Sibelius - Pohjola's Daughter, Finlandia (ref.record.: Sir Malcolm Sargent, Wiener Philharmoniker)

Full album available // Sibelius: Finlandia, En Saga, The Swan of Tuonela.. by Sir Malcolm Sargent
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00:00 Pohjola's Daughter *
12:36 Finlandia **
BBC Symphony Orchestra *
Wiener Philharmoniker **
Conductor: Sir Malcolm Sargent
Recorded in 1958, at London and 1963, at Vienna
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"Sibelius talked about music in such a beautiful way. He also said: 'Music is for me like a beautiful mosaic which God has put together. He takes all the pieces in his hand, throws them into the world, and we have to recreate the picture from the pieces.'" POHJOLA'S DAUGHTER is orchestrated with extraordinary skill, even compared with the virtuoso orchestrating technique of Richard Strauss. It is astonishing how the composer eventually managed to build up an independent whole from drafts made for a number of different composition projects. In the drafts for Pohjola's Daughter there are also parts which did not fit into this whole. These later ended up in the third symphony and the suite Scènes historiques II. So there truly had been material for a work of symphonic proportions, but this time the pieces of the mosaic were better suited to separate compositions. The work begins with a low, recitative motif on the cellos. It was on the draft of this motif that Sibelius had at one time written the words "Marjatta" and "all" after trying to see whether the motif would fit the first phrases of the oratorio Marjatta.
By developing this material Sibelius presents a kind of "musical bank" into which the central elements of the orchestral poem return. According to Erkki Salmenhaara, throughout the symphonic poem the low register depicts how Väinämöinen vainly tries to reach up towards the sky. This is followed by a bold change of key. Pohjola's Daughter is weaving in the sky. The oboe, the cor anglais and finally the flute describe the beauty of the daughter. The following sequence may describe Väinämöinen's shock and delight on seeing the beauty of the maiden. Now the kinetic energy of the music is dissipated. The anticipatory pizzicato progressions in the strings start a development in which Väinämöinen's efforts and the daughter's sweetness and mockery are given their musical counterparts. The mocking second motif is at its wildest towards the end of the development, when it is played by the strings and woodwind. In the development - and in the relations between the keys in the work as a whole - there are many features that look forward to the fourth symphony. In Pohjola's Daughter these materials are in a form that is more easily digestible by the general public, as the central themes are catchy and brilliantly orchestrated. After a struggle the vision of the daughter disappears. The G-A-B progression in the double basses and the cellos tells us that Väinämöinen - and the composer - have pensively returned to the initial situation. But after such a wonderful adventure and such a blaze of colours! ( www.sibelius.info/english/mus... )
** COMPLETE PRESENTATION: LOOK THE FIRST PINNED COMMENT **
Album available // Sibelius: Symphonies Nos. 1,2,7 & Orchestral Works by Eugene Ormandy
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[@classicalmusicreference]

Full album available // Sibelius: Finlandia, En Saga, The Swan of Tuonela.. by Sir Malcolm Sargent
🎧 Qobuz (Hi-Res) bit.ly/3SSR3up Tidal (Hi-Res) bit.ly/3sAmG1m
🎧 Apple Music (Lossless) apple.co/4aOG7ES Deezer (Hi-Fi) bit.ly/3MWdQSt
🎧 Amazon Music (Hi-Fi) amzn.to/3MT2ezz Spotify (mp3) spoti.fi/3QRUkYb
🎧 RUclips Music (mp4) bit.ly/3QXXx90 Idagio (Hi-Fi) bit.ly/3usW7f7
🎧 Napster bit.ly/3GbnxZnPandora, Anghami, QQ音乐, LineMusic, Awa 日本…
❤ Joining us on Patreon means receiving a download link every month containing 5 legendary recordings remastered by our master sound engineer, along with an article on the history of music. www.patreon.com/cmrr
❤ Discover our Website: Expand your music collection www.classicalmusicreference.com
00:00 Pohjola's Daughter *
12:36 Finlandia **
BBC Symphony Orchestra *
Wiener Philharmoniker **
Conductor: Sir Malcolm Sargent
Recorded in 1958, at London and 1963, at Vienna
🔊 Join us with your phone on our WhatsApp fanpage (our latest album preview): bit.ly/3Mraw1r
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ): bit.ly/370zcMg
🔊 Follow us on Spotify: spoti.fi/3016eVr
"Sibelius talked about music in such a beautiful way. He also said: 'Music is for me like a beautiful mosaic which God has put together. He takes all the pieces in his hand, throws them into the world, and we have to recreate the picture from the pieces.'" POHJOLA'S DAUGHTER is orchestrated with extraordinary skill, even compared with the virtuoso orchestrating technique of Richard Strauss. It is astonishing how the composer eventually managed to build up an independent whole from drafts made for a number of different composition projects. In the drafts for Pohjola's Daughter there are also parts which did not fit into this whole. These later ended up in the third symphony and the suite Scènes historiques II. So there truly had been material for a work of symphonic proportions, but this time the pieces of the mosaic were better suited to separate compositions. The work begins with a low, recitative motif on the cellos. It was on the draft of this motif that Sibelius had at one time written the words "Marjatta" and "all" after trying to see whether the motif would fit the first phrases of the oratorio Marjatta.
By developing this material Sibelius presents a kind of "musical bank" into which the central elements of the orchestral poem return. According to Erkki Salmenhaara, throughout the symphonic poem the low register depicts how Väinämöinen vainly tries to reach up towards the sky. This is followed by a bold change of key. Pohjola's Daughter is weaving in the sky. The oboe, the cor anglais and finally the flute describe the beauty of the daughter. The following sequence may describe Väinämöinen's shock and delight on seeing the beauty of the maiden. Now the kinetic energy of the music is dissipated. The anticipatory pizzicato progressions in the strings start a development in which Väinämöinen's efforts and the daughter's sweetness and mockery are given their musical counterparts. The mocking second motif is at its wildest towards the end of the development, when it is played by the strings and woodwind. In the development - and in the relations between the keys in the work as a whole - there are many features that look forward to the fourth symphony. In Pohjola's Daughter these materials are in a form that is more easily digestible by the general public, as the central themes are catchy and brilliantly orchestrated. After a struggle the vision of the daughter disappears. The G-A-B progression in the double basses and the cellos tells us that Väinämöinen - and the composer - have pensively returned to the initial situation. But after such a wonderful adventure and such a blaze of colours!
FINLANDIA starts with a threatening motif in the brass, which immediately increases from forte to fortissimo. The answer of the woodwinds is elevated: it could even be said to breathe a sense of holiness. The strings introduce a more "human" voice. After a slow introduction the tempo changes to Allegro moderato. The fanfare of the brasses reveals a fighting spirit. With the tempo allegro there comes a feeling of confidence. The world-famous hymn motif is first heard in the woodwinds. The strings continue to play the hymn theme, which Leopold Stokowski suggested as a national anthem for the whole world. After the hymn the tempo becomes faster, the brass fanfares return, and the short symphonic poem rushes to its triumphant end as the hymn theme continues to play, augmented by the brass.
"Everybody else [except the critics] cheers at this composition, which is insignificant compared with my other works," was Sibelius's puzzled comment in 1911. And when fan mail was being opened in Ainola 30 years later, there was usually no sympathy for those who mentioned only Valse triste and Finlandia. "If there was only mention of these works and not of any greater works, we presumed that the person making the request [for an autograph] was no serious friend of music," Sibelius's private secretary Santeri Levas wrote.
But the aged composer admitted the value of these works. "Well, I wouldn't put it quite like that. They are good compositions, both of them," he said. Finlandia became a world favourite, and many arrangements were made of it.. ( www.sibelius.info/english/musiikki/ork_finlandia.htm )
Album available // Sibelius: Symphonies Nos. 1,2,7 & Orchestral Works by Eugene Ormandy
Qobuz bit.ly/3YosIgu Apple Music apple.co/3U9RLlD
Amazon Music amzn.to/3YsjPm8 Tidal bit.ly/3W0QgGF
Spotify spoti.fi/3iUuMMP Deezer bit.ly/3hr982z
RUclips Music bit.ly/3uQt9CL SoundCloud -

[@notaire2]

Wunderschöne Interpretation dieser beiden spätromantischen und nordisch komponierten Meisterwerke mit farbenreichen doch perfekt entsprechenden Tönen aller Instrumente. Der intelligente und unvergleichliche britische Dirigent leitet das weltklassige österreichische Orchester im gut analysierten Tempo und mit möglichst effektiver Dynamik. Einfach wunderbar!

[@jls4382]

What a delightful recording! Thank-you for sharing it with us!

[@classicalmusicreference]

"Sibelius talked about music in such a beautiful way. He also said: 'Music is for me like a beautiful mosaic which God has put together. He takes all the pieces in his hand, throws them into the world, and we have to recreate the picture from the pieces.'" POHJOLA'S DAUGHTER is orchestrated with extraordinary skill, even compared with the virtuoso orchestrating technique of Richard Strauss. It is astonishing how the composer eventually managed to build up an independent whole from drafts made for a number of different composition projects. In the drafts for Pohjola's Daughter there are also parts which did not fit into this whole. These later ended up in the third symphony and the suite Scènes historiques II. So there truly had been material for a work of symphonic proportions, but this time the pieces of the mosaic were better suited to separate compositions. The work begins with a low, recitative motif on the cellos. It was on the draft of this motif that Sibelius had at one time written the words "Marjatta" and "all" after trying to see whether the motif would fit the first phrases of the oratorio Marjatta.
By developing this material Sibelius presents a kind of "musical bank" into which the central elements of the orchestral poem return. According to Erkki Salmenhaara, throughout the symphonic poem the low register depicts how Väinämöinen vainly tries to reach up towards the sky. This is followed by a bold change of key. Pohjola's Daughter is weaving in the sky. The oboe, the cor anglais and finally the flute describe the beauty of the daughter. The following sequence may describe Väinämöinen's shock and delight on seeing the beauty of the maiden. Now the kinetic energy of the music is dissipated. The anticipatory pizzicato progressions in the strings start a development in which Väinämöinen's efforts and the daughter's sweetness and mockery are given their musical counterparts. The mocking second motif is at its wildest towards the end of the development, when it is played by the strings and woodwind. In the development - and in the relations between the keys in the work as a whole - there are many features that look forward to the fourth symphony. In Pohjola's Daughter these materials are in a form that is more easily digestible by the general public, as the central themes are catchy and brilliantly orchestrated. After a struggle the vision of the daughter disappears. The G-A-B progression in the double basses and the cellos tells us that Väinämöinen - and the composer - have pensively returned to the initial situation. But after such a wonderful adventure and such a blaze of colours!
FINLANDIA starts with a threatening motif in the brass, which immediately increases from forte to fortissimo. The answer of the woodwinds is elevated: it could even be said to breathe a sense of holiness. The strings introduce a more "human" voice. After a slow introduction the tempo changes to Allegro moderato. The fanfare of the brasses reveals a fighting spirit. With the tempo allegro there comes a feeling of confidence. The world-famous hymn motif is first heard in the woodwinds. The strings continue to play the hymn theme, which Leopold Stokowski suggested as a national anthem for the whole world. After the hymn the tempo becomes faster, the brass fanfares return, and the short symphonic poem rushes to its triumphant end as the hymn theme continues to play, augmented by the brass.
"Everybody else [except the critics] cheers at this composition, which is insignificant compared with my other works," was Sibelius's puzzled comment in 1911. And when fan mail was being opened in Ainola 30 years later, there was usually no sympathy for those who mentioned only Valse triste and Finlandia. "If there was only mention of these works and not of any greater works, we presumed that the person making the request [for an autograph] was no serious friend of music," Sibelius's private secretary Santeri Levas wrote.
But the aged composer admitted the value of these works. "Well, I wouldn't put it quite like that. They are good compositions, both of them," he said. Finlandia became a world favourite, and many arrangements were made of it.. ( www.sibelius.info/english/musiikki/ork_finlandia.htm )

[@rolandonavarro3170]

¡Qué belleza de música! Grande Sibelius. Excelente colaboración entre director y orquesta. Bravo, Sargent & Wiener Philharmoniker 👏👏🔥

[@linvalradioshow429]

Gracias

[@fulgenjbatista4640]

❤

[@jamescrawford9883]

Thanks for this! I was not aware he recorded it. Did he do a second Sibelius record in Vienna? Cheers from Australia.

[@AndreiaLuizaS]

Filha do Emiliano 😅😅😅