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Jean
SIBELIUS (1865-1957)
Symphony No.2 in
D major, op.43 Lahti
Symphony Orchestra BIS-CD-862 |
by The Inkpot Sibelius Nutcase
Let's get to it.
This is not the best Symphony No.2 (1901-2) I've heard at all. If
Sibelius (below right, in 1900) can be called Romantic, the strongest traces
are probably found in the first two symphonies and much of the Violin
Concerto. In his recording of the First
Symphony, Vänskä produced one of the most magnificent performances I've
ever heard on record. It is thus somewhat disappointing for me that the
energy of that performance is mostly missing from this Second.
Not that the Romanticism is missing - it is there, but
the expression of contrast is somehow unsuccessful. There is a one-dimensionality
to this performance despite the - as usual - vivid orchestral detail.
For example, the Andante slow movement is somewhat un-dark. It
lacks that sense of impending doom, the sensation of dark clouds gathering.
At worst, the players sound... bored? (Have they played this popular work
too often?)
Even the Vivacissimo, with its opening rushes
of strings, begins as a mere trickle, warming up only around the second
trio into the Finale. The majestic Finale is performed impressively
- all the pacing and handling of the opening lines are well done. The
tempo is well chosen and the moulding of the music refined and attentive.
Maybe too attentive - I feel as if Vänskä is paying too much deliberate
attention this time. Personally, I would rather the performers all let
go and play their heart out in this unashamedly Romantic/emotional/patriotic
finale. The second half of the finale, after the recap of the opening
theme, is the most moving. Churning impressively into the Finale's final
(and potentially embarassing) trumpet chorale - I suddenly realized Vänskä's
treatment might work here... and yes, like the sun shining through the
clouds, the triumphant hymn is gathered without overindulgence, but with
glorious nobility.
Sibelius' Second Symphony is quite a tough nut to crack
(oops - all seven are). I remember a time when a group of friends and
I went around searching for the "perfect Second", our attention largely
centred on the finale. Opinions differed of course, though we were most
impressed with Mariss Jansons' on EMI (to my utter disbelief and disappointment,
he no longer seems to intend to finish that cycle, having also recorded
the First - reviewed here - the Third and
Fifth). If you want a version with gleaming contrast and enormous power,
try Segerstam's on Chandos. Budget: Ormandy on Sony Essential Classics.
The Third Symphony (1904-7) is apparently still
Sibelius' least popular, something which I don't understand because I
feel it possesses one of his most beautiful symphonic slow movements.
The clarity of its classically inspired architecture
is of course much opportunity for Vänskä's superb orchestra. Their performance
of the opening Allegro moderato is very fine indeed - listen for
the interplay of woodwind and strings.
The strangely, softly booming bass lines and timpani
add to the star-lit darkness of the work. Listen to the quiet tolling
effect of the timpani at the beginning as well - magical. As the movement
draws towards its end, the tone and music broadens, becoming more and
more beautiful. The orchestral detail breathtakingly depicts the dusky
landscape. And then everything ends, quite suddenly, with just the slightest
hint of tragedy.
The last movement of the Third is a scherzo and finale
fused together. Vänskä's handling of the transition from the "scherzo"
part into the "finale" is seamless and convincing. The movement as a whole
is very well done, very impressively unified, with many fine contributions
from the winds. The Third is said to end abruptly, as if there was meant
to be more - but in fact everything necessary has been done. Vänskä, to
my ears, actually manages to make the work sound "finished".
If you like the Third played with great excitement, I
highly recommend Lorin Maazel's very immediate account on Sony (SK61963).
For a classic performance of the beautiful slow movement, go for Rattle's
mid-priced disc on EMI (CDM7 64120-2), also coupled with the Second (not
good though).
Vänskä chooses a relatively reticent mode, playing down the gargantuan
Romanticism that the Second is capable of. Perhaps what he is doing is
emphasizing the structural unity instead, which he succeeds in the nicely
held-together first movement, the Allegretto.
This performance of the Third is one of a very rare breed where the Andantino
con moto is longer than the Allegro moderato (11'12" and 10'15"
respectively). No matter, for Vänskä's performance is very beautiful,
played with feeling. Listening to the wistful woodwind thirds, passing
their melancholia to the strings, there is a feeling of slowly moving
energy, sometimes flowing, sometimes draining. It is like the waters of
a lake gently lapping on a quiet shore. The winds sigh, the grasses sway,
all adding to the sense of beautifully melting sorrow.
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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. |
In his last life, the Inkpot Sibelius Nutcase
was a whale in the Nordic seas.
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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