Sibelius: The Complete Symphonies [Import]

Track Listings

1. Symphony No.1 In E Minor, Op.39

2. Symphony No.1 In E Minor, Op.39

3. Symphony No.1 In E Minor, Op.39

4. Symphony No.1 In E Minor, Op.39

5. Symphony No.3 In C Major, Op.52

6. Symphony No.3 In C Major, Op.52

7. Symphony No.3 In C Major, Op.52

8. Symphony No.2 In D Major, Op.43

9. Symphony No.2 In D Major, Op.43

10. Symphony No.2 In D Major, Op.43

11. Symphony No.2 In D Major, Op.43

12. Luonnatar, Op.70

13. Pohjola's Daughter, Op.49

14. Symphony No.4 In A Minor, Op.63

15. Symphony No.4 In A Minor, Op.63

16. Symphony No.4 In A Minor, Op.63

17. Symphony No.4 In A Minor, Op.63

18. Symphony No.5 In E-Flat Major, Op.82

19. Symphony No.5 In E-Flat Major, Op.82

20. Symphony No.5 In E-Flat Major, Op.82

See all 26 tracks on this disc

Editorial Reviews
Album Details
4CD Box set. Columbia Legends series.

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.

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

General | Symphonies | Classical | Styles | Music

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

General | Classical | Styles | Music
Similar Items:

Sibelius: The Complete Symphonies 1
Schumann: The 4 Symphonies
Nielsen: Symphonies no 4-6 / Blomstedt, San Francisco Symphony Orchestra
Mendelssohn: 5 Symphonies; 7 Overtures
Dvorák: The Symphonies

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!

Sibelius: Complete Symphonies; Violin Concerto; Finlandia

Average customer rating:

5 Stars for the Symphonies and Finlandia!
As usual, it's mainly a matter of taste.

Sibelius: Complete Symphonies; Violin Concerto; Finlandia

Manufacturer: Ondine
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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

General | Classical | Styles | Music
Similar Items:

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Sibelius: The Symphonies / Blomstedt
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Mahler: Symphony No. 6; Piano Quartet [Hybrid SACD]
Mahler: Symphony No. 5

ASIN: B000CQNVSU
Release Date: 2006-03-21

Tracks:

Andante, Ma Non Troppo - Allegro Energico
Andante (Ma Non Troppo Lento)
Scherzo. Allegro
Finale (Quasi Una Fantasia). Andante - Allegro Molto
Symphony No.7 In C Major, Op.105
Finlandia, Op.26 No.7

Tracks:

Allegretto
Tempo Andante, Ma Rubato
Vivacissimo
Finale. Allegro Moderato
Allegro Molto Moderato
Allegretto Moderato
Poco Vivace
Allegro Molto

Tracks:

Allegro Moderato
Andantino Con Moto, Quasi Allegretto
Moderato-Allegro (Ma Non Tanto)
Tempo Molto Moderato-Allegro Moderato (Ma Poco A Poco Stretto)
Andante Mosso, Quasi Allegretto
Allegro Molto

Tracks:

Tempo Molto Moderato, Quasi Adagio
Allegro Molto Vivace
Il Tempo Largo
Allegro
Allegro Moderato
Adagio Di Molto
Allegro, Ma Non Tanto

Customer Reviews:

5 Stars for the Symphonies and Finlandia!.......2007-06-12

If you have loved the Sibelius Symphonies as I have and have been searching for the one set to buy, this is that set. A Finnish conductor and orchestra make it all the better. The recorded sound is amazingingly clear and deep. The performances are rich, detailed and have a great urgency to them. There is I would say a tension to the performaces and excitement and more warmth than so much of the "icy" Sibelius that is out there on CD. The second is taken at a slower pace than some, but at no expense of structure. The first is my personal favorite in the set. Many conductors I think treat this as an early "romantic" Sibelius work (as though it is not "real" Sibelius) and it often comes off rather Tchaikovsky-ish. Not so here as here it definately sounds like Sibelius. I was also very impressed with the 7th, which despite its short length comes off as having great size and breadth, feeling more like a symphony at the length of a tone poem. My only gripe is the recording of the Sibelius violin concerto, which is simply not worthy of the rest of the set. Fortunately there are many good recordings of that concerto available.

