Editorial Board
MusicWeb International
Founding Editor Rob Barnett Editor in Chief
John Quinn Contributing Editor Ralph Moore Webmaster
David Barker Postmaster
Jonathan Woolf MusicWeb Founder Len Mullenger
Jean SIBELIUS (1865-1957) THE SIBELIUS EDITION - The first
five volumes Detailed Contents and Tracklist at
end of review THE SIBELIUS EDITION – Vol.1 –
Tone Poems Helena Juntunen (soprano) Göteborgs Symfoniker/Neeme Järvi Lahti Symphony Orchestra/Osmo Vänskä 5 CDs for the price of 3
BIS-CD-1900/02 [388:56]
THE SIBELIUS EDITION Vol.2 – Chamber
Music I Kristiina Mäkele (soprano); MariAnne
Häggander (soprano); Helena Juntunen (soprano); Lilli Paasikivi
(mezzo); Matleena Vakkilainen (mezzo); Tone Kruse (alto); Erland
Hagegård (tenor); Tom Nyman (tenor); Juha Hostikka (baritone); Tommi
Hakala (baritone); Raimo Laukka (baritone); Jorma Hynninen (baritone);
Jyrki Korhonen (bass); Tytti Vänskä (narrator); Stina Ekblad (narrator);
Lasse Pöysti (narrator); Lahti Boys: Choir; Jubilate Choir; Dominante
Choir; YL Male Voice Choir; Göteborgs Konserthuskör; Lahti Symphony
Orchestra/Osmo Vänskä; Göteborgs Symfoniker/Jorma Panula, Neeme
Järvi 6 CDs for the price of 3
BIS-CD-1903/05 [437:47]
THE SIBELIUS EDITION Vol.3 –
Voice and Orchestra Kristiina Mäkele (soprano); MariAnne
Häggander (soprano); Helena Juntunen (soprano); Lilli Paasikivi
(mezzo); Matleena Vakkilainen (mezzo); Tone Kruse (alto); Erland
Hagegård (tenor); Tom Nyman (tenor); Juha Hostikka (baritone); Tommi
Hakala (baritone); Raimo Laukka (baritone); Jorma Hynninen (baritone);
Jyrki Korhonen (bass); Tytti Vänskä (narrator); Stina Ekblad (narrator);
Lasse Pöysti (narrator); Lahti Boys: Choir; Jubilate Choir; Dominante
Choir; YL Male Voice Choir; Göteborgs Konserthuskör; Lahti Symphony
Orchestra/Osmo Vänskä; Göteborgs Symfoniker/Jorma Panula, Neeme
Järvi 6 CDs for the price of 3
BIS-CD-1906/08 [447:36]
THE SIBELIUS EDITION Vol.4 –
Piano Music I Folke Gräsbeck (piano) Lasse Pöysti (narrator) 5 CDs for the price of 3
BIS-CD-1909/11 [392:45]
THE SIBELIUS EDITION Vol.5 – Orchestral
Music for the Theatre Lahti Symphony Orchestra/Osmo Vänskä Göteborgs Symfoniker/Neeme Järvi 6 CDs for the price of 3
BIS-CD-1912/14 [465:27]
The BIS Sibelius Edition
sets its cap at recording the complete works. That’s the treatment
accorded to Beethoven by DGG in the early 1970s on vinyl, later
to Mozart by Philips and to a wider range of the classic greats
over the last two decades.
‘Complete’ has a forbidding
and academic connotation. It offers the collector the excitement
and possibly disappointment of discovery and the record company
the frustration of what can be left out without calling comprehensiveness
into question. Do we include sketches? Do we include only final
versions? Do we commission speculative completions? How different
does an earlier version have to be before it deserves its own
recording? When researchers turn up a once unheard of manuscript
or a known work whose score has been lost – what do we do? Do
we wait a couple of years until we have enough for a new CD
to issue as an anhang or just ignore it? Bis’s answers will
become apparent when the project reaches fruition in 2010. Some
of Bis’s answers we can guess at now. They will record juvenilia
but in general not sketches. They will not seek speculative
completions although editorial work has of necessity been commissioned
with Sibelius family approval. They will record and have recorded
earlier versions of works – witness the Lemminkainen Legends,
En Saga, Oceanides, Violin Concerto and Fifth
Symphony.
The Bis Sibelius Edition
takes two quite different formats. The first is a series of
single issue volumes beginning in 1979 with BIS-LP-153 of the
piano music. Such is the sedulous attention to detail that they
gradually reissued the LPs as CDs giving them equivalent numbers.
Second, beginning in 2007, the 50th anniversary of Sibelius’s
death in 1957, is a 13-volume boxed edition in uniform livery.
We are part way through that programme. Each box in the Edition
has a letter of the composer's name on the spine - rather like
the spine design for the Olympia-Regis Myaskovsky cycle. The
name is spelt out across the spines of the 13 volumes: I – XIII
with one carrying a blank to separate Jean from Sibelius.
A further nice design touch is the cool blue sky-lakes-conifers-swan
flight used as illustration for the boxes. In each box the swans
are seen winging further across the lake.
The first five boxes
- all available separately - encompass the familiar and the
unfamiliar – vintage, pot-boiler and juvenilia. We do not regard
the piano music and chamber music as characteristic. The tone
poems, theatre music and the works for voice and orchestra are
more familiar; especially the first two genres. Indeed in these
are found his most famous works - Finlandia, The Swan
of Tuonela, Valse Triste and Pelléas and Mélisande.
We struggle to find works of any real exposure in the other
two boxes: at a stretch, Kyllikki among the piano solos
and Voces Intimae from the chamber music.
Individual boxes may
have some very approximate 'competition' but nothing with anything
like the reach of the Bis project. Three 3-CD sets of the tone
poems can be had from DG (Järvi), Chandos (Gibson) and
Saisons Russes HM (Sinaisky) – the latter long gone to the great
deleter in the sky. These sets are restricted to the best known
tone poems and none of them offer rarities or alternative versions.
Berglund's
Helsinki/BSO set (EMI Collectors Edition) includes
tone poems, incidental music and the symphonies. There is one
piece of almost direct competition and that comes from
Annette Servadei. Her Alto-Regis set of the solo piano music
is on ALC
5001 across 5 CDs which began life with individual issues
on Olympia. That set is admirable in every way yet tackles only
a fraction of the piano works that will appear in the two Gräsbeck
Bis piano solo volumes.
In the early years
- 1978 onwards into the 1980s - it was Neeme Järvi and the Gothenburg
Symphony who were Bis’s orchestral collaborators in Project
Sibelius. For whatever reason horses were then changed and since
then the stewardship has been carried by the magnificent Lahti
Symphony Orchestra and Osmo Vänskä. This team are behind the
recordings on the first four discs of Volume 1 and for
Luonnotar, Oceanides (Yale version) and In
Memoriam (1909 original version) on disc 5. Järvi and the
Gothenburg Symphony preside over the two Scènes Historiques
suites on CD5 and the final 1909 version of the Cassazione.
The 1904 original of the Cassazione is on CD2 (tr. 4)
from Vänskä.
The first disc of Volume
1 - TONE POEMS - will have the dedicated Sibelian sitting
on the edge of the seat waiting for the next surprise, the next
unexpected touch and theme. The original (1896) version of Lemminkainen
and the Maidens of the Island is heavier-textured with an
easier proclivity to plod than the more impulsive and Lemminkainen-like
revised version from 1897 and finally 1939. Even so it is fascinating
to encounter so many unexpected twists, diversions and turns
by comparison with the familiar text. New Sibelius of this quality
is always to be welcomed.
By comparison the original
version of En Saga which shares the first CD with the
whole of Colin Davis's edition of the 1896 version of Lemminkainen
in Tuonela and two later versions (original and of 1896
and then 1897) blazes with creative inspiration. It will be
remembered from the wonderful Nupen Sibelius DVD that in these
years Sibelius's mind was a fearsomely inventive dynamo of ideas.
His problem was knowing which ideas to discard and which to
build in. The ideas spilled onto the page in profusion. Allowing
for the prelude to the opera The Maiden in the Tower
there appear to have been no earlier versions of the Swan
of Tuonela so one must wait to hear that work until one
gets to CD 3.
The 1896 version of
Lemminkainen's Return is especially prone to bombast
in its last five minutes when a triumphant Karelian theme for
brass dominates the proceedings. The composer's final 1897-1900
tightening up and revision was certainly to the good.
On CD 2 the Cassazione
defies the lighter expectations of the title and begins
in a manner that is stern, relentlessly insistent and ferocious.
