Jean SIBELIUS (1865-1957)
Symphony No. 6 in D minor, Op. 104 (1923) [29:19]
Symphony No. 7 in C major, Op. 105 (1924) [21:04]
Finlandia, Op. 26 (1899) [8:55]
New Zealand Symphony Orchestra/Pietari Inkinen
rec. 21-23 September 2009 (symphonies) and 27 July 2010, Michael Fowler Centre,
Wellington, New Zealand
NAXOS 8.572705 [59:34] 
The sketching and composition of Sibelius’s last three symphonies tended to
overlap somewhat, so it is all the more surprising that they are so very different,
one from the other. What are we to make, in particular, of the Sixth? The
Fifth had its first two movements remarkably fused, and in the Seventh all
four are, so it seems doubly strange, between the two, to encounter a work
apparently in four traditional movements. But there’s nothing traditional
about the Sixth. There are many passages of splendidly sonorous orchestral
writing throughout its half-hour duration, but for the most part the orchestral
sound is crystalline, almost white. I believe Sibelius himself described it
as “clear spring water”. Of traditional – or even progressive – symphonic
growth and development there is little, no tonic/dominant tension, no searching
for resolution. There are not, in truth, even any themes to speak of. It must
be the most difficult of the seven from the conductor’s point of view, so
insubstantial that it risks disappearing, or at the very least, not leaving
much of an impression.
In fact the impression it does leave is the one established at the very outset
by the strings, lofty, cool, but immensely calm and tranquil. The music smiles
its way through most of the first movement, at least until we reach the extraordinary,
equivocal coda. Then in the second, what I suppose we should think of as the
slow movement, what are all those rising scales trying to tell us? For all
the brilliance of the writing, the scherzo is strangely muted, and the finale,
which closes most satisfyingly and convincingly, is very undemonstrative for
most of its length. Listening to the Sixth Symphony brings quite another kind
of satisfaction than that provided by the Fifth or the Seventh, but satisfying
it most certainly is, with not a single passage that could be confused with
the music of another composer.
Naxos
already have a very fine performance of this symphony in their catalogue,
conducted by Petri Sakari, and others to seek out would certainly include
the splendid, surprisingly dramatic performance from Sakari Oramo and the
City of Birmingham Symphony Orchestra, originally issued on Erato.
But this one from New Zealand is very satisfying in its own right. The conductor
really has the measure of the work, and the orchestra plays with just the
right balance of weight and transparency. As an introduction to this marvellous
if perplexing work this performance will serve perfectly well.
Just as there are innumerable rival performances of the Sixth that remain
unmentioned above, so there are even more of the magnificent Seventh. Indeed,
one might think there is a version of each of Sibelius’s symphonies to suit
the sensibility of each listener. Barbirolli
brings an almost Italianate warmth to the glorious passage for strings in
the early pages of the symphony, and if this is hardly authentic it is both
effective and affecting. Oramo and Petri Sakari, on the two discs mentioned
above, are both, once again, very fine in their different ways, and Osmo Vänskä’s
performance on BIS,
similarly coupled with the Sixth, is one that held me spellbound the first
time I heard it and still does. No shortage of choice, then, and here is another,
thoroughly recommendable reading. The rising string scales at the very opening
positively glower, but the music is beautifully, and very subtly, infused
with light at the arrival of the woodwinds. The pace is very measured, as
it also is in the string passage that follows, and which is sumptuously played
and beautifully paced here. The big trombone theme is played rather more legato
than we are used to, and the balance is more realistic, the instrument more
recessed and integrated into the orchestral texture than is often the case.
The transition into the second section (around the 9:00 mark) is perhaps a
little low key and short on atmosphere compared to starrier readings, and
some might find the following section (13:00) a little breathless, but these
really are marginal points, and do not detract from the overall impression
of a very fine and satisfying performance. And then there are some truly marvellous
moments. The magical resolution that takes place at 19:35 and the passage
leading into it are beautifully handled by these forces, and I don’t think
I have ever heard exactly what happens in the orchestra in the five closing
bars quite so clearly as I do here.
Only a very few people will, I think, purchase this disc for Finlandia,
but the others might well be pleasantly surprised to be reminded of what a
marvellous piece it is. This is a fine performance, the dark, brooding opening
passage giving way to the grim determination of the main body of the work.
That, plus the famous, inspiring melody, will leave us with no surprise that
the work was instantly adopted as a patriotic statement.
William Hedley
Fine performances of three key Sibelius works made all the more commanding
at the price.