![]() ![]() The Seventh is probably the best performance here. Still, this is a worthwhile performance, especially for Sibelians and Bernstein admirers. The opening of the Second Symphony's second movement, for instance, with pizzicato basses establishing a mood of mystery, verges on the distended even at a faster tempo, but here the music seems to cross the line, sounding lazy and lumbering. That said, it also is a bit bloated and imparts the sense that the composer, who was meticulous and detailed enough in his musical structures and orchestration, bordered on the finicky in the way he builds to his climaxes and how he uses crescendos and other expressive elements. This Vienna/Sibelius Second is smoother, more epic and quite imposing. It had a scrappy quality about it, though it was spirited and compelling in its own way. I never heard Bernstein's complete Sibelius symphony cycle from the 1960s, but I must say that after buying his LP of the Second I did not think the performance augured well for purchase of the others. The other symphonies here are similarly broadly paced. Case in point for purposes of this review, the Sibelius Second here clocks in at about 52 minutes, compared with Bernstein's first recording of this symphony, from 1962, which had a duration of approximately 45 minutes, a fairly standard timing for the work. (In 1997 women were finally allowed to play in the ensemble.) The camera work is fine and gives a fairly good sense to the viewer of being there, and the sonics are pretty vivid for that time.Īs most of his admirers are aware, Bernstein began stretching his tempos late in his career. These DVDs give a different perspective to the performances, of course, as we see Bernstein and the then-all male Vienna Philharmonic Orchestra in action. Despite any minor quibbles, JB's many fans should be well pleased that Testament has salvaged such a typically vibrant display from the BBC vaults.This intended cycle of the seven Sibelius symphonies, originally issued on Deutsche Grammophon compact discs beginning in 1986, was never finished owing to the death of Leonard Bernstein in October, 1990. A commendably unbronchial audience roars its approval. The first half of the finale has vitality and atmosphere in abundance, but you might crave a greater nobility of utterance in the towering epilogue. As on this team's 1966 EMI recording, the opening pages have exactly the right sense of awe-struck wonder and pregnant growth, and in the second movement it's a joy to hear Sibelius's delicious pizzicato writing “speak” with such clarity and eloquence. The coupling is a Fifth Symphony with Barbirolli's beloved Hallé from the 1968 Proms which, in strength of personality and palpable depth of feeling, has a lot going for it. If you haven't yet made this famous performance's acquaintance, don't hesitate for an instant. The deceptively tricky slow movement is particularly remarkable for its daring flexibility of pulse and line yet never threatens to run aground, while the stirring finale (its big string tune so fervently sung both times round) will have you on your feet long before the end. The experience is very much akin to attending a live concert of one's dreams. Recorded at Walthamstow for Reader's Digest with Charles Gerhardt producing and Decca's legendary Kenneth Wilkinson as balance engineer, it finds Sir John at his inspirational best in a reading which marries outsize but never wilful temperament to edge-of-seat spontaneity and keen poetic instinct. In the pantheon of essential Sibelius recordings, Barbirolli's October 1962 account of the Second Symphony with the RPO deservedly occupies a place of honour. ![]()
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