It remains uniformly serious throughout. This is a surprising
work and certainly not the sort of light Sibelius we hear in
the various late string suites. There is even a Balakirev-style
clarinet solo at 4.50, an Elgarian serenade at 7.02 and a chaste
oboe at 10.37. It is played and recorded with wit, rapacious
energy, and gripping concentration. This is more ballade than
cassation. Serious Sibelians need to hear this.
Musik zu Einer Scène
was written for a
tableau so its filmic Tchaikovskian qualities should not surprise.
Here Sibelius to the first two symphonies. In the later and
lighter moments there is much work for flute and tambourine.
The piece ends as rain-heavy storm clouds rumble.
The final 1902 version
of En Saga is the one we hear performed and recorded
today. It is tighter but I am very pleased to be able to go
back to the four-minute-longer original on CD1. I say this even
though its transitions can be ramshackle and there is a tendency
for grandeur to tip over into lumbering bombast.
Finland Awakes is the first version of the piece we know today as Finlandia.
Its differences are largely in the last few pages - fascinating!
Disc 3 start with the
now definitive score of Finlandia complete with it familiar
truculent brass opening. Capable though this is it lacks the
acrid cordite rasp of the Horst Stein and Barbirolli recordings.
Not that it is any slouch for Vänskä twists its tail to achieve
a stertorous emphasis and dramatic stride. His In Memoriam
of 1910 can be compared with the original of 1909 on disc
5. At the end of CD3 he delivers a thrummingly life-enhancing
and poetic Four Lemminkainen Legends in their final versions.
His Lemminkainen and the Maidens of the Island is hoarsely
exciting and challenges Ormandy's second Philadelphia sequence
on EMI for first place in a field now bumping and jostling with
competition. By the way, let me also recommend Ormandy's first
and little known mono recording of the four Lemminkainen tone
poems. Frustratingly it seems forever consigned to obscurity
unless you can find either of the two privately reissued versions
issued some years ago in the States. I see that it is now featured
in the custom download series offered by Naxos in their 9. series.
Don’t miss it. 1950s Ormandy Sibelius was outstanding.
Disc 4 sets out the
familiar editions of five well-known tone poems including Pohjola's
Daughter, Night Ride, The Bard, Oceanides
and Tapiola.
In the wonderful Pohjola's
Daughter Vänskä is remarkably gentle as the weaver of rainbows
and dreams. Sample this mood at 4.10. His is a successful reading
if less volatile than the lusty Stein version on Decca. Night
Ride and Sunrise is spikier and more thrustingly dynamic
than the recently heard Paavo Järvi version heard on an impressive
Virgin Classics reissue. Bis have some typically and adroitly
wide-ranging dynamics and subtle lighting for the orchestra.
The 1910 Dryad takes us to the bleak Sibelius we know
from the Fourth Symphony while the Dance-Intermezzo is
enchantingly light and Tchaikovskian - a little like the meeting
of Swan Lake with Karelia. The Bard is
a bleached pastel – a reserved soliloquy with harp.
Much is made of the
Oceanides’ Mediterranean and specifically Greek references.
Perhaps it is Beecham's way with the piece that established
that sound image. Here however I hear a warmth, certainly, but
this is more suggestive of summers in the Baltic or of the Swedish
archipelago.
The Oceanides of
1914 in its final garb can be compared with the Yale version
of the same year. The earlier Yale version was written at the
commission of Carl Stoeckel for the Norfolk Festival. Some of
the themes and treatments are familiar from the final edit but
themes often go off in new directions. There is also fresh material,
lush harp sweeps from Luonnotar, romantic yearning from
the Second Symphony, shrills and shudders from Tapiola and
an almost Debussian warmth. Coming to it afresh you should
approach it, not in the spirit of study, but simply appreciate
it as a 'new' Sibelius tone poem with its own identity but with
some familiar material.
A sturdy Tapiola
grips me less than other versions. This is understated and
lacks the possibly over-italicised but irresistibly gruff drive
of Van Beinum - a little regarded Sibelian doyen. He is to be
heard in virile sound on the Australian Eloquence label.
Don't miss out on hearing Van Beinum's Sibelius; it maybe
in mono but it is stunning and well up there with classic Sibelius
of the calibre of Mravinsky's and Ormandy’s Sibelius 7, Beecham,
Barbirolli and Ormandy's Sibelius 2, Van Damen's and Oistrakh's
versions of the Violin Concerto, Furtwängler's En Saga and
Horst Stein's Pohjola's Daughter.
This set could easily
have been a rather bleached academic exercise but Vänskä and
Järvi approach it with freshness, vigour and a poetry completely
in sympathy with the Sibelian voice.
The tone poems are
with one exception (The Dryad) organised chronologically
with the final version of En Saga coming first complete
with its one moment of obvious Tchaikovskian pizzicato. There
are many delights along the way including the caramel sweet
serenading of Tuula Ylonen's clarinet at 12:10 and 16:42 and
some haunting flute playing at 13:02. Ideally you will also
need to hear Furtwängler's vertiginous way with this piece (Music
and Arts) and also Horst Stein's tempestuous and highly charged
version on Decca (452 576-2) - some of the most creepily romantic
playing I have ever heard; totally unmissable. Vänskä's 18:03
compares with Stein's 16:15.
The Dryad is from 1910 and its fluttering awkwardnesses link with
the Fourth Symphony but also recall a work by one of Sibelius's
English champions, Granville Bantock. The work in question is
Bantock's fey little overture The Pierrot of the Minute.
Sibelius might well have heard it. Those horn yelps at 2.34
and 2.42 are reminiscent of similar but more majestic outbursts
at the peak of the Seventh Symphony.
The Dance Intermezzo
starts with a miniature snowstorm of Tchaikovskian harp
arpeggiation. It's a little gem of a piece with a touch of the
grand ball-room and even a little tambourine and castanets.
The resonant acoustic really registers at the end of this piece.
Andrew Barnett - whose
Sibelius biography is now published by Yale University Press
- reminds us of something too easily forgotten: that all these
great tone poems predate the Great War. Tapiola came
some six years after the war had finished and it was to be a
more brooding and less vigorously coloured effort than Pohjola's
Daughter or The Oceanides or Nightride.
The Luonnotar of
Helena Juntunen is a miracle of electric atmosphere, steely
yet feathery delicacy. Juntunen's perfectly controlled, flexible
voice is coupled with pellucid enunciation. My most recently
heard version of Luonnotar was the one conducted by Paavo
Järvi on Virgin Classics. Juntunen’s singing has more colour
and vocal control in ascent or descent. There is at least one
point where the awesome tessitura of the piece challenges Järvi’s
soprano into a swallowed gulp where Juntunen flies onwards.
I still favour the 1976 EMI Berglund recording by Taru Valjakka
but this one from Bis is so much better recorded.
We are spoilt with
two versions of In Memoriam in this volume. CD 5 has
the 1909 original - very angry-tragic. On CD 3 we can hear the
final version from 1910 which I think loses some of the rasp
that makes the first version so awesome in its tread and fury.
I have to confess somewhat shamefacedly to a sneaking high regard
for Segerstam's impossibly distended reading - once on Chandos
and now on Brilliant Classics.
The final and fifth
disc in the tone poems set adds the two Scènes Historiques
suites conducted by Neeme Järvi and recorded by Bis in February
1985. I am glad that Järvi has not been abandoned. His imaginative
resource delivered and continues to deliver considerable pleasures
across the two decades dividing us from those original sessions.
We might forget that they took place only two years after the
launch of the compact disc. Järvi brings to the All'Overtura
a full-blooded rush. His Scena is another gentle
pastel with some bumbling and burblingly characterful Tchaikovskian
woodwind. His thrumming-bustling and light-hearted Festivo
ends the first triptych. La Chasse rustles with intimations
of the Third Symphony. Love Song is a rather pallid and
low key affair with Sibelius only hitting his stride again with
the light Prokofiev-style skip and pizzicato of the wonderful
At the Draw-Bridge. Thus the disc ends with enchantment
- a spell and a smile.
Then comes the first
of two chamber music volumes – CHAMBER MUSIC I. Chamber
music and Sibelius? They don’t really pair up that well, do
they? Volume 2 in the Sibelius Edition aims to put us
straight on that. If we had got it into our heads that apart
from Voce Intimae he didn’t really write any then this
box and a Chamber volume 2 will put us back on the straight
and narrow. He wrote masses of chamber music – especially in
his youth.
