The Snowshoed Sibelius

[Madiel]

Y'all have piqued my curiosity about the Blomstedt set. I'm very fond of his work in San Francisco, and in Dresden with the Staatskapelle. But I already have a Sibelius set that I need to explore further, as I've barely touched it since receiving it in the winter...:

The Ashkenazy is what I have and I'm rather happy with it. I do remember someone doing a review of cycles (maybe on MusicWeb International?) and going "hang on a minute, this Ashkenazy set is rather consistent!"

Probably not the iciest readings if you want your Sibelius icy, but damn there's some good brass in there...

[amw]

At last this fascinating work has clicked on me. I'm talking about his Symphony No. 6 in D minor (?), Op. 104.

I judge most Sibelius cycles by their version of the 6th; for me it's the essential Sibelius symphony. I also completely disagree with all of your hermeneutical & analytical characterisations of it, but that's a separate issue.

Based on that judgment Blomstedt was the first full Sibelius cycle I bought (replacing Colin Davis in Boston, which someone had lent me copies of, but which I was always unsatisfied with). I have in recent years expanded my Sibelius collections, and been able to narrow down an individual favourite recording of almost every symphony, but Blomstedt is probably still first among equals of the various cycles I have, and part of that is due to his performance of the 6th. There is one better one (or at least one more to my taste) that I know of, Hans Rosbaud & the KRSO.

The 6th is resolutely unclassical or anti-classical, its musical language derived much more from the Renaissance (to start with, it is not "in D minor"; it is in the Dorian mode). Nonetheless those who prefer a more classical view may be more drawn to classicising recordings, such as Davis or Ashkenazy (either one).

[DavidW]

I do, too, along with his 4th and 7th. Don't care for his 5th. (Talking about the DG recordings here; I've never heard his EMI Sibelius.)

I agree on all three fronts.  Especially the 4th.  I didn't care for that symphony until I heard Karajan.

[vers la flamme]

I agree on all three fronts.  Especially the 4th.  I didn't care for that symphony until I heard Karajan.

Yep, same here.

[Jo498]

I am not a great Sibelian and Ashkenazy was one of my first (I had borrowed some of Bernstein's before and had one twofer (1,2,4,5) with Davis/Boston) but I have always liked it and the 1980s sound holds also up very well. There was a huge review ("Sibeliusaurus") on the web a few years ago and while this guy had different recommendations for singles, the Ashkenazy/Philharmonia cycle was one of the best cycles.

[Madiel]

There was a huge review ("Sibeliusaurus") on the web a few years ago and while this guy had different recommendations for singles, the Ashkenazy/Philharmonia cycle was one of the best cycles.

That might be the one I was thinking of.

[vers la flamme]

I think I made out good with Berglund/Bournemouth/EMI as my first cycle, back when I was very new to classical music. Still my favorite performances of every single symphony (except maybe the 4th where HvK edges out), though I've heard far from all of them.

[DavidW]

I think I made out good with Berglund/Bournemouth/EMI as my first cycle, back when I was very new to classical music. Still my favorite performances of every single symphony (except maybe the 4th where HvK edges out), though I've heard far from all of them.

Yes that is a great set!!

[Sergeant Rock]

Blomstedt was the first full Sibelius cycle I bought (replacing Colin Davis in Boston, which someone had lent me copies of, but which I was always unsatisfied with).

Interesting. The Davis/Boston Sixth was the performance that finally made me appreciate, no, love this symphony after 20 some years not getting it. Part of the reason it worked was Davis's swift speed in the first movement. At 7:51 it is the quickest among the 23 versions I own which makes the abrupt ending even more abrupt, more enigmatic and strange. That appealed to me for some reason...and still does.

Sarge

[staxomega]

I think I made out good with Berglund/Bournemouth/EMI as my first cycle, back when I was very new to classical music. Still my favorite performances of every single symphony (except maybe the 4th where HvK edges out), though I've heard far from all of them.

I have the 1960s recording of the 4th from Karajan, is that the only one he recorded for DG? I swear you could have probably put in for a PhD to catalog Karajan's discography prior to someone writing a book on it.

