An einem 2.2. liegt es nahe

von LePenseur

 

 

... das am 1.1.2025  begonnene "kleine Sibelius-Jahr" mit dessen Symphonie No. 2 in D-dur, op. 43 fortzusetzen:

 

 

Am Pult wieder "Rübezahl" Segerstam mit "seinem" Turku Philharmonic Orchestra. Die Satzbezeichnungen:

00:00 - 1. Allegretto  

11:52 - 2. Tempo andante, ma rubato  

27:53 - 3. Vivacissimo  

34:38 - 4. Finale: Allegro moderato

 

Aus den Kommentaren unter dem Musikvideo:

 

Certainly this longest of Sibelius's symphonies can sound pompous in the last movement when conductors emphasize the melodic, anthem-like secondary theme over the primary one. 

 

The whole work is built on 3 ascending notes played at the very start and this motif has organic offshoots throughout all movements but in permutations which are quite complex and these can be dying away as new ones begin and overlap. There are busy or extended fugal foundations when this happens and the transition from the 3rd to last movement carries this structure without a pause or (as some conductors choose) a very short pause. 

 

The whole of the 4th movement is multi-fugal and the first and second motifs sometimes meet up and at other times don't. This makes best sense if one considers Bruckner's 5th symphony and its unusual "agenda" which still puzzles many. Sibelius had shaken off Tchaikovsky devices by Op.43 and his love of Bruckner informed but did not unduly influence orchestration or harmony -- and Sibelius stretches the latter quite a bit. Performed at indicated speeds, with truly musical players and conducted by someone who puts research and preparation into action, this symphony is big, majestic and intellectually satisfying. 

 

The late Leif Segerstam had the lot and we are so lucky to have these live performances of his late years, afflicted by illness, with his belovéd Turku orchestra. He had begun with the old Turku orchestra as a young man, conducted much more famous orchestras in three continents and returned to his native area of the Bothnian coast when he became restricted in mobility. He argued that as long as his mind and musicality were not compromised there was no need to retire from conducting and he chose the Turku P.O. as the players chose him. He honed many principal musicians into world standard and several returned to Turku to be under his baton because he saw conducting as being equivalent to being IN the orchestra.