorgsky
The Last Temptations: I Have Yet, Before I Die,...
The Last Temptations: I Can't Open The Door
Boris Godunov: My Soul Is Sad
Boris Godunov: I Stand Supreme In Power
Boris Godunov: Farewell, My Son
Sadko: Song Of The Varangian Merchant
Rannalta I, Op. 23
Kesayo, Op. 23
Yo, Op. 22-3

Sibelius: The Complete Symphonies, Kullervo

Average customer rating:

Not the best.
Fabulous Budget Recording
Grab this boxed set. For this price it can't be beat!

Sibelius: The Complete Symphonies, Kullervo
Jean Sibelius , Petri Sakari , and Iceland Symphony Orchestra
Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

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

General | Classical | Styles | Music

Lemminkinen Suite: Four Legends from the Kalevala, for orchestra, Op. 22
Mendelssohn: The Complete Symphonies & String Symphonies
Beethoven: The Nine Symphonies

ASIN: B00005QISF
Release Date: 2002-02-19

Tracks:

Andante Ma Non Troppo - Allegro Energico
Andante (Ma Non Troppo Lento)
Scherzo (Allegro)
Finale (Quasi Una Fantasia)
Allegro Moderato
Moderato - Allegro (Ma Non Tanto)
Moderato - Allegro (Ma Non Tanto)

Tracks:

Allegretto
Andante Ma Rubato
Vivacissimo
Allegro Moderato
The Oak Tree
Humoresque
Caliban's Song
The Harvesters
Canon
Scene
Intrada - Berceuse
Entr'acte - Arial's Song
The Storm

Tracks:

Tempo Molto Moderato, Quasi Adagio
Allegro Molto Vivace
Tempo Largo
Allegro
Tempo Molto Moderato
Andante Mosso, Quasi Allegretto
Allegro Molto

Tracks:

Allegro Molto Moderato
Allegretto Moderato
Poco Vivace
Allgro Molto
Chorus Of The Winds
Intermezzo
Dance Of The Nymphs
Prospero
Song I & II
Miranda
The Naiads
Dance Episode
Symphony No.7 In C Major Op.105

Tracks:

Introduction - Esa Ruuttunen
Kullervo's Youth - Esa Ruuttunen
Kullervo's And His Sister - Esa Ruuttunen
Kullervo's Goes To War - Esa Ruuttunen
Kullervo's Death - Esa Ruuttunen

Amazon.com

From the Slavic-tinged exuberance of the First and Second to the dark undercurrents of the Fourth and Fifth and the passionate abstraction of the Sixth and Seventh, Sibelius's symphonies loom larger than ever among the 20th century's influential orchestral landmarks. Petri Sakari charts the composer's rugged, sometimes cryptic terrain with authority and inspires the Iceland Symphony Orchestra to a generous and heartfelt performance. You won't find the opulent sheen of Karajan's or Ormandy's Sibelius, nor the micro details Paavo Berglund elicits from his Chamber Orchestra of Europe remakes, but Naxos's modest asking price will bring you idiomatic, atmospheric, deeply felt performances that reveal more with each hearing. Jorma Panula's fine traversal of Kullervo ranks close to Berglund's reference EMI version (the earlier of his two for the label). A Sibelius cycle, in sum, to stand at the top of the list alongside Davis-Boston (Philips), Vanska-Lahti (BIS), and Berglund-Helsinki (EMI). --Jed Distler

Customer Reviews:

Not the best........2006-11-10

The Icelandic orchestra plays these symphonies quite well, giving the conductor everything he asks. Naxos has given the performances rather bland sonics. They would be fine if the performances were better. But each symphony seems jerked and pulled around, going faster and slower at the whim of the conductor (changes not indicated in the scores). This means that CD1 - Symphonies #1 and #3 lose shape and seemingly go no where. Symphony #5 doesn't build the way it should. The heartwrenching emotional outbursts in the slow movement of #4 just don't grab us. Listen to Beecham or Bernstein or Rozhdestvensky (or Watanabe with Japan - nla), and you hear this. Symphony #6 and Symphony #7 fare better, but even they sound cautious and ill framed. Sibelius, after all, said that a symphony must be the supreme expression of logic (to which Mahler answered, "No, a symphony must embrace the world.") These performances do neither. The Kullervo (with a different orchestra and conductor), however, is wonderful. I'd suggest a buyer get that alone and leave the box to someone else.