The version of Finlandia in this set features chorus with it and it is sublime. A great bonus with the 7 symphonies.

As usual, it's mainly a matter of taste........2006-07-06

Segerstam's Sibelius will probably appeal more to those who appreciate a somewhat rounded, relatively slower paced, more richly textured quality. The possible downside to this may include tendencies toward woolliness or congestion, languidness and atmospheric humidity. In other words, if you like tauter, cleaner lines, a more vivid and energetic pace and a cooler interpretive style, then Segerstam may not be your man. There's no doubt he can be quite musically expressive, but the issue is in what way[s] ? One of the chief considerations with Sibelius is atmosphere. Aside from nature's colors playing a vital role, grandeur or an epic quality frequently demands representation. While Segerstam is capable of projecting a swelling sense of intensity when called for, I feel he doesn't reveal enough in the way of that Sibelian attribute of loftiness. However, the Sixth Symphony's recipe calls for a somewhat different set of ingredients. Though there are still aspects of the usual mystery and grandness, more flowing textures and some lighter considerations significantly come into play. Segerstam deals with these things in a most disarming way by bringing warmly expressive detail to what is often referred to as a wintry toned work. I do not rate him as highly however in the other symphonies...In the First, my main criticisms are along aesthetic grounds---his characterization of particular phrases, the prominence given to certain instrumental sections over others and some pauses that are too long...The popular Second Symphony is the kind of piece that runs the risk of being twisted and pulled excessively by some conductors. The worst case I'm familiar with is Thomas Schippers' New York Philharmonic account from the 1960s. Segerstam does not go that far, though I'm still not especially enamoured with his reading. Moreover, he does not entirely avoid some congestion. I also do not respond well to some of his heavier accents. My disappointment with his conception of the Fifth Symphony is based on similar grounds...I rate Segerstam's Third Symphony performance as being next best after his Sixth. It is nicely tuneful, although the final minutes of the last movement would have benefitted from a little more textural clarification...The conductor's perspective on the Seventh Symphony misses a taut, vivid quality. Musical lines could be cleaner. There's not much of that epic presence either...Finally, in the Fourth Symphony, Segerstam is appropriately dark and moody, but there has to be more evidence of life's vital signs. I find his pace too slow and his musical outline a bit spongy. Among other Fourths I have heard, Collins and Maazel are the best at grabbing my attention and keeping it throughout...As for Finlandia, it begins in fairly routine fashion though near the close there is a nice contribution from the Male Polytech Choir; however, they and Segerstam never really bring the piece to inspired heights...In the Violin Concerto the conductor's mostly plodding pace carries all the way to the end. Though technically fine, violinist Pekka Kuusisto doesn't project much personality. There seems to be little range or depth of feeling in his rendition.

Here are my favorite choices for these pieces, not necessarily in order of preference: Sym.1--Maazel/Vienna Philharmonic, Collins/London Symphony ( All of Collins' Sibelius readings are in mono.) and Stokowski/National Philharmonic; Sym.2--Ormandy/Philadelphia Orchestra ( Columbia/Sony ), Collins and Ashkenazy/Philharmonia Orchestra ; Sym.3--Kamu/Helsinki Radio Symphony, Collins and Segerstam/Helsinki Philharmonic; Sym.4--Maazel/Vienna and Collins; Sym.5--Bernstein/New York Philharmonic, Barbirolli/Halle Orchestra, Collins and Ashkenazy; Sym.6--Vanska, Collins, Saraste/Finnish Radio, Karajan/BerlinPhiharmonic on EMI, Ashkenazy and Segerstam/Helsinki Phil.; Sym.7--Maazel/Vienna, Collins and Vanska; It is quite obvious that I think very highly of Anthony Collins' interpretations. His commanding dynamics, emotional sensitivity and attention to color and detail affirm a level of quality that is consistently excellent. Finlandia--Ormandy/Philadelphia ( with Mormon Tabernacle Choir ), Collins and Ashkenazy; Violin Concerto--Oistrakh/Ormandy and Heifetz/Hendl. Incidentally, the recorded sound on Segerstam's Ondine set is very fine.

