Johan Julius Christian Sibelius (1865-1957) - Complete Symphonies by Sir John Barbirolli. 🎧 Find this recording in our Spotify playlist : spoti.fi/3sWQUWn Symphony No.1 in E minor Op.39 *Click to activate the English subtitles for the presentation* (00:00-01:10) l. Andante, ma non troppo - Allegro energico (00:00) ll. Andante - ma non troppo lento (12:07) Ill. Scherzo - Allegro (22:30) IV. Finale: Quasi una fantasia - Andante - Allegro molto (28:09) Symphony No.2 in D Op.43 *Click to activate the English subtitles for the presentation* (42:02-43:25) l. Allegretto (42:02) Il. Tempo andante, ma rubato (52:37) Ill. Vivacissimo (1:07:39) IV. Finale - Allegro moderato (1:13:39) Symphony No.3 in C Op.52 *Click to activate the English subtitles for the presentation* (1:28:09-1:29:06) l. Allegro moderato (1:28:09) Il. Andantino con moto, quasi allegretto (1:40:23) Ill. Moderato - Allegro - ma non tanto (1:51:38) Symphony No.4 in A minor Op.63 *lick to activate the English subtitles for the presentation* (2:00:58-2:02:28) l. Tempo molto moderato, quasi adagio (2:00:58) ll. Allegro molto vivace (2:10:53) Ill. Il tempo largo (2:15:40) IV. Allegro (2:26:48) Symphony No.5 in E flat Op.82 *Click to activate the English subtitles for the presentation* (2:37:15-2:38:40) I. Tempo molto moderato - Allegro moderato - Presto (2:37:15) Il. Andante mosso, quasi allegretto (2:51:21) Ill. Allegro molto - Un pochettino largamente (3:00:28) Symphony No.6 in D minor Op.104 *Click to activate the English subtitles for the presentation* (3:10:41-3:11:49) l. Allegro molto moderato (3:10:41) Il. Allegretto moderato (3:20:04) III. Poco vivace (3:27:00) IV. Allegro molto (3:30:44) Symphony No. 7 in C Op.105 *Click to activate the English subtitles for the presentation* (3:40:36-3:42:05) I. Adagio (3:40:36) II. Un pochettino meno adagio - Vivacissimo - Adagio (3:48:07) III. Allegro molto moderato (3:52:49) IV. Vivace - Presto - Adagio (3:57:18) Hallé Orchestra Sir John Barbirolli Recorded in 1966,69-70, at London Find CMRR's recordings on *Spotify* : spoti.fi/3016eVr Le ton héroïque de nombreux éléments de la *PREMIÈRE* Symphonie (1898-1899) ne fait guère de doute - ainsi les fanfares de cuivres rauques qui couronnent le premier grand crescendo de l'œuvre, le thème d'amour, langoureux et évoquant Tchaïkovski qui ouvre le deuxième mouvement, et tout particulièrement le finale libre fantaisie puissamment rhétorique, s'achevant immanquablement sur la mort du héros et dans la tonalité du dénouement de Kullervo, mi mineur. Le point de départ de ce finale, un thème exposé aux cordes, ardent, riche de développement et éminemment tragique, sonne comme s'il s'agissait d'un thème neuf ; en réalité, il s'agit de la reprise plus ou moins littérale du thème envoûtant entendu à la clarinette en ouverture de la symphonie c'est l'un des premiers exemples de cette manière de métamorphose thématique qui allait devenir à la fois plus subtile et encore plus présente dans les symphonies suivantes. Dans la *DEUXIÈME* Symphonie (achevée en 1902), le conteur et le symphoniste « absolu » s'approchent davantage de l'équilibre. Le premier mouvement retient avant tout l'attention en raison de sa remarquable logique interne : presque tout y découle, d'une manière ou d'une autre, du motif ascendant de trois notes exposé par les cordes dans les toutes premières mesures véritable motif symphonique « en devenir » (même si l'exultante fanfare entendue au point culminant du mouvement nous replonge momentanément dans l'univers nordique des dieux et des héros). Une grande partie du deuxième mouvement, le mouvement lent, reprend un matériau provenant d'un poème symphonique évoquant l'ultime confrontation entre Don Juan et la Mort, avec un second thème aux cordes, consolateur, clairement intitulé « Christus » sur les esquisses. Il serait difficile de ne pas percevoir dans ce mouvement le déroulement d'une sorte de lutte spirituelle, la Mort semblant l'emporter, comme dans la légende de Don Juan. C'est au scherzo et au finale qu'il appartiendra de finalement réunir ces deux mondes. Le thème du finale émerge victorieusement de la texture agitée de la fin du scherzo (hommage manifeste au passage correspondant de la Cinquième Symphonie de Beethoven, bien que sonnant très différemment). Puis, à la fin de la symphonie, le motif ascendant de trois notes du premier mouvement donne naissance à un nouveau thème, s'élevant bientôt à la quarte puis à la quinte, brillamment exposé par les trompettes. En tant que symbole de l'espoir qui renaît, cette coda est encore plus subjugante que la triomphale conclusion du Retour de Lemminkainen. Voici maintenant la *TROISIÈME* Symphonie, « classique avec son orchestre réduit et ses dimensions resserrées. Le premier mouvement est l'une des démonstrations les plus lucides de la traditionnelle forme sonate jamais composées par Sibelius. Le deuxième est en forme de valse délicatement retenue bien que l'on puisse entendre dans son deuxÈ ème thème cantabile, exposé par les violoncelles divisés et les vents, quelques touches de mystère à la manière d'un nocturne. Le dernier mouvement pousse encore plus loin que ce n'était le cas dans la Deuxième Symphonie la fusion du scherzo et du finale à tel point que l'on ne sait plus si l'on doit paF Ier de deux mouvements séparés ou bien d'un seul et même mouvement qui tout simplement « devient » autre. Le développement est ponctué d'une nouvelle et triomphante coda, les cors retentissant sur la pulsation martelée des cordes. Jamais sans doute Sibelius n'approcha autant cet idéal du style symphonique « sévère » évoqué dans sa conversation avec Mahler.
