Sibelius Orchestral Works (CD Review)
by Ryan Ross
Symphony No. 5, Op. 82; Two Serenades, Op. 69; Two Serious Melodies, Op. 77; Suite from Swanwhite, Op. 54. Christian Tetzlaff, violinist; Nicholas Collon, conductor; Finnish Radio Symphony Orchestra. Ondine ODE 1468-2
Antti Häyrynen’s liner notes describe the overall mood of Sibelius’s Fifth Symphony as “lucid, diatonic.” Whether or not one fully agrees, his remark is at least a very good clue to this new performance. On one level it is easy to admire the precision and clarity achieved by Nicholas Collin and the FRSO, particularly compared to other recent interpretations that I won’t mention here. There is definitely some “snap” to this Sibelius 5, with particularly exciting stretches at the end of the first movement and the famous beginning of the finale. (The former made me want to cheer during my first listen-through!)
And yet, good as it undeniably is, there is something missing. Just what that something may be is not easy to explain past a certain point. I guess I’ll come at this from another side and confess that I have been reading (and re-reading) a great deal of musicological literature on Sibelius and his music during the past year or more. Much of this literature presents the academic view that Sibelius, far from being merely a nationalist curiosity, was as good at creating integrated musical structures as anyone, and deserves more credit for doing so. Put another way, a certain kind of scholar always seems to be looking for ways to emphasize Sibelius’s formalist credentials. Labels such as “classical” and even “modernist” are frequently wielded in such discourse.
Why do I mention this, and what does it have to do with the present recording? I’ll be blunt: I think Collon and the FRSO undersell Sibelius’s Romantic spirit, much like the music scholars who tend to downplay it in the Finnish Master’s later works. I don’t think Sibelius ever lost his strong Romantic sensibility, even in his most concentrated formal experiments. I’m reminded of a remark he made about his Sixth Symphony: “You may analyze it and explain it theoretically. You may find that there are several interesting things going on. But most people forget that it is, after all, a poem.” What I’m missing in this Fifth, then, is more feeling for the poetic. I can hear everything in a wonderfully clear way, and I am more aware of the moving parts than in most other performances. But in terms of the work’s famous grandeur, I’m often a touch (or more) underwhelmed.
One of the ways in which this is most tangible lies with the execution of ostinati and other repeated-figure passages. Again, these are wonderfully transparent and precise, but perhaps to the degree of sounding mechanical at times. The problem is even more noticeable in the Swanwhite Suite, one of Sibelius’s most magical scores. Collon and Company perform the opening number (“The Peacock”) very slowly, and with the repeated string figures sounding too “chugga chugga”-like (if my readers will forgive the crude descriptor). The other movements fare a bit better, but I am still missing a sense of fantasy and fairy tale, especially in “The Harp.” While I consider the Fifth Symphony performance here to be good despite my misgivings, I suggest with some sense of urgency that newcomers opt for a more ideal Swanwhite Suite. They might start with the old standby of Järvi and the Gothenburg Symphony (BIS CD-359).
The best-rendered items on this recording are for me easily the Two Serenades and Two Serious Melodies, offered up with solo violinist Christian Tetzlaff. Here Collon and Co.’s predilection for lucidity as an aesthetic virtue meshes well with Tetzlaff’s gentle expressiveness. This is an ideal combination that stands up well against any of the competition I have heard. In sum, we have a very good Fifth Symphony (even if it isn’t quite my ideal Fifth), excellent miniatures, and a Swanwhite Suite I feel is bettered elsewhere. Worth buying? On balance, yes.
John J. Puccio, Founder and Contributor
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 Jon 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 for 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 Nehring, Editor and Contributor
For nearly 30 years I was the editor of The $ensible Sound magazine and a regular contributor to both its equipment and recordings 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 they 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 Marantz CD 6007 and Onkyo CD 7030 CD players, NAD C 658 streaming preamp/DAC, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE loudspeakers. I occasionally do some listening through pair of Sennheiser 560S headphones. I miss the excellent ELS Studio sound system in our 2016 Acura RDX (now my wife's daily driver) on which I had ripped more than a hundred favorite CDs to the hard drive, so now when driving my 2024 Honda CRV Sport L Hybrid, I stream music from my phone through its adequate but hardly outstanding factory system. For more casual listening at home when I am not in my listening room, I often stream music through a Roku Streambar Pro system (soundbar plus four surround speakers and a 10" sealed subwoofer) that has surprisingly nice sound for such a diminutive physical presence and reasonable price. Finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom II Bluetooth speaker and a pair of Google Pro Earbuds 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 technologies that enable us to enjoy it in so many wonderful ways.
William (Bill) Heck, Webmaster and Contributor
Among my early childhood memories are those of listening to my mother playing records (some even 78 rpm ones!) of both classical music and jazz tunes. I suppose that her love of music was transmitted genetically, and my interest was sustained by years of playing in rock bands – until I realized that this was no way to make a living. The interest in classical music was rekindled in grad school when the university FM station serving as background music for studying happened to play the Brahms First Symphony. As the work came to an end, it struck me forcibly that this was the most beautiful thing I had ever heard, and from that point on, I never looked back. This revelation was to the detriment of my studies, as I subsequently spent way too much time simply listening, but music has remained a significant part of my life. These days, although I still can tell a trumpet from a bassoon and a quarter note from a treble clef, I have to admit that I remain a nonexpert. But I do love music in general and classical music in particular, and I enjoy sharing both information and opinions about it.
The audiophile bug bit about the same time that I returned to classical music. I’ve gone through plenty of equipment, brands from Audio Research to Yamaha, and the best of it has opened new audio insights. Along the way, I reviewed components, and occasionally recordings, for The $ensible Sound magazine. Most recently I’ve moved to my “ultimate system” consisting of a BlueSound Node streamer, an ancient Toshiba multi-format disk player serving as a CD transport, Legacy Wavelet II DAC/preamp/crossover, dual Legacy PowerBloc2 amps, and Legacy Signature SE speakers (biamped), all connected with decently made, no-frills cables. With the arrival of CD and higher resolution streaming, that is now the source for most of my listening.
Ryan Ross, Contributor
I started listening to and studying classical music in earnest nearly three decades ago. This interest grew naturally out of my training as a pianist. I am now a musicologist by profession, specializing in British and other symphonic music of the 19th and 20th centuries. My scholarly work has been published in major music journals, as well as in other outlets. Current research focuses include twentieth-century symphonic historiography, and the music of Jean Sibelius, Ralph Vaughan Williams, and Malcolm Arnold.
I am honored to contribute writings to Classical Candor. In an age where the classical recording industry is being subjected to such profound pressures and changes, it is more important than ever for those of us steeped in this cultural tradition to continue to foster its love and exposure. I hope that my readers can find value, no matter how modest, in what I offer here.
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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