Composer: Jean Sibelius
Works: Symphony No. 5 in E flat major, Op. 82 (1919), Symphony No. 6 in D minor, Op. 104 (1923), Tapiola, Op. 112 (1925)
Performers: Boston Symphony Orchestra, cond. Sir Colin Davis
Recording: Recorded 1975 (Op. 82) and 1977 (Op. 104/112), ADD
Label: Philips Classics 468 198-2
Jean Sibelius, a towering figure in the pantheon of late Romantic composers, is often celebrated for his ability to evoke the elemental forces of nature through his music. The works presented in this recording, notably the Fifth and Sixth Symphonies along with Tapiola, exemplify this aesthetic. Composed during a tumultuous period in European history, these pieces reflect a deep engagement with both personal and national identity, as Finland was striving for independence. The Fifth Symphony, with its majestic themes and expansive architecture, is emblematic of Sibelius’s late style, while the Sixth Symphony and Tapiola delve into a more introspective, almost mystical realm.
Sir Colin Davis’s interpretation with the Boston Symphony Orchestra showcases a finely honed understanding of Sibelius’s idiom. The Fifth Symphony unfolds with a grandeur that is both assertive and reflective. Davis’s approach is marked by a deliberate pacing that, while at times may suggest a certain studied quality, allows the listener to appreciate the intricate interplay of orchestral colors. The climactic moments, particularly the resplendent finale, are rendered with a commendable sense of inevitability, though the interpretation falters slightly when compared to Davis’s later work with the London Symphony Orchestra, where a more spontaneous energy breathes life into the score.
The Sixth Symphony, recorded in 1977, stands as a high point of this collection. Davis captures the lush string textures in the opening movement with a sumptuousness that feels both rich and organic. The thematic development throughout the symphony is handled with great care, as Davis emphasizes the subtle shifts in mood and dynamics that characterize Sibelius’s writing. This is perhaps the most compelling interpretation in the set, vividly illustrating the symphony’s introspective qualities and the serene yet turbulent undercurrents that run throughout.
Tapiola, Sibelius’s tone poem, is performed with a palpable sense of atmosphere. Davis’s reading is both powerful and evocative, showcasing the evocative nature of the score. However, the recording’s engineering poses some challenges; the close mic placement results in a sound that lacks the spaciousness one might desire for such a work. This is particularly evident in passages where clarity among the orchestral lines becomes obscured, a contrast to the more open and resonant sound found in other notable recordings, such as the Ashkenazy version for Decca. The placement of the winds behind the strings diminishes some of the orchestral detail, leaving a yearning for a more balanced sonority that allows the intricate textures to emerge.
This collection of Sibelius’s symphonic works under Davis offers an engaging and competent engagement with the composer’s oeuvre. While it may not dethrone more recent recordings as the definitive reference points, it stands as a solid offering, rich in musical insight and interpretative depth. The absence of liner notes is a regrettable oversight, given the historical significance of these recordings. Nevertheless, for admirers of Sibelius and the Boston Symphony’s storied legacy, this set remains a worthwhile exploration of the Finnish master’s profound contributions to the symphonic form.
