This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.



REVIEW:

Vanska's Sibelius is all about clarity - of rhythm, of texture, of intention. It is zealously unfussy and entirely without exaggeration. But it can stop you in your tracks. One just knows that the ear-pricking clarity throughout these performances is of Vanska's and not the balance engineer's making.

The suddenness of the hush Vanska manages as we enter the "no-man's-land a few pages into the Third changes the way the air moves in the Minnesota Hall. There really isn't much to say about this performance (of the Sixth), it just feels perfectly balanced - in music as in nature. And the work's evaporating final chord is startling. As for the eleventh-hour resolution into C Major in the Seventh, it is as emphatic as it is precipitous.

– Gramophone

Petri Sakari knows this music, obviously loves it, and paces it to perfection. Indeed, his performance of The Bard may just be the finest available, particularly in the work's latter stages and final climax. The dark timbres of the lower winds--bass clarinet and bassoon particularly--not only add immeasurably to the atmosphere that colors the opening of Pohjola's Daughter, but also help to create the deep currents of The Oceanides and overshadow the pine forests of Tapiola. The Iceland Symphony Orchestra plays with complete security, and Sakari ensures that textures and balances retain the necessary transparency without sacrificing power. Indeed, the all-important bass drum part in En Saga seldom has registered with such dynamic accuracy (though as with all of these Naxos productions, make sure to turn the volume up to enjoy the best sound).


That said, there is one big fly in this particular musical ointment. The Iceland orchestra has a comparatively small string section, and while this fact certainly contributes to the clarity noted above, it robs the climaxes of sheer heft. This is particularly true during the headlong rush to the big cymbal crash in En Saga, the huge final wave in The Oceanides, and above all the great storm music in Tapiola. To his credit, Sakari doesn't push his players beyond their natural ability. For example, in Tapiola he cleverly ensures that the storm remains a background to the ferocious eruptions in the brass and timpani, but it's still impossible not to feel the lack in those moments (such as the ensuing dissonant shriek) where a big string sound is absolutely essential.


So is this disc recommendable? Certainly it is. But if you are one of those people whose preferences in this music demand Karajan's Berlin Philharmonic strings, you might be happier elsewhere. Still, there's far too much worth hearing to dismiss this issue for that reason alone. Sakari and his players capture the music's dark colors and primal qualities as do few others, and when all is said and done they offer a quintessentially Sibelian listening experience.
--David Hurwitz, ClassicsToday.com

There is a surprise here. After the folksy charm of Alfvén and Grieg, the familiar strains of Sibelius, the salon sentimentality of Järnefelt, and the muscular drive of Nielsen, we meet a totally fascinating composer from Iceland in the person of Jon Lief s, who had a whole disc devoted to his extraordinary music in the last issue. Geysir, like much of Liefs's mature work, starts in darkness, and works its way up to a vast climax in an idiom consisting almost entirely of primal, organ-like, parallel fifths, before subsiding into darkness. Amidst all of this charm and frivolity, it comes as something of a shock, but it is typical of Salonen, one of our most talented young conductors, to include it. His devotion to contemporary music of all sorts makes this a collection of uncommon interest, and sets it well above the ordinary for this sort of thing. All of the performances are excellent, as is the sound. Recommended, therefore, with enthusiasm despite the inevitable duplications of repertoire.

– David Hurwitz, FANFARE

This exhilarating album contains stunning live symphonic performances of works by Jean Sibelius (1865-1957). Included in this recording are his Symphony No. 5 in E Flat Major, Op. 82, Symphony No. 7 in C Major, Op. 105, and En Saga, Op. 9.

“...raw, massive, glacial, thrilling. Elder and the Halle have a strong track record in this repertoire.” - The Observer

"Julian Rachlin has a rapturously wide tonal armoury. From the very opening of the Concerto he demonstrates an imaginative reach; his sound being slender yet nectar-sweet. What is more, Maazel and the Pittsburghers catch the same kindling spirit. There is an alacrity and engagement about their playing that is not always present in the symphonies. Rachlin deserves consideration alongside Spivakovsky (Everest), Oistrakh (BMG-Melodiya) and Mullova (Philips). This is no also-ran and neither is the gentle second serenade."

