Sibelius: Symphony 1

 

It has been quite a long time since I have listened to a recording from a legendary conductor with their own orchestra.

When discussing such things, I think of Herbert von Karajan with Berlin, George Szell in Cleveland, or Bernard Haitink at the Concertgebouw. Here we have Leonard Bernstein with the New York Philharmonic Orchestra from the late 60s.

I immediately noticed the absence of a classic, high-profile conductor in my recent listening from the very first notes of this recording. Of course, Bernstein always had his own way with music in New York; his interpretations could be willful and self-aggrandizing, where the the music could end up more Bernstein than the composer being played.

Some feel that way regarding his way with Sibelius as well. One of the most noticeable elements of Bernstein in Sibelius is taking the Finnish composer's tempos as printed, ones which had become slower and slower over the decades. No matter what you feel regarding Bernstein, this music makes you sit up and listen, for better or for worse.

For me it is towards the better, however, I generally don't view music as a line from best to worst, even if I still understand opposite reactions to Bernstein's method of approach. This is emotive, raw music making; not subtle nor pastel, but aggressive and often manic. This doesn't mean Bernstein doesn't find the beauty in Sibelius' music, for there is plenty of that, yet no one would call this performance of Symphony no. 1 in E minor bland or purposeless, the worst adjectives in the music business. Instead, Bernstein has a strong vision of how this music should go, and everyone playing is completely on board. Sure, complain about his vision, but at least his concept is fully explored and put into action with no apologies.

As to Sibelius' first hand at a fully orchestral symphony, this is serious music from the composer. Sure, there are light moments in its runtime, but I feel a deep-seated gravity in this music, with little-to-no humor or smiles to expend.

What a bold choice to open a first symphony - solo clarinet with some timpani rumblings last over more than a minute. 

Once the first orchestral tutti follows, though, Bernstein takes off with abandon, and of course, we now realize this is fully Romantic music. I love that the harp is closely recorded in this performance, for it is a colorful quotient here, where after that instruments first major entrance, the music almost takes on, what sounds like, Spanish exoticisms, which contrasts well with the portentous opening. The US conductor freely moves the tempo as he feel the music, yet Sibelius doesn't lay down a tempo and set the metronome, so Bernstein's approach works well within these parameters.


Often the most exciting moments included a full brass complement; I notice the NYPO favors the brightness of the trumpets with the horns a little behind the brass wall. I prefer the opposite, and on the CD layer at least, the recording favors the treble, making the trumpets lay towards the strident side. 

While the second movement starts out songful and akin to a serenade, exhibiting some of the most peaceful content thus far, it doesn't take long for Sibelius to use the slow movement as a means of drama rather than contemplation or ease. Indeed, Bernstein really pushes ahead when the tempo changes, creating quite the dichotomy of musical contrast, whether pastorally peaceful or angsty drama.

I hear echoes of exoticisms again, perhaps an influence of Rimsky-Korsakov and the Russian school? I heard some of this in Kullervo as well, so perhaps this influence is more apparent in the younger Sibelius. Despite the give and take, the second movement ends on a decidedly dejected note, even is the general feeling is becalmed.

Sibelius must be composing in a modal landscape, for the third-movement Scherzo opening idea sounds a little exotic again. I love the opening pizzicato, where the timpani first proclaims the motive on hand. The Trio of this movement is given over to the winds, where Sibelius pulls back the tempo, to remind the listener of the previous hints at pastoral ideas, mainly through a passing along of wind solos throughout the sections. After the Trio, the Scherzo ends up a bit lighter than what opened the movement, allowing just bit of a smile in the music before the seriousness of the finale.

Similar to the opening movement, the fourth and final movement begins with a slower introduction where, even after the Allegro proper starts, it takes a good long while before the orchestra all comes together as one. This is definitely music of a struggle, yet like Mahler's symphonic journeys, I think Sibelius is looking for a musical path to the light, where he drags the listener through a protracted delaying of ultimate resolution. He certainly makes room for a drippingly broad Romantic tune, one which almost puts me off of this concluding movement. I suppose, this is a practice run for the famous Symphony no. 2 final tune. The ending plunks are a little anti-climactic for me, but Sibelius creates a great listening ride.

As I mentioned at the top, Bernstein is raw and emotive in this music, and that is generally an approach I enjoy in the symphonies of Sibelius. Arms distance just doesn't suit these works for me, so I will continue with Bernstein for this series. As to the recording, I definitely hear the limitations of the CD, even if it is still very good, but the SACD layer on my speakers was much finer in comparison.

An excellent start to this series, at least for this listener.

 

 

 

ADDENDUM - I should probably mention Leonard Bernstein recorded this same symphony with the Vienna Philharmonic Orchestra over 20 years after the one with New York. As was typical of his post-NY recordings, Sibelius' Symphony no. 1 comes in some 5-minutes slower. This isn't necessarily a problem, but he could really sap up this music; more than I prefer, I think. Overall, I would say I prefer Bernstein's earlier NY recordings in general, so take my views with a grain of salt.

 

 

 

 

 

Works
Symphony 1 in E minor, op. 39

Performers
New York Philharmonic Orchestra
Leonard Bernstein, conductor

Label: Columbia / Sony
Year: 1968; 2015
Total Timing: 36.48