London
Symphony Orchestra, Kajanus
Finnish National Orchestra, Schnéevoigt
Recorded 28th June, 1932 & 8th June,
1934
Catalogue Numbers: DB1739-42, DB2321-2323, DB1744-45
Matrix numbers: 2B.2932-37 & 2942, 2B.6964-69, 2B.2964-67
Remastered by Andrew Rose & released in 2005 as Divine Art CD
27801
Duration
72'14"
Symphony
No. 5 in E flat, Op.73
Symphony
No. 6 in D minor, Op.104
Tapiola,
Op.112
COMES WITH ORIGINAL SLEEVENOTES & PRINTABLE COVERS
Play
sample:
These
three recordings, made for HMV's Sibelius Society editions by the foremost
Finnish conductors of the day, and during the composer's lifetime (Sibelius
died in 1957 in his early 90's), surely stand as authuentic interpretations
of the composer's intentions.
We
can assume that, had Kajanus lived, he would have been the conductor for
all of these recordings - and for many of the other recordings which made
up the six volumes of Sibelius Society 78rpm recordings. In the end he
managed to record both the 5th and 3rd Symphonies, Tapiola and the Symphonic
Fantasia, 'Pohola's Daughter'. Thereafter the baton was taken up, variously,
by Koussevitzky, Boult, Beecham, and the lesser-known Schneevoigt, whose
interpretation of the 6th Symphony with the Finnish National Orchestra
was released in Volume Three of the Society series.
The
CD has been well-received since its issue in the spring of 2005 - the
following is from a review in Classic Record Collector magazine by Martin
Leigh:
Kajanus
was Legge’s first choice to record for the Sibelius Society,
and his interpretation of the Fifth Symphony is an outstanding
achievement. It is characterised by straightforwardness –
the conductor fully and transparently trusting the composer’s
intentions. Kajanus’s intervention is felt only in small
tempo changes – emphasising and enabling a player or a section
more fully to reveal a contrast in character. He avoids over-emphatic
gestures, and the music is the better for it. The soundscape is
particularly clear and open. In part a tribute to the excellence
of the original recording, part the quality of the 1932 LSO, but
most of all, this is a reflection of the good work of the conductor.
The complex rhythmic structure of the symphony is especially well
realised, and there is careful attention to the clarity and vitality
of each line of Sibelius’s complex layering hemiolas.
This
is a recording that makes one feel that something of the musical
essence of these works has been lost in the modern obsession with
declamation and effect. Kajanus directs us to the complexity and
craftsmanship of the texture, the subtle gradations of dynamic,
and the directness of form and structure...the remastering is
excellent.
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