Sibelius - En Saga: Tone Poem, Op. 9 (reference record.: Sir Malcolm Sargent, Wiener Philharmoniker)
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- Опубліковано 28 кві 2024
- Full album available // Sibelius: Finlandia, En Saga, The Swan of Tuonela.. by Sir Malcolm Sargent
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Jean Sibelius (1865-1957) En Saga: Tone Poem, Op. 9
Wiener Philharmoniker
Conductor: Sir Malcolm Sargent
Recorded in 1963, at Vienna
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The epic dimension of Sibelius's orchestral pages is sublimated in this magnificent recording by a little-known conductor: Sir Malcolm Sargent. En Saga begins with a dreamlike figure from the strings. Soon after this the woodwinds play a lumbering, troll-like theme. Musicologists are undecided about which is the main theme and which the secondary theme of the work. However, already in these early bars of the work there are rhythms and repetitions which belong to the central thematic material. The thematic material is introduced more clearly, first of all from the bassoons, in C sharp minor.
The French horns join in while the strings continue their will-o'-the-wisp figuration in the background. The main theme, which has already been anticipated in the slower introduction, is presented in an allegro episode. After a powerful orchestral climax we hear important thematic material from the violas; this has been referred to as a subtheme. Its relationship with the theme presented by the bassoons is unmistakable.
There is yet a third theme which is very closely connected with those mentioned above. The musicologist Salmenhaara was unsure whether this should be called a final theme or merely a second subtheme. It is introduced by the violins.
Here we have the central thematic material from which Sibelius compiled his En Saga. Sibelius varies and develops his thematic material rather in the manner of Finnish rune-singers. In the original version there is even more thematic material, but in the later version the composition makes a stronger impression, compelled by its own inner logic. There are a few discontinuities in the original version, but the final version is an organic whole.
Tonally speaking, En Saga is an adventurous work; it begins in A minor and ends in E flat minor. Robert Layton has pointed out that even at this early stage in Sibelius's career En Saga is masterly in its handling of the orchestra. Sibelius shows himself to be a genuine orchestral composer in the manner of Berlioz. These conceptions could not originate at the piano or by orchestrating a piano version. In its 1902 version
En Saga quickly charmed the rest of the world, and Arturo Toscanini and Henry Wood added it to their repertoires. Even today, En Saga is one of Sibelius's most popular and most frequently recorded orchestral works.
Sibelius never explained the programme of his work - if there was any. To him En Saga was "an expression of a state of mind": "En Saga is psychologically one of my most profound works. I could almost say that the whole of my youth is contained within it. It is an expression of a state of mind. When I was writing En Saga I went through many things that were upsetting to me. In no other work have I revealed myself as completely as in En Saga. For this reason alone all interpretations of En Saga are, of course, completely foreign to my way of thinking." www.sibelius.info/english/mus...
Album available // Sibelius: Symphonies Nos. 1,2,7 & Orchestral Works by Eugene Ormandy
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Full album available // Sibelius: Finlandia, En Saga, The Swan of Tuonela.. by Sir Malcolm Sargent
🎧 Qobuz (Hi-Res) bit.ly/3SSR3up Tidal (Hi-Res) bit.ly/3sAmG1m
🎧 Apple Music (Lossless) apple.co/4aOG7ES Deezer (Hi-Fi) bit.ly/3MWdQSt
🎧 Amazon Music (Hi-Fi) amzn.to/3MT2ezz Spotify (mp3) spoti.fi/3QRUkYb
🎧 UA-cam Music (mp4) bit.ly/3QXXx90 Idagio (Hi-Fi) bit.ly/3usW7f7
🎧 Napster bit.ly/3GbnxZnPandora, Anghami, QQ音乐, LineMusic, Awa 日本…
❤ Joining us on Patreon means receiving a download link every month containing 5 legendary recordings remastered by our master sound engineer, along with an article on the history of music.