[Mirror Image]

I have the 1960s recording of the 4th from Karajan, is that the only one he recorded for DG? I swear you could have probably put in for a PhD to catalog Karajan's discography prior to someone writing a book on it.

Yes, I believe this is the only 4th he's recorded for DG and thank goodness, because I have this one imprinted in my mind that I don't think another performance could top. The later performance on EMI doesn't even come close.

[staxomega]

Yes, I believe this is the only 4th he's recorded for DG and thank goodness, because I have this one imprinted in my mind that I don't think another performance could top. The later performance on EMI doesn't even come close.

Thanks, I have no memory of either other than thinking the EMI cycle's recording quality sounded off. Will give that DG 4th a listen now.

[Mirror Image]

Thanks, I have no memory of either other than thinking the EMI cycle's recording quality sounded off. Will give that DG 4th a listen now.

Excellent. Will be curious to read your impressions of this Karajan 4th on DG.

[amw]

Interesting. The Davis/Boston Sixth was the performance that finally made me appreciate, no, love this symphony after 20 some years not getting it. Part of the reason it worked was Davis's swift speed in the first movement. At 7:51 it is the quickest among the 23 versions I own which makes the abrupt ending even more abrupt, more enigmatic and strange. That appealed to me for some reason...and still does.

I think it's just different conceptions of the music and what it means, etc. I've probably made clear my own unusual and extreme reaction to the 6th over the years on here. (Rosbaud's 6th opening movement is 11:16, which is part of the reason it works for me.)

[Sergeant Rock]

I think it's just different conceptions of the music and what it means, etc. I've probably made clear my own unusual and extreme reaction to the 6th over the years on here. (Rosbaud's 6th opening movement is 11:16, which is part of the reason it works for me.)

That's extraordinary. The slowest version I have is Rozhdestvensky (9:51).

Sarge

[Pohjolas Daughter]

Didn't Schneevoigt record the sixth?  And, from what I understand, he knew Sibelius.  Do we know whether or not Sibelius heard the recording and if so, did he have any comments regarding the opening movement or the work overall?  And what were his (Schneevoigt's) timings like?

PD

[Sergeant Rock]

Didn't Schneevoigt record the sixth?  And, from what I understand, he knew Sibelius.  Do we know whether or not Sibelius heard the recording and if so, did he have any comments regarding the opening movement or the work overall?  And what were his (Schneevoigt's) timings like?

PD

Yes, he did record it (its first recording actually) in 1934. His first movement is 8:19

Sarge

[staxomega]

@MI, I will come back to Karajan in the 4th and will be sure to update the thread, I ended up finishing off Salome that I'd started earlier in the day.

Just finished listening to the 6th (Segerstam/Helsinki), I still find myself in agreement with Symphonic Addict on what he wrote about it a few pages ago, maybe except for the part about the nymph, my imagination doesn't quite run that freely though

This one comes in at 9:27 in the opening movement but I've never paid attention to the timings of this? It doesn't seem like it would be that esoteric for a performance that is ~ 20% slower than most? I see a lot of places where Rosbaud could take it slowly and I can understand how him of all people could make it work.

[kyjo]

At last this fascinating work has clicked on me. I'm talking about his Symphony No. 6 in D minor (?), Op. 104. The first movement sounded to me more in C major most of the time, but it does finish in a sort of D minor. For me it represents the Finnish four seasons: spring, summer, autumn and winter. Here Sibelius speaks with a more feminine approach. The music also seems to describe a beautiful nymph who inhabited those mystical and breathtaking lakes. I'm really shocked by how wonderful this symphony is. Sibelius was a real bard of the Finnish forests.

I agree - it's a wonderfully atmospheric and unique work. A few years ago I listened to it while walking outside in the snow - a most magical experience!

[Pohjolas Daughter]

Yes, he did record it (its first recording actually) in 1934. His first movement is 8:19

Sarge

Yes, but I'm still wondering as to what (if it's known) Sibelius thoughst about it.  My feeling:  I don't go by the timings per se, I care more about the interpretation overall.  Any idea as to what Sibelius thought about it/comments?  And, very importantly, how would the recording format have possibly influenced his decisions re speed and/or cuts?  Just some thoughts.   

PD