Peter Ilyich Tchaikovsky (1840 – 1893)
Jean Sibelius (1865 – 1957)

Boston Symphony Orchestra & Chorus
conducted by:
Sir Colin Davis

PTC 5186 164

DSD remastered

POPULAR, PROGRAMMATIC
& PATRIOTIC

Jean Sibelius (1865 – 1957) is considered to be the most prominent representative of Finnish music. But what actually constitutes “Finnish” music? What are the characteristics which distinguish this national style from, for instance, the German national style? From the point of view of composition, such national styles cannot be simply nailed down by individual musical elements (according to the maxim “this interval or that pentatonic scale is typical of Finnish music!”) – on the contrary, they are generally “raised to the national peerage” according to the reception given to the music. Loud praise and rousing applause are the tools of acclamation. The fact that, in the case of Finland, this dubious promotion to “absolute music” coincided with the most important period of national awareness in the country, made it all the easier with regard to Sibelius’ music. For many centuries now, Finland’s powerful neighbours Sweden and Russia had kicked the country about like a political “football” (and on top of this, Finland had been subjected to major cultural influences stemming from Germany). The dawning of its cultural independence came about principally following the publication of the national epic Kalevala (1835), in which the old runic cantos were condensed into a new work of art. Finnish composers, and Sibelius in particular, who had studied in the musical metropolises of Berlin and Vienna, gratefully took the opportunity of putting various elements of the epic to music.
Thus Sibelius compiled his Karelia music in 1893, which at the same time represented his breakthrough. The 7-part patriotic cycle combined scenes from the history of the Finnish province of Karelia: politically motivated critics especially criticized his use of the national anthem by Pacius in the final part of this work. Here, Sibelius concealed the weaknesses within his composition by the pure exhibition of his patriotic convictions. In 1906, Sibelius rearranged the work into the smaller 3-part suite recorded here. The Intermezzo focuses on a fanfare of horns, which transforms itself into a March. In the Ballade, the cor anglais portrays the wistful songs of a bard to an accompaniment of strings, and in the Alla marcia, Sibelius combines two melodies in the style of a quick march.
Pohjola’s Daughter, a symphonic fantasy dating from 1905/06, also literally refers to the Kalevala epic, more specifically to the runes nos. 6 and 8. It reports on the unfortunate meeting of the magician Väinämöinen with the daughter of the sombre Pohjola, who refuses to grant him her favour. It is important to note that Sibelius did not fall back on Finnish folk music and runic cantos, and that he did not incorporate the “programme” of this work until after he had began work on the composition – as it were, later on in the process.
The Valse triste, Op. 11 dating from 1903, also shows Sibelius as an eminently reflective composer, who never expressed his emotions in a spontaneous or unguarded manner. Tomi Mäkelä described “the popular” as Sibelius’ “artistic homeland” and this sorrowful waltz from the stage music to the play Kuolema (= Death) fits in with this image: it is a character piece, the death scene of an old woman, who imagines she is at a ball in a vision. At the climax of the music, she realizes that her partner is the grim reaper. Five minutes of symbolistic feelings.
The Fantasy-Overture Romeo and Juliet, dating from 1869/70, is Peter Ilyich Tchaikovsky’s first major instrumental work, and at the same time, his first masterpiece. However, he committed it to paper without any special enthusiasm (for the form of the symphonic poem), following the precise instructions of his “idea-supplier”, Mili Balakirev (“Begin with the music which represents Brother Lorenzo, then interrupt this with the quarrels between the battling families, and subsequently portray the young lovers.”) In November 1869, Tchaikovsky completed his first version, which was followed by two further versions within a period of more than 10 years, until the composer was at last completely satisfied with his work. Romeo and Juliet is not pure programme music: the somewhat adapted sonata form dominates the structure and progress of the composition. At the same time, three thematic complexes are predominant: an energetic Allegro main theme (representing the battle between the two families), a lyrical second theme in the cor anglais (the lovers) and a chorale (Brother Lorenzo).
The Ouverture Solennelle “1812”, Op. 49, was a commissioned composition, of which Tchaikovsky was not hugely fond, meant to open the Moscow World Fair of 1882. Tchaikovsky’s comments on the work speak volumes: in his opinion, the composition was “very loud and noisy. I wrote it with little warmth or love. Therefore, it will be of only slight artistic value.” The noisy musical battle painting portrays in powerful colours and to great effect the victory of Russia over Napoleon. The imploring, chorale-like introduction (to the Chorale “Erlöse mich, o Herr”) is followed by the portrayal of the battle by a number of themes, at the end of which the Marseillaise is lost in the noise of the introductory hymn. The brass blasts out – there is just no way to ignore the Russian victory. In the original performance, real pistol and cannon shots were used, and great bells were tolled. Much ado about nothing.

Great performances, good surround, and real cannon in the 1812!.... Even Tchaikovsky himself thought this commissioned work was trash, but it can be roaring audiophile fun in a committed performance. And this one is much more musical than Kunzel's last version of the work for Telarc. 
John Sunier, Audiophile Audition