Ce fut autant La Fille de Pohjola que la Troisième Symphonie qui ouvrirent la voie à la *QUATRIÈME* Symphonie (1911). La magistrale concision et l'économie de moyens qui s'y trouvent déployées n'auraient été possibles sans l'expérience de la Troisième, mais peut-être l'aspect le plus saisissant de cette Quatrième Symphonie tient à la manière dont elle intensifie et restitue de manière encore plus originale le thème de l'échec tragique et de la dissolution exposé dans La Fille de Pohjola. Qu'il s'agisse ou non d'un reflet des propres sentiments de Sibelius, alors à mi-chemin entre la quarantaine et la cinquantaine - crise du milieu de la vie aggravée par la crainte d'être atteint d'un cancer incurable de la gorge on ne saurait dénier une portée toute personnelle à l'argument sous-tendant la Quatrième Symphonie, en particulier à travers la quête angoissée et en définitive infructueuse du mouvement lent et ce sentiment de catastrophe imminente accompagnant le point culminant du finale. Tout au long de l'œuvre, l'accord de tonique (la symphonie est en la mineur) est continuellement évité, comme s'il sous-entendait une intolérable et sombre vérité ; on ne l'entendra finalement que dans les toutes dernières mesures, aux cordes, dans un simple et prosaïque mezzo forte. Pour certains, cette conclusion demeure déconcertante ; pour d'autres, elle revêt une sorte de stoïque dignité - une fois la terrible vérité affrontée. S'il s'était agi de l'ultime confrontation de Sibelius avec la forme symphonique, cette conclusion se serait révélée pratiquement insoutenable, tel l'ultime embrasement en mi bémol mineur du dernier quatuor à cordes de Chostakovitch. Cependant comme pour Lemminkainen - le mode héroïque reparut, plus puissant que jamais. *(SUITE VOIR CI-DESSOUS)* Sibelius - Complete Orchestral Works / Finlandia.. + Presentation (Cent. rec. : Sir John Barbirolli) ua-cam.com/video/C_18IKw9KFc/v-deo.html Elgar - Enigma Variations, Nemrod / Pomp and Circumstance, March (Century's recording : Sir John Barbirolli) : ua-cam.com/video/gtLIBEXxLi4/v-deo.html Johan Sibelius PLAYLIST (reference recordings) : ua-cam.com/video/klP_IJPgJLE/v-deo.html
La *CINQUIÈME* Symphonie (1914-1919) est solidement ancrée dans la tonalité de mi bémol majeur : celle du triomphe de Lemminkainen et, ce qui est tout aussi significatif, de l'Eroica (Symphonie « Héroïque ») de Beethoven. C'est également l'une des manifestations les plus majestueuses de la penSée organique de Sibelius. Le motif exposé au cor au tout début est le germe dont jaillira la symphonie tout entière - l'écouter, c'est un peu comme regarder en accéléré le film d'une plante en train de grandir, ainsi et surtout dans le sommet d'intensité du premier mouvement, dominé par la trompette, lorsque le tempo, jusqu'alors Molto moderato, prend peu à peu de la vitesse à la manière d'un scherzo. Comme exemple d'un mouvement « se métamorphosant » en un autre mouvement, celui-ci dépasse de loin les transitions entre scherzo et finale des Symphonies n02 et 3, tant en subtilité qu'en véhémence accumulée. Le finale de la Cinquième présente un splendide motif ascendant puis descendant aux cors que le grand musicologue Donald Francis Tovey comparait à une image saisissante de Thor, le dieu scandinave, brandissant son marteau. Cependant le journal de Sibelius révèle qu'il en eut l'inspiration en observant une volée de cygnes tournoyant autour de la maison du compositeur avant de « disparaître en une brume solaire tel un éblouissant ruban argenté ». À la fin de la symphonie, c'est cet « hymne des cygnes » qui reparaît, transfiguré, aux trompettes. La *SIXIÈME* Symphonie (1923), demeurée pour beaucoup et pendant des années une énigme, rarement entendue en concert. En fait, cette Sixième ne peut qu'intriguer si l'on attend d'elle qu'elle se comporte à la manière des symphonies les plus ouvertement héroïques. Présentée comme étant en ré mineur, la symphonie est plus proche du vieux mode ecclésiastique hérité du « dorien », gamme n'utilisant, sur un clavier, que les touches blanches en commençant et en terminant sur un ré. Ce trait de caractère, associé à la polyphonie mobile des cordes dans les pages d'introduction, confère à l'oeuvre une sérénité que, normalement, on n'associe guère en musique classique ou romantique à une tonalité mineure on songe ici à Palestrina (que Sibelius révérait) et à ses contemporains de la Renaissance. Viennent ensuite quelques pages, sorte de représentation de la nature, parmi les plus expressives de Sibelius (murmures des cordes et appels d'oiseaux des vents dans le deuxième mouvement), suivies d'un finale tempétueux. Cependant la sérénité reparaît dans la coda chantante qui, plus que toute autre page Symphonique de Sibelius, fait le mieux revivre l'esprit des anciens bardes. Si la Sixième Symphonie s'articule en quatre mouvements clairement définis, la *SEPTIÈME* Symphonie se présente pour sa part tel le plus grand miracle de fusion et de transformation de Sibelius : un seul mouvement donnant le sentiment de deux mouvements rapides encadrant un grand Adagio. L'élément le plus remarquable en est un thème de trombone qui apparaît à trois reprises, pour l'essentiel inchangé bien que chaque fois sur un arrière-plan orchestral radicalement différent. La première fois, il marque le sommet d'un lent crescendo en forme d'hymne ; la deuxième fois, il retentit à travers des motifs sombres et tourbillonnants des cordes ; enfin il reparaît, lent et plus noble que jamais, dans l'ultime section d'un Presto vivifiant : comment ne pas songer à une montagne que l'on observerait dans des conditions météorologiques violemment contrastées. En même temps, la progression générale passant d'une vive luminosité à des régions ténébreuses pour finir sur une lumière redoublée - est aussi claire qu'elle l'était un quart de siècle plus tôt dans la Suite de Lemminkainen. Sibelius commença, et peut-être acheva une Huitième Symphonie , si ce fut le cas, il est presque certain qu'il la détruisit. Mais il est difficile d'imaginer qu'une autre oeuvre aurait pu mieux que la Septième Symphonie couronner en apothéose et de manière plus accomplie le parcours symphonique de Sibelius, peut-être parce qu'elle constitue l'exemple le plus remarquable jamais né de sa plume de cette « profonde logique » plusieurs fois évoquée de même que l'essence de sa conception héroïque de la symphonie : une conception venant du coeur, nullement plus abstraite que celle de Mahler. Car en dépit de leurs apparentes divergences, il est une grande vérité sur laquelle Sibelius et Mahler seraient certainement tombés d'accord : à savoir que la musique selon l'expression d'un autre grand symphoniste scandinave Carl Nielsen est « le son de la vie ». Johan Sibelius PLAYLIST (reference recordings) : ua-cam.com/video/klP_IJPgJLE/v-deo.html
Wunderschöne und spannende Interpretation dieser sieben nordischen Sinfonien mit seidigen Tönen aller Streichinstrumente, milden Tönen aller Holzblasinstrumente und, vor allem, brillanten Tönen aller Blechblasinstrumente. Der unvergleichliche Dirigent leitet das ausgezeichnete Orchester im gut phrasierten Tempo und mit möglichst effektiver Dynamik. Alles ist wunderbar und durchaus atemberaubend!
I have loved this set since my teens where I would go to the Toronto Library and listen to it over headphones. Broad tempi, warmth and power. A true collector's item. Oh for a Tapiola from Sir John
A lot to be said for this set. My first classical LP in 68 was Sir J's Sib 2nd with the Halle. Changed my life. Gave me a purpose... to listen to everything by this composer. Important when you're a teenager.
I had a similar awakening. I had been exposed to classical music since birth but it was after hearing the 3rd and 4th movements of the 2nd symphony by Sibelius while it was snowing outside at age 14 that made me fall truly in love with classical music. All thanks to my wonderful dad.
First time I listen to this symphony orchestra and know this conductor. To my memory, this orchestra never come to Hong Kong for performance. I wish one day they will perform the whole symphonies of Jean Sibelius for the peoples of Hong Kong. Let's us explore more about Finland fine music and appreciate the Scandinavian musicians. Thanks for your uploading this album.
Merci pour ce formidable travail! Une merveille ces innombrables mises en ligne de tant d'enregistrements légendaires, à présent si facilement accessibles. Quel chance nous avons! Encore un grand merci!
