Their interpretation will stand the test of time.īerlin Philharmonic Orchestra/Herbert von Karajan Vänskä’s version is a strong candidate, but Karajan’s has the edge he and the Berliners really seem to get the heart and soul of the work. Poor Sibelius struggled to find a formula that he was happy with, but all his deliberating paid off in the end. Both he and the LSO are on top form in this live, albeit somewhat closely recorded account so close in fact that Davis is heard humming at times! But despite this occasional distraction, each movement is beautifully crafted, with the closing pages judged to perfection. This CD also contains their account of the original 1915 version that many will find an indispensable addition to their record collection.įinally, we turn to one of this country’s finest interpreters of Sibelius’s music, Sir Colin Davis. Highlights include some wonderfully sensitive bassoon playing in the first movement and dynamically played tremolando strings at the beginning of the last movement. This virtue is also achieved by the other Finnish partnership of Osmo Vänskä and the Lahti Symphony Orchestra. The strings are particularly ravishing in the Andante where Berglund is also adept at pacing the music just right. Firstly Paavo Berglund and the Helsinki Philharmonic: here you get the sense that this is clearly in their blood nothing is forced, nor pronounced, and although there is some suspect intonation in the woodwinds, they impart a steely coldness that is attractive. There are also two all-Finnish teams among the contenders.
From an intense and expansive opening, via a gloriously controlled slow movement, through to the Finale’s shimmering strings and turbulent climax, this is an interpretation of great passion and strength. Although there is a trace of tape hiss and a slight constriction in sound quality, this is nevertheless awash in colour and dynamism. Rattle’s current orchestra, the Berlin Philharmonic, made its mark on this work over 45 years ago under erstwhile principal conductor, Herbert von Karajan. Right from the outset, Rattle’s highly polished forces are on show, with the woodwind and, even more so, the brass right on the button as regards intonation and tonal quality, as well as executing the lyrical moments to a tee. The final version received its first performance on November 24 of that year, again under the composer’s baton in Helsinki.ĭuring his tenure as principal conductor of the City of Birmingham Symphony Orchestra, Sir Simon Rattle produced some magnificent recordings and his Sibelius Five is certainly one of them. He revised it twice: in 1916, when the first two movements were amalgamated, and later in 1919.
On Aphe wrote in his diary, “Just before 10 to 11 I saw 16 swans – one of the greatest experiences of my life.” As a result, the swinging horn theme in the last movement is said to depict this sighting, which is borne out by a letter from his friend and confidant, Axel Carpelan, referring to “the incomparable swan hymn.” His 50th birthday fell on Decemand he celebrated it by conducting the premiere of his Fifth Symphony in Helsinki.Īlthough it was well received, Sibelius was unhappy with what was then a four-movement work.
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