Tag Archive: Sibelius

Charles Dutoit conducts the San Francisco Symphony with Emanuel Ax, piano, in Sibelius, Mozart, de Falla, and Debussy

Gustave Courbet, The_Wave, oil on canvas, National Gallery of Scotland

If you ever wonder how Sibelius’ music seems to come in two styles, one bardic, noble, warmly patriotic and slightly thumpy; the other austere, cerebral, craggy and interplanetary, think Karelia. This is the eastern portion of Finland near the White Sea, where ancient forms of native song and poetry still obtained at the turn of the last century. As Vaughan Williams scoured England for folksong and Bartók transcribed them in Hungary, a similar romantic enthusiasm for Finnish roots swept young Finns of the day. Karelianism, it was called, and Sibelius’ suite derives from the music he wrote for the Karelia Pageant of 1893, which represented something of a culmination of the movement. The opening “Intermezzo”, otherwise a contradiction in terms, was in fact used to separate two tableaux within the festivities.



A Crop of Recordings X

This CD has already become a favored and frequented member of my collection. Chandos has a long and successful history of recording the BBC Philharmonic, but this is the first recording I’ve encountered from their new venue in MediaCity, Salford. I’m happy to report that the transparency, fine balances and smooth listenability of the old Studio 3 are alive and well in the new facility. And the performances, under recently appointed Music Director Juanjo Mena, are as idiomatic and atmospheric as one could hope for.



A Crop Of Recordings VI: Symphonic Works by Strauss, Prokofiev, Mahler and Sibelius

There is nothing more cozy and comfortable in the symphonic canon than the harmless narcissism of Strauss’s “domestic” symphony, originally titled “My home. A symphonic portrait of myself and my family.” Just how tasteful it all is has been a subject of debate ever since 1903, of course. As Peter Ustinov famously said of the composer: “I knew I wouldn’t like his wallpaper.” As it turned out, he didn’t.



Alan Gilbert Conducts the New York Philharmonic at Davies Hall, San Francisco

Alan Gilbert conducts New York Philharmonic. Photo © Chris Lee.

Davies Hall , San Francisco The New York Philharmonic Alan Gilbert, conductor May 6, 2016 Beethoven—Egmont Overture, Opus 84 Beethoven—Symphony No. 7 in A major, Opus 92 ***** Sibelius——-Symphony No. 7 in C major, Opus 105 Sibelius——-Finlandia, Opus 26 “My…
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Rattle leads the Berlin Philharmonic through Sibelius’s symphonies at the Barbican

The best part of a love affair, wrote Georges Clémenceau some hundred years ago, is the moment you are climbing the stairs. It was, one hopes, not a cynical remark but a commentary on the pleasures of anticipation. I thought of this last month as I negotiated stairs at London’s Barbican Centre. A visit by the Berlin Philharmonic is always, if not a love affair, then certainly a thrill. But the otherwise admirable and much used Barbican is a windowless maze, and climbing the various levels can make for the seeming triumph of cluelessness over romance.



Wagner, Tannhäuser Overture. Sibelius, Symphony No. 2 – the BSO’s first recording under Andris Nelsons

Nelson's debut recording with the BSO

I don’t think I have heard the Boston Symphony sound this full and deep since Koussevitzky. This CD inaugurates Andris Nelsons’ era at the helm of the BSO and signals a reinforcement of the orchestra’s considerable strengths in the more brooding side of the continental repertory.

What is and what might have been: More Nelsons at the BSO, Chailly and the Leipzig Gewandhaus Orchestra

Riccardo Chailly conducts the Leipzig Gewandhaus Orchestra in Symphony Hall.

I couldn’t have been more eager to hear Riccardo Chailly and the Leipzig Gewandhaus Orchestra on their return visit to Boston, part of an American tour celebrating the 25th anniversary of the “Peaceful Revolution” that began in Leipzig in October 1989 and a month later led to the fall of the Berlin wall. Chailly continues to be one of most significant and enriching conductors of our time, and it was profoundly frustrating that, in January of 2012, heart problems prevented him from making his long overdue BSO debut (conducting, among other things, Stravinsky’s Sacre du printemps). This cancellation also put him out of the running as a possible replacement for James Levine as BSO music director. There was no way the BSO would risk hiring another music director with health problems. And yet, apparently recovered, here he was in Boston.



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