My first adventure into the classical wilderness Absolutely top hat recording This version in the hands of the master composer Sir John Barbirolli conducting Sibelios symphony no 2 Exquisite masterful could be the best rendition of sibelios symphonic work. Heard this on cassette tape form. Heard all sibelios symphonies. Sibelios can certainly paint a landscape of magical places of mountaintains and kingdoms just use you're imagination
I am glad to see we share similar images in Sibelius' music! Majestic mountains, dense forrests, marshes and lakes: this was certainly a magical place for Maestro Sibelius!
Semplicemente eccezionale.Favolosa la registrazione , così come l'esecuzione e direzione dell'orchestra.Un Barbirolli al top . Una su tutte la prima sinfonia con il tema lento del clarinetto finalmente udibile come in nessun 'altra esecuzione... Grazie per questo sublime inserimento.
Again, as I've said before, this is simply the best set you will find!! And trust me I've done the research as a devotee of this great Finnish composer who stopped writing great orchestral music far too soon for his short time on this earth. And I have listened to most of them: Colin Davis's nice collection with the LSO in the 1980s (Davis was a great Sibelian); the Karajan set of symphonies (very ostentatious in parts); and the more recent sets by Berglund, Pekka-Salonen, Saraste, and even George Szell with the Concertebouw orchestra and Mariss Jansons with the Oslo Philharmonic in prior years. You can listen to them all, and you can even explore more modern examples post 2000+, but in the end you will finally return to Sir John Barbarolli and the Hallé who were in superb form at that time and thankfully were were recorded for posterity, for us all to enjoy. If I had one regret, and this this entirely personal, I consider that the very final note of the final movement in the third symphony was kept a tad short by the great maestro. But that is my own personal choice... up to you to decide. Otherwise very highly recommended and enjoy this superlative set of recorded music. Cannot say more.
We hope that you will enjoy the fascinating world of Sibelius as much as we do. Enjoy :-) Sibelius - Complete Orchestral Works / Finlandia.. + Presentation (Cent. rec. : Sir John Barbirolli) : ua-cam.com/video/C_18IKw9KFc/v-deo.html Elgar - Enigma Variations, Nemrod / Pomp and Circumstance, March (Century's recording : Sir John Barbirolli) : ua-cam.com/video/gtLIBEXxLi4/v-deo.html
There are times I just want to look obliviously to the empty space while listening to Sibelius. The melodies like a stream river that I want to submerge myself forever into...
This is THE must have set for Sibelius. Nobody touches what Sir John does with the 3rd symphony. Rich, broad tempos, just like Sibelius did with his own recording of Andante Festivo. Trombone player in the Halle buries it. I have the EMI German pressing lp of this set... and no record player!! plus Sir John wears a great hat on the cover!!!
@clark cimmerian the "um" disqualifies you for commenting on the subject of superiority. Just kidding. However, the "um" is a classic tell that reveals more of the spirit of unbridled ignorance that despises human beings than that of the reasoned argument school that at least gives us a chance to be persuaded and convinced. The "um" school prefers to enshrine personal caprice as diamond truth, and reject and destroy all outside attempts to suggest wider truths.
@clark cimmerian The opposite of idle chatter or prattle. The very antithesis of prating endlessly on about nothing. A brilliantly reasoned and presented argument against the use of "um" in an argument. However, as I clearly and unambiguously stated in my initial response, I was "just kidding" about your personal opinions, which you get to keep, undefiled by anyone's critique. Rest assured that you may continue to feel that your own subjective aesthetic judgments are indisputably superior in every possible way (even ways you haven't even considered yet), regardless of any possible argument in any universe that could be leveled against them. I certainly haven't done so in this forum, and my solemn oath is that I never will. In fact I will ardently agree with you about the Barbirolli 2d w/ the RPO. I will vociferously and furiously defend you on that one, for what it's worth.
With this video, I just listened to another great set on this channel, after Bruckner symphonies conducted by Jochum, Schumann and Mendelssohn collections with Sawallisch. I highly appreciate those videos with all symphonies in them. The symphony no. 2 is the best, final movement is the most memorable among Sibelius' numbered symphonies. Symphony no. 7 is amazing as well, symphony no. 5 is in this famous key E-flat major, which sounds particularly cheerful, shared with Beethoven's Heroic symphony no. 3, his Emperor concerto no. 5, Schumann Rhenish symphony no. 3, Bruckner Romantic symphony no. 4 or Mahler Symphony of a Thousand no. 8. It's a good company to be in.
Thank you very-very much for this release!!! I also have the LP version (HMV!)..A marvelous black box bought in 1975! My teacher of classical guitar was a Sibelius fan and...ordered me to buy this set..absolutely with Barbirolli conducting😊He made me a Sibelius fan too! I greately thank Spiros and Sir John for this whole-life enjoyment and now..I wholeheartedly thank you for republishing it!!!
Thank you sir. The same can be said to you. I washed my hands and enjoy the calm and peaceful midnight hour with wonderful music and a nice whisky just to find out that dawn and thus work is coming too fast. :-D Have a nice evening.
Thank you my music loving friend, and the same to you! I have been enjoying the Sibelius symphony cycles for years. His music evokes images of deer or moose hunting in the wooded mountain sides and valleys of Finland. Sometimes a flock of grouse flies up and ducks land on the hundreds of lakes around the land. Sometimes the light is dim as the hunters ride through the dense forrests. Sometimes they must take shelter from a passing storm. Always there is a chill which passes through the air. But then it's time to soad up the pack horses, saddle up the riding horses and ans head home with the food from the hunt. I find great joy in these works and others as well. "The Swan of Tounela" being one of my all-time favorites!
I can't keep up with the magnificent selection of recordings of wonderful sound fidelity that this channel is featuring! Here we have Sir John Barbirolli at his mature best, conducting music he loved. Worth noting is the string section that sings throughout, and which forms the foundation upon which Barbirolli built the cohesion of his orchestral performances with the Hallé Orchestra, and that enabled the sweeping rhythms so suited to Sibelius that others have commented on. This is indeed a Century's recording. I am so grateful that you have had the foresight to include this set and the companion Sibelius recording.
... the best Sibelius You can ever hear - the interpretations of Sir John Barbirolli conducting his beloved Halle Orchestra Manchester - full of empathy and "manly" power and tragidy ...
Thank you for posting this set. It's good that Barbirolli had a chance to record the complete Sibelius symphonies before he died. The sound here is better than any I have heard on the LP or CD versions of these recordings. Perhaps that stems from your using vastly superior equipment. Anyway, the music comes alive in a way that it hadn't for me before. For those who love these recordings, I would encourage you to look also for used LP copies of Barbirolli's earlier recordings of the 1st, 2nd, and 5th. The 1st and 5th (with an excellent Pohjola's Daughter), also with the Hallé Orchestra, were available in the U.S. on the Vanguard label in the early 1960s. The 2nd, with the Royal Philharmonic, was available on the Chesky label (and is on UA-cam). Although the current set was recorded later and has better sound, the earlier performances had quicker tempi and were tauter and more propulsive. I discovered Sibelius on those records, and my love for his music has never wavered.
Read a critic in the 70s who thought if you don't like the 4th or understand it, then you need ask yourself if you truly like his music. It seems to me (the 4th) to embody Sibelius talking to himself and making little compromise to this listener.
The very ending of the 5th Symphony is spectacular! Instead of the timpanist playing grace notes as intended by the composer the timpanist hits solid right on the beat strokes ! BRAVO
The first Sibelius recording I ever bought was Barbirolli doing the 1st symphony. I haven't heard the rest of his cycle so I'm very excited to find this. IF you've never heard Barbirolli's astounding recording with Janet Baker of the Mahler Songs of a Wayfarer, do yourself a favor and find it.