Fabulous Budget Recording.......2006-03-13

This complete recording of the Sibelius symphonies is more than just a budget recording. The Iceland Symphony Orchestra with Petri Sakari does a great job in all aspects of the performance. They seem to create a Scandinavian atmosphere that is inherent in these symphonies. One feels transported to the mountains, forests, and lakes of Lapland; the cool airs, the vast, open spaces. Very poetic, to be sure, but the orchestra really brings these qualities out in the music. Their technical skill is on par as well. These players could stand up to the best orchestras, but we get to hear them for a far lower price. The two suites that Sibelius wrote for Shakespeare's play "The Tempest" also accompany the symphonies. While they are obviously weaker works, the suites come alive in the hands of the capable performers. In addition, the set contains the dramatic tone poem Kullervo. It is an amazing work, though on first listen, one may feel that the piece drags on. It takes more than one listen to catch how packed it is with musical substance. The Turku Philharmonic Orchestra plays Kullervo, but with no less verve and competence than the Iceland Symphony. Kudos to Naxos on creating a box set collection at budget price with such great performances and such voluminous liner notes.

Grab this boxed set. For this price it can't be beat!.......2003-02-15

I am surprised, no shocked, that my customer review is the first to appear for this boxed set of the Sibelius symphonies a year after it became available. I would have imagined that SOMEONE would have written of their enthusiasm for the set. When I saw no one had done so, I had to stop what I was doing and start writing.

Sibelius's symphonies are surely among the best of the 20th century. His unmistable sound world, his creative transformations of symphony form, his dramatic and lyric abilities all made him an original, a treasure. Certainly there have been other invaluable recordings of the symphonies - Berglund, Colin Davis, Karajan, Ormandy, Barbirolli. But for someone coming to the symphonies and wanting them all you couldn't start with a better set, not at THIS price.

Petri Sakari and his Icelanders do a bang-up job. Don't be fooled, this Iceland orchestra is a fine group.

For lagniappe there is fine performance of 'Kullervo' with Jorma Panula (another Sibelian) conducting.

Tracks:

'Kullervo' Sym, Op.7: I. Intro (Allegro Moderato) - Raili Kostia
'Kullervo' Sym, Op.7: II. Kullervo's Youth (Grave) - Raili Kostia
'Kullervo' Sym, Op.7: III. Kullervo And His Sister (Allegro Vivace) - Raili Kostia
'Kullervo' Sym, Op.7: IV. Kullervo Goes To Battle (Alla Marcia) - Raili Kostia
'Kullervo' Sym, Op.7: V. Kullervo's Death (Andante) - Raili Kostia

Tracks:

The Oceansides, Op.73 - Bournemouth Symphony Orchestra
Karelia Ste, Op.11: Intermezzo - Bournemouth Symphony Orchestra
Karelia Ste, Op.11: Alla Marcia - Bournemouth Symphony Orchestra
Scenes Historiques - Ste No.1, Op.25 - Bournemouth Symphony Orchestra
Tapiola, Op.112 - Bournemouth Symphony Orchestra
Finlandia, Op.26 - Bournemouth Symphony Orchestra
Ser No.1 in D, Op.69a - Ida Haendel
Ser No.2 in g, Op.69b - Ida Haendel

Customer Reviews:

Debut version still the best.......2006-03-17

Berglund recorded this with the Bournemouth SO in the early 70s; it was a 'world premiere'. Since then newer versions have come along, including a second Berglund effort, this time with a Finnish orchestra, but none really capture the atmosphere of Sibelius's 'tale for soloists, choir and orchestra' like this first recording. Berglund's BSO version has a certain exposed open-air quality about it which other versions tend to smooth over (Disney-ise even, in one or two extreme cases). Here, Berglund portrays the tragedy of the rustic tale of accidental incest between Kullervo and his long-lost sister as though it really is taking place amongst the vast forested wilderness of Finland, whereas Vanska, for instance, is firmly rooted in his recording venue, carefully protecting the music from the elements. The choral sections are sung with magnificent fervour by the Helsinki University choir, the solists are on top form, and the BSO respond with incisive, characterful and gutsy playing to Berglund's keen direction. This is a great bargain, especially as the second disc gives a great selection of Sibelius's shorter works including what, in my opinion, is just about the finest Tapiola ever recorded (only Karajan's 1960s DG version is finer). The reputation of this issue is I believe often compromised in the minds of some people by the fact that the orchestra is 'only' the Bournemouth SO, a 'provincial English band'. Nothing could be further from the truth; sure they don't have the tonal finesse of top-flight orchestras but they more than make this up with a gutsy power which really suits Sibelius's sound-world. If you can find the full set of Berglund/BSO Sibelius symphonies, recorded by EMI in the 1970s but never issued by them, licensing them instead to Royal Classics, (EMI never cease to amaze me!!) then I urge you to invest; especially for the chance to acquire probably the finest Seventh ever recorded. This set also has the best 'Lemminkainen's Return' I've ever heard; a truly hell-for-leather headlong gallop through Finland's dusky forests! This you can obtain as part of another EMI Berglund/BSO two-disc set of shorter Sibelius works; another great bargain.

Your Sibelius collection begins here........2002-02-09

This is an essential 2CD introduction to Sibelius' most characteristic and famous work. CD 1 is given over entirely to the mammoth 'Kullervo' Symphony, a dramatisation from Lonnrot's 'Kalevala' collection of oral Finnish lays. The symphony seems to create for the listener an entire bygone world and worldview, despite its late Romantic spaciousness (the 'hero', for instance, is both a rapist and incestuous). Following the title character from birth to youth to death, the young Sibelius intensifies every resource at his disposal, from sublime nature writing to clanging battle music to romantic yearning to communal grief. The interplay between orchestra and choir/soloists, between individual emotion and collective expression, is unsurpassed. Within the limits of his Romantic form, Sibelius seems the most fluid, the most open of composers - his work seems to be about germination, evolution and process, rather than form and finish. And yet. Compared to Wagner's adaptations of sagas or medieval texts (such as 'Tannhauser' or 'Parsifal'), Sibelius seems restrained, even cautious. Because he dares not plumb the kitsch Wagner defied, he rarely reaches his sublime heights.

If 'Kullervo' sees the composer at his most expansively earnest, than CD2 might be termed 'Sibelius Pops'. It's not that there is no shade here - 'Finlandia' emerges from the primordial murk into the most stirring drama; 'Tapiola' is the nearest Sibelius ever got to modernism, with its long, brooding lines, and dislocated melodic and harmonic development. But other pieces see the Finn in unexpectedly sunny mode. 'The Oceanides' is as sprightly and elusive as the nymphs it celebrates, with its gloriously fragile descending melodies and playful winds; the 'Karelia Suite' is winning pomp; 'The 'Scenes Historiques' excerpts miraculously revivify antique flavour and atmosphere. But the two 'Serenades' for violin are downright eccentric, full of the weirdest sound effects, tempo changes and melodic shifts.

Most of the (early 1970s) recordings here are definitive, especially the 'Finlandia'; conductor Paavo Berglund matching intensity with wit, colour with pace, and, in particular, bringing out the vibrancy of Sibelius's writing for wind and strings.

Overdue reissue -- poor presentation.......2001-04-24

Paavo Berglund made 2 recordings of Kullervo for EMI. This recording was the first, and was a breakthrough. It marked the first complete recording of the work. I'm not sure, but I don't even think excerpts were previously available. And it was quite a smash for Sibelius fans when it was released. The later digital recording may have some superior acoustic qualities (it is no longer available), but there is something of a sense of occassion about this rendition that makes it far more satisfying. I am reminded of many post-WWII recordings that exude a special sense of occassion that elevated the musicians to truly feel the music. This Kullervo will never let you down. I bought the CD, though, almost entirely for one track - the op. 25 Scenes Historiques. I've treasured this recording ever since I found it on Japanese vinyl about 12 years ago. Even Beecham couldn't make these neglected works sound so spectacular. There were actually 4 "Scenes". Sibelius reworked the 4th into what we know as Finlandia, probably his most famous work. One understands why Finlandia has gone on to become so well loved when you hear the other Scenes here. The sound is excellent throughout. No disappointment there. I withhold the 5th star, and give EMI a long hard stare , because of the terrible track numbering. Two pieces, Karelia and the Scenes Historiques, are mastered as single tracks. Karelia (Berglund only recorded 2 of the 3 parts) is a single track, and the 3 Scene Historiques are a single track. Thankfully my Sony CDP 707 has custom indexing, so I can give the individual parts my own access points. But woe to those without the ability to do so. This ranks second only to Decca's momumental blunder with the original release of Chartles Dutoit's Daphnis et Chloe for track numbering blunders (that CD was 55 minutes long and only 1 track!)

