|
Symphony No.1 in
E minor, op.39 Symphony No.3 in C major, op.52 Iceland Symphony Orchestra NAXOS 8.554102
|
(This review is partly based on the review in the Symphony No.1 Survey).
by The Inkpot Sibelius Nutcase™
From
the volcanic land of Björk Naxos has launched its new (the second after
Adrian Leaper's, also good) cycle of Sibelius Symphonies. For a company
not well-known for repeat recordings of the same music, I can only say this
bodes well for the composer - and what a smashing start this is!
Led by their
new and able Finnish director Peteri Sakari, the Iceland Symphony (who
have previously recorded some Sibelius for Chandos) provide very tightly
etched and sharply responsive account of the music, combining precision
which never becomes rigid, with strength of conviction and energy. The
result is readings which feel confident and highly charged but never over-indulges,
as heard in the first and third movements of the Romantically-inclined
Symphony No.1.
The Icelandic
engineers deserve praise too - though overall the sound occasionally sounds
a bit lacking in body, the orchestral picture is as detailed as a snowflake.
One detail which caught my ear is the two trumpeting shots from the woodwind
at 10'36" in the first movement, a part too often underemphasised in other
recordings. The harp, usually not done any sonic justice in this symphony,
glitters.
The performance
of the Third Symphony is likewise superlative: it exudes the strength
and confidence already heard in the reading of the First. The vital contribution
of the Iceland strings is evidenced by the detailed violins, the singing
violas, the doublebass march - all dealing with the splendid primary theme
of the first movement with much gusto. The "neo-classical" architecture
of the strings and winds, punctuated by Sibelius' unique writing for timpani
- is clearly evinced.
The woodwinds
are superb, whether in echoing the strings, laying their important chords,
or dotting the symphonic picture with their staccato chirps - all filling
the first movement Allegro moderato. Their ability to exchange
is another essential ingredient in any performance of the Sibelius symphonies.
No review of the Third can escape commenting on the beautiful slow movement,
in my opinion one of the most beautifully melancholic among the composer's
symphonic ouevre.
Direction
is another key element of both symphonies. In the first, the powerful
momentum must be kept up, say in the violent passages from the Scherzo
and the Finale. For the Third, it is especially at the conclusions of
the first and third movements. Orchestra and conductor must give a sense
of arrival and completion. In this Third, Sakari deals with the first
movement conclusion with nobility and patient wisdom, the final chords
in regal magnificence. The fused scherzo and finale that comprises the
third movement demands even greater concentration, with the flow into
the "finale" section being the most difficult to pull off convincingly.
The Icelanders achieve great unity, playing with as much attention to
detail as well as confident pace (witness the sharp exchanges between
the orchestral sections).
The flow
of tempo in Sakari's hands is superb. I am pleased to report that his
transition into the string hymn which marks the beginning of the end in
the third movement - is seamless and done in true Sibelian spirit. The
orchestra rallies together in powerful, heroic voice, as they did in the
coda of the First Symphony, with its insistent and driving spiral string
motif. For the Third Symphony, listen to the charging basses with the
clarinets trumpetting overhead, followed by the bellowing horns as all
surge forward to the triumphant end! These are marvellous readings in
a must-have CD. Sibelians, do not hesitate. Those of you in Singapore
- Mr Petri Sakari is coming to conduct the SSO in late April - you know
what to do.
The Icelandic woodwinds are cool, slightly dry - qualities associated
with musicians of the Nordic countries and perfectly fitted to the autumnal
dusk of the G-sharp minor Andantino. They evoke pictures of heartfelt
bittersweet, in the yearning tang of the woodwinds, singing to each other
across vast expanses of soulful forest, of silvery twilight reflecting
on quiet icy landscapes, caressed by the soothing, rustling violins. The
deeply felt performance here is a total match to that in the slow themes
of the Romantic elder brother of Symphony No.1. Both the performances
of the Third's forlorn Andantino and the heart-searing song of
passion in the finale of the First - gave me more than enough reasons
to shed tears.
|
S
I B E L I U S Nature is coming to life: that life which I so love, now and always, whose essence shall pervade everything which I compose. |
The Inkpot
Sibelius Nutcase is hefting his Nokia broadsword, and prancing around
the Nordic landscape looking for the Ragnarok of the eternal upgrading cycle.
|
Click to Return to the Classical Index!...
or Visit the Inkvault archives! |
659: 26.2.2000 ©Inkpot Sibelius Nutcase
 |
Explore the Flying Inkpot
| Concert Reviews |
Bit deadish:
| SIBELIUS |
Proudly brought to you by the World-Famous, one and only: The Inkpot Sibelius Nutcase™
INKTRODUCTIONS:
CD REVIEWS:
The Lahti Symphony/Vänskä Cycle (BIS, 1996-99):
Nos. 1 & 4
Nos.2 & 3
No.5 (original and final versions)
Nos. 6 & 7, and Tapiola
The Bournemouth Symphony/Berglund Cycle (1970s)
Click here
The Iceland Symphony/Sakari Cycle (Naxos, 1996-2000)
Nos. 1 & 3
No. 2 & Tempest Suite
#1
Nos. 4 & 5
Nos. 6 & 7. Tempest
Suite No.2
Finlandia. Karelia
Suite. Lemminkäinen Suite