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

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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.

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.

Sibelius-Complete Symphonies
Average customer rating:

historic symphony cycle in clear mono sound

Sibelius-Complete Symphonies

ProductGroup: Music
Binding: Audio CD

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ASIN: B000NDFKDQ
Release Date: 2007-05-01

Customer Reviews:

historic symphony cycle in clear mono sound.......2007-06-27

This set contains the 7 Sibelius symphonies performed and recorded by Anthony Collins and the London Symphony Orchestra between 1952 and 1954 for Decca. It does not contain the extra orchestral works that are present in the set available from Beulah (at greater expense)through U.K. sites. Notes are not in English. I do not have the Beulah set, but I do have the Beulah recordings of Finlandia, En Saga, etc, and the sound on this Decca release sounds very similar to the Beulah recordings, that is, very clear mono with a slight distortion in loud climaxes. Instrumentation is well-balanced, and solo instruments sing out clearly. All in all, an excellent recording for the time period.

This symphony traversal was one of the earliest (second, I think) to be recorded, and the interpretations and performances are quite good: forceful in spots, chilling in spots, lyrical in spots. There is not one weak performance in the set. Today's orchestras draw on a performing tradition that was started, in part, by Collins and the LSO.

If I were picking one starter set of Sibelius works, I would still recommend any of the sets by Berglund (8-cd set with Helsinki and Bournemouth orchestras, Bernstein, or Vanska. However, this set would make a fine addition to any existing library of Sibelius recordings.

Average customer rating:

best complete sibelius symphonies
Amazing Sibelius Symphonies!!
A sincere tribute!

Sibelius: The Complete Symphonies

Manufacturer: Sbme Import
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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

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ASIN: B00008PW43
Release Date: 2003-05-12

Tracks:

Symphony No.1 In E Minor, Op.39
Symphony No.1 In E Minor, Op.39
Symphony No.1 In E Minor, Op.39
Symphony No.1 In E Minor, Op.39
Symphony No.3 In C Major, Op.52
Symphony No.3 In C Major, Op.52
Symphony No.3 In C Major, Op.52
Symphony No.2 In D Major, Op.43
Symphony No.2 In D Major, Op.43
Symphony No.2 In D Major, Op.43
Symphony No.2 In D Major, Op.43
Luonnatar, Op.70
Pohjola's Daughter, Op.49
Symphony No.4 In A Minor, Op.63
Symphony No.4 In A Minor, Op.63
Symphony No.4 In A Minor, Op.63
Symphony No.4 In A Minor, Op.63
Symphony No.5 In E-Flat Major, Op.82
Symphony No.5 In E-Flat Major, Op.82
Symphony No.5 In E-Flat Major, Op.82
Symphony No.5 In E-Flat Major, Op.82
Symphony No.6 In D Minor, Op.104
Symphony No.6 In D Minor, Op.104
Symphony No.6 In D Minor, Op.104
Symphony No.6 In D Minor, Op.104
Symphony No.7 In C Major, Op.105

Album Details

4CD Box set. Columbia Legends series.

