Classical Editor: Rob Barnett
 

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SIBELIUS Swanwhite Op. 54, Symphony No. 4 in A minor Op. 63, Pelleas et Melisande Op. 46, Tapiola Op. 112, Symphony No. 7 (includes a talk and various speeches by Sir Thomas Beecham, and the British and Finnish National Anthems) Royal Philharmonic Orchestra Sir Thomas Beecham  * Live recordings from the 90th birthday Sibelius concerts 1954/55). BBC Legends BBCL4041-2 68m ADD

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Slow the process may be but the BBC archives are gradually being reopened and in a most satisfying way. The legal and copyright aspects are not to be underestimated. Such releases have to surmount UK (and EU) law.

The present set is one of the most intriguing in the BBC Legends series. We have heard Beecham in Sibelius 2 before now and wondered at his guffawing encouragement to the orchestra in the climaxes and the heated romanticism he achieved. I learnt Sibelius 2 through that old World Record Club LP. It spoils you for lesser productions. That performance (given at the RFH) in 1954 (the year before the present concert) marked Sibelius's 89th birthday.

The sound in the 2 disc set is monophonic and competently solid in the manner of early FM broadcast quality. The downside is a tendency to pull dynamic punches presumably because of a fear of signal overload. The concerts took place in 1955 two years after I was born so our expectations need to be adjusted accordingly. The audience while hardly intrusive are not silent. Coughs are certainly to be heard as is applause. However along with the negative we should joy in the atmosphere of the concert and vividness of the music making.

The Swanwhite Suite picks up multiple references to Sibelius 3 and 6 as well as a Straussian succulence and an Iberian exoticism. Sibelius (and Beecham) are good at this light-winged cool ardour. A good track to sample is The Harp. Beecham engages the emotions with the deftest of hands - a touch of the softest blossom. Such slender fargile meotions also feature in The Dance of the Nymphs - played at the concert as an encore.

The Fourth Symphony was a Beecham staple. He brought half a lifetime's experience to the recorded performance. While it remains 'barkbrod' its impulse (often unleashed - listen to the quickfire cello at the start of the finale) is lyric. The outward casing of this work makes few concessions to the very romantic circus of which Beecham was a champion. Beecham resists the temptation to inject alien romance. Instead he lifts and floats both textures and themes presenting the work in a way that clarifies and sings. This is the very antithesis of the Karajan and Maazel recordings with which I grew up.

Beecham's 15 minute radio talk finds the conductor in deliberate voice - clearly caught. In this small span he surveys the works, noting the extensive presence of light music - light that is … not trivial. Beecham even mentions his own and the composer's mutual interest: cigars - big ones!

Pelleas is a twentieth century classic of delicately feathered twilights. Much the same sensibility, in pause and in press, is evident in Pelleas as it is in Swanwhite. Beecham points up that facet of the score that links with Tchaikovsky, especially the Serenade for Strings.

The Seventh Symphony receives a more vivid and emotionally involving performance than Beecham had achieved some months earlier when he had taken the work into the EMI studios with the same orchestra. There is a communicative urgency about the playing that seemed to have been sapped out of the studio version. It is not as brilliantly lit or as melodramatically taut a performance as Mravinsky achieved in Moscow in 1965 but it is certainly a powerful document with a touch of subtlety largely absent from the overwhelming Russian performance. This performance is perhaps more in tune with Beecham's recording of the same work with the New York Philharmonic.

Tapiola is handled with that revivifying combination of sensitive colouration and attention to dynamics and pulse evident in the Seventh Symphony. The strange remote woodland fastnesses are communicated without undue civilisation. I can imagine a rawer, more granitic performance - perhaps from Mravinsky (did he ever record it I wonder) but Beecham's interpretation is full of imagination.

The concert was relayed to Sibelius at Järvenpää. At the close Beecham calls on the audience to raise their hands to indicate that best wishes should be sent to the composer! A typically Beechamesque episode.

Beecham releases have sometimes been controversial. At least one (Berlioz Requiem, I believe) was the subject of copyright dispute some years ago and was withdrawn from circulation. In this case the announced and thanked assistance of Shirley, Lady Beecham, makes it plain that the Beecham Estate have here given their approval.

A fresh and freshening Sibelius experience which will engage the enthusiasm of all save those who must have stereo and the most up to date sound. A tetsament to an imagination undimmed by age, quick-witted and in touch with Sibelius's life-enhancing fantasy.

Reviewer

Rob Barnett

and Gerald Fenech adds:-

This has to be my personal favorite from all the wonderful BBC Legends released so far. Beecham's Sibelius has always retained a special place in every Sibelian discography especially since his pioneering set of the Fourth from 1939. Since then a constant clutter of recordings continued to come from Beecham's baton with his LPO and latterly the RPO. It is thus instructive to re-examine these live relays of some quite magical music together with two of Beecham's favorite symphonies. As usual the concert begins with a swaggering rendition of the British National Anthem followed by a similarly pompous Finnish Anthem.

The music to 'Swanwhite' is wonderfully evocative, filled with a magical sense of air and awesome beauty especially in the sensuous 'The Harp'. Beecham's shaping of the noble 'Song of Praise' also signifies his passion for this delicate music. This second recording of the Fourth is much clearer than the more famous studio effort but that is obviously on a higher voltage. Still there is much to enjoy in this live relay with a searching first movement very similar to Karajan's contemporary account on EMI. Beecham is also very melancholic in the mystical 'Il tempo largo' and a passionate Allegro, rightfully concluding with tumultuous applause.

Again I would still retain the 1939 performance as authoritative but this live performance is a must for all Beecham devotees. The highlight of this first disc must be Sir Thomas Beecham's authoritative talk recorded for BBC's famous Third Programme and is imbued with character and inimitable swagger from this most charismatic conductor and is a really affectionate tribute from artist to artist.

The second disc begins with a heavily romanticized version of 'Pelleas et Melisande' slightly better than the EMI studio version and wonderfully characterful. The pathos of 'Melisande' is inimitable, typical Beecham magic flows throughout the RPO strings. Drama and darkness are also portrayed in 'The Death of Melisande', this is rather similar to Collins' Decca account but I marginally prefer Beecham. Another 'Tapiola' this time almost similar to the 1947 version but with the added 'frission' of a live performance. Throughout, Beecham's control of the structural and physical foundations of this masterpiece is unsurpassed, perhaps only by Karajan's superb BPO version of ten years later.

The same goes for the third version of the Seventh now on record, however the 1940 NYPO version still remains unsurpassed. A clearer more wholesome recording is on offer and Sir Thomas' view remains a very creditable one after fifteen years. I enjoyed the swaggering speeches, vintage Beecham and the exquisite 'Dance of the Nymphs' is a magical reminder of those encores that characterized the Beecham touch. The documentation by Graham Melville Mason is exemplary, as are the photographs with Beecham at the piano particularly enticing. This collection of live recordings is an essential addition to the Sibelius library and will be enjoyed by all devotees of the conductor and composer alike.

Reviewer

Gerald Fenech

Performance:

Sound:


Reviewer

Rob Barnett

Gerald Fenech

Performance:

Sound:


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