For me Janet Baker is the greatest singer I have ever heard in my reasonably long life. I never understood why she stopped singing the day she turned 50 though she said she thought her voice was losing something.
Yet another great upload. Thank you! What is it about these recordings from 50 odd years ago that seems so vibrant? It seems to me that the microphones were placed closer than today, and there is less big hall reverb. The sound is less glossy --- you are more aware of the fact that the string section is made up of individual instruments. The result has less polish but a greater raw intensity. Barbirolli's direction also feels very different from more recent styles. There is more appropriate highlighting of solos and a courageous directness -- less nuance and subtlety, and more force. A bit like old-school actors speaking their lines clearly and loudly, rather than in the current modish mumble!
Imo this is bc people weren't trying to impress. They were actually just working to do a good job to bring forth the vision & passion of the composer, their times & themselves. People were more personal, if that makes sense. Less artifice, less fake polish, never "trying too hard"... simply bursting forth with refined, raw & honest feeling & vision. I was born just in time to barely remember this. You described it very eloquently. Thank you, very heartening & fulfilling to read your words.
you are right, I agree to that, and I prefer this kind of recording. I think they after that they started perhaps like you said to put the microphones far maybe to avoid instrument leakage and clicks of the keys and hands on the instruments , but to be that is all adding the charm to a music piece it just remind you at any instant that the players are humans and it is like you are inside the orchestra not out side which is so overwhelming , I just love it
Berglund, Rozhdestvensky, Vanska, Kamu, Colin Davis in Boston, Storgards plus the Kurt Sanderling cycles run this set close...but there was only one Glorious John.
I seldom make a “comment” about ANY ‘U-Tube’ selection, Altho I watch and listen everyday. And I subscribe to ‘many’ various ‘channels’. Still, I’m enjoying this presentation today and decided to ‘put my. Oar in’ on this one. “Well done” from me, to you. Thanks, Gary 🧸
never heard this music played so beautifully - all immersive; like floating in cream with angels creating waves. completely ruined me for all the CDs I own
@Parsifal If you look at UA-cam and such platforms, you will see young musicians searching Sib's work and finding neglected gems (piano works) and playing them or adapting them for other instruments. It's remarkable the interest in his neglected work. When I was a student I was told by lovers of his symphonic works that his piano pieces were mostly worthless. Simply not true as I have found to my joy.
Barbirolli con su orquesta y me atrvería a decir, con su sonido IMPRESIONANTE , que integral he oído algunas más de grande interpretes y algunas suenan, como decirlo mas finesas, pero ese dominio de la orquesta que tiene Barborolli.... Gracias
One of the absolute best recordings of Sibelius symphonies. Except for the 7th. Idk some parts of instruments feels like it comes a bit too quick at certain parts. Idk kind of has a lack of cohesion imo. But this is just my personal take. I still prefer Vänskä recording of 7th by the Minnesota Orchestra. I absolutely love that.
David Hurwitz would say yuk! to your selection of a fav 7th. I had a fav 7th for a long time (on tape) until I played it to destruction. It was Ashkenazy conducting a London orchestra. But since those days I've learnt to accept and love other various takes on the great symphony.
Dear Friend, More than have information about the music it will be more interesting to know why you have decided to publiced this edition and not another.... also if you have some info about the recording, the sections in the studio etc... Dont you think???? I think the persons that suite your publications are more or less informed about the music..
@@Velissiotisnikosvyahoocom A pleasure to read you again :-) Why this recording : in brief It's the most "accomplished" integral from beginning to end. We have the impression that the recording was made in one go without any breaks. Barbirolli's inspiration is permanent, a powerful and epic breath of fresh air animates him. The tension is maximum, the timbre of the instruments magnificent, the recording breathtaking. We can follow the score and better understand and appreciate its harmonic structure through the intelligence of Barbirolli's direction. Barbirolli is a conductor we particularly appreciate for Sibelius, Elgar and Vaughan-Williams.
You do not understand what I mean when I ask for a translation into English. I do not want subtitles. I want to be able to read the entire paragraph in the very beginning as the people who can read French are able to do. I do not want to have to sit here watching it for four hours getting the information a little bit at a time. I want this done in all the presentations that you do.
Johan Julius Christian Sibelius (1865-1957) - Complete Symphonies by Sir John Barbirolli.
🎧 Find this recording in our Spotify playlist : spoti.fi/3sWQUWn
Symphony No.1 in E minor Op.39
*Click to activate the English subtitles for the presentation* (00:00-01:10)
l. Andante, ma non troppo - Allegro energico (00:00)
ll. Andante - ma non troppo lento (12:07)
Ill. Scherzo - Allegro (22:30)
IV. Finale: Quasi una fantasia - Andante - Allegro molto (28:09)
Symphony No.2 in D Op.43
*Click to activate the English subtitles for the presentation* (42:02-43:25)
l. Allegretto (42:02)
Il. Tempo andante, ma rubato (52:37)
Ill. Vivacissimo (1:07:39)
IV. Finale - Allegro moderato (1:13:39)
Symphony No.3 in C Op.52
*Click to activate the English subtitles for the presentation* (1:28:09-1:29:06)
l. Allegro moderato (1:28:09)
Il. Andantino con moto, quasi allegretto (1:40:23)
Ill. Moderato - Allegro - ma non tanto (1:51:38)
Symphony No.4 in A minor Op.63
*lick to activate the English subtitles for the presentation* (2:00:58-2:02:28)
l. Tempo molto moderato, quasi adagio (2:00:58)
ll. Allegro molto vivace (2:10:53)
Ill. Il tempo largo (2:15:40)
IV. Allegro (2:26:48)
Symphony No.5 in E flat Op.82
*Click to activate the English subtitles for the presentation* (2:37:15-2:38:40)
I. Tempo molto moderato - Allegro moderato - Presto (2:37:15)
Il. Andante mosso, quasi allegretto (2:51:21)
Ill. Allegro molto - Un pochettino largamente (3:00:28)
Symphony No.6 in D minor Op.104
*Click to activate the English subtitles for the presentation* (3:10:41-3:11:49)
l. Allegro molto moderato (3:10:41)
Il. Allegretto moderato (3:20:04)
III. Poco vivace (3:27:00)
IV. Allegro molto (3:30:44)
Symphony No. 7 in C Op.105
*Click to activate the English subtitles for the presentation* (3:40:36-3:42:05)
I. Adagio (3:40:36)
II. Un pochettino meno adagio - Vivacissimo - Adagio (3:48:07)
III. Allegro molto moderato (3:52:49)
IV. Vivace - Presto - Adagio (3:57:18)
Hallé Orchestra
Sir John Barbirolli
Recorded in 1966,69-70, at London
Find CMRR's recordings on *Spotify* : spoti.fi/3016eVr
Le ton héroïque de nombreux éléments de la *PREMIÈRE* Symphonie (1898-1899) ne fait guère de doute - ainsi les fanfares de cuivres rauques qui couronnent le premier grand crescendo de l'œuvre, le thème d'amour, langoureux et évoquant Tchaïkovski qui ouvre le deuxième mouvement, et tout particulièrement le finale libre fantaisie puissamment rhétorique, s'achevant immanquablement sur la mort du héros et dans la tonalité du dénouement de Kullervo, mi mineur. Le point de départ de ce finale, un thème exposé aux cordes, ardent, riche de développement et éminemment tragique, sonne comme s'il s'agissait d'un thème neuf ; en réalité, il s'agit de la reprise plus ou moins littérale du thème envoûtant entendu à la clarinette en ouverture de la symphonie c'est l'un des premiers exemples de cette manière de métamorphose thématique qui allait devenir à la fois plus subtile et encore plus présente dans les symphonies suivantes.
