The Snowshoed Sibelius

[Jaakko Keskinen]

It's a very curious thing for me to read all the praise for Sibelius' violin concerto.

It's the one piece by Sibelius that I just cannot stomach. There are other Sibelius pieces I don't care for much, but the violin concerto is the one I simply don't listen to any more.

It took me awhile to learn to appreciate VC and even nowadays the final movement bores me at times. There was a time when I didn't care much about the middle movement but now it is certainly my favorite of not only of the concerto but also one of the most absolutely beautiful concerto movements ever written. It's a real lyrical beauty. Nevertheless, I can still see why you don't like this piece.

[Mirror Image]

The Violin Concerto was one of those works I didn't like immediately and that took me a long time to finally warm to. Whenever I heard the Hahn/Salonen performance, I finally found myself connecting with it.

[Moonfish]

The Violin Concerto was one of those works I didn't like immediately and that took me a long time to finally warm to. Whenever I heard the Hahn/Salonen performance, I finally found myself connecting with it.

It took me awhile to learn to appreciate VC and even nowadays the final movement bores me at times. There was a time when I didn't care much about the middle movement but now it is certainly my favorite of not only of the concerto but also one of the most absolutely beautiful concerto movements ever written. It's a real lyrical beauty. Nevertheless, I can still see why you don't like this piece.

Interesting! I am more like Alberich. I wasn't quite aware of the VC for a long time, but when I heard the first movement I was enchanted. It took longer to appreciate the second movement and I still struggle a bit with the last one.  Regardless, the eerie power of the first movement is hard to surpass in the VC repertoire. Fantastic!

[Moonfish]

Sibelius: Pelléas et Mélisande, Op. 46

Berliner Philharmoniker/Karajan

To my surprise I found that Karajan's rendition of Pelléas et Mélisande was excellent. I also realized how much I enjoy this work after having listened to other versions of it quite a bit over the last couple of months (mostly from the Sibelius Edition). Sibelius wrote some fantastic pieces for the theatre. They are clearly in a different realm compared to the symphonies, but they have such eloquent power of poetry. Karajan definitely brings out those qualities with his BP forces. The combination with Grieg's Peer Gynt is also appropriate as the shift between the two is almost seamless. Great stuff!

[asin] B00000E2LF[/asin]

[Mirror Image]

Interesting! I am more like Alberich. I wasn't quite aware of the VC for a long time, but when I heard the first movement I was enchanted. It took longer to appreciate the second movement and I still struggle a bit with the last one.  Regardless, the eeire power of the first movement is hard to surpass in the VC repertoire. Fantastic!

It's difficult not to fall in love with that first movement, especially the introduction that seems to put the listener out in the middle of the wilderness to fend for themselves. Only we saved by a guiding light (aka the violin solo) that leads us through the wild.

[Mirror Image]

Sibelius: Pelléas et Mélisande, Op. 46

Berliner Philharmoniker/Karajan

To my surprise I found that Karajan's rendition of Pelléas et Mélisande was excellent. I also realized how much I enjoy this work after having listened to other versions of it quite a bit over the last couple of months (mostly from the Sibelius Edition). Sibelius wrote some fantastic pieces for the theatre. They are clearly in a different realm compared to the symphonies, but they have such eloquent power of poetry. Karajan definitely brings out those qualities with his BP forces. The combination with Grieg's Peer Gynt is also appropriate as the shift between the two is almost seamless. Great stuff!

[asin] B00000E2LF[/asin]

Yep, pretty much what I've been saying all along about Sibelius' theatre music. It's high-time listeners listen to these works. The Tempest, Op. 109 alone is just as incredible as any symphony or tone poem he composed IMHO.

[Dancing Divertimentian]

Yep, pretty much what I've been saying all along about Sibelius' theatre music. It's high-time listeners listen to these works. The Tempest, Op. 109 alone is just as incredible as any symphony or tone poem he composed IMHO.