On CD1 the 1885 Molto
Moderato possesses an urbane bustle: Beethoven meets Smetana:
the cafe cultures of Vienna and Helsingfors. The fluency of
the Theme and Variations of 1888 can be admired. The fragments
of small chamber pieces are rather akin to the Catalogue
of Themes in Piano Volume 1. They’re all very polished -
several sounding grown-up. The silvery flow of the allegretto
in b flat major of 1889 presents some lovely ideas. Pay heed
also to the flying Allegro that is last movement of the 1899
String Quartet in A minor.
CD3 includes the regretful,
nuanced and gentle Andante Sostenuto of the 1890 String
Quartet in B flat major. This contrasts with the famous Voces
Intimae (1910) with its snow-flake-flighty Allegro. We are
even treated to the preliminary ending of the Allegro.
CD4 places the Trios
in front of the listener. There’s an 1883 one for 2 violin and
piano which has its charms but more impressive is the shimmering
flutter of the Menuetto of the 1884 A Minor Piano Trio. The
Hafträsk piano trio in A Minor is more classical with
few presentiments of the mature Sibelius.
CD5 Korpo Trio still
bays very much for classical models couth and civilised. It’s
al rather tame but the lovely floating allegro in d minor fairly
scampers along as completed by Kalevi Aho who has done quite
a bit of the recovery work on the chamber pieces.
The last CD in the
set includes the wheeze of the harmonium alongside sophistication
of the violin, cello and piano. This functions as a reminder
that these pieces were played by family members in what was
a very musical home. The Lisztian storm-clouds thunder of the
Quartet in C minor of 1891 give way to an urbane and feather-limned
melody that candidly carries the DNA of the later mature Sibelius.
With the voice
we reach much closer to the Sibelius we know. In Sibelius the
voice and the orchestra (Volume 3 – VOICE AND ORCHESTRA)
combine in double potency.
CD 1 is the Vänskä/Lahti
Kullervo. It is superbly weighted, calculated and recorded.
The approach is steady and unglamorous but the recording is
a constant grace - delightfully balanced and captured. This
is an understated Kullervo with many slow-blooming and
pastel-shaded colours. It does not tower over you like the versions
by Berglund, Davis or Spano.
The second disc includes
Herr du bist ein els – a Bachian cantata replete with
dancing delight. Rakastava for male voices and orchestra is
not as bleakly fey as the string orchestra version. The University
cantata is a 30 minute piece. It is quite new but this is a
generally lower key work with some fine Sibelius along the way.
There’s a swayingly enchanting Andantino and a student-body
sense of a grave yet youthful processional singing in silvery
light. The Wood Nymph is for reciter, piano and orchestra.
It dates from 1894 and is out of the same bran tub as Finlandia
in the contour of the melody at start. Lasse Pöysti picks up
on the melodic shaping in his carefully intoned - almost singing
- oration. The 1895 Serenade is taken by for Tommi Hakala.
The orchestra has that lovely trademark trembling-quiet strings
and pizzicato writing. Finally the Cantata for the Coronation
of Nicholas II (1896) is suitably majestic. It is self-consciously
grand and glows with a splendid lustre in part I. Part II becomes
more rhetorical before developing a Finlandia style grandeur.
The passionate exaltation to be heard at 3.38 recalls similar
echo effects in waltons Te Deum from 1937.
CD 3 - The recording
of Sibelius’s only completed opera, Jungrun i Tornet has
been around a long time. It’s still very good but in a head
to head not to be referred to Paavo Järvi’s version on Virgin.
Järvi beings a minted excitement to the Overture – very light
on the aural palate. The Wagnerian stentor brought to the singing
has a passionate warmth that fades back into a sighing duet
(tr.7 1.17).
I could continue but
frankly this set is packed with good things. You cannot go wrong
if you want to investigate the complete Sibelius for voice and
orchestra or even to compare earlier and final versions of Song
of the Athenians, Höstkvall, Har du mod (3
versions) and Tulen Synty.
In Volume 4– PIANO MUSIC I - try sampling the mannered 1886 Scherzo
in E major. It’s all early Beethoven and Mozartean cut-glass.
Much the same goes for the sequence of jigsaw-small fragments
in the Catalogue of Themes – also on CD1. The invitation appears
to be: throw them up in the air and arrange them into a bigger
work. Nothing very personal here but certainly capable and lively.
CD2 offers a haltingly
pensive Andantino in B Major JS 44. Then there’s the Grieg-like
and rustically trilled Moderato from Florestan
JS82 (1889). The stuttering overlapping layers of the Scherzo
in F sharp minor explodes into a grandeur that reminds u again
of Grieg – this time of the Piano Concerto.
CD 3 brings the pesante
exhaustion of the first of the Six Impromptus – more Grieg –
in fact a sentimental Troll. The Ballade from Karelia Suite
at least offers us something familiar among all the new impressions
tumbling in. The peremptory little Caprizzio dates from
1895.
On CD 4 the Lisztian
mitrailleuse roulades of the Caprice (1898) remind us
that Sibelius spent may of his formative years in Germany. The
Musette from Kung Kristian II works well although
the rumbling sepulchral thunder and forked lightning of Finlandia
is better caught by Servadei on Regis.
The next disc offers
the promise of something even more characteristic in the shape
of some Finnish Folk songs - six of them - all a-tremble. The
Ten Bagatelles are beautifully turned – all elegance and spin.
They are pleasing miniatures just like the Ten Pensées Lyriques.
Sibelius did not spare the horses when it came to sentimentality.
The rather nice Valse Triste is heard in two versions.
Most challenging and satisfying is The Dryad – an almost
minimalist portrait and mood-piece, all in one.
The theatre music in
Volume 5 – THEATRE MUSIC - was recorded in suite form
fairly thoroughly by Bis when their alliance was with the Gothenburg
Symphony Orchestra and Neeme Järvi. There's a lot of it. To
date none of the discs in the Edition have been as tightly packed
as these. Five of the six time out at between 77 and 79 minutes.
What we have here is
every one of the ten sets of incidental music in both complete
original sequence and in suite form – at least where a suite
exists. Most of the strain is taken up by the Lahti orchestra
with Osmo Vänskä - the Järvi Gothenburg team carry the King
Christian II concert suite of 1898, the Swanwhite Suite
of 1908 and the Belshazzar concert suite of 1906-7 as
well as the complete ‘pantomime’ of Scaramouche, once
roughly but pleasingly done by the Hungarian State Symphony
Orchestra with Jussi Jalas and available on a long gone Decca
double. They also do the Pelleas suite and the two Tempest
suites and Prelude as well as several valuable gew-gaws such
as the Canzonetta and Valse Romantique from Kuolema
and the Kom nu hit dod from Twelfth Night sung
by Hynninen. We should not forget the Wedding March from
The Language Of The Birds by Adolf Paul. It’s a lot of
music across six densely filled CDs. Järvi and one Panula track
were recorded between 1983 - the CD dawn year - to 1990. Then
along came the move to Lahti and Vänskä. Their recordings range
from 1992 to 2008. These are all finely conceived and executed
readings sensitive to sibelius's lighter hand yet responsive
to the many strange and fey moments and paragraphs to be found
in The Tempest. I am not ready to give up my allegiance
to Beecham
in The Tempest or to Gibson
in King Christian II or to Rozhdestvensky in Belshazzar
or even to Batiz and Tjeknavorian (Regis)
but these Bis discs offer in one convenient and densely stocked
package gifted recordings that are often gifted and mostly evince
spellbinding clarity with lucid sound. Wonderful material.
Although there are
another eight boxes to come the first five offer a wonderful
series of in-depth tranches of the composer's works organised
by genre.
On the other hand if
you shrivel at the very thought of 13 boxes of between 4 and
6 CDs then you might like to go for Bis's "The Essential
Sibelius". It's still in the shops and gives you what it
says on the box … and a quite a bit more: 15 discs for the price
of four. You get all the symphonies an most of the prime tone
poems as conducted by Vänskä. Songs, choral works, chamber music
and piano solos all appear in fine imaginative performances.
For the rest of us
the 13 box sequence is the fulfilment of a dream. A lifetime's
worth of discovery even if much of the early music is less than
inspirational though wonderfully crafted.