www.patreon.com/cmrr
❤ Discover our Website: Expand your music collection www.classicalmusicreference.com
Jean Sibelius (1865-1957) En Saga: Tone Poem, Op. 9
Wiener Philharmoniker
Conductor: Sir Malcolm Sargent
Recorded in 1963, at Vienna
🔊 Join us with your phone on our WhatsApp fanpage (our latest album preview): bit.ly/3Mraw1r
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ): bit.ly/370zcMg
🔊 Follow us on Spotify: spoti.fi/3016eVr
The epic dimension of Sibelius's orchestral pages is sublimated in this magnificent recording by a little-known conductor: Sir Malcolm Sargent. En Saga begins with a dreamlike figure from the strings. Soon after this the woodwinds play a lumbering, troll-like theme. Musicologists are undecided about which is the main theme and which the secondary theme of the work. However, already in these early bars of the work there are rhythms and repetitions which belong to the central thematic material. The thematic material is introduced more clearly, first of all from the bassoons, in C sharp minor.
The French horns join in while the strings continue their will-o'-the-wisp figuration in the background. The main theme, which has already been anticipated in the slower introduction, is presented in an allegro episode. After a powerful orchestral climax we hear important thematic material from the violas; this has been referred to as a subtheme. Its relationship with the theme presented by the bassoons is unmistakable.
There is yet a third theme which is very closely connected with those mentioned above. The musicologist Salmenhaara was unsure whether this should be called a final theme or merely a second subtheme. It is introduced by the violins.
Here we have the central thematic material from which Sibelius compiled his En Saga. Sibelius varies and develops his thematic material rather in the manner of Finnish rune-singers. In the original version there is even more thematic material, but in the later version the composition makes a stronger impression, compelled by its own inner logic. There are a few discontinuities in the original version, but the final version is an organic whole.
Tonally speaking, En Saga is an adventurous work; it begins in A minor and ends in E flat minor. Robert Layton has pointed out that even at this early stage in Sibelius's career En Saga is masterly in its handling of the orchestra. Sibelius shows himself to be a genuine orchestral composer in the manner of Berlioz. These conceptions could not originate at the piano or by orchestrating a piano version. In its 1902 version
En Saga quickly charmed the rest of the world, and Arturo Toscanini and Henry Wood added it to their repertoires. Even today, En Saga is one of Sibelius's most popular and most frequently recorded orchestral works.
Sibelius never explained the programme of his work - if there was any. To him En Saga was "an expression of a state of mind": "En Saga is psychologically one of my most profound works. I could almost say that the whole of my youth is contained within it. It is an expression of a state of mind. When I was writing En Saga I went through many things that were upsetting to me. In no other work have I revealed myself as completely as in En Saga. For this reason alone all interpretations of En Saga are, of course, completely foreign to my way of thinking." www.sibelius.info/english/musiikki/ork_satu.htm
Album available // Sibelius: Symphonies Nos. 1,2,7 & Orchestral Works by Eugene Ormandy
Qobuz bit.ly/3YosIgu Apple Music apple.co/3U9RLlD
Amazon Music amzn.to/3YsjPm8 Tidal bit.ly/3W0QgGF
Spotify spoti.fi/3iUuMMP Deezer bit.ly/3hr982z
UA-cam Music bit.ly/3uQt9CL SoundCloud -
The epic dimension of Sibelius's orchestral pages is sublimated in this magnificent recording by a little-known conductor: Sir Malcolm Sargent. En Saga begins with a dreamlike figure from the strings. Soon after this the woodwinds play a lumbering, troll-like theme. Musicologists are undecided about which is the main theme and which the secondary theme of the work. However, already in these early bars of the work there are rhythms and repetitions which belong to the central thematic material. The thematic material is introduced more clearly, first of all from the bassoons, in C sharp minor.
The French horns join in while the strings continue their will-o'-the-wisp figuration in the background. The main theme, which has already been anticipated in the slower introduction, is presented in an allegro episode. After a powerful orchestral climax we hear important thematic material from the violas; this has been referred to as a subtheme. Its relationship with the theme presented by the bassoons is unmistakable. There is yet a third theme which is very closely connected with those mentioned above. The musicologist Salmenhaara was unsure whether this should be called a final theme or merely a second subtheme. It is introduced by the violins.
Here we have the central thematic material from which Sibelius compiled his En Saga. Sibelius varies and develops his thematic material rather in the manner of Finnish rune-singers. In the original version there is even more thematic material, but in the later version the composition makes a stronger impression, compelled by its own inner logic. There are a few discontinuities in the original version, but the final version is an organic whole.
