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Symphony
No.5 in E flat major, op.82 Original 1915* and final 1919 versions. * WORLD PREMIERE RECORDING Lahti
Symphony Orchestra BIS-CD-863 |
by the Inkpot Sibelius Nutcase™
Like the disc of
the two versions of the Violin Concerto (BIS-CD-500),
this record couples the first and final (third) version of Sibelius' Fifth
Symphony. BIS's re-release of the original 1915 Fifth Symphony (also
available on BIS-CD-800) here makes the Vänskä cycle a unique treasure.
Presumably, the manuscript has been returned and it is unlikely that the
Sibelius family will allow it to be recorded again.
The original 1915 version is in many senses quieter
and not as bold as the final. For example, the dawning horn-call of the
opening is missing. Instead, you have a serene sky of soft horns where,
almost tentatively, the woodwinds call out to each other. Even more significantly,
the original Fifth is darker. I don't mean to say that the music sounds
less "tonal" or is more sad. Rather, the contrast between sections of
light and darkness is much greater. If the final Fifth is "light/dawn",
and the Fourth Symphony is "dark/dusk", then the original Fifth is a magical
aurorae of wavering darkness and light, full of mystery. It encapsulates
the organic-musical link between the "bleak" Fourth and the optimistic
Fifth, a bridge that I had been looking for for years.
Again, the ending of the original is quieter than the
grand blaze of brass of the final version. The effect is this: in the
former, one is given a glimpse of nature, and one feels awestruck by
nature. The final version is more open, full-blooded, bursting - it is
the immersion into the glory of nature herself.
The slow movement retains its child-like, pastoral mood
in both versions. The primary difference is an alternative sequence of
the material. The original is also 200 bars longer, with more frequent
use of pizzicato. Let's highlight the superb Lahti Symphony Orchestra
here. The opening horns, their very sensitive timpanist and their achingly
rich strings... ah... and their invocation of the subtlest sensations...
The original finale has its surprises too. During the
"Swan Hymn", the woodwind melody that soars above the horns is still in
embryonic form. For those familiar with the work, you can only hear tantalizing
wisps which tug at the memory. Its beauty remains breathtaking, perhaps
even more so because it seems to be struggling in its birth. The themes
blossom into the world, struck by the wonder of their own creation. As
the orchestra pours into C major, there is a heartwrenching interjection
by the trumpet [track 4, 2'34"]. Its brief dissonance is sharp, penetrating
deep into the soul, almost twisting in tortured ecstasy.
You can hear him struggling with this in the conclusion
of the finale. Whereas in the 1919 version, the five concluding chords
are interspaced with silence, in the original the first four chords are
uttered above a cloudscape of wind and string tremolo. The effect is of
experiencing awe in the arms of nature. In the final version, more human
and vivid as Sibelius suggests, the composer and symphony stands on its
on, proclaiming itself as child of nature, and of nature herself. Hence,
within the majesty of nature's embrace, the "human" celebrates its place
in the universe by uttering five existential shouts into the cosmic well
of being.
The superb recording and performance aside, the recording
of the original Fifth serves as an important reminder to us of the nature
of the evolving artist and his dynamic art. If Sibelius' music is essentially
organic in nature, then the opportunity to hear the original Fifth showed
me clearly the link between the Fourth and the Fifth. It is almost as
if it was meant to be Symphony No.4¾. It also thus served to remind me
of the illusion that differently numbered symphonies are separate entities.
In fact, the entire symphonic cycle is a singular Nature in itself.
As for the final 1919 version, what satisfies me
about this performance is how unpretentious it is. An example of this
is the "Swan Hymn" passage. Whereas some conductors follow the urge to
slow down at the C major climax - which is fine to me if they do it well
- Vänskä does not. On the contrary, there is a momentary rush as, with
the slightest trembling push, the music pours irresistibly into the new
key. It is like standing at the ridge of some mountain, eyes closed, feeling
the wind rushing by. Suddenly, you open your eyes and behold - the first
ray of sunlight piercing past the horizon.