Dans la *DEUXIÈME* Symphonie (achevée en 1902), le conteur et le symphoniste « absolu » s'approchent davantage de l'équilibre. Le premier mouvement retient avant tout l'attention en raison de sa remarquable logique interne : presque tout y découle, d'une manière ou d'une autre, du motif ascendant de trois notes exposé par les cordes dans les toutes premières mesures véritable motif symphonique « en devenir » (même si l'exultante fanfare entendue au point culminant du mouvement nous replonge momentanément dans l'univers nordique des dieux et des héros). Une grande partie du deuxième mouvement, le mouvement lent, reprend un matériau provenant d'un poème symphonique évoquant l'ultime confrontation entre Don Juan et la Mort, avec un second thème aux cordes, consolateur, clairement intitulé « Christus » sur les esquisses. Il serait difficile de ne pas percevoir dans ce mouvement le déroulement d'une sorte de lutte spirituelle, la Mort semblant l'emporter, comme dans la légende de Don Juan. C'est au scherzo et au finale qu'il appartiendra de finalement réunir ces deux mondes. Le thème du finale émerge victorieusement de la texture agitée de la fin du scherzo (hommage manifeste au passage correspondant de la Cinquième Symphonie de Beethoven, bien que sonnant très différemment). Puis, à la fin de la symphonie, le motif ascendant de trois notes du premier mouvement donne naissance à un nouveau thème, s'élevant bientôt à la quarte puis à la quinte, brillamment exposé par les trompettes. En tant que symbole de l'espoir qui renaît, cette coda est encore plus subjugante que la triomphale conclusion du Retour de Lemminkainen.
Voici maintenant la *TROISIÈME* Symphonie, « classique avec son orchestre réduit et ses dimensions resserrées. Le premier mouvement est l'une des démonstrations les plus lucides de la traditionnelle forme sonate jamais composées par Sibelius. Le deuxième est en forme de valse délicatement retenue bien que l'on puisse entendre dans son deuxÈ ème thème cantabile, exposé par les violoncelles divisés et les vents, quelques touches de mystère à la manière d'un nocturne. Le dernier mouvement pousse encore plus loin que ce n'était le cas dans la Deuxième Symphonie la fusion du scherzo et du finale à tel point que l'on ne sait plus si l'on doit paF Ier de deux mouvements séparés ou bien d'un seul et même mouvement qui tout simplement « devient » autre. Le développement est ponctué d'une nouvelle et triomphante coda, les cors retentissant sur la pulsation martelée des cordes. Jamais sans doute Sibelius n'approcha autant cet idéal du style symphonique « sévère » évoqué dans sa conversation avec Mahler.
Ce fut autant La Fille de Pohjola que la Troisième Symphonie qui ouvrirent la voie à la *QUATRIÈME* Symphonie (1911). La magistrale concision et l'économie de moyens qui s'y trouvent déployées n'auraient été possibles sans l'expérience de la Troisième, mais peut-être l'aspect le plus saisissant de cette Quatrième Symphonie tient à la manière dont elle intensifie et restitue de manière encore plus originale le thème de l'échec tragique et de la dissolution exposé dans La Fille de Pohjola. Qu'il s'agisse ou non d'un reflet des propres sentiments de Sibelius, alors à mi-chemin entre la quarantaine et la cinquantaine - crise du milieu de la vie aggravée par la crainte d'être atteint d'un cancer incurable de la gorge on ne saurait dénier une portée toute personnelle à l'argument sous-tendant la Quatrième Symphonie, en particulier à travers la quête angoissée et en définitive infructueuse du mouvement lent et ce sentiment de catastrophe imminente accompagnant le point culminant du finale. Tout au long de l'œuvre, l'accord de tonique (la symphonie est en la mineur) est continuellement évité, comme s'il sous-entendait une intolérable et sombre vérité ; on ne l'entendra finalement que dans les toutes dernières mesures, aux cordes, dans un simple et prosaïque mezzo forte. Pour certains, cette conclusion demeure déconcertante ; pour d'autres, elle revêt une sorte de stoïque dignité - une fois la terrible vérité affrontée. S'il s'était agi de l'ultime confrontation de Sibelius avec la forme symphonique, cette conclusion se serait révélée pratiquement insoutenable, tel l'ultime embrasement en mi bémol mineur du dernier quatuor à cordes de Chostakovitch. Cependant comme pour Lemminkainen - le mode héroïque reparut, plus puissant que jamais. *(SUITE VOIR CI-DESSOUS)*
Sibelius - Complete Orchestral Works / Finlandia.. + Presentation (Cent. rec. : Sir John Barbirolli) ua-cam.com/video/C_18IKw9KFc/v-deo.html
Elgar - Enigma Variations, Nemrod / Pomp and Circumstance, March (Century's recording : Sir John Barbirolli) : ua-cam.com/video/gtLIBEXxLi4/v-deo.html
Johan Sibelius PLAYLIST (reference recordings) : ua-cam.com/video/klP_IJPgJLE/v-deo.html
La *CINQUIÈME* Symphonie (1914-1919) est solidement ancrée dans la tonalité de mi bémol majeur : celle du triomphe de Lemminkainen et, ce qui est tout aussi significatif, de l'Eroica (Symphonie « Héroïque ») de Beethoven. C'est également l'une des manifestations les plus majestueuses de la penSée organique de Sibelius. Le motif exposé au cor au tout début est le germe dont jaillira la symphonie tout entière - l'écouter, c'est un peu comme regarder en accéléré le film d'une plante en train de grandir, ainsi et surtout dans le sommet d'intensité du premier mouvement, dominé par la trompette, lorsque le tempo, jusqu'alors Molto moderato, prend peu à peu de la vitesse à la manière d'un scherzo. Comme exemple d'un mouvement « se métamorphosant » en un autre mouvement, celui-ci dépasse de loin les transitions entre scherzo et finale des Symphonies n02 et 3, tant en subtilité qu'en véhémence accumulée. Le finale de la Cinquième présente un splendide motif ascendant puis descendant aux cors que le grand musicologue Donald Francis Tovey comparait à une image saisissante de Thor, le dieu scandinave, brandissant son marteau. Cependant le journal de Sibelius révèle qu'il en eut l'inspiration en observant une volée de cygnes tournoyant autour de la maison du compositeur avant de « disparaître en une brume solaire tel un éblouissant ruban argenté ». À la fin de la symphonie, c'est cet « hymne des cygnes » qui reparaît, transfiguré, aux trompettes.
La *SIXIÈME* Symphonie (1923), demeurée pour beaucoup et pendant des années une énigme, rarement entendue en concert. En fait, cette Sixième ne peut qu'intriguer si l'on attend d'elle qu'elle se comporte à la manière des symphonies les plus ouvertement héroïques. Présentée comme étant en ré mineur, la symphonie est plus proche du vieux mode ecclésiastique hérité du « dorien », gamme n'utilisant, sur un clavier, que les touches blanches en commençant et en terminant sur un ré. Ce trait de caractère, associé à la polyphonie mobile des cordes dans les pages d'introduction, confère à l'oeuvre une sérénité que, normalement, on n'associe guère en musique classique ou romantique à une tonalité mineure on songe ici à Palestrina (que Sibelius révérait) et à ses contemporains de la Renaissance. Viennent ensuite quelques pages, sorte de représentation de la nature, parmi les plus expressives de Sibelius (murmures des cordes et appels d'oiseaux des vents dans le deuxième mouvement), suivies d'un finale tempétueux. Cependant la sérénité reparaît dans la coda chantante qui, plus que toute autre page Symphonique de Sibelius, fait le mieux revivre l'esprit des anciens bardes.
