Composer: Jean Sibelius
Works: Symphony No. 1 (1898), Symphony No. 4 (1911), Symphony No. 5 (1917), Symphony No. 6 (1918), Karelia Suite (1896)
Performers: Berlin Philharmonic Orchestra, Herbert von Karajan (conductor)
Recording: 1 (1981), 4 (1978), 5 (1977), 6 (1986), Karelia (1981)
Label: EMI Classics
Jean Sibelius occupies a distinctive place in the pantheon of late-Romantic composers, where his works resonate with a distinctly Nordic spirit that both embraces and transcends the emotional excesses of his contemporaries. His symphonies, particularly No. 1 through No. 6, capture the evolution of his compositional voice—from the lush, Tchaikovskian romanticism of the First Symphony to the stark, introspective landscapes of his later works. This recent release by Herbert von Karajan and the Berlin Philharmonic offers a compelling survey of Sibelius’s symphonic output alongside the evocative Karelia Suite, highlighting the conductor’s affinity for this repertoire, even as we must navigate the complexities of his interpretative choices.
Karajan’s approach to Symphony No. 1 reveals both the strengths and limitations of his interpretative style. He imbues the work with a broad sweep, which, while majestic, sometimes sacrifices the immediacy and emotional engagement that characterizes the best performances of this work. The brass section, however, shines in several instances, particularly in the third movement, where their noble lines resonate with a rich vibrancy that is hard to overlook. This reading is marked by a sense of grandiosity, which—while appealing—does not entirely capture the youthful exuberance and thematic playfulness present in Sibelius’s original conception.
Moving to Symphony No. 4, the interpretation becomes more nuanced. Karajan navigates its enigmatic landscape with a deliberate pacing that underscores its mysterious character. The tension between the starkness of the orchestration and the emotional depth of the musical material is well rendered, although one might yearn for slightly more urgency in the faster passages. The contrast between light and shadow in this symphony is particularly effective in Karajan’s hands, especially evident in the second movement, where the interplay among the strings creates a haunting atmosphere that lingers in the listener’s mind.
The Fifth Symphony, often held in high regard, benefits from Karajan’s command of orchestral color and structure. His reading is both powerful and lyrical, revealing the work’s thematic transformations with clarity and precision. The famous swan theme in the finale is executed with a sense of purpose that captures its celebratory essence while retaining the underlying tension that Sibelius built into the fabric of the symphony. The engineering of this recording also plays a crucial role; the orchestral balance is exemplary, allowing individual sections to shine without overwhelming the overall texture.
Karajan’s Sixth Symphony stands out as a pinnacle of this collection. Here, he fully embraces the work’s introspective qualities, bringing forth a warmth that complements the work’s often chilly motifs. The first movement, with its engaging ostinato, sparkles under Karajan’s baton, particularly at the 4:34 mark where the strings engage in a delightful dialogue. This performance encapsulates the unique charm of Sibelius’s Sixth, showcasing a delicate balance between the Nordic landscape’s starkness and its inherent beauty.
Technical aspects of the recording are largely commendable, although there is a slight hint of congestion in the louder passages, which may detract for those listening on headphones. Nonetheless, the overall sound quality remains impressive, with a clarity that allows the listener to appreciate the intricate details of Sibelius’s orchestration. The presence of multilingual scene-setting notes by Stephen Johnson adds a welcome depth to the listener’s understanding of the works.
This collection is a testament to Karajan’s longstanding relationship with Sibelius’s music, dating back to his early conducting days. While his interpretations may not always align with the most fervent Sibelius enthusiasts, they offer a distinctive perspective on these beloved symphonies. Each work is imbued with a regal quality that is unmistakably Karajan, even if one might wish for a bit more emotional immediacy in some instances. The overall experience is enriching, showcasing a compelling dialogue between conductor and composer that continues to resonate.