THE SIBELIUS EDITION Vol.1 –
Tone Poems Helena Juntunen (soprano) Göteborgs Symfoniker/Neeme Järvi Lahti Symphony Orchestra/Osmo Vänskä 5 CDs for the price of 3 BIS-CD-1900/02 [388:56] CD 1: 1. En saga, Op.9 [1892 – original version]
21:51 Lemminkäinen Suite, Op.22 (earlier versions)
2. I. Lemminkäinen and the Maidens of the
Island [1896 – original version (?)] 14:24 3. II. Lemminkäinen in Tuonela [1896 version
– reconstruction] 22:07 4. IV. Lemminkäinen’s Return [1896 – original
version (?)] 11:23 5. IV. Lemminkäinen’s Return [1896 – original
version (?)] 11:50 CD 2: 1. Improvisation/Spring Song [Op.16] [1894
– preliminary version] 9:18 2. The Wood-Nymph, Op.15 – Ballad for Orchestra
21:37 3. En saga, Op.9 [1892, rev. 1902 – final
version] 18:03 4. Cassazione, Op.6 [1904 – original version]
12:14 5. Musik zu einer Scène [1904 – preliminary
version of Dance-Intermezzo] 5:32 6. Finland Awakes [1899 (?) – Preliminary
version of Finlandia] 8:27 CD 3: 1. Finlandia, Op.26 [1899, rev. 1900 –
final version] 8:28 2. Spring Song, Op.16 [1894, rev. 1895]
7:34 3. In memoriam, Op.59 [1909, rev. 1910
– final version] 11:21 Lemminkäinen Suite, Op.22 4. I. Lemminkäinen and the Maidens of the
Island [1896, rev. 1897 & 1939 – final version] 15:12 5. II. The Swan of Tuonela [1893, rev.
1897 & 1900 – final version] 9:27 6. III. Lemminkäinen in Tuonela [1896,
rev. 1897 & 1939 – final version] 17:41 7. IV. Lemminkäinen’s Return [1896, rev.
1897 & 1900 – final version] 6:27 CD 4: 1. Pohjola’s Daughter, Op.49 13:10 2. Night Ride and Sunrise, Op.55 17:20
3. The Dryad, Op.45 No.1 5:07 4. Dance-Intermezzo, Op.45 No.2 [1904,
rev. 1907] 2:41 5. The Bard, Op.64 7:32 6. The Oceanides, Op.73 [1914 – final version]
10:03 7. Tapiola, Op.112 17:22 CD 5: 1. Luonnotar, Op.70 8:50 2. The Oceanides, Op.73 [1914 – Yale version]
7:25 3. In memoriam, Op.59 [1909 – original
version] 10:25 4. Cassazione, Op.6 [1904, rev. 1905 –
final version] 12:55 Scènes historiques I, Op.25 [1899, rev.
1911] 5. I. All’ Overtura 4:37 6. II. Scena 6:11 7. III. Festivo 7:07 Scènes historiques II, Op.66 8. I. La Chasse 6:27 9. II. Love Song 4:30 10. III. At the Draw-Bridge 6:37 Helena Juntunen (soprano) Göteborgs Symfoniker/Neeme Järvi Lahti Symphony Orchestra/Osmo Vänskä THE SIBELIUS EDITION Vol.2 – Chamber
Music I Kristiina Mäkele (soprano); MariAnne Häggander
(soprano); Helena Juntunen (soprano); Lilli Paasikivi (mezzo);
Matleena Vakkilainen (mezzo); Tone Kruse (alto); Erland Hagegård
(tenor); Tom Nyman (tenor); Juha Hostikka (baritone); Tommi
Hakala (baritone); Raimo Laukka (baritone); Jorma Hynninen (baritone);
Jyrki Korhonen (bass); Tytti Vänskä (narrator); Stina Ekblad
(narrator); Lasse Pöysti (narrator); Lahti Boys: Choir; Jubilate
Choir; Dominante Choir; YL Male Voice Choir; Göteborgs Konserthuskör;
Lahti Symphony Orchestra/Osmo Vänskä; Göteborgs Symfoniker/Jorma
Panula, Neeme Järvi 6 CDs for the price of 3 BIS-CD-1903/05 [437:47] CD 1: 1. Molto moderato – Scherzo, JS134 4:15
2. [Scherzo] in B minor, 1885 0:43 String Quartet in E flat major, JS184 3. I. Allegro 8:56 4. II. Andante molto 22:46 5. III. Scherzo. Allegretto 1:28 6. IV. Vivace 4:27 [Four Themes] 1887 7. I. G major 0:40 8. II. E flat major 0:19 9. III. A minor 0:29 10. IV. E minor 0:16 [Three Pieces] 11. I. Alla marcia in E minor, JS16 0:58
12. II. Presto in F major, JS154 0:55 13. III. Theme and Variations in G minor,
JS197 1:26 14. Allegretto in D major, JS20 2:12 15. Andantino in C major, JS39 3:06 16. Theme and Variations in C sharp minor,
JS195 6:20 [33 Small Pieces] 1888-89 17. 1. E major 0:13 18. 2. A minor – C major 0:20 19. 3. F major 0:13 20. 4. A minor 0:28 21. 5. A flat major 0:46 22. 6. F sharp minor 0:25 23. 7. F major 0:20 24. 8. G major 0:30 25. 9. A major 0:20 26. 10. E flat major 0:49 27. 11. A major 0:17 28. 12. C minor 0:52 29. 13. E major 0:33 30. 14. C minor/E flat major 0:19 31. 15. E major 0:18 32. 16. D minor 0:36 33. 17. C minor 0:29 34. 18. B flat major 0:50 35. 19. D minor 0:29 36. 20. A major 0:39 37. 21. A minor 0:42 38. 22. B minor 1:08 39. 23. F major 0:58 40. 24. E flat major 0:42 41. 25. Moderato. G major 0:23 42. 26. Allegretto. A minor 0:18 43. 27. Presto. C major 0:10 44. 28. Andante. C major 0:26 45. 29. Andantino. D major 0:17 46. 30. Alla marcia. E major 0:22 47. 31. Andante. E flat major 0:20 48. 32. Andantino. A major 0:17 49. 33. Moderato. D major 0:55 50. [Allegro] in G minor, 1888–89 0:32
51. Andante – Allegro molto in D major,
JS32 6:17 52. Andante molto sostenuto in B minor,
JS37 7:40 CD 2: 1. Moderato – Allegro appassionato in C
sharp minor, JS131 10:33 [Three Pieces] 2. Allegro in E minor, JS28 7:42 3. Allegretto in A major, JS17 & Più
lento in F major, JS149 3:14 4. Adagio in F minor, JS14 5:28 5. Allegretto in B flat major, 1889 1:00
6. Fuga för Martin Wegelius, JS85 5:28
String Quartet in A minor, JS183 7. I. Andante – Allegro 11:06 8. II. Adagio ma non tanto 8:33 9. III. Vivace 5:43 10. IV. Allegro 8:40 CD 3: 1. Adagio in D minor, JS12 12:15 String Quartet in B flat major, Op.4 2. I. Allegro 7:24 3. II. Andante sostenuto 7:57 4. III. Presto 5:23 5. IV. Allegro 8:40 String Quartet in D minor, ‘Voces intimae’,
Op.56 6. I. Andante – Allegro molto moderato
5:53 7. II. Vivace 2:18 8. III. Adagio di molto 10:51 9. IV. Allegretto (ma pesante) 5:34 10. V. Allegro 4:57 String Quartet in D minor, ‘Voces intimae’:
preliminary ending 11. V. Allegro [from Risoluto, 8 bars before
Fig.11] 0:32 12. Andante festivo, JS34a 5:11 CD 4: Trio ‘in G major’ for two violins and piano,
JS205 1. I. Andante – Allegro 4:03 2. II. Adagio 4:28 3. III. Vivace 1:27 4. [Menuetto] in D minor for violin, cello
& piano, 1882-85 1:07 5. Menuetto in F major for two violins
and piano, JS126 2:07 6. [Andante] – Adagio – Allegro maestoso
for violin, cello and piano, 1883–85 3:53 Piano Trio in A minor, JS206 7. I. Allegro con brio 6:24 8. II. Andante 9:13 9. III. Menuetto 5:12 10. [Moderato] in A minor for violin, cello
and piano, 1885 3:09 11. [Allegro] in C major for violin, cello
and piano, 1885 1:40 12. Allegro in D major for violin, cello
and piano, JS27 3:16 13. [Andantino] in A major for violin,
cello and piano, 1886 2:18 Piano Trio in A minor, ‘Hafträsk’, JS207