Customer Reviews:

best complete sibelius symphonies.......2006-01-30

I bought this set on a hunch that if all Bernstein's Sibelius performances were as good as his Pohjola's Daughter on a compilation disc which I've owned for some time, then the risk of a few pounds was worth it. Well I certainly wasn't disappointed! I listened to all four discs in one session through the night and found that LBs is the best complete Sibelius symphonies set I've ever encountered. Individual symphonies can be equalled by other conductors but as a complete survey this has to be the one, and I'm comparing LB to Karajan (who incidentally never recorded the Third Symphony), Ashkenazy, Maazel, Barbirolli, Paavo Berglund's 3 (!) sets, Colin Davis's RCA set, Rattle and Neeme Jarvi plus individual recordings by several others; altogether I'm comparing LBs 4 discs to about 40 'others'. I would be happy to part with most of the 40 in favour of LB. I won't try to describe any particular performance in detail because I think that any attempt to describe music in words is usually pointless. The one thing I would say though is that like all really successful Sibelius interpretations, LB's take you out of the concert hall and land you straight into the open air and the very nature that inspired this wonderful composer. Symphony No. 1 is as good as any. No. 2 I would prefer Barbirolli on Chesky, but LB is as good as any of the rest. No.3 I slightly prefer Jarvi on BIS, but LB is better in the important slow movement. No. 4 Karajan from the 1960s on DG is my preference but LB is pretty close. LB's No. 5 is fabulous, I can't think of a better version. No. 6 Karajan 1960's DG again, with Sakari on Naxos closely behind, but LB's is still a fine version. No. 7 was a revelation; I can think of no other work which has caused me more problems in trying to find a truly satisfying version in all my 35 years of classical music collecting. You wouldn't believe the number of versions I've heard (and got rid of) of this truly unique work of art! Frankly, in my search I really can't say what I was looking for, like with any music you just know when it's 'right'. Most versions fall completely flat and it seems that very few conductors can turn the printed notes into the magnificent paean to nature that is Sibelius's Seventh. That Sibelius wasn't able to successfully write another symphony after this has never surprised me (thank God that his muse lingered long enough for him to write Tapiola).There is only one Sibelius Seven to place alongside LBs - Paavo Berglund with the Bournemouth Symphony Orchestra, recorded by EMI in the early 70s and never, to my knowledge reissued, except in a Royal Classics full set of the symphonies. The Berglund complete set is very good indeed and it's one I wouldn't want to be without. There's a fresh straightforward unfussy honesty about Berglund's earlier versions which I like very much; his later efforts were not in the same league. As an aside, Berglund's BSO recordings of shorter Sibelius works on EMI are true bargains, as is his unsurpassed world premiere recording of Kullervo (with the BSO) on the same label. As for the Seventh though, I would give a joint 'first prize' to Bernstein NYPO and Berglund BSO; Bernstein for the slightly more rugged, dramatic route; Berglund taking the more serene but with eyes-wide-open-in-wonder approach, but both indispensable. The old CBS recordings have cleaned up nicely under Sony's reissue (thanks Sony)and although not up to 'modern digital standards' that's not necessarily a bad thing! The best recording is of the Fifth - better than any other version, and of the Seventh. Of the others, all are excellent for their age- bold and clear, rather warm and with very little harshness or tape-hiss. In any case I wouldn't for a moment let this put you off buying what is an incredible bargain. One final point,; Phylis Curtin, a soprano I've never encountered before is extremely good in Luonnotar; she really characterizes the narrative like no other soloist I've heard before in this work. It's just a pity that LB forces the music along at a pace which is just too fast. But if you like Sibelius what are you waiting for? Buy this set today.

Amazing Sibelius Symphonies!!.......2005-01-02

"The Complete Symphonies" captures definitive interpretations of the seven symphonies by the great Finnish composer Jean Sibelius conducted by the late maestro Leonard Bernstein.
Each symphony in this 4-disc set is presented in amazing remastered sound quality displaying full dynamic range and sharpness. The beauty of this music is definitely readily apparent from the opening notes through the very end.
In addition, the CD booklet includes a brief but highly informative essay in which the history behind each symphony is explained in just enough detail to understand its genesis.
All in all, this is a fantastic set of Sibelius's masterful symphonies wonderfully executed by the baton of Mr. Bernstein. Applause also must be given to Sony Music for compiling these symphonies into one complete set. Bravo.
It doesn't get much better than this.
Highly recommended!!