Si la Sixième Symphonie s'articule en quatre mouvements clairement définis, la *SEPTIÈME* Symphonie se présente pour sa part tel le plus grand miracle de fusion et de transformation de Sibelius : un seul mouvement donnant le sentiment de deux mouvements rapides encadrant un grand Adagio. L'élément le plus remarquable en est un thème de trombone qui apparaît à trois reprises, pour l'essentiel inchangé bien que chaque fois sur un arrière-plan orchestral radicalement différent. La première fois, il marque le sommet d'un lent crescendo en forme d'hymne ; la deuxième fois, il retentit à travers des motifs sombres et tourbillonnants des cordes ; enfin il reparaît, lent et plus noble que jamais, dans l'ultime section d'un Presto vivifiant : comment ne pas songer à une montagne que l'on observerait dans des conditions météorologiques violemment contrastées. En même temps, la progression générale passant d'une vive luminosité à des régions ténébreuses pour finir sur une lumière redoublée - est aussi claire qu'elle l'était un quart de siècle plus tôt dans la Suite de Lemminkainen. Sibelius commença, et peut-être acheva une Huitième Symphonie , si ce fut le cas, il est presque certain qu'il la détruisit. Mais il est difficile d'imaginer qu'une autre oeuvre aurait pu mieux que la Septième Symphonie couronner en apothéose et de manière plus accomplie le parcours symphonique de Sibelius, peut-être parce qu'elle constitue l'exemple le plus remarquable jamais né de sa plume de cette « profonde logique » plusieurs fois évoquée de même que l'essence de sa conception héroïque de la symphonie : une conception venant du coeur, nullement plus abstraite que celle de Mahler. Car en dépit de leurs apparentes divergences, il est une grande vérité sur laquelle Sibelius et Mahler seraient certainement tombés d'accord : à savoir que la musique selon l'expression d'un autre grand symphoniste scandinave Carl Nielsen est « le son de la vie ».
Johan Sibelius PLAYLIST (reference recordings) : ua-cam.com/video/klP_IJPgJLE/v-deo.html
Listened to the 4th.I had that in my soul.Sibelius gave it a voice.
I love his music as well. Sadly he didn't compose one single note for the last 30 years of his life.
Wunderschöne und spannende Interpretation dieser sieben nordischen Sinfonien mit seidigen Tönen aller Streichinstrumente, milden Tönen aller Holzblasinstrumente und, vor allem, brillanten Tönen aller Blechblasinstrumente. Der unvergleichliche Dirigent leitet das ausgezeichnete Orchester im gut phrasierten Tempo und mit möglichst effektiver Dynamik. Alles ist wunderbar und durchaus atemberaubend!
I have loved this set since my teens where I would go to the Toronto Library and listen to it over headphones. Broad tempi, warmth and power. A true collector's item. Oh for a Tapiola from Sir John
Love to the truckers!!!
A lot to be said for this set. My first classical LP in 68 was Sir J's Sib 2nd with the Halle. Changed my life. Gave me a purpose... to listen to everything by this composer. Important when you're a teenager.
I had a similar awakening. I had been exposed to classical music since birth but it was after hearing the 3rd and 4th movements of the 2nd symphony by Sibelius while it was snowing outside at age 14 that made me fall truly in love with classical music. All thanks to my wonderful dad.
its such a blessing, thank you so so much, best regards from czech republic
Thank you so much. I have wonderful memories of going to concerts by the Halle and the Superb Sir John.
First time I listen to this symphony orchestra and know this conductor. To my memory, this orchestra never come to Hong Kong for performance. I wish one day they will perform the whole symphonies of Jean Sibelius for the peoples of Hong Kong. Let's us explore more about Finland fine music and appreciate the Scandinavian musicians. Thanks for your uploading this album.
Halle Orc. had performed in HK Art Festival in ninety seventies, of course not with John Barbirolli.
Thank you Alexander for your comment, you have been following us for a long time and we thank you :)
Merci pour ce formidable travail! Une merveille ces innombrables mises en ligne de tant d'enregistrements légendaires, à présent si facilement accessibles. Quel chance nous avons! Encore un grand merci!
MONSIEUR SIbelius
My first adventure into the classical wilderness Absolutely top hat recording This version in the hands of the master composer Sir John Barbirolli conducting Sibelios symphony no 2 Exquisite masterful could be the best rendition of sibelios symphonic work. Heard this on cassette tape form. Heard all sibelios symphonies. Sibelios can certainly paint a landscape of magical places of mountaintains and kingdoms just use you're imagination
I am glad to see we share similar images in Sibelius' music! Majestic mountains, dense forrests, marshes and lakes: this was certainly a magical place for Maestro Sibelius!
Semplicemente eccezionale.Favolosa la registrazione , così come l'esecuzione e direzione dell'orchestra.Un Barbirolli al top .
Una su tutte la prima sinfonia con il tema lento del clarinetto finalmente udibile come in nessun 'altra esecuzione...
Grazie per questo sublime inserimento.
Again, as I've said before, this is simply the best set you will find!! And trust me I've done the research as a devotee of this great Finnish composer who stopped writing great orchestral music far too soon for his short time on this earth.
And I have listened to most of them: Colin Davis's nice collection with the LSO in the 1980s (Davis was a great Sibelian); the Karajan set of symphonies (very ostentatious in parts); and the more recent sets by Berglund, Pekka-Salonen, Saraste, and even George Szell with the Concertebouw orchestra and Mariss Jansons with the Oslo Philharmonic in prior years.
You can listen to them all, and you can even explore more modern examples post 2000+, but in the end you will finally return to Sir John Barbarolli and the Hallé who were in superb form at that time and thankfully were were recorded for posterity, for us all to enjoy.
If I had one regret, and this this entirely personal, I consider that the very final note of the final movement in the third symphony was kept a tad short by the great maestro. But that is my own personal choice... up to you to decide.
Otherwise very highly recommended and enjoy this superlative set of recorded music. Cannot say more.
I listened to the whole4 hour music. It was magnificent! Thanks for sharing this!!🥰🥰🧡🧡😍😍❣️❣️
What did you derive from it Gloria? What kind of thoughts and feelings?
@@strangersname I felt relaxed and peaceful listening to this classical music. I love this music.🧡🧡🎶🎶🎼🎼🎵🎵🥰🥰
@@gloriastiehl2905 Thank you, Gloria. Enjoy the music!!
We hope that you will enjoy the fascinating world of Sibelius as much as we do. Enjoy :-)
Sibelius - Complete Orchestral Works / Finlandia.. + Presentation (Cent. rec. : Sir John Barbirolli) : ua-cam.com/video/C_18IKw9KFc/v-deo.html
Elgar - Enigma Variations, Nemrod / Pomp and Circumstance, March (Century's recording : Sir John Barbirolli) : ua-cam.com/video/gtLIBEXxLi4/v-deo.html
Thank you very much for this sharing! I like it very much.