14. I. Allegro maestoso 8:35 15. II. Andantino 4:20 16. III. Scherzo. Vivace 2:40 17. IV. Rondo 6:10 CD 5: Piano Trio in D major, ‘Korpo’, JS209 1. I. Allegro moderato 10:50 2. II. Fantasia. Andante – Adagio – Molto
adagio – Andantino – 15:30 3. III. Finale. Vivace 9:21 4. Andantino in G minor for violin, cello
and piano, JS43 1:40 5. [Allegretto] in A flat major for violin,
cello and piano, 1887–88 0:46 Piano Trio in C major, ‘Lovisa’, JS208
6. I. Allegro 6:57 7. II. Andante – Più lento – Lento 4:04
8. III. Allegro con brio 4:37 9. [Allegro] in D minor for violin, cello
and piano, 1889 6:09 10. [Allegretto] in E flat major for violin,
cello and piano, 1891–92 1:39 11. La pompeuse Marche d’Asis for violin,
cello and piano, JS116 3:21 CD 6: Quartet in D minor for two violins, cello
and piano, JS157 1. I. Andante molto – Allegro moderato
11:34 2. II. Adagio 7:54 3. III. Menuetto 4:31 4. IV. Grave – Rondo. Vivacissimo 8:34
Ljunga Wirginia, Quartet for violin, cello
and piano four hands, 1885 5. I. Moderato quasi andantino – Cantabile
– Recitativo 3:44 6. II. Prestissimo 3:54 7. III. Largo 1:50 8. IV. Andantino 1:27 9. V. Allegretto 0:25 10. VI. Allegro – Più vivo quasi Presto
– Allegro con fuoco – [Moderato] 4:20 11. Scherzo in E minor for violin, cello
and piano four hands, JS165 4:40 12. Andante cantabile in E flat major for
piano and harmonium, JS30b 4:12 13. Quartet in G minor for violin, cello,
piano and harmonium, JS158 8:47 14. Quartet in C minor for two
violins, cello and piano, JS156 8:23 Jaakko Kuusisto (violin) Satu Vänskä (violin) Taneli Turunen (cello) Marko Ylönen (cello) Folke Gräsbeck (piano) Peter Lönnqvist (piano) Harri Viitanen (harmonium) Tempera Quartet THE SIBELIUS EDITION Vol.3 – Voice and
Orchestra Kristiina Mäkele (soprano); MariAnne Häggander
(soprano); Helena Juntunen (soprano); Lilli Paasikivi (mezzo);
Matleena Vakkilainen (mezzo); Tone Kruse (alto); Erland Hagegård
(tenor); Tom Nyman (tenor); Juha Hostikka (baritone); Tommi
Hakala (baritone); Raimo Laukka (baritone); Jorma Hynninen (baritone);
Jyrki Korhonen (bass); Tytti Vänskä (narrator); Stina Ekblad
(narrator); Lasse Pöysti (narrator); Lahti Boys: Choir; Jubilate
Choir; Dominante Choir; YL Male Voice Choir; Göteborgs Konserthuskör;
Lahti Symphony Orchestra/Osmo Vänskä; Göteborgs Symfoniker/Jorma
Panula, Neeme Järvi 6 CDs for the price of 3 BIS-CD-1906/08 [447:36] CD 1: Kullervo, Op.7 1. I. Introduction 12:50 2. II. Kullervo:s Youth 19:18 3. III. Kullervo and his Sister 25:27 4. IV. Kullervo Goes to War 10:04 5. V. Kullervo:s Death 12:22 CD 2: [Two Chorales] for mixed choir and orchestra,
1889 1. Herr du bist ein Fels (Lord, you are
a rock) 1:41 2. Herr erzeige uns deine Gnade (Lord,
show us your mercy) 3:05 3. Rakastava (The Lover), JS160b, 1894
6:28 Kantaatti tohtorin- ja maisterin-vihkijäisissä
31 päivänä toukokuuta 1894, JS105 [Cantata for the University
Graduation Ceremonies of 1894] 4. I. Syntyi kun maailmat… (When the planets
were born…) 7:23 5. II. Kaskeksi korvet ne raadettiin… (We
tore down and burned the woods…) 15:17 6. III. Andantino [orchestra] 8:53 7. The Wood-Nymph, Op.15, melodrama for
recitation, piano and orchestra 10:10 8. Serenad (Serenade), JS168, for baritone
and orchestra 5:47 Kantaatti ilo- ja onnentoivotusjuhlassa
Marraskuun 2. päivänä 1896, JS104 (Cantata for the Coronation
of Nicholas II) 9. I. Terve nuori ruhtinas… (Hail, young
prince…) 8:33 10. II. Oikeuden varmassa turvassa… (In
the sure security of justice…) 9:58 CD 3: Jungfrun i tornet (The Maiden in the Tower),
JS101, opera in one act 1. Overture 2:50 2. Scene 1: Bailiff: Fagraste mö… (Fairest
maiden…) 5:49 3. Scene 2: Maiden: Santa Maria… 3:48 4. Scene 3: Maiden: Ah, hör jag rätt… (Ah,
do I hear right…) 4:05 5. Intermezzo 1:01 6. Scene 4: Lover: Ack, när jag ser hennes
drag… (Ah, when I see her face…) 4:01 7. Scene 5: Maiden: Brännande kval… (Burning
torment…) 8:10 8. Scene 6: Bailiff: Vem är du… (Who are
you…) 1:04 9. Scene 7: Chatelaine: Vad är det jag
ser? (What:s this I see?) 1:27 10. Scene 8 Maiden: Så är jag fri… (Now
I am free…) 2:57 11. Laulu Lemminkäiselle (A Song for Lemminkäinen),
Op.31 No.1 4:08 12. Koskenlaskijan morsiamet (The Rapids-Rider:s
Brides), Op.33 9:00 13. Sången om korsspindeln (Fool:s Song
of the Spider), Op.27 No.4 3:31 14. Sandels, Op.28 8:57 15. Athenarnes sång (Song of the Athenians),
Op.31 No.3, original version 3:31 16. Islossningen i Uleå älv (The Breaking
of the Ice on the Oulu River), Op.30 10:30 CD 4: 1. Athenarnes sång (Song of the Athenians),
Op.31 No.3, arr. 3:26 2. Snöfrid, Op.29 14:15 3. Impromptu, Op.19, original version 5:27
4. Tulen synty (The Origin of Fire), Op.32,
original version 11:20 5. Se:n har jag ej frågat mera, Op.17 No.1
1:53 6. Höstkväll (Autumn Evening), Op.38 No.1
4:29 7. På verandan vid havet (On a Balcony
by the Sea), Op.38 No.2 3:06 8. I natten (In the Night), Op.38 No.3
3:37 9. Har du mod? (Have You Courage?), Op.31
No.2 1:38 10. Höstkväll (Autumn Evening), Op.38 No.1
(for voice and string orchestra) 4:55 11. Vapautettu kuningatar (The Captive
Queen), Op.48 9:16 12. Grevinnans konterfej (The Countess:s
Portrait), JS88 3:31 13. Impromptu, Op.19, final version 6:57
CD 5: 1. Vapautettu kuningatar (The Captive Queen),
Op.48, rev. 1910 (?) 9:21 2. Tulen synty (The Origin of Fire), Op.32,
final version 9:03 4. Arioso, Op.3 3:48 5. Har du mod? (Have You Courage?), Op.31
No.2, 3rd version 1:54 6. Hertig Magnus (Duke Magnus), Op.57 No.6
3:35 7. Luonnotar, Op.70 9:00 8. Soluppgång (Sunrise), Op.37 No.3 2:22
9. Våren flyktar hastigt (Spring is Flying),
Op.13 No.4 1:30 10. Har du mod? (Have You Courage?), Op.31
No.2 1:58 11. Sandels, Op.28 8:57 12. Demanten på marssnön, Op.36 No.6 2:58
13. Jääkärien marssi (March of the Finnish
Jäger Battalion), Op.91a 2:23 14. Partiolaisten marssi (Scout March),
Op.91b 2:50 15. Oma maa (My Own Land), Op.92 13:26
CD 6: 1. Jordens sång (Song of the Earth), Op.93
14:20 2. Autrefois, Scène pastorale, Op.96b 5:40
3. Maan virsi (Hymn to the Earth), Op.95
5:47 4. Väinön virsi (Väinämöinens Song), Op.110
8:53 5. Processional (Onward, Ye Peoples), Op.113
No.6 3:46 6. Koskenlaskijan morsiamet (The Rapids-Riders
Brides), Op.33 8:36 7. Ett ensamt skidspår (A Lonely Ski-Trail),
JS77b 2:41 8. Kullervon valitus (Kullervos Lament)
from Op.7 2:17 9. Kom nu hit, död (Come Away, Death),
