@@ilirllukaci5345 No personal views either meant or intended. I was talking about music. Far more important than any individual, apart from Sibelius himself of course.
This soundworld is so infectious; you just keep coming back for another listen. I. Tempo molto moderato, quasi adagio-0:21 II. Allegro molto vivace-10:08 III. Il Tempo Largo-14:57 IV. Allegro-25:18
At the heart of the cycle of seven symphonies, Sibelius Forth Symphony stands alone. Austere, dark and uncompromisingly bleak. It is indeed one of his most personal and most powerful works.
Lucus a non lucendo was once used as a nickname for this work and it really helps to understand the inner darkness which oftentimes pervades. I love the way the strings reach that beautiful perfect a minor cadence several times in the final section. There is such profound resolution there. still questions yes - right up to the end - and most unanswered. . . . .
Blomstedt’s view on this symphony is very ascetic, which underlines the reflective and spiritual sound of the symphony. Or should we say meditative spirit, that entices your attention and concentration. Some conductors give too much weight to the 3rd movement but Blomstedt knows the right balance and finale sounds like a finale. Never has tritonus been so beautiful ly enigmatic in the last part of the finale than in this rendition.Thanks for the uploading.
I've never heard a rendition of this symphony which isn't ascetic (apart from 2nd movement). Good performance I'll grant you. My enjoyment spoiled by youtube putting ad breaks within the movements. Thanks!
Wonderful! I liked how Blomstedt distributed instruments on the stage with 1st violins to the left, 2nds to the right, violas right center, celli left center. I think that worked really well for this piece.
That is the original German arrangement of the symphony orchestra which means a real dialogue between the first and the second violins. Herbert Blomstedt reintroduced it when he became Gewandhaus conductor in 1998. Now it is manifested in every treaty for coming chief Gewandhaus conductors.
@@ursularissmann-telle4000 I’ve seen that seating plan used many times for classical era compositions but its use with Sibelius is unfamiliar to me and as I mentioned, it serves this piece well.
I was fascinated by this conductor and how he moderated the very early cello notes that were slow and quiet. I couldn't really sense what rhythm it was at that slow speed, so watching him was really amazing.
For me it took about ten times, listening to my old CD with this 4:th symphonie, to come somewhat closer to this music. And then everything changed. And yes, it is something depressive about this music, or shall we call it meditative, it is not the happiest music. But that doesn´t mean you have have to be depressed to love this music. For me it has become almost like a friend. And when I hear our nestor Herbert Blomstedt and the Finnish RSO in this I smile. A wonderful interpretation it is! So please start listening ten times to this, if you are unfamiliar to this work, and I garantee that you after your listening will find another Symphony no 4!
To listen to Jean Sibelius is to abolish the surge of everyday noises and images to half-open the space of an elsewhere where contingency and representation give way to the immateriality of the sensitive. The expressive power of the sound architecture breaks with any form of transcription of reality to attach itself to the expression of a fabulous universe where the color and the hythm of the compositions constitute an expiration which gives voice to the exaltation 😹
Excellent performance by the conductor & orchestra. The well thought out camera work enhanced my understanding of the music. I also appreciate the aesthetics of this concert hall with the deep blue background and the light colored flooring conveying the impression of a Finnish twilight with snow cover.
I'm not a string player, so this may be not a big deal, but; I don't know the term for it, but the bounce bowing around 10:50 was impressive how they kept it in time so well with each other.
La quatrième symphonie de Sibelius fut écrite alors qu'il était soigné pour une tumeur du larynx dont l'issue semblait fatale mais contre toute attente, il guérit. Elle représente pour son auteur la solitude face à la mort, l'interrogation non sur la destinée finale qui est inéluctable, mais sur le sens de la vie. Le troisième mouvement "il tempo largo" est ce moment de quiétude terminal, là où l'esprit se détache, et chacun se reconcilie avec lui même. C'est une lente méditation sur l'humain, et sa place immobile au milieu de la nature, son isolement sur terre et sa présence imperceptible dans l'univers. A écouter dans le noir, dans la nuit.
Al escuchar veo el mar , las olas, siento el viento helado y salino, la arena en mis pies tocando la orilla , mis ojos perdiendose en lo infinito... Hermosa.
Understandable. The 4th is Sibelius' psychological symphony. It stands out in the middle of his seven symphonies as the crossroads of a dilemma he faced as he encountered what was going on around him in the world of the concert hall in the early 20th century. Would he go with the modern trends of extended dissonance, tonally ambiguous passages, bi-tonality and irregular phrases? He tried them all out in his 4th, in what the British musicologist and biographer Robert Simpson referred to as the 'symphony of the tri-tone', the interval referred to in the Middle Ages as 'the devil in music.' By composing his 4th, he had realized what direction he needed to go. In his later symphonies he would return to a stable tonality and regular phrasing while continuing to innovate in immediate motive development as a component of form and discovering unique sound combinations available in the orchestra. In Sibelius' gloomy 4th Symphony, I grasp that same 'emotive thread' that runs through all his music and so have made my peace with it.
