Sibelius Orchestral Works
View record and artist detailsRecord and Artist Details
Composer or Director: Jean Sibelius
Label: ASV
Magazine Review Date: 7/1989
Media Format: Cassette
Media Runtime: 0
Mastering:
DDD
Catalogue Number: ZCDCA649
Tracks:
| Composition | Artist Credit |
|---|---|
| Pelleas and Melisande |
Jean Sibelius, Composer
Jean Sibelius, Composer Royal Philharmonic Orchestra Yondani Butt, Conductor |
| Valse romantique |
Jean Sibelius, Composer
Jean Sibelius, Composer Royal Philharmonic Orchestra Yondani Butt, Conductor |
| Spring Song |
Jean Sibelius, Composer
Jean Sibelius, Composer Royal Philharmonic Orchestra Yondani Butt, Conductor |
| Swanwhite |
Jean Sibelius, Composer
Jean Sibelius, Composer Royal Philharmonic Orchestra Yondani Butt, Conductor |
Composer or Director: Jean Sibelius
Label: ASV
Magazine Review Date: 7/1989
Media Format: CD or Download
Media Runtime: 69
Mastering:
DDD
Catalogue Number: CDDCA649
Tracks:
| Composition | Artist Credit |
|---|---|
| Pelleas and Melisande |
Jean Sibelius, Composer
Jean Sibelius, Composer Royal Philharmonic Orchestra Yondani Butt, Conductor |
| Valse romantique |
Jean Sibelius, Composer
Jean Sibelius, Composer Royal Philharmonic Orchestra Yondani Butt, Conductor |
| Spring Song |
Jean Sibelius, Composer
Jean Sibelius, Composer Royal Philharmonic Orchestra Yondani Butt, Conductor |
| Swanwhite |
Jean Sibelius, Composer
Jean Sibelius, Composer Royal Philharmonic Orchestra Yondani Butt, Conductor |
Author: Robert Layton
So far no one has coupled Pelleas and Swanwhite together; in fact there is at present only one alternative account of the latter. Indeed, it is a pity that Yondani Butt did not include, say, Belshazzar's Feast, the other neglected suite of theatre music of this period: the Spring song is not the finest Sibelius, nor for that matter is the Valse romantique—and they are well represented on record. Yondani Butt gets responsive playing from the Royal Philharmonic Orchestra. In Pelleas and Melisande he faces formidable competition from Karajan (DG) while in Swanwhite Neeme Jarvi's reading (BIS) is far from negligible.
However, the new ASV coupling does have the advantage of being available in all three formats, while to all practical purposes Karajan and Jarvi are confined to CD. Though there are many sensitive touches, Butt does not offer an ideal Pelleas and to be frank is no match for Karajan, who distils a powerful, intense atmosphere in ''By the sea'' and ''Melisande at the spinning wheel''—in fact throughout the whole suite. Butt's reading of the second movement, ''Melisande'', is not free from affectation, and his ''Three blind sisters'' is terribly sluggish (he takes 3'13'' as opposed to Karajan's 2'25''). I find his ''Death of Melisande'' distinctly sleepy, as for that matter is theValse romantique. He lingers over Spring song, which needs more zest and fire if it is to be at all persuasive and in fact favours leisurely tempos throughout.
Pelleas was such a success that three years later the Swedish Theatre in Helsinki commissioned music for Swanwhite, Strindberg's ''Maeterlinckian fairy play for adults'', as Evert Sprinchorn calls it. Sibelius was a keen Strindbergian and hoped that this would bring them together. However, Strindberg never actually heard Sibelius's incidental music and their contact was limited to a few courtesies. Swanwhite has a less sharply defined profile than Pelleas, and the poetic atmosphere that Sibelius creates undoubtedly leaves a stronger impression than its melodic substance. Again I found this performance not fully characterized. ''The Peacock'' is a bit deficient in vitality and Butt's ''Maidens with roses'' are very matronly. The succeeding piece, ''Listen, the robin sings'', fares better and there is a good feeling of atmosphere in the penultimate movement, ''Swanwhite and the Prince''.
All the same, I would not recommend this in preference to Jarvi, which comes with the suite fromBelshazzar's Feast and The dryad Karajan's is the most atmospheric and magical Pelleas since Beecham's celebrated LP from the late 1950s (EMI—nla) and Butt does not compare. The ASV recording made by Brian Culverhouse in St Peter's, Morden, is expertly balanced and very truthful and alive.'
However, the new ASV coupling does have the advantage of being available in all three formats, while to all practical purposes Karajan and Jarvi are confined to CD. Though there are many sensitive touches, Butt does not offer an ideal Pelleas and to be frank is no match for Karajan, who distils a powerful, intense atmosphere in ''By the sea'' and ''Melisande at the spinning wheel''—in fact throughout the whole suite. Butt's reading of the second movement, ''Melisande'', is not free from affectation, and his ''Three blind sisters'' is terribly sluggish (he takes 3'13'' as opposed to Karajan's 2'25''). I find his ''Death of Melisande'' distinctly sleepy, as for that matter is the
Pelleas was such a success that three years later the Swedish Theatre in Helsinki commissioned music for Swanwhite, Strindberg's ''Maeterlinckian fairy play for adults'', as Evert Sprinchorn calls it. Sibelius was a keen Strindbergian and hoped that this would bring them together. However, Strindberg never actually heard Sibelius's incidental music and their contact was limited to a few courtesies. Swanwhite has a less sharply defined profile than Pelleas, and the poetic atmosphere that Sibelius creates undoubtedly leaves a stronger impression than its melodic substance. Again I found this performance not fully characterized. ''The Peacock'' is a bit deficient in vitality and Butt's ''Maidens with roses'' are very matronly. The succeeding piece, ''Listen, the robin sings'', fares better and there is a good feeling of atmosphere in the penultimate movement, ''Swanwhite and the Prince''.
All the same, I would not recommend this in preference to Jarvi, which comes with the suite from
Sibelius Orchestral Works
Sibelius Orchestral Works
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