Op.60 No.1 2:48 Kristiina Mäkele (soprano) MariAnne Häggander (soprano) Helena Juntunen (soprano) Lilli Paasikivi (mezzo) Matleena Vakkilainen (mezzo) Tone Kruse (alto) Erland Hagegård (tenor) Tom Nyman (tenor) Juha Hostikka (baritone) Tommi Hakala (baritone) Raimo Laukka (baritone) Jorma Hynninen (baritone) Jyrki Korhonen (bass) Tytti Vänskä (narrator) Stina Ekblad (narrator) Lasse Pöysti (narrator) Lahti Boys: Choir, choir Jubilate Choir Dominante Choir YL Male Voice Choir Göteborgs Konserthuskör Lahti Symphony Orchestra/Osmo Vänskä Göteborgs Symfoniker/Jorma Panula,
Neeme Järvi THE SIBELIUS EDITION Vol.4 – Piano Music
I Folke Gräsbeck (piano) Lasse Pöysti (narrator) 5 CDs for the price of 3 BIS-CD-1909/11 [392:45] CD 1: 1. Scherzo in E major with Trio in E minor,
JS134a 2:34 2. Con moto, sempre una corda in D flat
major, JS52 3:34 [Three Pieces], 1885 3. [Andante] in E flat major, JS74 3:00
4. [Menuetto] in A minor, JS5 1:16 5. [Tempo di valse] in A major, JS2 0:55
6. Scherzo in E major with [Trio] in A
major, JS134b 2:04 7. [11 Variations on a harmonic formula]
in D major, 1886 10:12 from [Music Book, 118 Harmony Exercises],
1886 8. [Waltz] in D minor (No.105) 1:01 9. [Andantino] in B flat major (No.111)
1:15 [A Catalogue of Themes, 50 Short Pieces]
10. 1. [Andante cantabile], 6/8, G major
0:08 11. 2. [Moderato], C [=4/4], C minor 0:08
12. 3. [Moderato], C, G minor 0:11 13. 4. [Allegretto], 3/4, A major 0:07
14. 5. [Andantino], 6/8, A minor 0:09 15. 6. [Andante], C, G major 0:10 16. 7. [Adagio], [C], F major 0:11 17. 8. [Andante], [C], B minor 0:09 18. 9. [Allegro risoluto], [C], G minor
0:06 19. 10. [Adagio], C, A minor 0:07 20. 11. [Moderato], 3/4, G minor 0:06 21. 12. [Alla marcia], C, D major 0:06
22. 13. [Andante], 6/8, B flat major 0:07
23. 14. [Allegro con spirito], C, G major
0:05 24. 15. [Adagio], C, D major 0:16 25. 16. [Allegro moderato], C, A flat major
0:12 26. 17. [Allegro giocoso], C, C major 0:13
27. 18. [Allegretto], C, B flat major 0:08
28. 19. [Tempo di valse], 3/4, A major
0:14 29. 20. [Allegro con fuoco], 3/4, D minor
0:08 30. 21. [Allegro], 3/4, G major 0:09 31. 22. [Allegro con fuoco], 2/4, D minor
0:11 32. 23. [Allegretto], 2/4, C sharp minor
0:11 33. 24. [Andante cantabile], 6/8, G major
(elaboration of No.1) 0:12 34. 25. [Moderato], C, C minor (elaboration
of No.2) 0:14 35. 26. [Andantino], 6/8, A minor (elaboration
of No.5) 0:16 36. 27. [Andante], C, G major (elaboration
of No.6) 0:17 37. 28. [Allegro risoluto], C, G minor
(elaboration of No.9) 0:10 38. 29. [Andante], 6/8, B flat major (elaboration
of No.13) 0:12 39. 30. [Allegro con spirito], C, G major
(elaboration of No.14) 0:11 40. 31. [Adagio], C, D major (elaboration
of No.15) 0:30 41. 32. [Allegro moderato], C, A flat major
(elaboration of No.16) 0:20 42. 33. [Andante cantabile], 6/8, G major
(elaboration of Nos1 & 24) 0:22 43. 34. [Moderato], C, C major 0:19 44. 35. [Allegretto], 6/8, B flat minor
0:30 45. 36. [Moderato], C, D major 0:24 46. 37. [Moderato], C, C minor (elaboration
of Nos2 & 25) 0:46 47. 38. [Andantino], 6/8, E major 0:36
48. 39. [Andantino], 6/8, E major (elaboration
of No.38) 0:34 49. 40. [Mazurka], 3/4, B flat minor 0:14
50. 41. [Adagio], C, D major 0:25 51. 42. [Allegro inquieto], 6/8, A minor
0:20 52. 43. [Alla polacca], [3/4], E major
0:18 53. 44. [Andante mesto], C, E minor 0:32
54. 45. [Andantino], C, G major 0:27 55. 46. [Ballade], 9/8, C minor 0:28 56. 47. [Allegro], 6/8, C major 0:18 57. 48. [Allegretto rustico], 6/8, D minor
0:19 58. 49. [Commodo], C, G major 0:22 59. 50. [Andantino], 6/8, E major (elaboration
of Nos38 & 39) 1:57 Trånaden (Suckarnas mystèr), Fantasy for
piano with recitation, JS203 60. Poem: Tvenne lagar styra människolivet…
1:11 61. Piano: Largo – Andante 4:02 62. Poem: Ser du havet? 1:02 63. Piano: Andantino 3:17 64. Poem: Hör du vinden? 0:39 65. Piano: Molto allegro – Andante – Adagio
cantabile 3:29 66. Poem: Vad är våren? 0:36 67. Piano: Allegro – Andantino – Moderato
– Andante – Poco adagio – Allegretto 2:08 68. Poem: Mänska, vill du livets vishet
lära… 0:45 69. Piano: Largo 2:18 70. Andante in E flat major, JS30a 4:02
71. [Aubade] in A flat major, JS46 2:48
72. Au crépuscule, JS47 1:52 [Five Short Pieces], 1888 73. Tempo di menuetto in F sharp minor
0:24 74. Allegro in E major 0:27 75. [Moderato] in F minor 0:27 76. Vivace in E flat major 0:16 77. Andantino in C major 1:17 CD 2: [Three Short Pieces], 1888 1. Andantino in B major, JS44 1:22 2. Allegretto in B flat minor, JS18 1:02
2. [Waltz] in D flat major, 1891–93 2:12
[Three Short Pieces], 1888 3. Allegro in F minor 0:43 [Three Waltzes], 1888 4. [Waltz] in E major 1:03 5. Più lento – Tempo di valse in E flat
major, JS150 3:19 6. [Waltz, Fragment] in F minor 0:31 [Two Pieces], 1888 7. Andantino in E major, JS41 0:49 8. [Two Sketches. Presto] in A minor, JS6
1:00 9. Allegretto in G minor, JS24 0:49 10. Moderato – Presto in D minor, JS133
1:30 11. [Allegro, Fragment] in E major, 1888
0:18 12. O, om du sett, for recitation and piano,
JS141 4:27 [Three Sonata Movements], 1888 13. Largo in A major, JS117 4:07 14. Vivace in D minor, JS221 2:36 15. Adagio in D major, JS11 4:04 16. [Three Fugue Expositions] in D minor,
1888–89 1:35 17. [Polka] in E flat major, JS75 1:08
Florestan, Suite for Piano, JS82 18. I. Moderato 1:33 19. II. Molto moderato 2:23 20. III. Andante 4:06 21. IV. Tempo I 2:04 22. Allegretto in E major, JS21 1:33 23. À Betzy Lerche – Valse in A flat major,
JS1 4:07 24. [Sonata Allegro: exposition and development
section] in D minor, JS179a 6:51 Sonata Fragments for Becker 1889 J.S. 25. [Two Sonata Sketches] 0:47 26. [Eleven Sonata Sketches] 2:17 27. [Sonata Allegro: exposition] in F minor,
JS179b 4:04 28. [Sonata Allegro: exposition] in C major,
JS179c 1:29 29. [Sonata Allegro] in E major, JS179d
5:00 30. [Sonata Allegro: exposition] in C minor,
JS179e 3:38 31. [Polka, Fragment] in E minor, 1890–92
0:21 32. [Mazurka, Sketch] in D minor, 1891–94
0:23 33. Scherzo in F sharp minor, JS164 1:44
CD 3: 1. Menuetto in B flat major, 1891–92 2:42
2. [Waltz] in D flat major, 1891–93 2:12
