The Snowshoed Sibelius

[karlhenning]

I have heard recordings where they play beautifully, but not in that one (which I've heard just recently).  It truly struck me as the worst brass playing I have ever heard on a classical music recording.

Ah. To that I cannot speak; I haven't heard the Davis/BSO Sibelius.

(We crossed, Sarge!)

[Scarpia]

Ah. To that I cannot speak; I haven't heard the Davis/BSO Sibelius.

If you want to maintain a high opinion of the BSO, I'd advise you don't hear it.

[karlhenning]

Ho capito.

[Elgarian]

This might be more up your alley, Alan, and you can listen to it through Naxos streaming:

I listened to the first movement of the first symphony from this set last night, and thought it was almost entirely fabulous. Perhaps it might even be  entirely fabulous on a second listening. The last half had me irresistibly punching the air - I don't think I've ever heard such an exciting interpretation.

I dallied with the idea of just buying two single CDs with symphonies 1, 3, 5 and 7, but they're by no means cheap, and for not much more one can get the whole box - so I plumped for the box.

Afterwards, I listened to the same movement performed by Vanska/Lahti, and by comparison found that I felt even more uneasy with it, the same sort of uneasiness as I've felt ever since I bought it. There are passages of tremendous power that are breathtaking, but he has a tendency to rush certain key bits. So the theme that enters just after the end of the clarinet solo - the one that goes deyyy, dah dit, diddely-doh; dumdidee, dah dit, diddely-doh - seems squeezed too tight at the ends. The 'diddely-dohs' are played too fast, as though he's in a rush to get to the end of the phrase. Each time he does that, I find myself losing the thread because I'm wanting him to go back and do that bit again properly. Can't get past this somehow.

Anyway, Vanska's had his chance at winning my Perfect Sibelian award, and although he gets a 'Highly commended', he's blown it if the truth be told. Onward, to Segerstam, in high hopes.

[karlhenning]

♫ This is my Quest . . . .

[Elgarian]

♫ This is my Quest . . . .

You can laugh, Henning. But even when I find the perfect Sibelius CD, I still have to find my way to Mount Doom and chuck it in. It's not easy being on a Quest, y'know.

[Sergeant Rock]

I listened to the first movement of the first symphony from this set last night, and thought it was almost entirely fabulous. Perhaps it might even be  entirely fabulous on a second listening. The last half had me irresistibly punching the air - I don't think I've ever heard such an exciting interpretation.

I haven't heard that in quite awhile. Think I'll play it after Ludwig van's op.110 is finished.

Sarge

[karlhenning]

You can laugh, Henning. But even when I find the perfect Sibelius CD, I still have to find my way to Mount Doom and chuck it in. It's not easy being on a Quest, y'know.

Not much laughter here, and such as there is, is affectionate, lad.

[Brian]

I listened to the first movement of the first symphony from this set last night, and thought it was almost entirely fabulous. Perhaps it might even be  entirely fabulous on a second listening. The last half had me irresistibly punching the air - I don't think I've ever heard such an exciting interpretation.

Segerstam's 1 is so, so, so exciting. I also like Mark Elder's with Halle nearly as much (also on NML). You will need to listen to Segerstam's 3, too: the gorgeous recorded sound and Leif's genius for balance make the opening minute or two open up like a sunrise, because you hear every single instrument, every section, making its terraced entrance, like a staircase of musical layers rising up to the light. As you can tell, I love that recording. I also love Segerstam's Seventh to pieces, because he treats it as heroically and forcefully as the others, but it makes me very sad to see that you've given up on that symphony.    I too don't understand the Fourth, but Six teases me endlessly like a beautiful but very moody girl, and Seven is the symphony I love most of all... no Five is... no wait maybe Three... or Six...

That's the thing about Sibelius symphonies. Picking a number-one favorite is like picking a favorite child.

[Elgarian]

Not much laughter here, and such as there is, is affectionate, lad.

Oh, I know.

When I find the perfect Sibelius CD, you can join me on the trip to Mount Doom if you like. [Thinks: that'll cheer him up.]

[Elgarian]

You will need to listen to Segerstam's 3, too: the gorgeous recorded sound and Leif's genius for balance make the opening minute or two open up like a sunrise, because you hear every single instrument, every section, making its terraced entrance, like a staircase of musical layers rising up to the light. As you can tell, I love that recording.

I shall do so with the greatest pleasure - just as soon as PrestoClassical get the box to me.

I also love Segerstam's Seventh to pieces, because he treats it as heroically and forcefully as the others, but it makes me very sad to see that you've given up on that symphony.    I too don't understand the Fourth, but Six teases me endlessly like a beautiful but very moody girl, and Seven is the symphony I love most of all... no Five is... no wait maybe Three... or Six...

Well, I must never say never, because I've been listening to Vanska doing the 4th for the last half hour, and getting a lot more out of the experience than I usually do. So really I haven't given up on any of them. I just have a tendency to pretend to tear up my comics every now and then.

[karlhenning]

Oh, I know.

When I find the perfect Sibelius CD, you can join me on the trip to Mount Doom if you like. [Thinks: that'll cheer him up.]

If I can wear iron mittens.

[karlhenning]

Hey! I just thought up a name for a band!

[Sergeant Rock]

I agree with you guys about Segerstam's First. But I'm listening, for the first time, to Maazel's Pittsburgh First and, after hearing the first movement twice through, I'm prepared to declare it my new favorite   It's not as powerful or muscular, and marginally less exciting, but more poignant in places (and slower by a minute in both the first and last movements which gives Maazel room for a bit of interventionist phrasing). As I wrote in the listening thead, after the clarinet solo, the strings steal in so quietly; it's as if they didn't wish to disturb the sad, mysterious atmosphere created by the opening. Segerstam's violins are jarring at that point...which is the point, I guess. Unfortunately, Maazel rushes the two final notes of the first movement. I prefer them stretched out like Segerstam does it.

Sarge

[Scarpia]

I agree with you guys about Segerstam's First. But I'm listening, for the first time, to Maazel's Pittsburgh First and, after hearing the first movement twice through, I'm prepared to declare it my new favorite   It's not as powerful or muscular, and marginally less exciting, but more poignant in places (and slower by a minute in both the first and last movements which gives Maazel room for a bit of interventionist phrasing). As I wrote in the listening thead, after the clarinet solo, the strings steal in so quietly; it's as if they didn't wish to disturb the sad, mysterious atmosphere created by the opening. Segerstam's violins are jarring at that point...which is the point, I guess. Unfortunately, Maazel rushes the two final notes of the first movement. I prefer them stretched out like Segerstam does it.

Maazel/Pittsburgh is a magnificent cycle!  I have to declare it my favorite overall (among 6 or so that I have).

[Elgarian]

[Elgarian]

Segerstam's violins are jarring at that point...which is the point, I guess.

Lightning from a clear sky.

[Sergeant Rock]

Maazel/Pittsburgh is a magnificent cycle!

I'm beginning to believe you...finally 

Sarge

[Elgarian]

If I can wear iron mittens.

Always. Sensible handwear is important.

[Sergeant Rock]

Lightning from a clear sky.

Exactly. And a good example of why owning just one version simply won't do. Too many fascinating variables; too many interpretive choices. I want to hear them all 

Sarge