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Product details
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| Disc: 1 | |||
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| 1. Finlandia - Symphonic Poem Op. 26 (2000 Digital Remaster) | |||
| 2. I. Intermezzo | |||
| 3. II. Ballade | |||
| 4. III. Alla marcia | |||
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| Disc: 2 | |||
| 1. I. Andante, ma non troppo - Allegro energico | |||
| 2. II. Andante (ma non troppo lento) | |||
| 3. III. Scherzo (Allegro - Lento (ma non troppo) - Tempo I) | |||
| 4. IV. Finale: Quasi una fantasia (Andante - Allegro molto) | |||
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| Disc: 3 | |||
| 1. I. Allegretto | |||
| 2. II. Tempo andante, ma rubato | |||
| 3. III. Vivacissimo | |||
| 4. IV. Finale (Allegro moderato) | |||
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| Disc: 4 | |||
| 1. I. Tempo molto moderato - Allegro moderato - Presto | |||
| 2. II. Andante mosso, quasi allegretto | |||
| 3. III. Allegro molto - Un pochettino largamente | |||
| 4. 1. At the Castle Gate from Pelléas et Mélisande - Incidental music Op. 46 (Suite) (2000 Digital Remaster) | |||
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| Disc: 5 | |||
| 1. 1. All' overtura from Scènes historiques I - Suite Op. 25 (2000 Digital Remaster) | |||
| 2. 1. The Hunt from Scènes historiques II - Suite Op. 66 (2000 Digital Remaster) | |||
| 3. 2. Scena from Scènes historiques I - Suite Op. 25 (2000 Digital Remaster) | |||
| 4. 1. The Lover | |||
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Except this: I too grew up with Barbirolli's Sibelius. I will never, ever forget 'getting into' the Fifth Symphony for the very first time. This recording could well be the definitive version of this 'granite slab' of music - the word 'symphony' is almost inadequate. It is breathless, rapt, invigorating...alive.
One loves Sibelius - emotionally - for those unmatched moments in his works when your pulse quickens and your heart almost stops beating: the closing bars of both the 1st and 3rd movements of the Fifth Symphony; the bars where, in the achingly personal slow movement of the icy Fourth Symphony, Sibelius finally allows the mournful main theme to thaw out, flow from its imprisonment in the woodwind and then swell out, into the full orchestra - but all too briefly; the breathless sense of rising anticipation that one hears during the busy recapitulation in the opening movement of the Third (said by Sibelius to represent fog rolling in from the English Channel); also the powerful, rousing, climactic ending to the Third's brassy finale; the whole of the sublime Sixth Symphony, which one loves as one loves a shy friend; and the opening of the Seventh, as well as the choral-like ending, with its rapt sense of otherworldiness, that carries its spirit into realms that are beyond mere music. Sibelius fans will know exactly what I mean.
The Seventh Symphony could well rate as the second-greatest musical work of the 20th century. First place: La Mer.
When it comes to Sibelius, Barbirolli is your only man. The Halle Orchestra is the 'instrument' he plays, with utter virtuosity.
A love affair with this composer, this conductor and this orchestra is one that age will never dim.
Vive Sibelius!
I had this set on LP when I was a teenager and it was my prized piece in my collection. I've been waiting for this to come out since 1980, and it's been a cruel, gruelling wait.
Other great moments (it's been 21 years so, be lenient on me if you don't agree) are;
trumpet crescendo in the 1st symphony - this was described to me by a Toronto record shop owner (Bruce Certes) as "like Appollo 8 taking off to the moon".
Second Symphony, very meditative slow movement and if the coda in the finale doesn't rise you out of your comfy chair and force you to conduct your stereo, then you don't understand Sibelius!
Third Symphony, never rushed, ever, and this I love. Sir John knows just when to hold a phrase and when to move on. I've yet to hear another acceptable performance of this work.
Fourth... well, when I was a teen I didn't understand the work. I've forgotten how Sir John did it and I'm very anxious to here it now.
Fifth... glorious, just plain glorious.
Sixth... inner woodwinds hidden in the inner movements in your other recordings? They won't be now. Heavenly music.
Seventh... Absolutely gorgeous slow intro. The only quirk on the entire set (for me) is the very, very last note at the end of the symphony. It seems cut short. It's been 20 years since I've seen the score, but could it be a quarter note? If it is, it's a similar interpretive problem as the half note Beethoven used at the very end of the Eroica (for me anyway).
If you love Sibelius, buy it... it's imperative.
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