-- Rob Barnett, MusicWeb International

Critically acclaimed ensemble Chamber Domaine returns to Resonus with this portrait of Finland’s most prominent national composer- Jean Sibelius. Featuring a combination of both well known and lesser performed works, artistic director and conductor Thomas Kemp leads a programme of instrumental, chamber and string orchestra compositions including the suite for strings, Rakastava (The Lover), the brooding Malinconia for cello, and the fulsome Andante Festivo in celebrating the depth and versatility of this great composer. The album was recorded with spectacular sound quality, and features a full color booklet. Chamber Domaine is a trailblazing ensemble acclaimed for its virtuosity, distinctive programming and passionate advocacy of the music from the twentieth and twenty-first centuries. Chamber Domaine is project based and has a modular lineup of outstanding instrumentalists and vocalists ranging from duos to chamber orchestra.

These are glamorous, big-city readings, far removed from the granite-faced objectivity proffered by most recorded Sibelians. But it’s all tremendously exciting – and if Bernstein nears emotional saturation more than once, particularly in Symphonies Nos. 1 [and] 2..., the coursing adrenalin in these accounts is irresistible. The New Yorkers are on top form throughout... Despite remastering, some of the fizz and glare that goaded pre-digital CBS LP pressings still survives.

-- Michael Jameson, BBC Music Magazine
reviewing these performances previously reissued as part of Sony 87329

I cannot remember having enjoyed this music more. Petri Sakari’s performance is totally unaffected, plain and full of enthusiasm; the players sound as if they are enjoying this score and communicate their pleasure.

– Gramophone, reviewing original release

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This reissue features performances of incidental music by Jean Sibelius, recorded in 1992 by Petri Sakari and the Iceland Symphony Orchestra. Sakari’s recordings with this orchestra during the 1990s made a significant contribution to the discography of Scandinavian music, notably of works by Grieg, Sibelius, and Madetoja.

Sibelius composed the score for King Christian II, a play by his friend Adolf Paul, in 1898 and it anticipates the richly romantic sound of the First Symphony. Here the usual suite is expanded by the inclusion of two movements from the incidental music not usually heard: the Menuetto and "The Fool’s Song."

Maurice Maeterlinck’s much-performed yet complex psychological drama Pelléas et Mélisande inspired works by Debussy, Fauré, Schoenberg, and Sibelius, whose incidental music consists mainly of interludes in a uniquely dark, subdued, and typically Nordic vein.

Altogether sweeter is the delicate and poetic score for Swanwhite, August Strindberg's "idealistic play of pure beauty." Sibelius condensed the original music into a charming concert suite of seven movements, five of which are recorded here.

For Simon Rattle, Jean Sibelius is "one of the most staggeringly original composers that there is". And indeed, this music has a unique musical language whose many beauties are particularly succinctly conveyed in Sibelius's seven symphonies. There is sonorous warmth as much as there is austere Nordic folklore. Moreover, there is a conceptual boldness that takes the listener on exciting musical journeys of discovery. In 2015, to celebrate the 150th anniversary of Sibelius's birth, Simon Rattle and the Berliner Philharmoniker presented the cycle live, which was met with unanimous delight by audiences and critics alike. "The Philharmoniker show that with them and Simon Rattle, Sibelius is in excellent hands," wrote the Berliner Zeitung, "because the orchestra has that astringency and sheer power which is so important for this kind of music." Simon Rattle was familiar with the music of Jean Sibelius from childhood. When, as a ten-year-old, he heard the Fifth Symphony live for the first time, it struck him - to use his own words - "like a thunderbolt". The Berliner Philharmoniker can also look back on a long Sibelius tradition and the orchestra was conducted by the composer himself in 1902. However, the first complete performance of the seven symphonies was not realized until 2010 under the direction of Sir Simon Rattle, with the Third Symphony being performed by the Philharmoniker for the first time. For many music lovers in Berlin, this new encounter with Sibelius was an exhilarating experience, and so it was only natural to repeat the performance of the cycle in Sibelius's anniversary year.