Composer: Carl Nielsen
Works: Symphony No. 1, Op. 7 (1891-92); Symphony No. 2, “The Four Temperaments”, Op. 16 (1901-02)
Performers: Finnish Radio Symphony Orchestra, Jukka-Pekka Saraste
Recording: Sibelius Hall, Lahti, Finland, 26-27 March 2001 (No. 1) and 2-3 March 2001 (No. 2)
Label: Finlandia 8573-85574-2 [63.31]
Carl Nielsen, a towering figure in early 20th-century music, crafted a distinctive voice that straddles the line between late Romanticism and the nascent modernity of his time. His first two symphonies reveal his evolving compositional style, marked by a vibrant energy and richly colored orchestration. This recording, featuring the Finnish Radio Symphony Orchestra under the direction of Jukka-Pekka Saraste, provides a compelling perspective on these pivotal works, showcasing Nielsen’s unique approach to symphonic structure and thematic development.
The performance of Symphony No. 1 is particularly noteworthy for its vigorous character, which Saraste draws out with palpable enthusiasm. One cannot help but admire Nielsen’s remarkable ability to construct a cohesive symphonic argument at such an early stage in his career. The symphony unfolds in a traditional four-movement format, yet it is the unconventional tonal journey—from the G minor of the opening movement to the C major of the finale—that captivates. The orchestra’s articulation of this progression is deft, with woodwinds and brass delivering a bright, incisive sound that enhances the symphony’s inherent drama. The slow movement, marked by its lyrical themes, is rendered with a tenderness that belies the youthful exuberance of the surrounding movements, showcasing the orchestra’s skillful dynamic control.
In Symphony No. 2, subtitled “The Four Temperaments,” the interpretation becomes even more vivid and illustrative. Each movement represents a distinct temperament, and Saraste’s careful delineation of these characters is a highlight of this recording. The Choleric movement, with its fiery rhythms, contrasts sharply with the introspective Melancholic section, where the strings produce a hauntingly beautiful soundscape. The orchestra’s ability to convey the emotional nuances of Nielsen’s thematic material is commendable. The interplay between sections is particularly effective; for instance, the dialogue between strings and brass in the Phlegmatic movement is executed with clarity and precision, allowing the listener to appreciate Nielsen’s innovative orchestral textures.
Technical aspects of the performance are equally impressive. The Finnish Radio Symphony Orchestra has matured into a first-rate ensemble, and this recording captures their full-bodied sound in the acoustically rich setting of Sibelius Hall. The engineering is exceptional, providing a warm and natural balance that allows the subtleties of Nielsen’s orchestration to shine. The clarity of the lower strings and the brightness of the woodwinds create a vivid soundscape that enhances the listening experience. While there are other commendable recordings of these symphonies—such as those conducted by Herbert Blomstedt with the San Francisco Symphony—it is the interpretative vigor and freshness of Saraste’s approach that sets this release apart.
The combination of Saraste’s insightful interpretations and the Finnish Radio Symphony Orchestra’s technical prowess results in a Nielsen cycle that stands among the most compelling in contemporary recordings. The vitality and clarity infused into both symphonies resonate with the listener, making this release not only a significant addition to the discography of Nielsen’s works but also an essential experience for anyone wishing to explore the depths of his music. This is a recording that not only honors Nielsen’s legacy but also invites a deeper appreciation of his symphonic artistry.
