Jean Sibelius: Symphonies No. 4-7, Tapiola etc.

Jean Sibelius (Composer), Herbert von Karajan (Conductor), Gerhard Stempnik (Performer), Berlin Philharmonic Orchestra (Orchestra)

Product Details

• Performer: Gerhard Stempnik
• Orchestra: Berlin Philharmonic Orchestra
• Conductor: Herbert von Karajan
• Composer: Jean Sibelius
• Audio CD (June 15, 1999)
• SPARS Code: ADD
• Number of Discs: 2
• Label: Deutsche Grammophon
• ASIN: B00000J9HE
• In-Print Editions: MP3 Download
• Average Customer Review: 4.5 out of 5 stars  See all reviews (14 customer reviews)
• Amazon.com Sales Rank: #36,627 in Music (See Bestsellers in Music)

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Customer Reviews

Most Helpful Customer Reviews

44 of 45 people found the following review helpful:

5.0 out of 5 stars "He understands what I meant..." Sibelius and von Karajan, December 30, 2002

By	DAVID A. FLETCHER (Richmond, Va United States) - See all my reviews (REAL NAME)

While it's easy to take pot-shots at von Karajan's somewhat homogenized "sound", the Berlin Philharmonic's "beautification" of angular textures, the "swooping" string entries, the "nasal" first oboist, ad naseum, it's likewise a bit stingy for reviewers to ignore what that longstanding musical partnership did so well with music they truly understood. Such was the case with von Karajan and Sibelius; to his credit, he built upon his early succcesses with the Philharmonia Orchestra, and by the end of the 1970s, he and the Berlin Philharmonic had built up a body of recordings that continue to give evidence of a great marriage between powerful symphonic writing and nuanced, thoughtful performance.

The 2-disc set involved here, Sibelius' Symphonies 4 through 7, plus "The Swan of Tuonela" and "Tapiola", recaps the best of the von Karajan/Berlin era, analogue recordings made during the mid- and late-60s by DG in the Jesus Christus Kirche facility in Berlin. When the orchestra moved into the new Philharmonie in the mid-70s, the sense of "air" around the orchestra was lost, not to mention the liveness of the vaulted plaster interior. For this DG "Originals" reissue, the engineers have thinned some of the old lower midrange muddiness that often plagued some of the best recordings of the period. Bass response is a bit lighter, and consequently brass-heavy passages may seem more dominant that they did in the LP format. The net gain, though, I believe is all to the good. The greater transparency has more of the quality that EMI's engineers brought to the same locale. Analogue tape hiss is minimal, and the soundstage is both wide and deep.

So much for sound; what about the performances? Karajan is tightly controlling when it comes to nuance, color, and timbre. These are not "spontaneous", spur-of-the-moment summonings from the musical ether. Frankly, a little of that goes a long way with Sibelius. It's too easy to cruise along and stop to point out this or that isolated bit of harmonic interest, or inflate a forgotten "inner voice." What von Karajan does is rather elemental to art of bringing Sibelius to life: he finds the pulse or core rhythm to the movements, and draws them together to build the musical architecture, or "span" of the piece. This doesn't imply a horse race from beginning to end, but rather a reluctance to dawdle in pools of rubato. Real orchestral power is built up and sustained, not thrown at you like a succession of one-two punches. What results is a sense of rightness and inevitability that eludes less effective conductors.

In sum, then, is all that is contained an unqualified rave? No. Other conductors have made stronger cases for Symphony 7, for example (to be fair, it's also the most difficult to bring off). A bit more impetuousness in some of the massed string entries might have increased the drama in Symphony 4. The strength of Sibelius as a symphonist, and as a unique voice, offers more than one avenue for conductors and orchestras to follow in bringing his music to life. The closest parallel to von Karajan in conducting Sibelius might be Ormandy. Snatch up the Sony reissue of his recordings of Symphonies 2 and 7, outstandingly performed and recorded in Philadelphia during the late 50s. Talk about control! For a more "Finnish"-sounding reading, listen to Vanska's cycle with the Lahti orchestra (here's hoping he'll try a cycle with the Minnesota Orchestra once he's settled there!). A "bigger" sound can be had through the efforts of Ashkenazy and Davis, with the Philarmonia and LSO, respectively. But, I wouldn't want to be without von Karajan and his single-minded, powerfully executed evocation of the Sibelian landscape. His thoughts on these scores, and the magisterial playing of the Berlin Philharmonic at its peak, are not to be dismissed lightly.

22 of 23 people found the following review helpful:

5.0 out of 5 stars some of Karajan's best work, March 30, 2000

By	Ray Barnes (Surrey, British Columbia Canada) - See all my reviews (REAL NAME)

I think it is fair to say that Karajan had a profound understanding of the music of Sibelius - many of these items were recorded 3 or 4 times each. I cannot give an unqualified recommendation to the performance of the 7th Symphony, I find this reading a little lacking in concentration and power compared to the efforts by Simon Rattle, Ormandy and Berglund, but it remains very fine. All the other items deserve an unqualified recommendation. No. 4 is about as cold, unremitting, and austerely beautiful as one could ever hope to hear - although it may not be to everyone's taste. No. 5 is my favourite alongside that of Simon Rattle's famous record, it has simply stunning playing and conveys visionary strength in the finale. No. 6, an enigmatic work, is played with great eloquence too and an almost disarming simplicity, which is rare for this conductor. His very restraint fits the character of this subtle but deeply felt symphony admirably. Tapiola has to be considered a great success too, although Karajan went on to surpass even this performance later in his career. The original sound quality on the LPs was very good and the digital remastering for this issue is very welcome. It is good to have these classic performances back in circulation, they are worthy of the label. At medium price, this is excellent value. Strongly recommended.

8 of 8 people found the following review helpful:

5.0 out of 5 stars An unbeatable set, even for non-Karajan fans., April 26, 2001

By	Alexander Leach (Shipley, West Yorkshire United Kingdom) - See all my reviews (REAL NAME)

This is a 2 CD set which can be recommended to those who do not normally react well to Karajan's music making. His interpretations are legendary, and the recordings are excellent, bearing in mind they are 35 years old.

The Fifth especially (recorded for the 100th anniversary of the composer's birth) is one of the recorded classics, and the recordings of the other works are hardly inferior.

Sibelius himself, on hearing Karajan's 1950s Philharmonia Orchestra mono recordings of his music, said 'Karajan is the only conductor who knows what I meant', and when one listens to this set, one can hear why.

If you want these works on CD, do not hesitate.