A sincere tribute!.......2004-07-08

This set has peak and lows. The second symphony has a hyper romantic approach ; that's its weak point. The third symphony is well built, besides it lacks the nature blow with its wildful force. The first symphony has always been a hazardous for many conductors. It has too much influence from Tchaikovsky ; and Bernstein knows it ; he avoids it , even the reading is warmth.
The best achievements in the set are the four and the sixth . I've never heard a sixth so well made ; the woodwinds , the strings give that atmosphere that demands this complex work. The fourth is unforgettable , but there's a performance of Beecham in the fifties with the Royal Philarmonic literally unique. The seventh is OK, but there are other options.
The fifth is weak , and my favorite versiona are two: Segerstam and Koussevitzki.
Anyway I bought this set eight years ago under The Royal Edition. I recommend you this set , Maazel Vienna , Segerstam and all you can get from Koussevitski.
If you request me by Anthony Collins - London Symphony (out of stock in the most of stores) I must confess, Collins has no equals in the Second .
The best first to me is Victor de Sabata (New York Philarmonic)(See my review about De Sabata)

Sibelius: The Complete Symphonies [Box Set]

Average customer rating:

A most satisfying cycle
An Absolutely fine complete collection

Sibelius: The Complete Symphonies [Box Set]
Jean Sibelius , and Alexander Gibson
Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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

General | Classical | Styles | Music

Classical | Box Sets | Stores | Music

Sibelius: Lemminkäinen Legends; Luonnotar; The Bard
Sibelius: Tone Poems
Mahler: The Symphonies
Sibelius: The Seven Symphonies [Box Set]

ASIN: B000000A9D
Release Date: 1992-10-28

Tracks:

Symphony No. 1 In E Minor Op.39: I Andante ma non troppo - Jean Sibelius
Symphony No. 1 In E Minor Op.39: II Andante ma non troppo lento - Jean Sibelius
Symphony No. 1 In E Minor Op.39: III Scherzo: Allegro ma non troppo - Jean Sibelius
Symphony No. 1 In E Minor Op.39: IV Finale (Quasi una fantasia): Andante-Allegro molto - Jean Sibelius
Symphony No.4 In A Minor Op.63: Symph. 2: Tempo molto moderato, quasi adagio - Jean Sibelius
Symphony No.4 In A Minor Op.63: Allegro molto vivace - Jean Sibelius
Symphony No.4 In A Minor Op.63: Il tempo largo - Jean Sibelius
Symphony No.4 In A Minor Op.63: Allegro - Jean Sibelius

Tracks:

Symphony No. 2 In D Major Op.43: I Allegretto - J. Sibelius
Symphony No. 2 In D Major Op.43: II Tempo andante ma rubato - J. Sibelius
Symphony No. 2 In D Major Op.43: III Vivacissimo; Lento a suave - J. Sibelius
Symphony No. 2 In D Major Op.43: IV Finale: Allegro moderato - J. Sibelius
Symphony No.5 In E Flat Major Op.82: I Tempo molto moderato-Allegro moderato - J. Sibelius
Symphony No.5 In E Flat Major Op.82: II Andante mosso, quasi allegretto - J. Sibelius
Symphony No.5 In E Flat Major Op.82: III Allegro molto - J. Sibelius

Tracks:

Symphony No.3 In C Major Op. 52: I Allegro moderato - J. Sibelius
Symphony No.3 In C Major Op. 52: II Andantino con molto, quasi allegret - J. Sibelius
Symphony No.3 In C Major Op. 52: III Moderato - Allegro (ma non tanto) - J. Sibelius
Symphony No. 6 In D Minor Op. 104: I Allegro molto moderato - J. Sibelius
Symphony No. 6 In D Minor Op. 104: II Allegro moderato - Poco con moto - Tempo I - J. Sibelius
Symphony No. 6 In D Minor Op. 104: III Poco vivace - J. Sibelius
Symphony No. 6 In D Minor Op. 104: IV Allegro molto - Allegro assai - Doppio piu lento - J. Sibelius
Symphony No. 7 In C Major Op. 105: In one movement - J. Sibelius

Customer Reviews:

A most satisfying cycle.......2007-02-15

Cycles of Sibelius symphones abound - but this is a special one. Gloriously rich recording and totally idiomatic playing by SNO makes this a most impressive cycle. There is no weakness anywhere. Not to be missed !

