Composer: Jean Sibelius
Works: Symphony No. 2, Luonnotar, Pohjola’s Daughter
Performers: Phyllis Curtin (soprano), New York Philharmonic, Leonard Bernstein (conductor)
Recording: Philharmonic Hall, now Avery Fisher Hall, Lincoln Center, NYC, 16 May 1966 (symphony), 19 Oct 1965 (Luonnotar), Manhattan Center, 1 May 1964 (Pohjola)
Label: Sony Classical SMK 61848
Jean Sibelius’s Symphony No. 2, a cornerstone of the late-Romantic repertoire, emerges as a vibrant exploration of national identity, personal struggle, and the inexorable nature of fate. Composed between 1901 and 1902, this symphony stands as a testament to Sibelius’s burgeoning voice during a period when Finland sought its own cultural independence. The work’s lush orchestration and sweeping melodies capture both the Finnish landscape and the emotional depth of the human experience, making it a fitting centerpiece for Bernstein’s 1966 recording with the New York Philharmonic.
Bernstein’s interpretation of the Second Symphony is marked by an energetic drive and a palpable urgency. He skillfully navigates the symphony’s contrasting moods, from the introspective and brooding opening movement to the exhilarating finale that surges with patriotic fervor. The performance’s highlight can be found in the second movement, where Bernstein emphasizes the stuttering string figures at 6:48, drawing attention to the intricate interplay of themes that reflect Sibelius’s complex emotional landscape. The conductor’s choices imbue the symphony with a palpable sense of drama, although some may argue that his forward momentum occasionally sacrifices the more meditative aspects of the score.
Luonnotar, featuring soprano Phyllis Curtin, benefits from Bernstein’s brisk pacing, which, while faster than many interpretations, invigorates the piece with a fresh vitality. Curtin’s performance is commendable; her clear enunciation of the Finnish text adds a layer of authenticity, even if her occasionally unrefined tone might not fully capture the ethereal quality Sibelius intended. Compared to other renditions, such as those by Taru Valjakka and Mari-Anne Häggander, Curtin’s interpretation stands out for its dramatic intensity, although it lacks the vocal sheen found in the latter performances.
Pohjola’s Daughter continues this trajectory of spirited interpretation. Bernstein’s direction showcases the piece’s vibrant orchestral colors, particularly in the deft string articulation and the incisive woodwind lines. The pizzicato rush at 3:39 is an exemplary moment where Bernstein’s imaginative approach shines, making the music feel alive and dynamic. However, the conductor’s penchant for rapid tempi sometimes verges on the reckless, potentially overshadowing the nuanced character of the music. While Bernstein’s reading is compelling, it does not quite displace the early 1970s recording by Horst Stein and the Suisse Romande, which offers a more balanced approach.
The sound quality of this reissue is noteworthy, showcasing a remarkable clarity and vibrancy that enhances the orchestral textures. The remastering has effectively eliminated many of the sonic deficiencies associated with earlier recordings, allowing the listener to experience the full brilliance of the orchestration. The strings, in particular, sound remarkably clean, a testament to the skill of the original producers and the reissue team.
Bernstein’s Sibelius is marked by a bold interpretative vision that, while at times erratic, ultimately captures the spirit of the music. The lush orchestral palette of the Second Symphony, combined with vibrant performances of Luonnotar and Pohjola’s Daughter, makes this disc an essential listen for those seeking to engage with Sibelius’s rich musical language. Each work reveals layers of complexity and emotional depth, inviting repeated listening and reflection. This recording stands as a significant contribution to the legacy of Sibelius interpretations, illuminating the timelessness of his music.