Average customer rating:

The performance of breath and intimacy.

Jean Sibelius: Kullervo Op. 7

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
ASIN: B000000AXJ
Release Date: 1995-10-17

Tracks:

Kullervo, Op.7: I. Intro
Kullervo, Op.7: II. Kullervo's Youth
Kullervo, Op.7: III. Kullervo And His Sister
Kullervo, Op.7: IV. Kullervo Goes To War
Kullervo, Op.7: Kullervo's Death

Customer Reviews:

The performance of breath and intimacy........1999-12-31

After the death of Sibelius by 1957 (age 91), Paavo Berglund was the first conductor to record this epic, majestic, imaginative work of 1892. Whereas Bruckner and Grieg disowned their Symphony in D Minor and Symphony in C minor respectively, Sibelius requested the Kullervo Symphony not to be performed during his lifetime. A misfortune, for Kullervo shows signs of promise and individuality (as did the above-mentioned symphonies of Bruckner and Grieg). Neemi Jarvi was the next conductor to record the work by 1982 and by the 1990s, five recordings of the work commenced. We have no fewer than seven recordings of the work to choose from, which is a good thing.

Leif Segerstam's approach to the score is more majestic and grandeur than Neemi Jarvi or his son Paavo Jarvi (or other conductors for that matter). The tempi remained constant throughout each of the five movements and the pace was well planned and articulated. The Danish National Radio Symphony Orchestra gave a very telling, compelling, intimate performance and the Danish National Radio Choir sang with polish though slightly subdued and under-enthused. However, soprano Soile Isokoski and baritone Raimo Laukka gave such a vivid singing that one may have thought that an actual opera was performed. Well done.

Neemi Jarvi and the Gothenburg Symphony (under BIS recording) take first place as far as authoritativeness is concerned. The tempi approach is somewhat more urgent and with gusto than the later recordings of the work (including Segerstam's). Jarvi's performance is of power and demonstrate more effectively the familiarity of Sibelius' epic piece. But Segerstam's performance is not far behind Jarvi's model performance and is therefore worthy of investigating.

Tracks:

Kullervo: Sym Gedicht, Op.7: I. Intro - Randi Stene/Peter Mettei
Kullervo: Sym Gedicht, Op.7: II. Kullervos Ungdom (Kullervo's Youth): Grave - Randi Stene/Peter Mettei
Kullervo: Sym Gedicht, Op.7: III. Kullervo Och Hans Syster (Kullervo And His Sister): Allegro... - Randi Stene/Peter Mattei
Kullervo: Sym Gedicht, Op.7: IV. Kullervo Tagar Ut Till Strid (Kullervo Goes To War) - Randi Stene/Peter Mattei
Kullervo: Sym Gedicht, Op.7: V. Kullervos Dod (Kullervo's Death): Andante - Randi Stene/Peter Mattei

Customer Reviews:

Well conducted and excellent sound.......2007-07-17

Sibelius wasn't proud in later years of his first great success, the semi-oratorio Kullervo. It made his name as a champion of Finnish clture, based as it is on the national epic Kalevala. The hero Kullervo has a grim story involving a murder and suicide prompted by guilt, but Sibelius's music isn't especially epic or dramatic. He was still finding his voice as a mature composer, and this work sprawls, its idiom becoming more diffuse as it goes along.

Despite its weaknesses, Kullervo has garnered more than its fair share of recent recordings. Colin Davis has been a champion of the work, and his recent live reading with the LSO is good, if a mite slggish. To date I've preferred the version from Osmo Vanska, whose Sibleius is rightly acclaimed. But this one form Paavo Jarvi is better recorded and has marginally more impact. The Swedish chorus is quite excellent and is placed so that words are clearly understood. The soloists, particularly Peter Mattei, are another strength.