An Absolutely fine complete collection.......2000-10-30

On my first hearing of the forth Symphony in this collection, I was quite taken by the faster than usual pace given to this clear and precise reading. I have never heard it performed in this manner before and believe it to be very refreshing in all the symphonies stark loneliness. The Sixth symphony is also given a quick, yet poetic, reading. Putting the great performances aside, the excellent consistancy of orchestral dynamics throughout, the top-shelf professional recording, and the excellent price, make this a "MUST HAVE" in any collection (even and especially to those ears that are new to the great masters work). Highly Recommended!

Average customer rating:

Fine Performances, Slightly Dated Sonics
Very fine performances, MAJOR packaging gripe
Incredable bargain!
Sanderling's Sibelius: Brooding, slow, inevitable

Sibelius: Complete Symphonies

Manufacturer: Brilliant Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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

General | Classical | Styles | Music
ASIN: B0000695SN
Release Date: 2002-06-25

Customer Reviews:

Fine Performances, Slightly Dated Sonics.......2007-03-31

I bought this because of the incredible bargain price. For someone who wants to familiarize themselves with the Sibelius symphonic canon but doesn't want to pay an arm and a leg, one could certainly do worse than get this set from Brilliant Classics. By the way, many huzzahs to Brilliant for their, ahem, brilliant marketing strategy of acquiring rights to reissue recordings from other labels at super-budget prices. I've gotten many wonderful recordings this way.

Kurt Sanderling, originally a protégé of Yevgeniy Mravinsky in Leningrad, was a marvelous conductor whose career was somewhat hampered by his being in East Germany during its most repressive years; he was a superb Brahms conductor, for instance. (He is the father of the currently well-regarded conductor, Thomas Sanderling.) And these recordings were made behind The Wall in East Berlin in 1976. The orchestra is fairly good but as an earlier reviewer said, the trumpets are a bit weak. This is a shame in Sibelius because he tends to use trumpets in quite exposed ways with those fanfares and upper range flourishes. The problem with the brass seems to be mostly one of intonation and it is not, to be fair, a major one, but noticeable from time to time nonetheless.

Sanderling's tempi tend to be broad and yet he manages to keep a certain tension and forward movement going. His Fourth is a bit tame, to my ears, missing the bite and snarl in that symphony. The more romantic of the symphonies -- Nos. 1, 2, 3, 5 particularly -- are done beautifully. The more radical ones are a bit less so.

The set also includes some of the non-symphonic works -- Finlandia, Valse Triste, Night Ride and Sunrise, The Swan of Tuonela, En Saga -- and for whatever reason Paavo Berglund conducts the Berlin Radio SO in The Swan of Tuonela.

Sonics are of their time. There is some tendency for a slight muffling of lower-range tones. Still, this is a creditable set and I would give it a slightly tempered recommendation at least partly because of the super-budget asking price.

Scott Morrison

Very fine performances, MAJOR packaging gripe.......2005-04-25

With this set, once again Kurt Sanderling proves he is a major conductor swimming in a sea of mediocrity. Why this man never attained a major post is a mystery to me, unless he has never wanted one. This is generally first-class Sibelius and one of the very finest cycles out there. The few instances where it falls flat is due, I think, more to the limitations of the Berlin Symphony Orchestra (especially the trumpets, which are consistently weak) than to conceptual limitations of Sanderling--with one notable exception, and it seems to be the achilles heel of Sibelius cycles.

