A useful coupling this,
for, though Sibelius’s great 5th
is one of the most recorded symphonies
of the 20th century, the 3rd
has been much less fortunate, probably
because of its relatively small stature
and midway position in Sibelius’ output.
It can also seem like a lightweight
piece, though this is very misleading,
as in many ways it holds the key to
the great works that were to follow.
There is a great deal
to enjoy and commend in these Sibelius
performances from Segerstam and the
fine Helsinki Philharmonic. The conductor
certainly takes no prisoners, and has
a refreshingly personal approach to
the scores. His tempi are chosen with
great care, and he throws new light
on some passages, such as the remarkable
fragmented development of the finale
of Symphony no.3, or the bridge which
joins the two parts of the first movement
of the 5th.
Nevertheless, I ultimately
found the disc a disappointment. Though
certain movements work well, Segerstam
overplays the contrasts, highlights
instrumentation too much, and makes
at least one disastrous misjudgement.
This is at the final climax of the 5th,
where, as the crux is reached, he throws
away all his good approach work by massively
overdoing the slight acceleration
that Sibelius asks for (this is around
9:12 on track 6). Such a pity; a similar
tendency to drive the music forward
urgently is felt at the end of the 3rd,
but is there held in check, which I
found bracing.
The orchestra
plays well, though for me Segerstam’s
voicing of the textures is overly bright,
with flutes and trumpets often simply
too loud. It is vital in this music
not to lose that understated, reserved
quality that characterises the composer.
It’s very possible that all of this
arises from Segerstam’s earnest desire
to ‘sell’ the music to listeners who
are less familiar with Sibelius; if
so, that is admirable but misguided,
for Sibelius can speak for himself with
unique power.
Gwyn Parry-Jones
Helsinki Philharmonic Orchestra/Leif Segerstam