Six Impromptus, Op.5 3. Impromptu No.1 in G minor 1:53 4. Impromptu No.2 in G minor 1:51 5. Impromptu No.3 in A minor 2:33 6. Impromptu No.4 in E minor 2:07 7. Impromptu No.5 in B minor 3:36 8. Impromptu No.6 in E major 6:02 from Karelia Suite, Op.11 9. I. Intermezzo 3:06 10. II. Ballade 6:40 Sonata in F major, Op.12 11. I. Allegro molto 5:51 12. II. Andantino 6:54 13. III. Vivacissimo 4:00 14. from The Wood-Nymph, Op.15 3:18 15. Allegretto in F major, JS23 2:40 16. Caprizzio in B flat minor, 1895 2:10
17. Lento in E major, JS119 3:22 18. Allegretto in G minor, JS225 1:10 19. [Caprice] in B minor, 1898 1:59 20. Andantino in F major, Op.24 No.7 3:34
21. Menuetto in B flat major, 1898–1900
1:47 22. Marche triste, JS124 5:31 23. [Allegro] in G minor, 1899–1903 1:26
24. Kavaljeren, JS109 1:29 CD 4: 1. Andantino in F major, 1897 2:33 Ten Pieces, Op.24 2. 1. Impromptu in G minor 4:53 3. 2. Romance in A major 6:52 4. 3. Caprice in E minor, 1898 3:07 5. 4. Romance in D minor 3:48 6. 5. Valse in E major 2:16 7. 6. Idyll in F major 4:00 8. 7. Andantino in F major 3:45 9. 8. Nocturno in E minor 3:35 10. 9. Romance in D flat major 3:46 11. 10. Barcarola in G minor 4:46 12. Idyll in F major, Op.24 No.6 3:56 13. Finlandia, Op.26 8:42 Kung Kristian II (King Christian II), Op.27
14. 1. Élégie 4:32 15. 2. Menuetto 1:38 16. 3. Musette 2:08 17. 4. Sången om korsspindeln 4:12 [Three Sketches], 1895–98 18. B flat minor 0:39 19. D flat major 0:24 20. C major 0:28 21. [Largamente] in D minor, 1897-99 1:16
22. Har du mod? (fourth version), Op.31
No.2 1:48 23. Athenarnes sång, Op.31 No.3
2:28 CD 5: Finnish Folk-songs arranged for piano,
JS81 1. 1. Minun kultani kaunis on, sen suu
kuin auran kukka 1:31 2. 2. Sydämestäni rakastan 1:45 3. 3. Ilta tulee, ehtoo joutuu 1:12 4. 4.Tuopa tyttö, kaunis tyttö 1:09 5. 5. Velisurmaaja 1:42 6. 6. Häämuistelma 1:21 7. Minun kultani kaunis on, vaikk’ on kaitaluinen
1:24 8. [Adagio] in C major, 1901–05 0:41 9. [Polka] ‘Aino’ in C minor 0:24 10. Couplet in D major, Op.34 No.4 1:35
Ten Bagatelles, Op.34 11. 1. Valse in D flat major 1:46 12. 2. Air de danse in E major 0:51 13. 3. Mazurka in A major 1:16 14. 4. Couplet in D major (second version)
1:21 15. 5. Boutade in A flat major 1:33 16. 6. Rêverie in E minor 2:39 17. 7. Danse pastorale in A major 1:02
18. 8. Joueur de harpe in B flat minor
2:13 19. 9. Reconnaissance in D major 0:54 20. 10. Souvenir in A minor 2:14 21. [Andante (ma non troppo lento)] in
C sharp minor, 1898-99 2:36 Ten Pensées lyriques, Op.40 22. 1. Valsette in E minor 0:48 23. 2. Chant sans paroles in E minor 2:24
24. 3. Humoresque in C major 1:04 25. 4. Menuetto in C major 2:14 26. 5. Berceuse in D major 1:59 27. 6. Pensée mélodique in C major 1:54
28. 7. Rondoletto in A flat major 1:30
29. 8. Scherzando in A flat major 0:55
30. 9. Petite sérénade in B flat major
2:12 31. 10. Polonaise in C major 1:47 Kyllikki, three lyric pieces, Op.41 32. I. Largamente – Allegro 2:51 33. II. Andantino 4:23 34. III. Comodo 3:04 35. Valse triste (preliminary piano transcription),
Op.44 No.1 4:42 36. Valse triste (definitive piano transcription),
Op.44 No.1, 4:47 37. The Dryad, Op.45 No.1 5:10 38. Dance-Intermezzo, Op.45 No.2
2:33 Lasse Pöysti (narrator) Folke Gräsbeck (piano) THE SIBELIUS EDITION Vol.5 – Orchestral
Music for the Theatre Lahti Symphony Orchestra/Osmo Vänskä Göteborgs Symfoniker/Neeme Järvi 6 CDs for the price of 3 BIS-CD-1912/14 [465:27] CD 1: Kung Kristian II (King Christian II), Op.27
1. No.1. Elegy. Lento assai (Overture)
5:50 2. No.2. Musette. Allegretto (Act II, Scene
2) 2:06 3. No.3. Menuetto. Non troppo lento (Act
III, Scene 1) 1:51 4. No.4. Fool’s Song of the Spider (Act
V, Scene 3) 4:11 5. No.5. Nocturne. Moderato (After Act
I) 6:20 6. No.6. Serenade. Moderato assai – Moderato
(Act III, Scene 1) 4:22 7. No.7. Ballade. Allegro molto – Vivace
(Act IV) 5:32 Kuolema (Death), JS113 8. Scene I. Tempo di valse lente – Poco
risoluto 4:23 9. Scene II. Moderato (Paavali’s Song:
‘Pakkanen puhurin poika’) 3:04 10. Scene III. Moderato assai – Moderato
(Elsa’s Song: ‘Eilaa, eilaa’) – Poco adagio 7:07 11. Scene IV. Andante (The Cranes) 0:51
12. Scene V. Moderato 2:25 13. Scene VI. Andante ma non tanto 1:55
Svanevit (Swanwhite) 14. Preliminary sketch for No.9 (c.1908)
0:50 Svanevit (Swanwhite). Original theatre
music (1908) 15. No.1. A horn signal in the distance.
Largo 0:11 16. No.2. Comodo 2:31 17. No.3. A swan flies past. Adagio 0:16
18. No.4. Now the harp begins to play.
Lento assai 3:12 19. No.5. A white swan flies past. Adagio
0:15 20. No.6. Swanwhite’s mother. Lento – Commodo
– Lento – Allegro 4:21 21. No.7. The harp falls briefly silent
and strikes up a new melody. Andantino 1:31 22. No.8. Elsewhere! Andante 3:15 23. No.9. Stepmother: Where is the bride?
Lento 2:32 24. No.10. The golden clouds become rose
red. Moderato 2:17 25. No.11. Swanwhite. Allegretto 0:57 26. No.12. Fire at the castle. Largamente
1:27 27. No.13. Now the harp plays. Adagio 1:41
28. No.14. All bend their knees as if in
thanks and praise. Largamente molto 1:23 CD 2: Pelléas och Mélisande (Pelléas and Mélisande),
JS147 1. No.1. Grave e largamente (Act I, Prelude,
Scene 1) 2:53 2. No.2. Andantino con moto (Act I, Scene
2) 4:10 3. No.3. Adagio (Act I, Scene 4) 2:02 4. No.4. Commodo (Act II, Prelude, Scene
1) 1:53 5. No.5. Con moto (ma non tanto) (Act III,
Prelude, Scene 1) 1:59 6. No.6. Tranquillo (Mélisande’s Song,
Act III, Scene 2) De trenne blinda systrar 2:17 7. No.7. Andantino pastorale (Act III,
Scene 4) 1:52 8. No.8. Allegretto (Act IV, Prelude, Scene
1) 2:47 9. No.9. [no tempo marking] (Act IV, Scene
2) 3:00 10. No.10. Andante (Act V, Prelude, Scene
2) 5:38 Jokamies (Jedermann), Op.83 11. No.1. Largo 0:15 12. No.2. Largo 1:04 13. No.3. Allegro 1:25 14. No.3a. Allegro commodo 0:08 15. No.4. Dance Song (‘Me kutsun saimme…’)
Tempo commodo 3:15 16. No.5. ‘On riemussa hetket mennehet
taas’. Tempo andante 0:14 17. No.6. ‘Kun vettä sataa, niin kastutaan’.
Un poco con moto 0:08 18. No.7. ‘Maat ja metsät viheriöivät…’
Tempo moderato 0:58 19. No.8. ‘Oi, Lempi, armas Lempi!…’ Allegretto
0:41 20. No.9. ‘Maat ja metsät viheriöivät…’
Tempo moderato 1:10 21. No.10. Allegro molto 2:31 22. No.11. Largo, sempre misterioso 9:44
23. No.12. Adagio di molto 2:58 24. No.13. Adagio di molto (continued)
4:27 25. No.14. Largo e molto – Doloroso – Con
grande dolore 5:24 26. No.15. [Lento] 3:37 27. No.16. ‘Gloria in excelsis Deo’. Sempre
dolce sin al Fine 2:12 CD 3: Kuolema (Death), Op.44. Revised versions.