Although the music has always inspired awe, here it exudes
a sense of wonder. Throughout, Vänskä's pacing of the music is wholly
natural. It is allowed to breathe, organically shifting to fit the music.
To try to describe the musical way he moulds the phrases is pointless
- hear it for yourself. The transition between the original first two
movements is unnoticeable. As it was meant to be.
And what better landscape then the pastoral tranquility
of the slow movement, the Andante mosso. It is played with great
warmth and feeling... almost a feeling of love. The brief sighing melody
is made all the more sweet in this way. These are moments when the music
breathes an air of contentedness, something which I think Sibelius sought,
having struggled with the Symphony for so long.
Thus, we return to the finale. The conclusion of the
1919 version is in a sense the finale of Sibelius' five-year struggle.
In it is the culmination of not one symphony, but the apotheosis of the
"three" Fifth Symphonies: the original 1915, the first revision of 1916
and the final 1919. Here you will hear the fulfilment of "Nature's
Mysticism and Life's Angst! The Fifth Symphony's finale-theme: Legato
in the trumpets!"
As if following the evolving path of the Symphony, struggling
and growing its way into higher form, the Lahti Symphony present the work
in a way I can only describe as "natural". Nothing, breathtakingly nothing,
is out of place. Everything - every tree leaf, every mountain rock, every
snow crystal, every twinkle of starlight, even the floating clouds - is
as it should be.
Within these spaces is the moment between birth and death.
Just as there was a Fourth Symphony and a Fifth Symphony, and a period
of "silence" between them, the original Fifth Symphony is - was
- the unheard "silence" between them. Similarly, between the seven symphonies
of Sibelius, there are "silences". We can now hear what the silence was
between the Fourth and the Fifth - and it is no longer a quiet void. It
is the sound of a whole symphony blossoming into being. Within the silences
therefore, resides the art of Jean Sibelius.
I have never understood why so many commentators have called the original
Fifth startlingly different from the final. To me, the feeling of kinship
between these "twins" was immediately recognizable. Yes, the technical
differences are there, but it doesn't feel drastic. Rather, you can see
the way the original "grew" into the final version. The famous example
of this is the original first two movements, which were fused together
in the final.
Despite its ethereal floating chords and textures, the magical rushes
of quiet wonder, some critics have called the original version "uneventful",
"rhythmically unfocused" and generally less forward in character. To me,
these are elements of subtlety, and speak of Sibelius' ability for economy
of expression with maximum effect. The 1915 version is more "innocent",
questing for its final form. Unsatisfied with the original, Sibelius (left)
wrote: "I wished to give my symphony another - more human - form. More
down-to-earth, more vivid."
The Lahti Symphony Orchestra play with obvious familiarity with the music,
as you might expect from a Finnish orchestra. To their credit, there is
absolutely no sign of monotony or routineness. Instead, I hear kinship
and intelligence. During the quiet, "misterioso" sections of the first
and last movement, their empathy with the Nordic sound world is unique.
The special colours that the Orchestra has repeatedly demonstrated is
audible here.
Vänskä spaces out the final five orchestral chords wide, but surprisingly,
all five are "pronounced" differently and each makes its point. Anyway,
I have increasingly come to appreciate the silent spaces between these
chords, no matter their duration. "... [T]he pauses between the notes...[is]
where the art resides." - Artur Schnabel.
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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. |
This recording of the 1915 version
of the Fifth is also available coupled with the original version of En
Saga (BIS-CD-800). Click here for more details!
A full catalogue of BIS records is now available in Singapore
at HMV (The Heeren)! Selected titles are also available at Borders (Wheelock
Place).
The Inkpot
Sibelius Nutcase hopes one day to shave his head completely in order
to look like his favourite composer. It also keeps his brain cool.
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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