A veces somos poco sinceros al valorar la música clásica. Para mi, hay que esperar muchos minutos para poder encontrar en esta sinfonía algunos momentos brillantes y que emocionen.
It's a decent but not great performance. One of the main reasons is Blomstedt slows the ending way down. Why do conductors insist on doing this? It's not the score in any edition I've seen. In fact, the fourth movement is marked Allegro and there are no other tempo indications anywhere after that. For me it ruins the character of the last movemtn by slowing it down. The way Sibelius scores it already feels like it's slowing down without the need for the conductor to slow down the beat as well. It unnecesarily drains the engery out of the ending. Vänskä is one of the only conductors that dowsn't slow it down.
Much like ending of 5. It's marked to speed up a bit with no "a tempo" marked after that. Yet, 99% of conductors play the final chord sequence as if were a disintegration rather than a finale.
A super and quality upload. It's a shame the conductor needs to feed his ego at the end by making the audience wait until they can applaud. I wish this new habit would stop. Many thanks for the upload.
Completely disagree. I think audiences feed their own egos by trying to always be the first person to applaud or stand or shout "bravo!" before the last chord cuts off. A piece of great music should have a deep effect on you, and a moment to contemplate what you just heard is warranted. I wish more performances ended with no applause altogether.
@@clarineric Many thanks for your reply. I agree that the desire to be the first to shout 'bravo' is annoying and especially so in opera where the final notes are obliterated by audience interference - especially in the USA. But I recently went to a concert which included Shostakovich 5th and, at the end, the conductor froze for what seemed an eternity. I have attended concerts conducted by Klemperer, Kempe, Bohm, Kondrashin, Ancerl, Barbirolli, Boulez, Kertesz, Abbado and many more and none of then did this statue stunt. I really do wish that this current trend would stop so I feel we have to agree to disagree. All the very best.
@@pawkie2 Many thanks for your comment. What you have suggested may be true but I have attended many live performances which were not recorded and the conductors still do the ego thing.
Not a shame at all! Gives all in attendance time to let the last notes settle in the soul. It might be worth considering whether there is a reason beyond ego that might be inspiring the conductors you are watching to do the same thing.
Я боюсь этих орущих в зале после окончания произведений,этих экзольтированных в зале ,которые когда нужно будут в толпе без разбору крушить все вокруг повинуясь всеобщему шабашу
This startled me... the stillness, I don't know how to express it... Captured me!
If there is a symphony that is my symphony, it is this.
It's a strange symphony and breaks a lot of symphonic rules. But it works. You make a good point.
@@DavidA-ps1qr Are you suggesting that I am strange and break alot of rules, but it works? If so, I concur.
@@ilirllukaci5345 No personal views either meant or intended. I was talking about music. Far more important than any individual, apart from Sibelius himself of course.
@@DavidA-ps1qr I was kidding, I just wasn't sure which comment you were referring to.
This soundworld is so infectious; you just keep coming back for another listen.
I. Tempo molto moderato, quasi adagio-0:21
II. Allegro molto vivace-10:08
III. Il Tempo Largo-14:57
IV. Allegro-25:18
At the heart of the cycle of seven symphonies, Sibelius Forth Symphony stands alone. Austere, dark and uncompromisingly bleak. It is indeed one of his most personal and most powerful works.
The fourth does contain moments of rarified beauty and light, but your description is basically spot on.
I would say that the tempi employed by Blomstedt in this performance is close to perfection.
The wonderfulness and comfort of Sibelius‘s symphonies are unrivaled, and outclassing
As a Swede I have to honour mr Blomstedt and Finnish RSO in this beautiful performance.
Lucus a non lucendo was once used as a nickname for this work and it really helps to understand the inner darkness which oftentimes pervades. I love the way the strings reach that beautiful perfect a minor cadence several times in the final section. There is such profound resolution there. still questions yes - right up to the end - and most unanswered. . . . .
grande Sibelius. Un trasporto dell'anima verso il bello e il sublime nel senso più astratto che ci sia.
Blomstedt’s view on this symphony is very ascetic, which underlines the reflective and spiritual sound of the symphony. Or should we say meditative spirit, that entices your attention and concentration. Some conductors give too much weight to the 3rd movement but Blomstedt knows the right balance and finale sounds like a finale. Never has tritonus been so beautiful ly enigmatic in the last part of the finale than in this rendition.Thanks for the uploading.
