Customer Reviews

Sibelius: Symphonies Nos. 1-7 ~ Barbirolli

5 star:		(6)
4 star:		(1)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

Besides being a superb interpreter of Delius, Elgar and Vaughan Williams Barbirolli shows himself in this set to be a most worthy Sibelian. Some may complain that his tempi are slow at times but Barbirolli never fails to make these symphonies interesting and often gloriously inspiring. A big plus is the crystal clear sound; you can really hear those woodwinds (so important in Sibelius) and what an impact those cellos make at the beginning of the bleak and somber 4th symphony. There is also a generous allotment of some of the shorter pieces. Whether this is a top choice will depend on the listener but I think it holds its own against some of the top choices out there including Davis--Boston Symphony (Philips Duo) and Ashkenazy--Philharmonia (London).

I have this set of splendid Sibelius Symphonies for over a year now.I consider myself lucky to have stumbled upon choosing this set ahead of other more "Reputed"performances by TOP Orchestras under Great Conductors.I have been listening to this set for over a year and the least i can say is that it is nothing short of a Revelation.No other conductor or orchestra matches Sir John Barbirolli's understanding and Passionate intensity(sorry Eugene Ormandy,Leonard Bernstein,Mariss Janson)in these performances with the Halle Orchestra.The Halle Orchestra perform splendidly individually as well as collectively,The strings have an intensity ,the woodwinds have an ethereal character and the Brass are quite simply Majestic.Barbirolli brings out the Heroics,the passionate intensity,the poignance,the Mystical quality,the gay abandon and folklike singing quality in these marvellous orchestral works of Sibelius.The pacing is just right ,lingering in passages of great beauty like in the slow movement of the Fifth Symphony,moving with urgency when required.The music is ever flowing in a seamless way and not just pieced together with studied musicianship.The orchestra breathes a free air with an element of spontaneous music making.
Remember how Bruno Walter turned out splendid performances of Beethoven and Brahms Symphonies with a handpicked Columbia sympony Orchestra!Quite the same here.I am yet to listen to Sir Colin Davis Boston Symphony Orchestra's Performances of these works.I am not sure whether they will measure upto this splendid performance by Sir John.It is not about efficiency or discipline.It is all about BEING INSPIRED!!!Sir John Barbirolli and his splendid Halle Orchestra Musicians are on a different plane,the rarefied realms of the spirit!Noble and Sublime.

Sir John Barbirolli (1899-1970) established the greatness of Mancester's Halle' Orchestra during his 28 years as their principal conductor from his 1943 appointment to his 1970 death. An London of Cockney birth, Barbirolli was linked to relatively few composers in his long career with Sibelius being one of those he most loved. His style was to personalize music, not merely to condcut it. While not as wayward in style as the likes of Leopold Stokowski or Nikolaus Harnoncourt, who could (and do) infuriate listeners with their personalizations, Barbirolli was more akin to Leonard Bernstein.

As he showed in his highly personal recordings of the Beethoven "Eroica" symphony and Elgar's Symphony No. 2, Barbirolli conducted with relatively slow tempi and asked his orchestra to voice the music differently than others. Both those characteristics are apparent in these recordings of the seven Sibelius symphonies and extracts from his other orchestral works.

I bought this set especially to hear what Barbirolli would do with the Symponies 3, 4 and 6 -- especially the latter of the trio. I am pleased to say Barbirolli is as good an exponent of the symphonies as the other reviewers here would lead you to believe. He focused on the woodwind voicing more so than the strings or brass, giving these often quiet and introspective scores a slightly different sound world than other conductors. He is just as good in the bigger and more romantic Symphonies 1, 2 and 5, as well, with his rendering of Symphony 2 being a special triumph.

I can't say I was as impressed by all the other music in this box as some around here. In particular the first disk of the set that includes the warhorses Finlandia, Karelia suite, Swan of Tuonela and Lemminkainen's Return, were not as propulsive or effective as recordings I've heard from other conductors incluidng Ormandy. Still, they add a lot to your understanding of both the way Barbirolli views this composer and your appreciation of the Halle' Orchestra, whose members play exceptionally throughtout.

For me, this was my first exposure to some of the other music recorded here including the Scenes Historiques and Rakastava selections. With early opus numbers (25 and 14, respectively) these come from the composer's earlier romantic days before the Russian takeover and his own drinking turned him -- and his later music -- somber and moody. While Sibelius represent an icier Scandanavian landscape in later opi, these represent the romantic Fin at his best.

The symphonies are the main course on this menu and they are universally pleasing to the ear, head and heart in this recordings made in London's Kingsway Hall. This collection lets you know what a splendid conductor Barbirolli was, what a splendid orchestra he developed in the Halle', and what a wonderful recording venue was Kingsway Hall. All things considered, aside from a few disappointments, this is a cherishable collection.

