Sibelius: Symphony No. 2 (HQCD review)

Also, Symphony No. 7. Pierre Monteux, London Symphony Orchestra; Lorin Maazel, Vienna Philharmonic Orchestra. HDTT HQCD266.

When I was very, very young in the early 1950’s, there were three conductors’ names I recognized:  Leopold Stokowski, Arturo Toscanini, and Pierre Monteux. Stokowski because I had seen Fantasia and just thought the name sounded important; Toscanini because, well, he was Toscanini, the greatest conductor in the world for, like, forever; and Monteux because I grew up in the San Francisco Bay Area, and he had been at that time the conductor of the San Francisco Symphony for many years. So I’ve always had a special place in my heart for these musicians, and I certainly welcome Monteux’s Sibelius Second back into the audiophile catalogue.

Finnish composer Jean Sibelius (1865-1957) wrote seven symphonies, and of them his First and Second are probably the most popular. The thing is, there are so many great recordings available, it’s hard to have a favorite. In the Second, I think about the stereo recordings of Sir John Barbirolli (Chesky and EMI), the pair from Sir Colin Davis (Philips and RCA), plus recordings from George Szell (Philips), Herbert von Karajan (EMI), Osmo Vanska (BIS), and others. Still, it’s hard not to like Monteux’s 1958 version, too, and given its excellent sound in this HDTT remastering, I’d put it near the top of any list.

Sibelius wrote his Symphony No. 2 in D major, Op. 43, in 1902, conducting the première the same year and revising it a year later. Although the public quickly dubbed it his “Symphony of Independence,” there is some debate as to whether the composer actually intended any symbolic significance in the piece. Be that as it may, it ends in a gloriously victorious finale that surely evokes a feeling of freedom and self-reliance.

Monteux nicely develops the opening Allegretto without undue distorting, romanticizing, or glorifying of the melodies or rhythms. There is both poetry and power here aplenty. The conductor shapes the music well, starting gently and becoming dynamic and exciting by turns, while keeping the work’s traditional Nordic roots intact. The London Symphony Orchestra play it brilliantly, the engineers capturing a remarkable clarity of tone.

In the second-movement Andante, the longest section of the symphony, Monteux manages to hold our attention for the duration, despite the somewhat repetitious introductory pizzicato pace the composer demands. Following that, again we hear a powerful statement from the orchestra, with Monteux showing only a hint of darkness in the music amidst a veritable storm of passions, after which he ends it with an appropriate calm.

The third movement is an expected Scherzo, which Sibelius marks Vivacissimo (very lively). Once more, Sibelius starts it with a repetition of notes, and once more Monteux ensures that it doesn’t just become redundant. There’s a good deal of vigor and vitality in the conductor’s reading. Then, without pause, we find ourselves into the Finale, where Monteux puts an energetic spirit into the heroic main theme, sustained beautifully until the triumphant conclusion. Monteux makes grand statements of Sibelius’s grand statements.

The disc’s coupling is Sibelius’s little Symphony No. 7, Op. 105, from 1925. Here, we find Maestro Lorin Maazel and the Vienna Philharmonic doing another of their finely polished, perfectly punctuated interpretations of the symphonies. The performance is as smooth and suave as the recording quality.

Decca recorded the Symphony No. 2 at Kingsway Hall, London, in 1958, and it remains one of their best efforts of the period. The folks at HDTT have remastered the sound to excellent effect, especially on the HQCD to which I listened, the sonics very full, very open, very clean, and very rich. You’ll find good detail and transparency here without the balance being too forward, glassy, or hard (although, to be fair, there is a touch of that involved, a common quality in early Decca stereo recordings). The stereo spread is wide, with a modest sense of orchestral depth, reasonably quick transients, and good impact. Decca made the Symphony No. 7 recording in the Sofiensaal, Vienna, in 1966, where they obtained a slightly smoother overall response, with an even wider stereo spread, a bit more depth, and a tad more distanced miking. If it’s not quite as transparent as the Symphony No. 2, it makes up for it with an easy listenability.

For further information about HDTT discs and downloads, you can check out their Web site at http://www.highdeftapetransfers.com/storefront.php.

JJP

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Meet the Staff

Meet the Staff
John J. Puccio, Editor, Publisher, Reviewer

Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on The Big John and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.

Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.
Karl W. Nehring, Contributing Reviewer

For more than 20 years I was the editor ofThe $ensible Soundmagazine and a regular contributor to its classical review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simple-minded, but I know I appreciate reading reviews by others that do the same for me -- point out recordings that I think I might enjoy.

For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises an Onkyo C-7030 CD player, Legacy Audio StreamLine preamplifier, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE speakers augmented by a Legacy Point One subwoofer. I also do a lot of listening while driving in my 2016 Acura RDX with its nice-sounding ELS Studio sound system through which I play CDs (the ones I especially like I rip to the Acura's hard drive so that I can listen to them whenever I want) or stream music through the system using my LG G7 ThinQ cell phone, which features surprisingly sophisticated audio circuitry. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has remarkably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can't imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.
Bryan Geyer, Technical Analyst

I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.

Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.

Mission Statement

It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.

When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.

So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job. --John J. Puccio

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"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa