Sibelius: The Wood Nymph - BBC Philharmonic/Storgårds (2012)
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- Опубликовано: 6 сен 2024
- Jean Sibelius (1865-1957)
THE WOOD NYMPH (Skogsrået), Op. 15
BBC Philharmonic
JOHN STORGÅRDS, cond.
Recording: Bridgewater Hall, Manchester, 27 October 2012
Such a shame I didn't know this piece before... what a masterpiece, should be more known!
Why does this never seem to appear in classical compilations?criminally underrated
After 20 years of studying music, he has become my favorite composer.
Jean Sibelius:Az erdei nimfa Op.15
1.Alla marcia 00:00
2.Vivace assai - Molto vivace 02:54
3.Moderato 11:16
4.Molto lento 17:21
BBC Filharmonikus Zenekara
Vezényel:John Storgards
This was really helpful seeing as I have a school assignment on this so thankyou😅
This is a criminaly unknown piece
That bass clarinet sounds just epic in the second part!!
Thank you for posting this!
높이 평가되고 더 자주 연주되어야할
훌륭한 관현악곡
If the final pages of this masterpiece were taken any slower the whole performance would grind to a halt!! TOO SLOW!!
Yeah, I agree with that. It has some interesting moments this version, but my fav remains Lahti/Vanska.
This is the original version! Vänskäs recording is a shortened version!
@@johnstorgards8474 Your slowing down in the end is tremendous and amazing, Maestro.
@@johnstorgards8474 I agree with the Chinese guy. But first thank you for the clear and lucid and concentrated recording! - I ask myself whether the "Moderato" in m. 376 could be meant as a 'Slow waltz', i.e. moderate, but still (almost) in one (as you do wonderfully in the string.-section from the flute m. 432). Maybe just the difference is too big between the moderate waltz and the string.? If so, you come automatically in m. 555 to a tempo which is slightly more accentuated and characteristic and keeps a clearer contrast between the mourning chant and the merciless funeral march until the end of the piece.
There are more problems of tempo in the score, aren't there? It has often been criticized that the first part is too long. Maybe it's a matter of tempo, too. I studied the score without having heard the piece before, made some analysis, harmony, phrases a.s.o., so I have no experience in conducting it, maybe I'm wrong. Every string player has the wish to play the Marcia in a tempo that the triplets turn into some string-typical gesture (instead of a Glenn Gould-motive), and JS, as an experienced violinist knew what he did. Unfortunately, it's seems just not quick enough for that. In "Karelia" the 1st movement isn't entitled 'Marcia' (in opposite to the last one), but it is notated in half values, 2/4 instead of 2/2, the vlns have 1/32, but in the "Wood nymphe" the have NOT 1/16 but only triplets.
So, if the tempo would be enforced slightly to that extend, that it's ALMOST alla breve (weren't the people marching quite fast in that time? I see in old documentary film material always troops marching so fast - is it only a matter of uncertainty about the proper speed for reproducing the media?) - what would happen? I confess that I get a problem with the Vivace in m. 70 - unless the 'poco a poco string.' is increased so much that in the end halfs = quavers, not qu. = qu. I find your alla breve perfect in 265. The relation indicated by JS in m. 297 is impossible, right? If we do so either the cellos cannot play the 1/16 in the place before or my march is a funeral march. The triplets of the strings now correlate with the quaver-triplets of the trombones earlier! This must be a mistake by JS.
Did you discuss, when rehearsing, whether the flutes in m. 517 could be meant 'Flatterzunge'? I do not know whether this technique was existing as early as 1895.
It is so exciting to explore a masterpiece if there is no century-long performing-tradition, how to do 'normally'...! Your recording, probably the best so far, is a markstone on the way founding a 'tradition'.
I am busy as a music researcher, too. A couple of years ago, I discovered a Schubert-contemporary in the Styrian State archive in Graz/Austria, Eduard von Lannoy (1787 - 1853), who wrote 4 symphonies between 1820 - 1822, one of them a "Dramatische Symphonie" after Lord Byron, featuring an 'idee fixe', appearing in every movement - 9 years before Berlioz' "Symphonie fantastique"! I performed two of the symphonies yet and published them; the Deutsche Kammerphilharmonie Bremen played the string quintet from my edition (not released yet) with great success. And since Lannoy as a conductor was an important figure of Vienna music life in the 1830ies and 40ies, there are works by other composers even less known, of high quality, that just never have been printed...
Seigneur !
qu'est-ce que le tourment du héros dure...dure...
sa dépression n'en finit pas de finir, vite un psy !
C'est proprement insupportable...
accelerando e stringendo, per favore