Sibelius Symphonies Nos 3 & 7
Davis’s third Sibelius symphony cycle launches with a pairing to relish
View record and artist detailsRecord and Artist Details
Composer or Director: Jean Sibelius
Genre:
Orchestral
Label: LSO Live
Magazine Review Date: 6/2004
Media Format: CD or Download
Media Runtime: 54
Mastering:
Stereo
DDD
Catalogue Number: LSO0051

Tracks:
Composition | Artist Credit |
---|---|
Symphony No. 3 |
Jean Sibelius, Composer
Colin Davis, Conductor Jean Sibelius, Composer London Symphony Orchestra |
Symphony No. 7 |
Jean Sibelius, Composer
Colin Davis, Conductor Jean Sibelius, Composer London Symphony Orchestra |
Author: Andrew Achenbach
Sir Colin Davis’s magisterial 1976 recording of the Third Symphony with the Boston Symphony remains one of the jewels of the Sibelius discography, and its epic countenance and truly classical poise are conspicuous by their absence on Davis’s comparatively listless LSO successor. Happily, these same artists’ second stab is infinitely more involving, a performance of such abundant temperament and insight that I had to replay it immediately (always a good sign!).
Not only do the LSO respond with invigorating zest and application throughout, Davis’s authoritative direction hits genuine heights in the elusive central Andantino con moto, quasi allegretto, which is surveyed here with a bardic mystery, fireside glow and captivating suppleness that really make you sit up and listen, while the finale excitingly combines exploratory zeal and fiery purpose. In fact, my only tiny niggle concerns that tricky transition into the first movement’s development section, where Sir Colin doesn’t quite distil the same awesome hush and expectancy he did in Boston. No matter, this is a Third to relish and must rank high on any short-list.
It’s a similar tale with the Seventh. Davis’s 1975 version with the Bostonians, while not in the same exalted league as their Third, comprehensively outflanks his 1994 remake with the LSO. Timing for this newcomer is almost identical to that RCA predecessor, but once again it’s a far more satisfying, pungently characterful statement. One or two steep changes of tempi would seem to court disaster, but it’s precisely this element of risk-taking that makes the performance so compelling; indeed, Sir Colin’s conception possesses such imperious sweep and nobility (and the LSO play with such burning conviction) that any momentary misgivings quickly evaporate. As in the Third, the conductor’s occasional grunts and groans reinforce the sense of occasion.
Comparatively close-set sound in the now-familiar Barbican manner, yet by no means lacking in atmopshere or ambient warmth. Next up, I gather, is a pairing of Nos 5 and 6; and, needless to say, the low price-tag offers added incentive.
Not only do the LSO respond with invigorating zest and application throughout, Davis’s authoritative direction hits genuine heights in the elusive central Andantino con moto, quasi allegretto, which is surveyed here with a bardic mystery, fireside glow and captivating suppleness that really make you sit up and listen, while the finale excitingly combines exploratory zeal and fiery purpose. In fact, my only tiny niggle concerns that tricky transition into the first movement’s development section, where Sir Colin doesn’t quite distil the same awesome hush and expectancy he did in Boston. No matter, this is a Third to relish and must rank high on any short-list.
It’s a similar tale with the Seventh. Davis’s 1975 version with the Bostonians, while not in the same exalted league as their Third, comprehensively outflanks his 1994 remake with the LSO. Timing for this newcomer is almost identical to that RCA predecessor, but once again it’s a far more satisfying, pungently characterful statement. One or two steep changes of tempi would seem to court disaster, but it’s precisely this element of risk-taking that makes the performance so compelling; indeed, Sir Colin’s conception possesses such imperious sweep and nobility (and the LSO play with such burning conviction) that any momentary misgivings quickly evaporate. As in the Third, the conductor’s occasional grunts and groans reinforce the sense of occasion.
Comparatively close-set sound in the now-familiar Barbican manner, yet by no means lacking in atmopshere or ambient warmth. Next up, I gather, is a pairing of Nos 5 and 6; and, needless to say, the low price-tag offers added incentive.
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