In all, I think this CD deserves five stars, but for me Kullervo still awaits the fiery performance that will bring it fully to life.

Kullervo Symphony........2005-10-23

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

Whether Jean Sibelius wasn't aware how just great was---or could have become---his "Kullervo" or was just afraid his composition couldn't be understood outside Finland is a relevant question. The biographers have reported how much the composer was concerned by the perception of eventual future listeners in regards to this work, made in a specific context and at a particular time. Yet, Sibelius dismissed the work, in some ways, and forbade performances of it during his lifetime. He also felt, quite probably, that revisions to the score were unsafe and could altogether destroy its very nature instead of improving it. The work remained largely unknown until 1958 where it was revived thanks to Jussi Jalas (Sibelius's son-in-law). In 1970, Paavo Berglund's EMI recording broke the silence : "Kullervo" was recorded, for the first time.

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

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

Paavo Jarvi's recording is simply magnificent. It demonstrates the vivid authenticity of this long (nearly 80 minutes) work. The two soloists, Sterne and Mattei, are positively voluminous in terms of vocal range and emotional impersonation. The male chorus of Estonia is excellent in every way, although the paradigm is found in the Helsinki University Chorus. The Swedish orchestra plays quite well (it has that kind of humility and hugeness as heard from the Danish orchestra under Segerstam). Jarvi's direction is praiseworthy ; quite unlike his father Neeme, who took a fierce, almost rugged approach---however spectacular and energetic, he develops the themes in a broad, expansive way. Some reviewers have criticized his conclusion which is longer than usual : I don't think it is overly long, and i do not feel it drags. Concentration is greater, perhaps, and the effect is rather meditative than interminable. At only 9'18", Neeme Jarvi concludes swiftly and nervously in a somewhat shorter account. Panula closes the same movement at 10'14", while the Bis/Vanska ceases at 12'22". Paavo Jarvi is, admittedly, the longest at nearly 15 minutes. I'd like to highlight, also, the sorrowful and dark ambience, lucidly depicted by the latter in this movement (more or less reminiscent to a requiem in its attitude). There we see, again, how fascinating this music is. A music writer, Mark Stryker, noted that they are both fiery and dramatic musicians. But if the elder Jarvi favors impulsive sweep and momentum in his Sibelius recordings, the son etches the same music with sharper details and greater fastidiousness. 'He always has his own ideas,' Neeme Jarvi says, pointing to his son's recording of Sibelius's epic symphonic poem Kullervo. 'The last movement is so slow, but so deep and so sad. He has gone through this piece deeply ; much more than me. He's thinking what he's doing.' The sound of the Virgin Classics cd is superb, with realistic stereo image and huge dynamic range ; still, on that point it doesn't beat his father's recording (Bis CD-313). I positively compare Paavo Jarvi's solid performance to those of Berglund (1970), Segerstam or Vanska. Another very good version is the one from Jorma Panula on the budget-priced Naxos, though the Paavo Jarvi is, overall, a superior account---what we'd expect from a full-price disc, anyway. *****

Best Kullervo by Far.......2003-03-13

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

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

The best performance of Kullervo.......1999-04-18

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

Music Review:

Music Review

music review

Music Review

Ladytron

Antonio Vivaldi: Bassoon Concerti, Volume 5

A.E. Housman's Poems and Songs from "A Shropshire Lad"

Some Things

Afrodisiac [Import]

Across Distant Lands

Adventure of Racer X-Men [Import]

50 Golden Greats [Import]

2002 Tour Official Bootleg [Import]

Adventures Of Robin Hood [Enhanced] [Soundtrack]

All I Think About

16 Exitos de los Broncos de Reynosa, Vol. 2

20 Exitazos Con la Dinastía Rivera, Vol. 2

Singers to Remember: Ninon Vallin

Paid in Full

1. Introduction: Allegro moderato
2. Kullervon nuoruus: Grave
3. Kullervo ja hanen sisarensa: Allegro vivace
4. Kullervon sotaanlahto: Alla marcia
5. Kullervon kuolema: Andante