Skip to main content

Symphonies Nos. 3, 5

It took me years to figure out that, as a general rule, my preference was for chamber music over orchestral music; trios, quartets & quintets over concertos and symphonies. As with most general rules, however, there are exceptions, notably when it comes to the works of Jean Sibelius. The Finn wrote a good deal of undistiguished chamber and salon music, but, given a bigger band to play with, he could work wonders.

I went through a Sibelius phase around 15-20 years ago, collecting several CDs of his music, and gaining an appreciation for such justly-popular pieces as the 'Karelia Suite' the 5th Symphony, and 'Tapiola'. The only Sibelius LP I currently have is this 1975 recording by the USSR Radio and Television Large Symphony Orchestra performing Symphones 3 & 5, with that man Gennady Rozhdestvensky conducting. It was one of half a dozen classical albums I picked up at the Oxfam shop in Thornbury last autumn. I'd previously had another version of the 5th on vinyl, but I like this one better.

One of Sibelius' great strengths was his way with a brass section: the brass in the climax of the 5th providing such a powerfully uplifting force, it feels if the whole orchestra is becoming airborne. The Soviet brass heard here has a rougher, more abrasive edge than is typical in Western orchestras, giving this performance a slightly sharper flavour - one that I happen to love. I'd somehow overlooked the 3rd Symphony in my previous encounters with Sibelius, but now I love that too.

Comments

Popular posts from this blog

Complete String Quartets

While the string quartets of Nikolai Yakovievich Myaskovsky (1881-1950) were all published in the Soviet era, a few of them had pre-revolutionary origins. Two quartets he wrote in 1911 and '09 while a conservatory student re-surfaced some twenty years later designated as Quartets Nos. 3 and 4.  An even earlier "schoolboy" piece was later re-worked more radically as Quartet No. 10, premiered in 1945. Myaskovsky partook of an ample share of the turmoil and tragedy of his times: he was wounded and shell-shocked after service on the front line in World War I, and his father, who had been a high-ranking military engineer, was brutally murdered by a revolutionary mob. Despite that, his music, even at its most sombre, hasn't the black bile or biting sarcasm of Shostakovich's, or of his friend Prokofiev's. Of the works collected here, in excellent early '80s performances by the Taneyev Quartet, only Quartet No. 1 has any significantly metallic tang of early S...

Ein Schattenspiel, etc.

Georg Friedrich Haas is a contemporary Austrian composer of "art music". "Haas's style recalls that of György Ligeti in its use of micropolyphony, microintervals and the exploitation of the overtone series; he is often characterized as a leading exponent of spectral music" says wikipedia. Only a relative few of his many compositions have been issued on CD - many more of them can be found on YouTube. On this 2020 disc are three of his works in which standard classical instrumentation is augmented and altered by "live electronics". Two are string quartets and one is for solo piano. Is a string quartet still really a quartet if there are meanwhile some other people with laptops busily twizzling the sound? There is a live performance video of the 'String Quartet No. 7', the first work on the disc, where the JACK Quartet are supplemented by a trio of sound boffins to realise the composition. Whether it's properly a quartet or a septet is neithe...

Onslow

George Onslow was an odd-man-out among 19th-century French composers. Born into wealth and privilege, the grandson of an English Earl, he had no need to follow the operatic gravy train, with string quartets (of which he wrote 36) and string quintets (there are another 32 of those) forming the bulk of his compositional output. The present disc contains his 28th, 29th and 30th quartets, in compelling performances by the Quatuor Diotima. These quartets were written toward the end of a prolifically-creative period for Onslow in the years 1829-35. Viviane Niaux, in her informative booklet notes, ascribes this to the composer's having heard performances of two of Beethoven's late quartets for the first time in 1828, at their Paris première. Like many of his contemporaries, Onslow was at once "fascinated and disconcerted", and, although he considered them "extravagant", they seem to have been powerfully inspirational. A further spur to creativity may have been his ...