Sibelius’s Symphonic Legacy: Philadelphia Orchestra’s Captivating Interpretations Under Ormandy and Stokowski

Composer: Jean Sibelius
Works: Symphony No. 1, Symphony No. 4, Lemminkäinen’s Return, Berceuse from The Tempest
Performers: Philadelphia Orchestra, cond: Eugene Ormandy (Symphony No. 1), Leopold Stokowski (Symphony No. 4, Berceuse)
Recording: 25 Oct 1941 (Symphony No. 1), 23 Apr 1932 (Symphony No. 4), 20 Oct 1940 (Lemminkäinen’s Return), 15 Jan 1936 (Berceuse)
Label: BIDDULPH WHL062

Jean Sibelius stands as a towering figure in the symphonic tradition, with his works often reflecting the landscape and ethos of his native Finland. The present recording features two of his symphonic masterpieces, the First and Fourth Symphonies, alongside the evocative Lemminkäinen’s Return and the Berceuse from The Tempest. This collection captures the Philadelphia Orchestra under two of the early 20th century’s most illustrious conductors, Eugene Ormandy and Leopold Stokowski, each of whom brought a distinct interpretive lens to Sibelius’s intricate sound world.

Ormandy’s interpretation of the First Symphony is characterized by a robust clarity and a sense of architectural integrity. The opening movement unfolds with a sense of inexorable drive, the Philadelphia Orchestra’s precision in articulation and dynamic contrasts revealing the symphonic structure in a manner that is both compelling and nuanced. Notably, the strings exhibit an “invincible unanimity of attack,” particularly in the climactic moments, which are rendered with an exhilarating intensity. The andante’s conclusion, imbued with an unadorned modesty, serves as a poignant contrast to the preceding fervor, demonstrating Ormandy’s deft handling of Sibelius’s emotional breadth. While this performance may not rival Barbirolli’s celebrated stereo interpretation, it resides firmly within the top quartile of Sibelius recordings, affirming its necessity for enthusiasts of the composer.

In contrast, Stokowski’s approach to the Fourth Symphony is marked by a certain introspection and a willingness to embrace the symphony’s inherent complexities. The recording captures the work’s challenging textures and sonorities, especially in the Allegro molto vivace, where the clarity of the woodwinds and the rich timbre of the strings reveal the undercurrents of tension and release that characterize this enigmatic score. Despite the challenges posed by the symphony’s austere themes, Stokowski manages to evoke a sense of grandeur while maintaining an understated elegance, particularly in the languorous tempo largo. The recording quality, enhanced by Stokowski’s strategic microphone placement, allows for a remarkable transparency of orchestral color, even if it occasionally exposes minor blemishes in the woodwinds.

The performance of Lemminkäinen’s Return, under Ormandy, showcases the Philadelphia Orchestra’s remarkable technical prowess. The exhilarating speed and precision displayed in the orchestral passages create a thrilling experience, particularly with the opening note that resonates with a vividly evocative “whump.” This rendition surpasses Beecham’s rendition in both energy and clarity, making it a standout interpretation. Meanwhile, Stokowski’s Berceuse reveals a lush, velvety texture in the strings, reminiscent of the grandeur found in some of his most notable interpretations. The richness of tone evokes a haunting beauty that lingers long after the final notes have faded, providing a stark contrast to his more restrained handling of the Fourth Symphony.

The engineering of this collection, overseen by Mark Obert-Thorn, exhibits a commendable fidelity to the original recordings, preserving the rich tonal palette of the Philadelphia Orchestra in the early 20th century. The nuances of orchestral interplay are rendered with clarity, allowing listeners to appreciate the subtleties of Sibelius’s orchestration. The extensive liner notes provide a historical context and insightful analysis that enrich the listening experience, making this recording not only an auditory delight but also a valuable resource for understanding Sibelius’s symphonic language.

This compilation of Sibelius’s works, anchored by the formidable talents of Ormandy and Stokowski, stands as a significant testament to the enduring legacy of the composer. The performances are imbued with both technical excellence and interpretative depth, ensuring that these recordings resonate powerfully within the Sibelius discography. For aficionados of Sibelius, this release offers a profound listening experience that captures both the majesty and the intricacies of his symphonic vision.

Tom Fasano has been writing reviews of classical music recordings for the past quarter century. He's finally making them public on this blog.