Tír Na HiFi

Symphony No. 5 from this cycle....






It is always interesting to see how different conductors interpret the same work. Here, after a wonderful opening the mood turns menacing and this is more emphasised than other versions particularly through the threatening sounding timpani. This ever present threatening timpani in the background is a particular stand out feature for me in this opening movement. The strings are lush and are caught very well on this recording. I know that this is not a particularly sunny work but I find this a particularly dark interpretation of this movement; the unnerving timpani in the background constantly keeping one on edge throughout. It is a very effective interpretation and the conclusion to the first movement is very fine and very robust.
The second movement is played more on the robust side than on the delicate side but it is played very well. The touch is a little heavier than others’.
The opening of the final movement is a flurry of excitement and the horn theme is well executed. The dark tone once again becomes a feature of the final movement but I really like this interpretation. It is a red blooded account and Blomstedt wears his heart on his sleeve here in what is a dark and powerful interpretation.

^^ I have always been slightly underwhelmed by Vanska's Sibelius cycle with the Lahti SO. I think when I first started to enjoy Sibelius this particular cycle was alway recommended highly in magazines, record guides and on forums. I still think it is very very good - but I prefer other ones...

On the TT this afternoon. Wasnt a fan of the Karajan/Sibelius approach until now but I thoroughly enjoyed this performance. Perhaps getting to know the music more has really helped and in particular the notes from several posts in this thread.

Symphony No. 5 from this set....





As one would expect from Bernstein this is a strong, powerful and assertive performance. However, it is not one that is rushed or hurried but is rather another broad, expansive interpretation that is filled with emption. In terms of tone, it is neither dark nor on the brighter side but is rather one of those more pensive versions that seem to question rather than make a broad statement. The stand out orchestral section is the brass which is given quite a prominent role in the appropriate places. The horn theme in the final movement is quite wonderful. This is a beautifully paced version that allows the music to breathe which I feel is important with this music as it does not like to be rushed.

fergus wrote:Symphony No. 5 from this set....





As one would expect from Bernstein this is a strong, powerful and assertive performance. However, it is not one that is rushed or hurried but is rather another broad, expansive interpretation that is filled with emption. In terms of tone, it is neither dark nor on the brighter side but is rather one of those more pensive versions that seem to question rather than make a broad statement. The stand out orchestral section is the brass which is given quite a prominent role in the appropriate places. The horn theme in the final movement is quite wonderful. This is a beautifully paced version that allows the music to breathe which I feel is important with this music as it does not like to be rushed.

and it's my favourite performance of the Fifth, but to be sure that that is still the case I must do a comparison of all versions in my collection, I might start with the HvK/BPO rendition on EMI and get it out of the way.

I am sorry I am not really contributing to the project .. I have builders in and so [at the moment] no hi-fi.

But I have the Bernstein version and I played it on the computer yesterday ..

It's a symphony I know [or used to know] but have not listenned to in years ..
The opening movement always seemed a bit slow to get going so I was really interested in fergus's explanation that it was originally meant to be two movements.
The final movement is notorious in live performance for knowing/not-knowing when to applaud at the end.

I did not really like the Bernstein performance but this is the first time I have heard it [his version] .. And also it was through computer speakers. I will try to listen to it again over the next few days.

Five seems to be a good number for a good/popular symphony ..
Beethoven
Sibelius
Mahler
Dvorak [New World was originally no. 5]
Shostakovich

james


PS : My CD's are also put away [beacuse of the builders -- dust everywhere] but I bought the Bernstein 60CD box set of symphonies -- as recommended here -- which arrived a few days ago. Fantastic value at Euro75. So fare I have just listenned to the one Sibelius CD.


PPS : I have the Karajan version and also a Naxos version. My favourite Sibelius is probably Symphony 3 which reminds me a bit of the slow movement of Beethoven 7.

ends==

james wrote:I am sorry I am not really contributing to the project .. I have builders in and so [at the moment] no hi-fi.

There is no pressure here James and it is good to have a contribution from you, particularly in the circumstances. Good luck with the builders; I admire your bravery!

It's a symphony I know [or used to know] but have not listenned to in years ..
The opening movement always seemed a bit slow to get going so I was really interested in fergus's explanation that it was originally meant to be two movements.

Sibelius was an innovator in terms of Form and Style. His objective was to achieve a minimalist Form of the Symphony culminating in a single movement work which he achieved. His writing style and orchestration always put me in mind of the writing of John Steinbeck i.e. how to say exactly what you want with as few words as possible. That is why his orchestration was lean and his textures were so wonderful. These are two very important things to bear in mind when listening to the music of Sibelius and probably why some people do not take readily or easily to his music. It can be stark, but in a very beautiful way I think. If one really listens to what is being said and, importantly, how it is being said, it can become a very rewarding sound world indeed.

LIstened to the version conducted by Leif Segerstam and played by the Helsinki Symphony orchestra



Very interesting indeed and would highly recommend it. Definitively among my favorites.

Matt.

Symphony No. 5 from this set....





This recording with the Boston Symphony Orchestra was recorded in 1975. It is a big, bold assertive performance. The first half of the first movement has a nice eerie, menacing tone to it with lovely tension in the strings. The string sections sound full and expansive. The brass section has a very nice bite to it when it does enter; it really cuts through the strings and grabs your attention. There is a fine conclusion to the first movement.
The slow movement starts off by being somewhat tentative but gradually builds in confidence.
There is no lack of confidence as the final movement opens in a flurry but I do not think that the horn theme is assertive or convincing enough. It is fine but it lacks power in the projection of those horns. This final movement builds to a very fine conclusion with the brass section performing well.

Symphony No. 5 from this set....





The recording with the London Symphony Orchestra was recorded in 1992. There is a beautiful opening to this first movement. One immediately notices the greater “presence” with this recording; the music seems to have greater depth and it appears much more tangible. The performance of this first movement is also very assertive, even slightly aggressive in places and I think that this strength adds to the music in that it presents it not so much forcibly as assuredly. This characteristic certainly comes through in the opening of the second part of the first movement where the brass section is wonderful. This is repeated at the very fine conclusion of the movement.
The slow movement is a lush, confident affair which demonstrates the orchestral textures that it contains very well. One sometimes gets the impression in places however that it is a little hurried but it is a very fine performance.
The opening of the final movement is very well done and this is followed by a triumphant horn theme. The movement steadily builds to a strong, bold conclusion.