Sibelius: Symphonies Nos. 1, 4, 5, 6; Karelia Suite

Sibelius: Symphonies Nos. 1, 4, 5, 6; Karelia Suite

Sibelius: Symphonies Nos. 1, 4, 5, 6; Karelia Suite
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Music CD Cover

Composer: Jean Sibelius
Conductor: Herbert von Karajan
Orchestra: Berliner Philharmoniker
Edition: Music CD
CD Release Date: 2002-02-12
Music Label: EMI Classics
Soundtracks:
Music CD 1
  1. I. Andante, Ma Non Troppo - Allegro Energico
  2. II. Andante (Ma Non Troppo Lento)
  3. III. Scherzo (Allegro)
  4. IV. Finale (Quasi Una Fantasia - Andante - Allegro Molto)
  5. I. Tempo Molto Moderato, Quasi Adagio
  6. II. Allegro Molto Vivace
  7. III. Il Tempo Largo
  8. IV. Allegro
Music CD 2
  1. I. Intermezzo
  2. II. Ballade
  3. III. Alla Marcia
  4. I. Tempo Molto Moderato - Largamente - Allegro Moderato
  5. II. Andante Mosso, Quasi Allegretto
  6. III. Allegro Molto - Largamente Assai
  7. I. Allegro Molto Moderato
  8. II. Allegretto Moderato
  9. III. Poco Vivace
  10. IV. Allegro Molto

Free Music Notes for Sibelius: Symphonies Nos. 1, 4, 5, 6; Karelia Suite

Free Music Review: World-class Sibelius from Karajan/Berlin
Hit: 5 Stars

These recordings make a welcome reappearance on EMI, recompiled in EMIs Double forte series, and in new remasterings. Missing is Karajan's contemporaneous digital remake of Sym 2 - which is a bit strange as Sym 2 is the work best known to the public, at least on this side of the pond.

Karajan's Sibelius is often criticized for being too Germanic, too lush and too smoothed over. Those criticisms are given the lie in these remarkably forceful recordings. Yes - Karajan does not bring to the fore the many string ostinato patterns that provide the motor energy in these works, but if you listen for such passage work, you will hear it. That Karajan chooses not to emphasize the trees for the forest is an interpretive decision, nothing more, nothing less. Listen closely and one will hear why Sibelius himself was such a fan of Karajan's earlier recordings with The Philharmonia. There's a perfect balance between all choirs of the orchestra. Listen also for those points where Karajan (and Sibelius) "turn over" a theme or melody from one section of the orchestra to another. Here, Karajan is unmatched in the seamless transition in "instrumental counterpoint" (as we used to say at music school).

Compared to Karajan's much-lauded DG recordings for Syms 4-7, I find these later EMI recordings more compelling, at least as far as 4 & 5 go. The EMI recordings provide more warmth than their DG counterparts and prove once again that the guys at EMI knew how to record an orchestra (whereas the guys at DG generally failed to keep any consistency in portraying the Berlin Phil under Karajan in a realistic light). Having experienced the Berlin Phil under Karajan at Carnegie Hall, I can safely say that EMI more faithfully captured the sound that I heard in live performance than did DG. The only "problem" with these EMI recordings is that 1) Karajan didn't bother to redo Sym 7, and 2) he never performed or recorded Sym 3. Considering that Karajan eventually filled in the blanks on complete cycles of the symphonies of Schubert, Bruckner and Tchaikovsky (sans Manfred), it's a shame that he never did the same with Sibelius. Oh well.

I can recommend these recordings wholeheartedly to diehard fans of Sibelius and newcomers as well. There is a virulent anti-Karajan lobby out there that has accomplished nothing much - except to keep a few listeners here and there away from some pretty great recordings. Forget the naysayers and give a listen for yourself. I think you'll be favorably impressed with both the music making and the recorded sound on these valuable reissues.

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