4/12/2024 0 Comments Sibelius string quartets review![]() The succeeding andante movement is surprisingly solemn, featuring beautiful interplay between woodwinds and strings, and again shows careful planning of an entire movement without the loss of spontaneity. 2 he demonstrates one of his frequent practices-beginning a movement with what seems like a rushed tempo that eventually coalesces into a pace that makes perfect sense. ![]() Koussevitzky gets a very gnarly texture from the orchestra for Finlandia and much of the drama comes from his use of dynamic contrast. The broadcast of Decemtook place on Sibelius’ actual 80 th birthday and featured Finlandia and the Symphony No. This rendition of the Swan is not only sad but almost eerie and the BSO strings are to the forefront, as is English Horn soloist Louis Speyer, who played the instrument in the BSO from 1918 to 1964. The broadcast of Octoalso saw a performance of The Swan of Tuonela. Koussevitzky’s conception of the last movement is comprehensive, emphasizing form and dynamic control, and the audience certainly seems to agree with his choices. The scherzo is less percussive than some more modern versions, and this, to me, is something of a disappointment. The coda of the slow movement is equally fine, preceded by beautiful phrasing. Koussevitzky begins rather briskly and seems to be more concerned with flow than detail, but all becomes clear in the recapitulation and his coda, as is frequently the case, is masterly. 1 is a Sibelius symphony and one should leave it at that. 1, the “hangovers” from Tchaikovsky and Borodin are usually the first things mentioned, but Koussevitzky mostly takes the approach that No. We also find that the Decemconcert took in Milwaukee, Wisconsin, not Boston, and that the Augconcert took place at the BSO summer home at Tanglewood in Lenox, Mass. However, consulting both the Young discography and the BSO program notes, we find the dates for the performances of Finlandia and Valse triste reversed. Recording information supplied in the header is that accompanying the discs themselves. However, here I must make a minor caveat. Serge Koussevitzky: A Complete Discography by Edward D. ![]() I am indebted for much of the broadcast information here to the magisterial Koussevitzky obviously expected a lot from his audiences, and judging by the strength of the applause after each performance on these discs, they were more than willing to meet him halfway. However, those actually in Symphony Hall in Boston heard a full concert, comprising not only these two symphonies, but Bach’s Brandenburg Concerto No. As an example, the Mabroadcast included the Kabalevsky Symphony No. Boston Symphony broadcasts were carried on the NBC network and lasted an hour. These are obviously not reference recordings but they are stunning examples of Koussevitzky “live”.Īll the broadcasts here, except that of Valse triste, derive from the 1945-46 season, which could be called the “Sibelius season”, in honor of his 80 th birthday year. ![]() But it must be pointed out immediately that Pristine Records’ presiding genius, Andrew Rose, has exceeded himself in making these broadcasts eminently listenable. The performances here obviously suffer both from age and from being broadcasts, not studio recordings. But in addition to all of this, he made strenuous efforts for another composer-Jean Sibelius, who himself described Koussevitzky as having “…performed my works with complete mastery”. After assuming the leadership of the Boston Symphony Orchestra in 1924, he continued with the Russians and the French, but also became an almost unparalleled force in promoting the emerging American symphonic school. After the Revolution he moved to France, where he started the Concerts Koussevitzky and advocated for Roussel, Honegger and many other Frenchmen, without forgetting Stravinsky and Prokofieff. In his native Russia he not only championed the new composers but started a publishing house to make their works available in print. Wherever he lived Serge Koussevitzky performed the newest music. live (broadcast) Boston Symphony Hall, 13 October 1945 (sy 1, Valse) 8 December 1945 (sy 2, Swan) 5 January 1946 (sy 5) 9 March 1946 (sy 6) 3 August 1948 (Finlandia)
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