I enjoy believe me, your last uploads this week are phenomenal, thank you very much.
@@trantiencaophong You're welcome :-)
@@fransmeersman2334 haha excellent, thanks Frans :-)
sure do
Thanks for sharing! Great genius! You can see all of Finland's nature and human passions. What a composer!
There are times I just want to look obliviously to the empty space while listening to Sibelius. The melodies like a stream river that I want to submerge myself forever into...
What a treasure ! Thank you so much! I’ve been in love with Sibelius this is just timing! Listening right at this moment ! Thanks again !
You're welcome Elide :-)
The great Barbirolli and the Halle.. and Sibelius! Marvellous! Australia.
Simply the best you will find.
This is THE must have set for Sibelius. Nobody touches what Sir John does with the 3rd symphony. Rich, broad tempos, just like Sibelius did with his own recording of Andante Festivo. Trombone player in the Halle buries it. I have the EMI German pressing lp of this set... and no record player!! plus Sir John wears a great hat on the cover!!!
Thanks for your feedback, Barney.
@clark cimmerian euhh : NO and yet we also appreciate them. It's a pleasure to read you again, it's been a long time, I hope you're doing well :-)
@clark cimmerian the "um" disqualifies you for commenting on the subject of superiority. Just kidding. However, the "um" is a classic tell that reveals more of the spirit of unbridled ignorance that despises human beings than that of the reasoned argument school that at least gives us a chance to be persuaded and convinced. The "um" school prefers to enshrine personal caprice as diamond truth, and reject and destroy all outside attempts to suggest wider truths.
@clark cimmerian The opposite of idle chatter or prattle. The very antithesis of prating endlessly on about nothing. A brilliantly reasoned and presented argument against the use of "um" in an argument. However, as I clearly and unambiguously stated in my initial response, I was "just kidding" about your personal opinions, which you get to keep, undefiled by anyone's critique. Rest assured that you may continue to feel that your own subjective aesthetic judgments are indisputably superior in every possible way (even ways you haven't even considered yet), regardless of any possible argument in any universe that could be leveled against them. I certainly haven't done so in this forum, and my solemn oath is that I never will. In fact I will ardently agree with you about the Barbirolli 2d w/ the RPO. I will vociferously and furiously defend you on that one, for what it's worth.
I have an opinion and nothing to base it on ..
With this video, I just listened to another great set on this channel, after Bruckner symphonies conducted by Jochum, Schumann and Mendelssohn collections with Sawallisch. I highly appreciate those videos with all symphonies in them. The symphony no. 2 is the best, final movement is the most memorable among Sibelius' numbered symphonies. Symphony no. 7 is amazing as well, symphony no. 5 is in this famous key E-flat major, which sounds particularly cheerful, shared with Beethoven's Heroic symphony no. 3, his Emperor concerto no. 5, Schumann Rhenish symphony no. 3, Bruckner Romantic symphony no. 4 or Mahler Symphony of a Thousand no. 8. It's a good company to be in.
Thank you very-very much for this release!!! I also have the LP version (HMV!)..A marvelous black box bought in 1975! My teacher of classical guitar was a Sibelius fan and...ordered me to buy this set..absolutely with Barbirolli conducting😊He made me a Sibelius fan too! I greately thank Spiros and Sir John for this whole-life enjoyment and now..I wholeheartedly thank you for republishing it!!!
Thanks Yiannis for sharing your story ;-)
to whom that reading this comment now, you sir have a great taste in music, god bless you. and stay at home and wash your hands :)
Thank you sir. The same can be said to you. I washed my hands and enjoy the calm and peaceful midnight hour with wonderful music and a nice whisky just to find out that dawn and thus work is coming too fast. :-D
Have a nice evening.
I wipe my own ass!
Yes, I'm washing your god shit off them.
Thank you my music loving friend, and the same to you! I have been enjoying the Sibelius symphony cycles for years. His music evokes images of deer or moose hunting in the wooded mountain sides and valleys of Finland. Sometimes a flock of grouse flies up and ducks land on the hundreds of lakes around the land. Sometimes the light is dim as the hunters ride through the dense forrests. Sometimes they must take shelter from a passing storm. Always there is a chill which passes through the air. But then it's time to soad up the pack horses, saddle up the riding horses and ans head home with the food from the hunt.
I find great joy in these works and others as well. "The Swan of Tounela" being one of my all-time favorites!
I can't keep up with the magnificent selection of recordings of wonderful sound fidelity that this channel is featuring! Here we have Sir John Barbirolli at his mature best, conducting music he loved. Worth noting is the string section that sings throughout, and which forms the foundation upon which Barbirolli built the cohesion of his orchestral performances with the Hallé Orchestra, and that enabled the sweeping rhythms so suited to Sibelius that others have commented on. This is indeed a Century's recording. I am so grateful that you have had the foresight to include this set and the companion Sibelius recording.
... the best Sibelius You can ever hear - the interpretations of Sir John Barbirolli conducting his beloved Halle Orchestra Manchester - full of empathy and "manly" power and tragidy ...
Thank you, the best 4 hours I have spent for some time.
;-)
Exellent music sibelius exellent one of the best sounding artists
Thank you for posting this set. It's good that Barbirolli had a chance to record the complete Sibelius symphonies before he died. The sound here is better than any I have heard on the LP or CD versions of these recordings. Perhaps that stems from your using vastly superior equipment. Anyway, the music comes alive in a way that it hadn't for me before. For those who love these recordings, I would encourage you to look also for used LP copies of Barbirolli's earlier recordings of the 1st, 2nd, and 5th. The 1st and 5th (with an excellent Pohjola's Daughter), also with the Hallé Orchestra, were available in the U.S. on the Vanguard label in the early 1960s. The 2nd, with the Royal Philharmonic, was available on the Chesky label (and is on UA-cam). Although the current set was recorded later and has better sound, the earlier performances had quicker tempi and were tauter and more propulsive. I discovered Sibelius on those records, and my love for his music has never wavered.
Señores: ¡qué increíble trabajo! Con sumario incluido !!
GRACIAS🌹⭐❤🇻🇪
gracias por apreciar a los notarios ;-)
A powerful performance - moments of great warmth!
Sibelius! What a great Composer. I love all his Symphonies (exception the 4th)
#4 is a great symphony! Try Karajan and listen over and over and you will get it.
@@davidowen1408 thank you, I will listen the 4th Symphony.
Try Leif Segerstam,
His Fourth Symphony is like an uncomfortable truth in times of trouble. It is his most personal symphony, certainly not his most personable.
Read a critic in the 70s who thought if you don't like the 4th or understand it, then you need ask yourself if you truly like his music. It seems to me (the 4th) to embody Sibelius talking to himself and making little compromise to this listener.
The very ending of the 5th Symphony is spectacular! Instead of the timpanist playing grace notes as intended by the composer the timpanist hits solid right on the beat strokes ! BRAVO
Fantastic. Thank you! ( from South Korea)
I like this music. Very good. I enjoy this when I am working.
We have the same first name :-)
I love this. Thank you very much....
Thanks for this great upload!
You never cease to amaze me with your uploads!
good challenge :-)
The first Sibelius recording I ever bought was Barbirolli doing the 1st symphony. I haven't heard the rest of his cycle so I'm very excited to find this.
IF you've never heard Barbirolli's astounding recording with Janet Baker of the Mahler Songs of a Wayfarer, do yourself a favor and find it.
For me Janet Baker is the greatest singer I have ever heard in my reasonably long life. I never understood why she stopped singing the day she turned 50 though she said she thought her voice was losing something.