I've never heard a rendition of this symphony which isn't ascetic (apart from 2nd movement). Good performance I'll grant you. My enjoyment spoiled by youtube putting ad breaks within the movements. Thanks!
Wonderful! I liked how Blomstedt distributed instruments on the stage with 1st violins to the left, 2nds to the right, violas right center, celli left center. I think that worked really well for this piece.
That is the original German arrangement of the symphony orchestra which means a real dialogue between the first and the second violins. Herbert Blomstedt reintroduced it when he became Gewandhaus conductor in 1998. Now it is manifested in every treaty for coming chief Gewandhaus conductors.
@@ursularissmann-telle4000 I’ve seen that seating plan used many times for classical era compositions but its use with Sibelius is unfamiliar to me and as I mentioned, it serves this piece well.
I was fascinated by this conductor and how he moderated the very early cello notes that were slow and quiet. I couldn't really sense what rhythm it was at that slow speed, so watching him was really amazing.
For me it took about ten times, listening to my old CD with this 4:th symphonie, to come somewhat closer to this music. And then everything changed. And yes, it is something depressive about this music, or shall we call it meditative, it is not the happiest music. But that doesn´t mean you have have to be depressed to love this music. For me it has become almost like a friend. And when I hear our nestor Herbert Blomstedt and the Finnish RSO in this I smile. A wonderful interpretation it is! So please start listening ten times to this, if you are unfamiliar to this work, and I garantee that you after your listening will find another Symphony no 4!
I hear you - Try a 100+ times... I've been a Sibelius fan all my life. Love all 7 symphonies. each has its own charm. The 4th his darkest of course.
@@AnthonyDonnellyTT Yes I hear you. And I think I am also up at 100+, not with all of them, but nr 2, (my favourite) and also 3, 4 and 5.
Well said. I find it doesn't care about happy or sad, it's on a journey and I'm so interested in where it's going with every note.
16:03 First appearance from Hn
19:12 MIddle stage from Vc(inversion)
23:26 Final statement in definitive form from Vc
Thank you deer MegaVicar
I. Tempo molto moderato, quasi adagio-0:21
II. Allegro molto vivace-10:08
III. Il Tempo Largo-14:57
IV. Allegro-25:18
THanks Zizek
To listen to Jean Sibelius is to abolish the surge of everyday noises and images to half-open the space of an elsewhere where contingency and representation give way to the immateriality of the sensitive. The expressive power of the sound architecture breaks with any form of transcription of reality to attach itself to the expression of a fabulous universe where the color and the hythm of the compositions constitute an expiration which gives voice to the exaltation 😹
Put out the book, man !!
I'm seriously high right now, and you must have been one thousand times more high to compose such sentences of meaningless mental masturbatory BS.
😼😸😼
It. Ends. In. Disaster. That's why it's my symphony. The composer called it his "psychological symphony".
🤪@@ilirllukaci5345
Excellent performance by the conductor & orchestra. The well thought out camera work enhanced my understanding of the music. I also appreciate the aesthetics of this concert hall with the deep blue background and the light colored flooring conveying the impression of a Finnish twilight with snow cover.
Dampened frolic😅
I'm not a string player, so this may be not a big deal, but; I don't know the term for it, but the bounce bowing around 10:50 was impressive how they kept it in time so well with each other.
Spiccato
私はこの曲を深く愛する日本人である。ブロムシュテットは日本ではドイツ音楽の巨匠の印象が強いが、こういう演奏を聴くとやはり北欧の人という思いがする。繊細にして強靭。第３楽章では涙が止まらなかった。
La quatrième symphonie de Sibelius fut écrite alors qu'il était soigné pour une tumeur du larynx dont l'issue semblait fatale mais contre toute attente, il guérit. Elle représente pour son auteur la solitude face à la mort, l'interrogation non sur la destinée finale qui est inéluctable, mais sur le sens de la vie. Le troisième mouvement "il tempo largo" est ce moment de quiétude terminal, là où l'esprit se détache, et chacun se reconcilie avec lui même. C'est une lente méditation sur l'humain, et sa place immobile au milieu de la nature, son isolement sur terre et sa présence imperceptible dans l'univers. A écouter dans le noir, dans la nuit.
Al escuchar veo el mar , las olas, siento el viento helado y salino, la arena en mis pies tocando la orilla , mis ojos perdiendose en lo infinito... Hermosa.
Epic
リントゥのシベリウス全集のdvdは持っていますが、素晴らしいです。
ブロムシュテットも大好きな指揮者です。
このオーケストラの楽器配置がいいですね😊
オーケストラの響きに奥行きが出ていると思います。
フィンランド放送響のファンです。
Какое милое очаровательное ангельскоелицо у девушки справо по месту от флейтиста
The symphony of one who thought thy were dying.