Now that's a sentiment I can relate to: I said nearly the same thing about the orchestrated songs waaaay back in my opening post to this thread:

What would Sibelius be without his seven symphonies?

How about one of the greatest composers of songs?

So good, in fact, that when orchestrated his songs take on a dimension rivaling that of his better-known symphonic works. And the quality is uniformly high.

[Moonfish]

The battle of having said things first continues. Please watch the exciting continuation in episode 721!

[Dancing Divertimentian]

The battle of having said things first continues. Please watch the exciting continuation in episode 721!

Err...is this tongue-in-cheek? I'm certainly not trying to one-up anyone. I just noticed something that echoed something I said once. And I thought it was cool.

[Moonfish]

Err...is this tongue-in-cheek? I'm certainly not trying to one-up anyone. I just noticed something that echoed something I said once. And I thought it was cool.

[Mirror Image]

Now that's a sentiment I can relate to: I said nearly the same thing about the orchestrated songs waaaay back in my opening post to this thread:

Well then I'm definitely in good company with my previous statements. Rock on, DD!

[TheGSMoeller]

Sibelius thought of the day, Symphony No. 5, Original Version...

I've been listening quite extensively to the original version of the Symphony No. 5, performed by Lahti/Vanska. I'm fascinated by this music, especially the final movement and it's relationship with the final version. For me, the final movement in its original form is more expansive, almost in a dreamlike manner. The transitions between sections are broader and offer a more challenging portrayal of the direction the music is taking the listener, and there's a greater struggle within the melodies and harmonies. While allowing the beauty of the music more time to blossom, like that of the swan calls which last a bit longer, they are met with more jarring juxtaposition. For example when the Horns first introduce this theme, they are met with a strong trumpet call that seems to be in a different key, almost Ives-ian sounding.
The final 1919 version of the Symphony's finale sounds more precise and direct in its presentation, there's little mystery when compared to its original counterpart.
I mentioned dreamlike earlier when I described the original version of this movement, and for me it's a perfect description. Dreams can contain many emotions, colors and environments and can blend them all in an almost abstract display. That is how I sense Sibelius' initial incarnation of this symphony, and in particular the finale. I'm not sure I could, or even would claim one version to be better than the other, they are too different and deserve their own place. But I will say that the original version creates a more satisfying and stimulating rise to the final climax, and the final spaced chords being accompanied by string's tremolo and timpani both increasing in strength perfectly suits the character of this version.

Nightride and Sunrise
Had a similar reaction to my first listen to Nightride as I had with Wood Nymph, which was wow, why haven't I listened to this before? And why have I spent so much time with Finlandia when the true mastery of his symphonic poems lie elsewhere? 

[Mirror Image]

The genesis of the 5th is quite complicated and it took him quite some time to complete. I'm happy to have the original in my collection, but it's the final version that gets my hat-tip. I think there were several sections in the original version that either a: went on too long for their own good and b: were unnecessary. I feel the same way about his Violin Concerto preferring the revised version. Now some works I prefer the original like The Origin Of Fire for example as I believe the longer introduction gives way to a grimmer soundscape and sets up the music that follows in a more organic way. But, it's amazing how differently we all feel about the music. I'm thankful for BIS for allowing fans of the composer the opportunity to hear these original thoughts.

P.S. Night Ride and Sunrise is top-shelf for sure. Glad you enjoyed it, Greg.

[Wanderer]

Sibelius thought of the day, Symphony No. 5, Original Version...