The First Symphony flies out the gate with one of the most exuberant performances I've ever heard. This is a *Romantic* First--appropriate since Sibelius was still in his heavily-Tchaikovsky influenced state when he wrote this work. The sweeping violins in the second movement are infectious, and scherzo is thrilling--a great all-around performance. The Second is the Second. If you love this big bear of a symphony you'll love this performance, but I don't, so let's move on to the Third. A superb Third it is, with drive (a great strong downbeat to the opening theme really gives it solidity and pulse); if the slow movement isn't played with the same line as Colin Davis/BSO/Philips, well, that's a high standard. (In many other ways, this set equals the Davis Boston set, which is very high praise in my book. I feel the Fourth is also just a shade below Davis, with a chilling opening and a superbly detailed and articulated scherzo--it's detail work like this where Sanderling shines. The slow movement isn't as amazing as Davis and the finale is a bit sluggish. The Fifth is the set's first disappointment. It starts promisingly with the same meticulous attention to detail, but the big brassy climax never explodes. The trumpets are soft and underpowered; the release never happens. It's moments like this that I miss a big FAT symphony in these works and long for Davis/BSO, Bernstein/NYPO, or Ormandy/Philly.

With the icy Sixth Sanderling gives us superbly transparent sound in the strings and chilly winds. (Throughout, Sandelring's sound has great clarity--essential for Sibelius though sometimes too much articulation can work against him--the tremolos in the violins at the very beginning of the First Symphony are too de-li-ber-ate, for example.) This Sixth is a fabulous performance. He plumbs the variations in the second movement in a way I haven't heard from a lot of other conductors. (I must revisit Maazel and Karajan/EMI. Something tells me they would do a superb job here as well.) At this point I was really impressed with this set.

But the Seventh Symphony is always the breaker in a Sibelius set--at least that's been my experience. The best Seventh I've ever heard--indeed, possibly the best live performance I've ever heard of *anything*--was by Simon Rattle and the Berlin Philharmonic in San Francisco in 2003. I hope someone was running a tape recorder for that performance. Can this compare? Nope. Unfortunately Sanderling here is a little too slow. I like a broad Seventh, but this one never picks up that forward momentum, that ever-morphing quality so needed for a successful Seventh, the quantum work of the symphonic catalog. (You can never pin it down, structurally; every time you do it changes. That's one reason it's such a delight.) This performance takes a little too long and never builds to the monumental, majestic ending that's mandatory. (Karajan/DG similarly disappoints, though not as much.) Mind you, it's not DOA like Maazel's horrible Pittsburgh Symphony Orchestra account on Sony, but it's not at the level as the rest of the works in the box. (Oddly, Maazel's VPO recording is one of my very favorites. Don't know what happened in Pittsburgh, though.) The tempo shifts feel stiff and the coda lacks *nobility.* Oh, dear reader, if I could just teleport you to that Rattle performance at Davies Hall. He had the entire audience on the end of their seats. A critic later said the performance would be talked about for decades, and he was right. The performance here is a somewhat disapointing end to a fine set, but Davis/BSO ends just as disappointingly. In fact, lackluster Sevenths seem to be the biggest problem in collecting Sibelius symphony sets. Pity, as it's the greatest work he ever wrote, in my opinion.

Five overtures, including the famous warhorse Finlandia, complete the set. And now for my major gripe. Despite what another reader on these pages says, this set is not that big a bargain. Davis/BSO on Philips gives you all the symphonies, the overtures *and* the Violin Concerto on FOUR discs in two slimline cases for less money. Lorin Maazel's cycle of the symphonies fits onto three CDs. This set is spread over five discs. They take up three times the shelf space of the Philips two-fers. The first disc contains just the first symphony, a work of barely 40 minutes' duration. The other symphony discs are likewise less than full. They easily could have spread the overtures among the symphony discs, reduced the cost of packaging and returned an inch and a half to my shelf.