Indeed
Today this concert Will be placed by the Chamber Orchestre if Europe
Dure mais superbe!
3:54
6:25
7:44
31:33
1楽章0:21
2楽章10:08
3楽章14:57
4楽章25:18
This guy is the bald and bold in the same head! Nice glissando in the third scherzo!😂
(Ad interruption after 6 minutes 25 seconds)
Utterly detestable and pointless.
16:03,19:12,23:26
Sorry, but I have yet to discover some highlights of this work. I love the other Sibelius symphonies. Jan. 17, 2023, St. Joseph, MO, USA
Understandable. The 4th is Sibelius' psychological symphony. It stands out in the middle of his seven symphonies as the crossroads of a dilemma he faced as he encountered what was going on around him in the world of the concert hall in the early 20th century. Would he go with the modern trends of extended dissonance, tonally ambiguous passages, bi-tonality and irregular phrases? He tried them all out in his 4th, in what the British musicologist and biographer Robert Simpson referred to as the 'symphony of the tri-tone', the interval referred to in the Middle Ages as 'the devil in music.' By composing his 4th, he had realized what direction he needed to go. In his later symphonies he would return to a stable tonality and regular phrasing while continuing to innovate in immediate motive development as a component of form and discovering unique sound combinations available in the orchestra. In Sibelius' gloomy 4th Symphony, I grasp that same 'emotive thread' that runs through all his music and so have made my peace with it.
Yes, this is his "depressive" symphonie, it takes some time to get near for example the first movement.
Warren Wilson, please look at my words about how I began to love this music.
I quite agree it doesn't compare with the 2nd and 5th
@@josephinepower5577 Indeed, the 4th is far greater than either the 2nd or the revised 5th.
16:03
A veces somos poco sinceros al valorar la música clásica. Para mi, hay que esperar muchos minutos para poder encontrar en esta sinfonía algunos momentos brillantes y que emocionen.
Tal vez porque su único propósito no es emocionar
What music is that?
Siis kelakka et tää biisi kirjotettii krapulassa kolilla :D
höpsis
Per favore da un po di pieta per il maestro che e tutto stordito, peccato. Grazie.
Hernandez Thomas Gonzalez Jennifer Miller Sharon
It's a decent but not great performance. One of the main reasons is Blomstedt slows the ending way down. Why do conductors insist on doing this? It's not the score in any edition I've seen. In fact, the fourth movement is marked Allegro and there are no other tempo indications anywhere after that. For me it ruins the character of the last movemtn by slowing it down. The way Sibelius scores it already feels like it's slowing down without the need for the conductor to slow down the beat as well. It unnecesarily drains the engery out of the ending. Vänskä is one of the only conductors that dowsn't slow it down.
Much like ending of 5. It's marked to speed up a bit with no "a tempo" marked after that. Yet, 99% of conductors play the final chord sequence as if were a disintegration rather than a finale.
Far more annoying ads than usual for a symphony of this length.
Commercial inside the first movement. No way! Bye.
A super and quality upload. It's a shame the conductor needs to feed his ego at the end by making the audience wait until they can applaud. I wish this new habit would stop. Many thanks for the upload.
Completely disagree. I think audiences feed their own egos by trying to always be the first person to applaud or stand or shout "bravo!" before the last chord cuts off. A piece of great music should have a deep effect on you, and a moment to contemplate what you just heard is warranted. I wish more performances ended with no applause altogether.
@@clarineric Many thanks for your reply. I agree that the desire to be the first to shout 'bravo' is annoying and especially so in opera where the final notes are obliterated by audience interference - especially in the USA. But I recently went to a concert which included Shostakovich 5th and, at the end, the conductor froze for what seemed an eternity. I have attended concerts conducted by Klemperer, Kempe, Bohm, Kondrashin, Ancerl, Barbirolli, Boulez, Kertesz, Abbado and many more and none of then did this statue stunt. I really do wish that this current trend would stop so I feel we have to agree to disagree. All the very best.
I suggest the delay is to allow for a clean cd recording.
@@pawkie2 Many thanks for your comment. What you have suggested may be true but I have attended many live performances which were not recorded and the conductors still do the ego thing.
Not a shame at all! Gives all in attendance time to let the last notes settle in the soul. It might be worth considering whether there is a reason beyond ego that might be inspiring the conductors you are watching to do the same thing.
Я боюсь этих орущих в зале после окончания произведений,этих экзольтированных в зале ,которые когда нужно будут в толпе без разбору крушить все вокруг повинуясь всеобщему шабашу