BIS Records www.bis.se/index.php have just released the final disc in Sakari
Oramo’s www.harrisonparrott.com/artist/profile/sakari-oramo
cycle
of Carl Nielsen’s (1865-1931) http://carlnielsen.dk
symphonies
with the Royal Stockholm Philharmonic Orchestra www.harrisonparrott.com/toursprojects/royal-stockholm-philharmonic-orchestra
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| BIS 2128 SACD |
BIS issued Oramo’s recordings of Nielsen’s Fourth and Fifth Symphonies in March
last year and they proved to be performances to be reckoned with, bringing out
subtleties that show the depth of Nielsen’s creations. The First and Third
symphonies followed in February this year and brought a terrific assurance with
Oramo finding so many fine details and, indeed, a sense of re-discovery.
This last release in
the series couples the Second Symphony
with the Sixth Symphony, a work
variously described as complex, puzzling and provocative.
Some years before writing his Symphony No. 2 ‘The Four Temperaments’, Op.16/FS29 (1901-02), Nielsen
had been at a country inn on the Danish island of Zealand where he saw a rather
naïve set of woodcuts depicting the Four
Temperaments, the moods determined by the mixture of fluids in the body
that the Ancient Greeks and Romans and, indeed, later physicians believed
needed to be kept in balance.
Nielsen took the moods for each of the movements of his
symphony namely the impetuous (Allegro collerico), the indolent (Allegro comodo
e flemmatico), the melancholy (Andante malincolico) and the cheerful or naïve (Allegro
sanguinio). Nielsen pointed out, however, that the impetuous man can have his
milder moments, the melancholy man his impetuous or brighter ones and the
boisterous, cheerful man can become a little contemplative. The indolent man,
however, can only emerge from his phlegmatic state with the greatest of
difficulty.
Carl Nielsen dedicated his Second Symphony to Ferruccio Busoni and it was first performed on
the 1st December 1902. Oramo brings a terrific drive and energy to
the opening of the Allegro collerico drawing
a terrific tautness from the Royal Stockholm Philharmonic Orchestra. There is a
terrific control of dynamics, with the most beautifully done quieter, flowing
passages as well as some fine sweeps of orchestral sound and razor sharp
instrumental interventions. Oramo will pull you along with him like no other.
The first rate recording reveals some exquisite textures as
the Allegro comodo e flemmatico
gently, yet buoyantly, flows forward. There is a lovely rhythmic gait to the
music as well as some very fine woodwind passages. This is a beautifully poised
and mellifluous movement in Oramo’s hands, right up to the lovely coda.
The Andante
malincolico is beautifully paced, with Oramo drawing some very fine string
textures as the music slowly moves forward. There are more lovely woodwind
moments, especially from the oboe, cor anglais and bassoon as well as some fine
details such as the lovely gentle, insistent string motif before rising to a
climax, so natural, full of restrained power. Part way through, there is a beautifully
hushed moment before the orchestra rises with brass in a glorious passage. Oramo
does this to perfection, pacing it just right. When the music rises again it is
a tremendous moment before slowly falling to a gentle coda.
The Allegro sanguinio
leaps out, full of life with a terrific rhythmic surge of energy. Again the precision
from the Royal Stockholm Philharmonic is superb with some terrific little
instrumental details. Later there is a
beautifully drawn, quietly flowing section, beautifully phrased before leading
off to a confident coda.
This is a spectacularly fine performance, beautifully
recorded.
Nielsen’s Symphony
No.6 ‘Sinfonia Semplice’ FS116 (1924-25) is the most difficult to bring off.
After his Fifth Symphony Nielsen stated that next time he would select an easy
style to amuse himself. In August 1924 he wrote to his daughter Anne Marie
Telmányi to tell her that he was beginning a Sixth Symphony that would be of ‘completely
idyllic character.’ He even gave it the subtitle Sinfonia Semplice.
The new symphony was completed in 1925 and given its first
performance on 11th December that year. It is dedicated to the Royal
Chapel Orchestra, Copenhagen. In speaking of the completed symphony, Nielsen
said that in the new work he had sought to compose for the individual
characters of the instruments, that to him ‘each instrument is like a person
who sleeps, whom I have to wake to life.’
A bell signals the opening of Tempo giusto before the orchestra enters with a sprightly rhythmic theme.
The fine precision of the Royal Stockholm Philharmonic really comes into its
own as individual instruments dart in and out of the texture. Oramo controls
every little detail and nuance superbly, somehow revealing the familiar Nielsen
of the earlier works. There are some fine flowing passages for woodwind as well
as frenetic strings that are absolutely terrific. There are some finely
controlled quiet moments before the music builds to a climax, Oramo and the
orchestra really whipping up a storm before the gentle coda.
Tinkling bells and little woodwind motifs appear in the
strange Humoresque Allegretto. Here
Oramo’s ability to pull together all the disparate ideas brings a cohesion and
sense to this movement that I’ve never quite heard before. There is spot on
precision and wonderfully wild instrumental sounds before a very fine coda as
the music falls away.
The strings of the Royal Stockholm Philharmonic sound out
passionately in the opening of Proposta
seria Adagio. There are beautifully controlled quieter woodwind passages that
bring a haunting anxiety before a quiet coda.
In the Theme and variations
Allegro the woodwind rise suddenly before a bassoon slowly takes the theme
forward. Oramo controls the oddly quixotic passages beautifully, through
moments of hushed quicksilver playing to intensely driving strings. There is a
waltz that leads to a riotous section where the waltz is interrupted, bringing
to mind the Fifth Symphony. There are deeper
passages such as the fine string melody, part way through, full of intense
feeling. Then a riotous percussion and brass passage and fanfare before frenetic
strings drive forward before arriving at the lovely coda that ends on a bassoon
note.
Oramo seems to understand the structure and layout of No.6
as no other. This is surely the performance of this symphony that we have all
been waiting for.
To say that Sakari Oramo really has the measure of Nielsen
is an understatement. These performances are superb, topping off what is surely
the finest cycle yet recorded. The Royal Stockholm Philharmonic Orchestra are
absolutely top form and they receive another very fine BIS recording that
highlights all the textures that Oramo extracts form the orchestra.
There are excellent booklet notes from David Fanning.
See also:
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