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Symphony
No.2 in D major, op.43 The Tempest: Suite No.1, op.109/2 Iceland
Symphony Orchestra NAXOS
8.554266 |
by The Inkpot Sibelius Nutcase™
What I like about
this reading of the Second Symphony is its tightly driven energy, the no-nonsense
blazing brass of the first movement, coupled with confidence and power.
Sakari has an admirable measure of the surge and the ebb, the flow and the
outburst of the symphony. The Andante has no lack of atmosphere;
the opening pizzicato "walk" is not as mysterious as some other accounts,
but makes up for it with the aforementioned sense of confidence, and attention
to detail without being too deliberate. I enjoyed the slow unveiling of
the woodwind episodes after the brassy tumult, the chilly rock-hewned power
of the Icelandic brass (what gorgeous trumpets - and listen for their diminuendi),
and the solemn-heroic build towards the end.
The swirling storm that leads to the final coda is not
exactly the most powerful, most stormy one I've heard. Though I am impressed
by the work put in by the woodwinds at the top of the score, the overall
picture is slightly wanting in that final ounce of relentlessness, of
that feeling of heroic defiance that gives this work such a patriotic
ring. Nevertheless, this is not a bad reading at all. In fact, the coda
itself is satisfyingly majestic, with brass rising even higher and louder
than before, blazing above each other in triumph. The full D major glory
of the final chords are savoured with great relish.
The coupling of the First Suite from The
Tempest is a little odd and unusual, the work coming from the
end of Sibelius' known orchestral output, whereas the symphony is among
his first. It makes a great contrast, especially the magical aura of The
Oak Tree (and Ariel's Song), to which the chilly sounds of
the Icelanders do good justice to, if not as sorcerous as Segerstam's
account on Ondine.
The Humoresque is ably done, though I've heard
more liquid playing from other clarinettists. The orchestra sings Caliban's
Song with ample colour and drama, loudmouthed and lurid (It's quite
hard to get this piece wrong, so far in my listening experience); and
is then repeated gruesomely in the middle of the Scène. I greatly
enjoyed the pulse and flow of this performance of The Harvesters.
The little details are really nice - the quiet snaredrum, the field of
floating strings, the harp, flute - all add up to a very picturesque tone
painting.
Strangely, in The Storm, the recording (or is
it the conductor?) gives great prominence to the brass, somewhat downplaying
the turbulence of the strings. At other times, the lower brass (as in
that rising series of chords) is drowned. In all, a committed performance,
but sonically the result is too blocky, too opaque. The Naxos sound isn't
really very transparent, which may be at fault.
My recent "live" encounter with some of this music has
made me realise the extent that contrast plays a part in The Tempest.
One particular example is the Intrada-Berceuse. Here, I think Sakari
doesn't quite put in enough thrust into the shattering blows of the Intrada,
though it is not ineffective. The gentle Berceuse itself receives
a fine interpretation, with strings sounding timid and restrained, almost
emasculated.
Overall, excellent performances of the symphony and most
of the Suite and a worthy successor to the previous release of Symphonies
Nos.1 and 3 (reviewed here). If you need a
recording of No.2, you can safely invest in this, which comes with the
bonus of The Tempest (if incomplete). But if the latter interests
you more than the former, go for the Ondine/Segerstam
and the complete theatre score recorded on BIS (detailed
here).
The pacing of the Vivacissimo is excellent, neither too fast or
slow. At 6:17 it is on the long side, but I enjoyed the slick drama that
the Icelanders churn from the score. Even more impressive is the bridging
to the finale - very well done indeed, without a wisp of too much hesitation
or too little breathtaking anticipation, the Icelanders slip into the
rising theme with calm nobility. The trombones pulsate nicely, the woodwind
pedals are levelled just right in the background, while the trumpets thrust
their fanfare with flawless magnificence in both their big appearances.
The horns deserve mention too for making good their support.
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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. |
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604: 19.11.1999. up.7.3.2000 ©Inkpot Sibelius Nutcase
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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