I've been listening quite extensively to the original version of the Symphony No. 5, performed by Lahti/Vanska. I'm fascinated by this music, especially the final movement and it's relationship with the final version. For me, the final movement in its original form is more expansive, almost in a dreamlike manner. The transitions between sections are broader and offer a more challenging portrayal of the direction the music is taking the listener, and there's a greater struggle within the melodies and harmonies. While allowing the beauty of the music more time to blossom, like that of the swan calls which last a bit longer, they are met with more jarring juxtaposition. For example when the Horns first introduce this theme, they are met with a strong trumpet call that seems to be in a different key, almost Ives-ian sounding.
The final 1919 version of the Symphony's finale sounds more precise and direct in its presentation, there's little mystery when compared to its original counterpart.
I mentioned dreamlike earlier when I described the original version of this movement, and for me it's a perfect description. Dreams can contain many emotions, colors and environments and can blend them all in an almost abstract display. That is how I sense Sibelius' initial incarnation of this symphony, and in particular the finale. I'm not sure I could, or even would claim one version to be better than the other, they are too different and deserve their own place.
But I will say that the original version creates a more satisfying and stimulating rise to the final climax, and the final spaced chords being accompanied by string's tremolo and timpani both increasing in strength perfectly suits the character of this version.

My sentiments exactly, especially the highlighted parts.

[Madiel]

I've been having a small sample of some of my Violin Concerto contenders online.

This is looking pretty good to me right now.

[asin]B00077F94I[/asin]

Widely acclaimed performances, gave me some of the sense of pleasure I had with my first introduction with Kavakos/Vanska (including quite a similar pacing), and for me a more attractive coupling.

I specifically tried the opening to check that it worked for me. It did. Phew!

[Karl Henning]

The battle of having said things first continues. Please watch the exciting continuation in episode 721!

(* chortle *)

[Karl Henning]

Sibelius thought of the day, Symphony No. 5, Original Version...

I've been listening quite extensively to the original version of the Symphony No. 5, performed by Lahti/Vanska. I'm fascinated by this music, especially the final movement and it's relationship with the final version. For me, the final movement in its original form is more expansive, almost in a dreamlike manner. The transitions between sections are broader and offer a more challenging portrayal of the direction the music is taking the listener, and there's a greater struggle within the melodies and harmonies. While allowing the beauty of the music more time to blossom, like that of the swan calls which last a bit longer, they are met with more jarring juxtaposition. For example when the Horns first introduce this theme, they are met with a strong trumpet call that seems to be in a different key, almost Ives-ian sounding.
The final 1919 version of the Symphony's finale sounds more precise and direct in its presentation, there's little mystery when compared to its original counterpart.
I mentioned dreamlike earlier when I described the original version of this movement, and for me it's a perfect description. Dreams can contain many emotions, colors and environments and can blend them all in an almost abstract display. That is how I sense Sibelius' initial incarnation of this symphony, and in particular the finale. I'm not sure I could, or even would claim one version to be better than the other, they are too different and deserve their own place. But I will say that the original version creates a more satisfying and stimulating rise to the final climax, and the final spaced chords being accompanied by string's tremolo and timpani both increasing in strength perfectly suits the character of this version.

Nightride and Sunrise
Had a similar reaction to my first listen to Nightride as I had with Wood Nymph, which was wow, why haven't I listened to this before? And why have I spent so much time with Finlandia when the true mastery of his symphonic poems lie elsewhere? 

A pleasure to read this post, friend.

[TheGSMoeller]

@ MI, Wanderer and Karl...

Thank you for reading my thoughts, Gents. Hope you're all doing well. 

[Karl Henning]

I've been having a small sample of some of my Violin Concerto contenders online.

This is looking pretty good to me right now.

[asin]B00077F94I[/asin]

Widely acclaimed performances, gave me some of the sense of pleasure I had with my first introduction with Kavakos/Vanska (including quite a similar pacing), and for me a more attractive coupling.

FWIW (I only listened to the samples on Amazon) . . . my impression in the Nielsen is, the orchestra is unusually good, but the soloist curiously underachieving.

In other words, if you really want the Nielsen (and you should) . . . seek out another, perhaps.

[Madiel]

FWIW (I only listened to the samples on Amazon) . . . my impression in the Nielsen is, the orchestra is unusually good, but the soloist curiously underachieving.

In other words, if you really want the Nielsen (and you should) . . . seek out another, perhaps.

Don't do this to me, dammit. It's a Penguin Rosette winner! And Gramphone Award winner, "One of the classic concerto recordings of the century".