Tonally speaking, En Saga is an adventurous work; it begins in A minor and ends in E flat minor. Robert Layton has pointed out that even at this early stage in Sibelius's career En Saga is masterly in its handling of the orchestra. Sibelius shows himself to be a genuine orchestral composer in the manner of Berlioz. These conceptions could not originate at the piano or by orchestrating a piano version. In its 1902 version
En Saga quickly charmed the rest of the world, and Arturo Toscanini and Henry Wood added it to their repertoires. Even today, En Saga is one of Sibelius's most popular and most frequently recorded orchestral works.
Sibelius never explained the programme of his work - if there was any. To him En Saga was "an expression of a state of mind": "En Saga is psychologically one of my most profound works. I could almost say that the whole of my youth is contained within it. It is an expression of a state of mind. When I was writing En Saga I went through many things that were upsetting to me. In no other work have I revealed myself as completely as in En Saga. For this reason alone all interpretations of En Saga are, of course, completely foreign to my way of thinking." www.sibelius.info/english/musiikki/ork_satu.htm
Album available // Sibelius: Symphonies Nos. 1,2,7 & Orchestral Works by Eugene Ormandy
Qobuz bit.ly/3YosIgu Apple Music apple.co/3U9RLlD
Amazon Music amzn.to/3YsjPm8 Tidal bit.ly/3W0QgGF
Spotify spoti.fi/3iUuMMP Deezer bit.ly/3hr982z
UA-cam Music bit.ly/3uQt9CL SoundCloud -
As a child in the 50s, Sergent was a big naBritish conductor. He was friend of Holst and his conducting of the planet suite was the one to have. I still have that vinyl copy.
As a child in the 50s, Sergent was a big naBritish conductor. He was friend of Holst and his conducting of the planet suite was the one to have. I still have that vinyl copy.
As a child in the 50s, Sergent was a big naBritish conductor. He was friend of Holst and his conducting of the planet suite was the one to have. I still have that vinyl copy.
As a child in the 50s, Sergent was a big naBritish conductor. He was friend of Holst and his conducting of the planet suite was the one to have. I still have that vinyl copy.
An enthralling performance of this profound and sagacious masterful tone poem. Magnificent new mastering. Thank you !
Beautiful, perceptive; I've known this recording since its first release in the '60s when, on innumerable evenings its other-worldliness was an irresistible, evocative transport out of my mundane, uncertain and often abrasive teenage existence. I freely admit to nostalgia emphasizing the beauty of this remarkable performance. Thank you so much for this re-issue; the performance of The Swan of Tuonela is equally inspiring.
Great album, I bought the vinyl when it came out, the Cd when it came out. It’s the best ever Saga & Swan!
Wunderschöne und detaillierte Interpretation dieser spätromantischen und nordisch komponierten Tondichtung mit farbenreichen doch perfekt entsprechenden Tönen aller Instrumente. Der intelligente und unvergleichliche Dirigent leitet das weltklassige Orchester im gut analysierten Tempo und mit künstlerisch kontrollierter Dynamik. Wunderbar vom Anfang bis zum Ende!
Grand merci!
Old but gold !
Sargent was VERY well known around the world especially in Commonwealth countries!
A great recording, one of many by Sargent. His Messiah of 1959 is one of the greatest ever!
In the 1950s, Toscanini, Beecham and others considered Sargent to be the best choral conductor in the world.
@@cosmicwanderer3950 that is very true. Indeed he was.
Sargent was a noted Sibelian in his day, but there aren’t many recordings of him conducting that composer’s work. I am only aware of recordings of the 1st and 5th symphonies with the BBC SO in the late 1950s and some of the tone poems (including this performance) with the Wiener Philharmoniker in 1963.
However, when Sibelius died, in the evening of 20 September 1957, a radio broadcast was being given of a live performance of his 5th symphony in Helsinki. Conducted by Malcolm Sargent.
Actually, I stand corrected. A friend has just reminded me that there is also a live recording from 1965 of Sargent conducting Sibelius’ 4th symphony, again with the BBC SO.
5:05