1. No.1. Valse triste (1904) 4:22 2. No.2. Kurkikohtaus (Scene with Cranes).
Andante sostenuto (1906) 4:55 The Tempest, Op.109 3 3. No.1. [Overture – The Ship Sinks beneath
the Waves]. Largamente molto 6:36 4. No.2. Miranda is Lulled into Slumber.
(Act I) 1:43 5. No.3. Ariel Flies In. (Act I) 0:20 6. No.4. Chorus of the Winds. (Act I) 2:21
7. No.5. [Ariel Hastens Away]. (Act I)
0:16 8. No.6. Ariel’s First Song, with Introduction
and Choir. (Act I) ‘Hietikolle käymme näin’ 1:57 9. No.7. Ariel’s Second Song. (Act I) ‘Sun
isääs’ peittävät synkeät veet’ 2:18 10. No.8. Interlude [Prospero]. (Act II)
4:10 11. No.9. The Oak Tree (Ariel) Plays the
Flute. (Act II) 2:43 12. No.10. Ariel’s Third Song. (Act II)
‘Täällä senkun kuorsataan’ 0:54 13. No.11. Interlude: Caliban. (Act II)
1:20 14. No.12. Stephano’s Song. (Act II) ‘En
enää lähde merelle’ 1:11 15. No.13. Caliban’s Song. (Act II) ‘Hei,
Prosperon perkele’ 1:26 16. No.14. Interlude: Miranda. (Act III)
1:43 17. No.15. [Humoresque]. (Act III) 1:58
18. No.16. Canon [Caliban, Trinculo, Stephano].
(Act III) Kurkitaan, urkitaan 2:09 19. No.17. Antonio. Dance of the Shapes.
(Act III) 5:05 20. No.18. Ariel as Harpy (– Melodrama).
(Act III) 1:56 21. No.19. The Shapes Dance Out (Ballet
II). (Act III) 1:53 22. No.20. Intermezzo [Alonso mourns].
(Act IV) 1:58 23. No.21. [Ariel Flies In]. (Act IV) 0:21
24. No.22. Ariel’s Fourth Song. (Act IV)
‘Ennen kuin ehdit huokaamaan’ 0:45 25. No.23. The Rainbow. (Act IV) 2:16 26. No.24. Iris’s Melodrama. (Act IV) 1:00
27. No.25. [Juno’s Song]. (Act IV) ‘Kunnia
ja vaurautta’ 1:32 28. No.26. Dance of the Naiads. (Act IV)
2:27 29. No.27. Dance of the Harvesters. (Act
IV) 1:47 30. No.28. [Ariel Flies In]. (Act IV) 0:19
31. No.29. [Ariel Hastens Away] (Act IV)
0:16 32. No.30. [Ariel Flies In]. (Act IV) 0:19
33. No.31. The Dogs. (Act IV) 0:59 34. No.31bis. Prelude. (Act V) 1:02 35. No.32. [Ariel Brings the Foes to Prospero]
(Act V) 3:06 36. No.33. Ariel’s Fifth Song. (Act V)
‘Mä mettä janooni juoda saan’ 1:00 37. No.34. Cortège. 2:15 38. No.34bis. Ossia [Epilogue]. (Act V)
1:20 The Tempest 39. Canon. (Preliminary version
of movement No.5 of The Tempest Suite No.1, Op.109 No.2) 2:02 CD 4: Belsazars gästabud (Belshazzar’s Feast),
JS48 1. No.1. Alla marcia. (Act I) 2:03 2. No.2a. Prélude: Nocturno. (Act II) 3:23
Belsazars gästabud (Belshazzar’s Feast),
JS48 3. No.2b. The Jewish Girl’s Song. (Act
II) ‘Vid älvarna i Babylon’ 3:11 Belsazars gästabud (Belshazzar’s Feast),
JS48 4. No.3. Allegretto (Act III) 0:57 5. No.4. Dance of Life. (Act III) 1:13
6. No.5. Dance of Death. (Act III) 1:14
7. No.6. Dance of Life: extract. (Act III)
0:30 8. No.7. Tempo sostenuto (Act IV) 3:08
9. No.8. Allegro (Act IV) 2:21 10. No.9. Dance of Life (shortened). (Act
IV) 0:48 11. No.10. Dance of Death (Act IV) 1:14
Kung Kristian II (King Christian II), Op.27.
Concert Suite 12. No.1. Nocturne. 7:40 13. No.2. Elegy. 5:23 14. No.3. Musette. 2:12 15. No.4. Serenade. 4:43 16. No.5. Ballade. 5:14 Svanevit (Swanwhite), Op.54. Concert Suite
17. No.1. The Peacock. 2:53 18. No.2. The Harp. 3:22 19. No.3. The Maidens with Roses. 2:33
20. No.4. Listen, the Robin Sings. 4:55
21. No.5. The Prince Alone. 3:56 22. No.6. Swanwhite and the Prince. 3:33
23. No.7. Song of Praise. 3:18 Twelfth Night, Op.60 24. No.1. ‘Kom nu hit, död’ (‘Come Away, Death’)
2:48 Die Sprache der Vögel (The Language of
the Birds), JS62 25. Wedding March (Act III) 3:27 CD 5: Belsazars gästabud (Belshazzar’s Feast),
Op.51. Concert Suite 1. No.1. Oriental Procession. 2:18 2. No.2. Solitude. 2:52 3. No.3. Nocturne. 5:05 4. No.4. Khadra’s Dance. 3:42 Scaramouche, Op.71 5. Scene 1 (Act I) 0:49 6. Scene 2 (Act I) 0:26 7. Scene 3 (Act I) 5:03 8. Scene 4 (Act I) 2:41 9. Scene 5 (Act I) 7:25 10. Scene 6 (Act I) 2:44 11. Scene 7 (Act I) 0:39 12. Scene 8 (Act I) 2:30 13. Scene 9 (Act I) 0:35 14. Scene 10 (Act I) 5:57 15. Scene 1 (Act II) 0:20 16. Scene 2 (Act II) 0:18 17. Scene 3 (Act II) 1:27 18. Scene 1 (Act II) 0:24 19. Scene 5 (Act II) 2:58 20. Scene 6 (Act II) 2:16 21. Scene 7 (Act II) 7:02 22. Scene 8 (Act II) 3:15 23. Scene 9 (Act II) 3:37 24. Scene 10 (Act II) 13:00 25. Scene 11 (Act II) 0:36 CD 6: Pelléas och Mélisande (Pelléas and Mélisande),
Op.46. Concert Suite 1. No.1. At the Castle Gate. 3:49 2. No.2. Mélisande. 4:15 3. No.2a. At the Seashore. 1:48 4. No.3. By a Spring in the Park. 2:23
5. No.4. The Three Blind Sisters. 2:29
6. No.5. Pastorale. 2:01 7. No.6. Mélisande at the Spinning Wheel.
2:14 8. No.7. Entr’acte. 2:49 9. No.8. The Death of Mélisande. 6:04 Kuolema (Death), Op.62. Additional movements
for 1911 production 10. a. Canzonetta. 3:41 11. b. Valse romantique. 3:52 12. The Tempest. Prelude, Op.109 No.1.
4:50 The Tempest. Suite No.1, Op.109 No.2 13. No.1. The Oak Tree. 2:25 14. No.2. Humoresque. 1:00 15. No.3. Caliban’s Song. 1:09 16. No.4. The Harvesters. 2:12 17. No.5. Canon. 1:24 18. No.6. Scene. 1:31 19. No.7. Intrada. Berceuse. 2:06 20. No.8. Entr’acte. Ariel’s Song. 3:14
21. No.9. The Storm. 3:13 The Tempest. Suite No.2, Op.109 No.3 22. No.1. Chorus of the Winds. 3:14 23. No.2. Intermezzo. 1:39 24. No.3. Dance of the Nymphs. 1:49 25. No.4. Prospero. 1:50 26. No.5. Song I. 1:08 27. No.6. Song II. 1:01 28. No.7. Miranda. 2:03 29. No.8. The Naiads. 1:23 30. No.9. Dance Episode. 1:23 Lahti Symphony Orchestra/Osmo
Vänskä Göteborgs Symfoniker/Neeme Järvi
Reviews
from previous months Join the mailing list and receive a hyperlinked weekly update on the
discs reviewed. details We welcome feedback on our reviews. Please use the Bulletin
Board
Please paste in the first line of your comments the URL of the review to
which you refer.