"Glorious John" Barbirolli wasn't as well-known for his Sibelius as a couple of other British conductor-knights (Colin Davis and the late Thomas Beecham). But this generous set--all the strictly instrumental symphonies (I don't believe Barbirolli ever recorded the choral symphony "Kullervo"), several of the tone poems, and some of Sibelius' incidental music--shows that he was AT LEAST the equal of Sir Colin or Sir Thomas in this repertoire. And the late '60s recordings still sound fresh today--just like the performances.

Sir John Barbirolli recorded this cycle with his Halle Orchestra not long before his death in 1970. I'm not a particularly big fan of Barbirolli's Sibelius interpretations as I feel they, like Sir Colin Davis, lack a certain fire. For me, Sibelius' music is supposed to be much more grand, fiery, and passionate, but at the same time, it should be very direct. As some reviewers have pointed out, he doesn't always yield the best results and his Halle Orchestra are far from one of my favorite orchestras to listen to. His handling of the tempi are a little slow for me and don't always get the best impact.

These are generally good readings, though I thought Symphonies 1-3 received lackluster performances. I mean these are just disappointing to listen to as I have heard so many better performances: Segerstam, Vanska, Berglund, Ashkenazy, and Bernstein. Barbirolli's take on "Pohjola's Daughter" is one of the worst I've heard. It's not supposed to be that slow! There is just something missing in these performances. I think there's a danger that people get into where they think someone like Barbirolli (or any popular conductor of the past) can do no wrong. This set has been bettered by Segerstam, Vanska, and Berglund. It does come down to personal taste, but I know Sibelius' music quite well and I just don't hear outstanding or 5-star performances. The audio quality is only good. The brass section is very harsh and grating.

That said, this set does have a lot of merit and he does get some good performances from the Halle Orchestra, but it's not a first choice for me and I seldom come back to this set and listen to it. Of course, music is subjective, so let your ears be the judges. 3 1/2 stars

Here are some links to better Sibelius cycles:

Sibelius: The Complete Symphonies & Tone Poems [Box Set]
Sibelius: Complete Symphonies; Violin Concerto; Finlandia
Sibelius: The Complete Symphonies
Sibelius: The Symphonies; Tone Poems; Violin Concerto [Box Set]
Sibelius: The Complete Symphonies

To state Sibelius was the last epic composer perhaps may be sound exaggerate, but listening carefully his odd Symphonies, one may feel such steeled conviction fevered lyricism that sharply contrasts with the enraptured introspection of his even symphonies (specially the Fourth and Sixth).

Keeping all these factors in mind, we should re-examine over and over his Pastoral musicality, filled of sustained and restrained lyricism absolutely improper of the artistic tendencies. He was one of the few composers who was always listening to his inner voices without halting just a bit from his bliss.

John Barbirolli' s approach is a warm and honest homage to his artistic grandness.

Until late in his career, Barbirolli was overshadowed by Beecham, the greatest champion of Sibelius in Britain (perhaps the world). Their performances are very different, Beecham being more confident, extroverted, and showy in his approach, Barbirolli more moody, tender and personal. He was in general a personal musician, taking a long time to gather his thoughts about each score. Certain symphonies here, such as the 4th and 7th, come across with total conviciton--you feel and think along with the conductor.

For many listeners, Barbirolli's Sibelius may now have risen above Beecham's for that reason--it's highly ocmmunicative. His pace is usually measured, and he emphasizes the atmospheric wind solos that flavor this music. Beecham had a superior orchestra in the Royal Phil., but the Halle was sensitive to Barbirolli's nuances of phrasing (we hear a lot of that in the mystical Fourth). The bigger, more popular works, such as the Second and Fifth Sym., can't hold their own for execution against versions from powerful, world-famous ensembles like the Berlin and NY Phil. led by powerhouse conductors like Bernstein and Karajan. But Barbriolli wasn't aiming for the grand effect, even in these works, so there's a special niche for his versions, too.

Relegated to Pye, a secondary British label, Barbirolli did earlir versions of the First and Fift. These recordings, a complete cycle made just before his death, now rise to their rightful place on EMI. I'm giving five stars even though I am not enamored of Barbirolli's rough-hewn First (graced by some truly ugly playing), somewhat stodgy Third and underpowered Sixth, nor do I have a fondness for some of the routine incidental music that fills out the set. ('Finlandia' begins with the most grating brass chords I ever hope to hear.) But it's impossible to over-praise the best of these readings, especially a revelatory Fourth, and the sonics, dating from 1966-69, are generally fine.

P.S. 2010 - Newcomers to this set shouldn't jump into its arms without making sure that they don't mind the mediocre playing from the Halle Orch., which does play a major factor for me. The beauties of Barbirolli's imagination (and Sibelius's) have to contend with some very unbeautiful sounds.

(THIS IS A REVIEW OF DISC I ONLY) Believe it or not, I had this as an album (does that give away my age or what?). I played it so much the records became worn so when someone offered to let me borrow the first CD of this set, I jumped at the chance.

There is just the right amount of wintry chill and evocative melodies that personified the the great late-Romantic artist. This was an Angel (EMI) recording that still shines with lots of class. I loved the Karelia-Suite as well as the many short pieces that accompanied the major works.

The Halle Orchestra seems almost perfect in this outing.