Sibelius: Symphony No1, Op39; Symphony in C No3, Op52 [CD]

Petri Sakari and the Iceland Symphony Orchestra combine forces here for an inspiring performance of two of Sibelius' more upbeat symphonies, the First and the Third. The seldom-played First Symphony, in E minor, written in 1898, is kind of a loner among Sibelius' longer orchestral works. Unabashedly romantic, it shows virtually none of the almost minimalist feel of the composer's "maturer" symphonies. Here he combines earthy Finnish landscape-tones (symbolized by the lingering solo clarinet at the beginning) with wonderful evocations of the distant Nordic sunlight, all mixed together with fate-charged allusions to fin-de-siecle Vienna and Paris. The Third Symphony, written in the uncharacteristically cheerful key of C major, is an equally interesting work, unique for Sibelius' use of old chorale themes at the center of each movement. The chorales give this music a lovely Renaissance feel at times. The melancholy chorale in the Andantino 2nd movement also evokes some of Tchaikovsky's tenderer, more snow-bedecked, marvelously Mother Russia moments, and Sibelius uses the brass in inspiring fashion throughout this impressive and only occasionally long-winded symphony.

Sakari and the Icelanders pull off a great performance in spite of a couple of minor flaws. The conductor highlights the harp and the timpani in the First Symphony, giving this recording a more sparkling and "crackling" feel than some of the better-known ones, but he needs to cut down the tempo and increase the volume in some of the spots where the brass dominates, like Karajan in his acoustically marred recording for EMI.

All in all, though, a great disc, and at a budget price!

SIBELIUS's First and Third Symphonies are handled admirably by Mr. Sakari and his orchestra. Unlike the latter's reading of the Second Symphony (not a bad performance even though it seems to lack concentration and is not "the last word" in orchestral equilibrium) this coupling has several merits in terms of pertinence and technical value. As one of the finest cds in this cycle, this record sits, justifiably, next to the one of the Sixth and Seventh Symphonies (also including the 2nd suite to 'The Tempest'). In bare comparison, the performance of the crucial Second Symphony, for some reasons, is only moderately good for the most part (movements III and IV require more fire, while movement II could make for more spacious, atmospheric sound). Similar "interpretive issues" were detected in the rendition of the Fifth Symphony.

With the First and Third Symphonies, however, things seem to be different. Although I assume it's been made "in the same vein" as the Second, the approach seems to work quite a lot better ; here there's a clearer sense of poise---something i didn't feel much in the case of the Second. In the First and Third, the Iceland Symphony's rendition is more compliant, though never lingering, and the so vital sense of a Nordic work is stunningly characterized. For some reasons, the "alchemy" worked rather well when they did this coupling : The overall result, if not faultless, closes the gap between these and the top notch Sibelians (think of Beecham, Vanska, Davis and a few others).

My perception and empathy for the First and Third Symphonies, from that viewpoint, led me to conclude that the Naxos recording on this page should be granted a full five stars. I believe Sakari deserves praise for his work, done according to the "rules of art" (owing to a great job from the deftly trained Iceland performers). As Rob Barnett wisely remarked in his comments (MusicWeb), the Finnish conductor "patently loves this music as his way with the end of the second movement of the First Symphony shows. Many smaller details register with finely calculated compulsion. He has the benefit of a Nordic orchestra and the clear-eyed transparency of Naxos's most natural recording. The music is imbued with vitality - the vibration and the icy quickening of the best Sibelius interpretations."

The Inkpot (www.inkpot.com/classical) has reported in one of their reviews of Sibelius's symphonies that "the result is readings which feel confident and highly charged [ . . . ]. The performance of the Third Symphony is likewise superlative : It exudes the strength and confidence already heard in the reading of the First. The vital contribution of the Iceland strings is evidenced by the detailed violins, the singing violas, the doublebass march - all dealing with the splendid primary theme of the first movement." I couldn't agree more. On this terrain, the Iceland Symphony, a small, "provincial-type" orchestra, is able to challenge the greatest orchestras in the world.

With respect i must object to Roger Dettmer (classical cdreview.com) who wrote that "Sakari pulls both symphonies to pieces," also implying that "he seems never to have heard the pioneering discs" (Kajanus, etc.). Well, Sakari's orchestral direction is, surely, not without a few little flaws, but he doesn't fail to provide Sibelius with integrity and dignity. He also helped greatly the Iceland Symphony to get recognition as a world-class orchestra. An especial strength is in their subtle, intelligent use of the brass section, versus the strings---they, too, excel in their attempt to obtain a good orchestral balance.

When it comes to the First Symphony, my current favorites are Neeme Jarvi (Gothenburg S.O., coupled with one of the finest readings of 'Finlandia', on the BIS label) and Eugene Ormandy (Philadelphia, on Sony Classical). Jarvi is incredibly forceful and convincing. His reading is fleet and firm, with a sense of authority. Ormandy has the measure of the work ; the towering melodic motif which triggers the last movement of the First Symphony is simply unrivaled. In evidence, the Naxos offering does not surpass---nor does it equal---the peerless performances of, say, Jarvi, Vanska, Ormandy or the mesmerizing Sanderling (one of the great readings on disc). The First Symphony, while a bit on the 'Romantic' side of the composer, achieves austere, wintry and desolate sounds. The Third is somewhat warmer, but still retains a bit of that trademark "Nordic Sibeliana." The Naxos reading succeeds, in both, in conveying those inevitable aspects. My personal references for these two symphonies are those by Kajanus (made 1930-32), unrivaled on many aspects (sound quality excepted).

Albeit "uneven", this is one of the best Sibelius cycles. Personally, i was rather unimpressed by Sakari's traversal of the Fourth and Fifth Symphonies. The music does not seem to bounce, like a geyser, as it actually does in the First and Third Symphonies. The cd containing the Sixth and Seventh Symphonies (also with 'The Tempest' No.2) is another stunner from the Naxos label : Those are strong readings, indeed, especially the Sixth---a challenge for the best Sibelian conductors past and present.

In brief, these typically northern-sounding interpretations have fire---and ice... Here is music with warmth (not superimposed, only when called for), where sonics are "responsive", this with a handful of thrusting dynamic bursts. As one of the most beautiful recordings of these symphonies, this fine Naxos disc should be taken upon consideration. The sound is transparent and the musical content is crafted artfully by a bunch of dedicated Icelandic musicians. *****