Incredable bargain!.......2004-12-30

I bought this set expecting to get what I paid for, a cheap set of passable performances. What a surprize to get a boxed set of individually cased CD's with notes! But wait there's MORE! The Berlin Symphony Orchestra plays with precision and feeling. Kurt Sanderling is a wonderful Sibelian. These recordings offer stiff competion to Davis' BSO cycle,long my reference standbys. Of special interest is Sanderling's way with the 4th symphony. The first movement is played with brooding intensity, ending in a sort of musical question mark. The other symphonies here are well played,the sound quality is excellent,better than you'd expect for late 70's analog. This is my first hearing of the work of Kurt Sanderling,and if this is typical of his other recordings,we should all get to know him better.

Sanderling's Sibelius: Brooding, slow, inevitable.......2004-06-25

I like my Sibelius slower, rather than faster. And Kurt Sanderling is one of the few old-school European conductors whose grasp of tempo is absolutely rock steady. He can set a slower pace, even one that at first seems dangerously risky for a certain piece of music, and hold it so steady and so true that the musical argument or narrative unfolds as if there were no other way for it to unfold.

In my view, to my ear: this is exactly what Sibelius needs. Within the basic tempo, then, Sanderling lets all the frisky lights and brooding darks of Sibelius' real strangeness come through. Even in the first symphony, which gets short shrift by eveybody noting that it is too indebted to Tchaikovsky and others, Sanderling reveals that Sibelius had something new to say, even if he started with received forms.

By the second symphony, I am totally hooked. Deliberately, just as if far northern skies were brewing up fire or ice or northern lights, Sanderling just sits you down and shushes you into quiet so that you can experience it all, rather like being seated observantly in some almost non-humanized natural landscape. I suppose Sanderling's approach just wouldn't wash, except that his players (Berlin Symphony) can follow him and bring his unforced vision into being without fluffs or weaknesses or glitches of superficiality.

By taking Sibelius seriously, though not lacking in flashes of humor, Sanderling/BerlinS encourage us to see something truthful in all the mysterious, trembling and troubled volcanic shadows Sibelius could so uniquely conjur. I think people may sometimes not warm up to this sort of interpretation, since it hardly bothers to put much of a smiling human face on its representations of nature as evolving form and process. We might just as well not be the point here, as humans.

But, having seen lots of human meanness upon which I prefer not to dwell too constantly, I find this independent sense of the natural that I think Sibelius captures all to the good. Dark and even cruel things may happen in the north woods, but the sheer egoism and pettiness of human cruelty is missing. Instead the great earth goes its own ways, with profound shifts occuring sometimes so slowly that human sight need not bother.

In Sanderling's truthful and capable hands, the Berlin Symphony simply lets Sibelius cast the spells he brewed up, so.

My recommendation is five stars, then. And the pricing will not gouge too much either. All told, this set is a genuine bargain, musically and otherwise. Stop reading reviews, and order it before it disappears again.

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1. Symphony No.1 In E Minor, Op.39
2. Symphony No.1 In E Minor, Op.39
3. Symphony No.1 In E Minor, Op.39
4. Symphony No.1 In E Minor, Op.39
5. Symphony No.3 In C Major, Op.52
6. Symphony No.3 In C Major, Op.52
7. Symphony No.3 In C Major, Op.52
8. Symphony No.2 In D Major, Op.43
9. Symphony No.2 In D Major, Op.43
10. Symphony No.2 In D Major, Op.43
11. Symphony No.2 In D Major, Op.43
12. Luonnatar, Op.70
13. Pohjola's Daughter, Op.49
14. Symphony No.4 In A Minor, Op.63
15. Symphony No.4 In A Minor, Op.63
16. Symphony No.4 In A Minor, Op.63
17. Symphony No.4 In A Minor, Op.63
18. Symphony No.5 In E-Flat Major, Op.82
19. Symphony No.5 In E-Flat Major, Op.82
20. Symphony No.5 In E-Flat Major, Op.82