Symphony No. 1 in E Minor, Op. 39 / Symphony No. 4 in A Minor, Op. 63/ Berceuse from Tempest, Op. 64

Jean Sibelius (Composer), Eugene Ormandy (Conductor), Leopold Stokowsky (Conductor), The Philadelphia Orchestra (Orchestra) | Format: Audio CD

Product Details

• Orchestra: The Philadelphia Orchestra
• Conductor: Eugene Ormandy, Leopold Stokowsky
• Composer: Jean Sibelius
• Audio CD (March 17, 1998)
• Number of Discs: 1
• Label: Biddulph Records
• ASIN: B0000061UM
• Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
• Amazon Best Sellers Rank: #733,471 in Music (See Top 100 in Music)

Track Listings

1. Sym No.1 in e, Op.39: I. Andante Ma Non Troppo/Allegro Energico - Eugene Ormandy/The Philadelphia Orch

2. Sym No.1 in e, Op.39: II. Andante - Eugene Ormandy/The Philadelphia Orch

3. Sym No.1 in e, Op.39: III. Scherzo: Allegro - Eugene Ormandy/The Philadelphia Orch

4. Sym No.1 in e, Op.39: IV. Finale: Quasi Una Fant - Eugene Ormandy/The Philadelphia Orch

5. Lemminkainen Legends, Op.22: No.4, Lemminkainen's Return - Eugene Ormandy/The Philadelphia Orch

6. The Tempest,' Op.64: Berceuse - Leopold Stokowski/The Philadelphia Orch

7. Sym No.4 in a, Op.63: I. Tempo Molto Moderato, Quasi Adagio - Leopold Stokowski/The Philadelphia Orch

8. Sym No.4 in a, Op.63: II. Allegro Molt Vivace - Leopold Stokowski/The Philadelphia Orch

9. Sym No.4 in a, Op.63: III. Il Tempo Largo - Leopold Stokowski/The Philadelphia Orch

10. Sym No.4 in a, Op.63: IV. Allegro - Leopold Stokowski/The Philadelphia Orch

Customer Reviews

Most Helpful Customer Reviews

7 of 8 people found the following review helpful:

5.0 out of 5 stars SUBLIME SIBELIUS FIRST, August 18, 2005

By 

Karl Watson (Staten Island, NY) - See all my reviews
(REAL NAME)   

This review is from: Symphony No. 1 in E Minor, Op. 39 / Symphony No. 4 in A Minor, Op. 63/ Berceuse from Tempest, Op. 64 (Audio CD)

Here at last is absolute proof of the reputation of the Philadelphia Orchestra of lore. You will be awed by the freedom, naturalness and profound expressiveness of this performance. Mr. Ormandy conducts with superb line and an undoubted design that puts every other recording in the shade. But it leaves one somewhat disturbed. Why didn't the men of that great ensemble teach their students to play with such ardor and passion? How did it ever become the fashion to play so safely, so dryly?