Una sinfonía es como estar en una selva tropical😍😍👏🏽👏🏽👏🏽. Mil gracias por compartir
Gracias por tu comentario, nos anima a continuar :-)
Yet another great upload. Thank you!
What is it about these recordings from 50 odd years ago that seems so vibrant? It seems to me that the microphones were placed closer than today, and there is less big hall reverb. The sound is less glossy --- you are more aware of the fact that the string section is made up of individual instruments. The result has less polish but a greater raw intensity.
Barbirolli's direction also feels very different from more recent styles. There is more appropriate highlighting of solos and a courageous directness -- less nuance and subtlety, and more force. A bit like old-school actors speaking their lines clearly and loudly, rather than in the current modish mumble!
Very well put! We all miss those old school actors/conductors, don't we.
Imo this is bc people weren't trying to impress. They were actually just working to do a good job to bring forth the vision & passion of the composer, their times & themselves.
People were more personal, if that makes sense. Less artifice, less fake polish, never "trying too hard"... simply bursting forth with refined, raw & honest feeling & vision.
I was born just in time to barely remember this. You described it very eloquently. Thank you, very heartening & fulfilling to read your words.
you are right, I agree to that, and I prefer this kind of recording. I think they after that they started perhaps like you said to put the microphones far maybe to avoid instrument leakage and clicks of the keys and hands on the instruments , but to be that is all adding the charm to a music piece it just remind you at any instant that the players are humans and it is like you are inside the orchestra not out side which is so overwhelming , I just love it
¡Gracias por tanta belleza!
Berglund, Rozhdestvensky, Vanska, Kamu, Colin Davis in Boston, Storgards plus the Kurt Sanderling cycles run this set close...but there was only one Glorious John.
Fantastic stuff, thank you so much for uploading!
Que maravilha! Que leveza é um bálsamo para o espírito. Agradeço o compartilhamento desses arranjos sinfônicos para o descanso das nossas mentes...
You're Welcome Black Hermit :-)
Thank you!
Thank you so very much!!!
Fantastic. Thank you!
Phenomenal. TY
I seldom make a “comment” about ANY ‘U-Tube’ selection, Altho I watch and listen everyday. And I subscribe to ‘many’ various ‘channels’. Still, I’m enjoying this presentation today and decided to ‘put my. Oar in’ on this one. “Well done” from me, to you. Thanks, Gary 🧸
Welcome Gary ! Thanks for your comment, enjoy for us selection : ua-cam.com/channels/bMISEiX4KfykNV9bn26x0w.html
Great rendition, indeed
This is very beautiful
Thank you so much! These interpretations are truly reference recordings!
Also, the program notes are outstanding.
You’re channel is a true gem!
JEFF you are a GOLD subscriber :)
never heard this music played so beautifully - all immersive; like floating in cream with angels creating waves. completely ruined me for all the CDs I own
This is superb
I love Sibelius and think he is underrated.
@Parsifal If you look at UA-cam and such platforms, you will see young musicians searching Sib's work and finding neglected gems (piano works) and playing them or adapting them for other instruments. It's remarkable the interest in his neglected work. When I was a student I was told by lovers of his symphonic works that his piano pieces were mostly worthless. Simply not true as I have found to my joy.
Inspiring music!
Barbirolli con su orquesta y me atrvería a decir, con su sonido IMPRESIONANTE , que integral he oído algunas más de grande interpretes y algunas suenan, como decirlo mas finesas, pero ese dominio de la orquesta que tiene Barborolli....
Gracias
Sir John could be one of Sibelius student in his early years.
One of the highest points in this set is the slow movement to the 3rd.
the best cycle ever.
Berglund, Rozhdestvensky, Vanska, Kurt Sanderling run this set close...but there was only one Glorious John.
Zuzetno! Uzivam!
One of the absolute best recordings of Sibelius symphonies. Except for the 7th. Idk some parts of instruments feels like it comes a bit too quick at certain parts. Idk kind of has a lack of cohesion imo.
But this is just my personal take. I still prefer Vänskä recording of 7th by the Minnesota Orchestra. I absolutely love that.
David Hurwitz would say yuk! to your selection of a fav 7th. I had a fav 7th for a long time (on tape) until I played it to destruction. It was Ashkenazy conducting a London orchestra. But since those days I've learnt to accept and love other various takes on the great symphony.
My only question is how could his favourite drink have been whisky and not finnish koskenkorva if he loves this music so much as is audible here...
Sublime
The Best Sibelius
WONDERFUL SIBELIUS , WONDERFUL BARBIROLLI ! ( A S T I , ITALIA )
Интересная музыка.
Браво Сибелиус!
I am not a troll. I never heard of Sibelius beforr today. I am not an expert in master music neither.
Quintens Kevin Cue up 1:13:39 and 3:00:28
@@mlconlanmeister right choice
commercials in the middle of a symphony??? Music heals. This is fact. Commercials are low frequencies that mess this up. How unthoughtful
It's vandalism.
¿Consideran que la Segunda Sinfonía es la mas relevante de Jean Sibelius?...
Eternal Love about the Fifth
I would appreciate a translation into English of the commentary.
*Click to activate the English subtitles for the presentation*
Dear Friend, More than have information about the music it will be more interesting to know why you have decided to publiced this edition and not another.... also if you have some info about the recording, the sections in the studio etc... Dont you think???? I think the persons that suite your publications are more or less informed about the music..
@@klausgotza3376 thanks , very much thanks...
@@Velissiotisnikosvyahoocom A pleasure to read you again :-)
Why this recording : in brief
It's the most "accomplished" integral from beginning to end. We have the impression that the recording was made in one go without any breaks. Barbirolli's inspiration is permanent, a powerful and epic breath of fresh air animates him. The tension is maximum, the timbre of the instruments magnificent, the recording breathtaking. We can follow the score and better understand and appreciate its harmonic structure through the intelligence of Barbirolli's direction. Barbirolli is a conductor we particularly appreciate for Sibelius, Elgar and Vaughan-Williams.
the foremost genius
Ou c’était Barbirolli, ou c’était Karajan, le choix devait être difficile...
Davantage Barbirolli (tout en appréciant certains aspects de l'interprétation de Karajan) :-)
Classical Music/ /Reference Recording Comme je vous comprends !
F-yeah! The "F" is for Finland, of course.
I see what you did there...
Zizek brought me here
A translation into English would be helpful.
You need to enable subtitles.
@@classicalmusicreference I am referring to that long paragraph which is in French.
Anyway, there is nothing that I can click on.
1:40:23 (:
The beginning of the first piece sounds an awful lot like “The Godfather” theme.
Mauritius Dunfagel you mean the Godfather theme sounds a lot like this masterpiece.
Jim Crawford Well, yea!
Too many ads
77
henry chinaski
You do not understand what I mean when I ask for a translation into English. I do not want subtitles. I want to be able to read the entire paragraph in the very beginning as the people who can read French are able to do. I do not want to have to sit here watching it for four hours getting the information a little bit at a time. I want this done in all the presentations that you do.
www.deepl.com/translator
Nn
Fantastic, but is more practice, easy just one by one.
O Jardim da Aflições - Olavo de Carvalho tem razão.
Interrumpir una sinfonia para pasar una estupida publicidad es una falta de respeto absoluta.
Fora Bolsonaro
I have to agree with Hurwitz and disagree with you here . Blomstedt set is far better than this one .