Composer: Jean Sibelius (1865-1957)
Works: The Complete Symphonies: Symphonies 1-7, Symphony No. 5 (original 1915 version and final version), Tapiola
Performers: Lahti Symphony Orchestra / Osmo Vänskä
Recording: 1996-1997, Church of the Cross (Ristinkirkko), Lahti, Finland
Label: BIS
Format: 4 CDs for the price of 3
Catalog Number: BIS CD-1286-1288
Review Date: November 2001
Osmo Vänskä’s complete cycle of Sibelius symphonies, recorded with the Lahti Symphony Orchestra, stands as a significant milestone in the interpretation of Finland’s national composer. This ambitious four-disc set is a testament to Vänskä’s dedication to bringing forth the intricate textures and profound emotional depth of Sibelius’s oeuvre, a task demanding both scholarly insight and interpretative flair.
From the outset, the First Symphony bristles with a petulant aggression that Vänskä propels with remarkable energy. He eschews the luxuriant tone-dazzle of Barbirolli’s interpretation, opting instead for a leaner, more incisive sound that captures the youthful exuberance of Sibelius’s early style. The clarity of orchestral detail in this recording is a revelation, and the balance achieved by the engineering team—Ingo Petry, Robert Suff, Jeffrey Ginn, and Jens Braun—is commendably nuanced. Each instrumental voice emerges distinctly, allowing the listener to revel in the intricate contrapuntal textures that Sibelius so masterfully weaves.
The Fourth Symphony, often perceived as a harbinger of introspection, receives a refreshingly intimate treatment under Vänskä’s baton. Here, he crafts a concerto-like atmosphere for the orchestra, deftly highlighting the conversations between flute, viola, and cello that resonate with conspiratorial intimacy. This interpretation diverges from more conventional, grandiose renditions, revealing the symphony’s roots in Sibelius’s earlier, more lyrical works, such as “Rakastava.”
The Second Symphony, a repertoire staple with countless incandescent performances, finds itself invigorated by Vänskä’s taut and urgent approach. While Barbirolli’s reading possesses a visceral intensity, Vänskä opts for a more refined articulation, emphasizing the symphony’s thematic development with precision. The third movement’s transition into the rousing finale is marked by a keen sense of structural inevitability, a quality that many interpretations neglect in favor of sheer emotional force.
Conversely, the Third Symphony—which often languishes in the shadows of its more famed siblings—shines brightly in this cycle. Vänskä imbues it with a Mozartian intimacy while preserving its bristling urgency. This balance between lyricism and tension is essential; his interpretation suggests that the Third is not merely a stepping stone towards the more monumental works but a profound statement in its own right. This recording, with its tautness and attention to scale, is one of the most compelling interpretations of this work in the catalog.
The Sixth Symphony emerges as a luminous gem, a testament to the buoyant poise and delight in instrumental dialogue that marks Vänskä’s approach. Here, the interplay between sections is nothing short of revelatory, capturing the essence of Sibelius’s fascination with nature and the subtleties of orchestral color. Vänskä’s deft handling of the symphony’s intricate textures allows for a refreshing interpretation that resonates long after the final notes have faded.
The inclusion of both versions of the Fifth Symphony is a significant boon for Sibelius devotees. Vänskä’s exploration of the original four-movement structure offers a fascinating glimpse into Sibelius’s compositional evolution. The stark contrasts between the 1915 and 1919 versions illuminate the composer’s journey towards conciseness and clarity. This duality is expertly navigated, with Vänskä revealing the dissonances and surprises that lie within the original score. The climactic moments, particularly at 5:01 into the final movement, showcase Vänskä’s mastery of pacing, creating a sense of inevitability that is both thrilling and cathartic.
The recording quality is, as expected from BIS, exemplary. The acoustic of Ristinkirkko serves the orchestra well, providing a warm, resonant space that captures both the grandeur and the delicate nuances of Sibelius’s orchestration. The clarity of sound allows listeners to appreciate the meticulous details that Vänskä brings to the fore, demonstrating an understanding of Sibelius that is both scholarly and instinctual.
In conclusion, Osmo Vänskä’s Sibelius symphony cycle with the Lahti Symphony Orchestra is a remarkable achievement that should not be overlooked. It balances historical integrity with fresh interpretative insights, effectively supplanting earlier benchmarks while inviting listeners to reconsider the emotional landscapes of Sibelius’s music. This set is an essential listen for anyone seeking to deepen their understanding of Sibelius, revealing both the familiar and the unexpected in works that continue to resonate with profound significance. Highly recommended for both scholars and casual listeners alike, this collection is a celebration of the enduring legacy of Jean Sibelius.
