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Sibelius 5 symphony free#
If you believe your post was wrongly removed, feel free to message us. Please Read the Subreddit RulesĪnd the FAQ post, which is stickied right at the top.īreaking any of the rules will at least lead to post/comment removal, but this can be reversed if we need to make an exception. This was an original and absolutely coherent performance.Whether you're a musician, a newbie, a composer, or a listener, welcome. Even at the symphony’s climax there was only a subtle drawing back of tempo before the ecstatic final realisation of the swan theme. Kamu’s swans were graceful and light of wing in the horn figures which accompany the attractively shaped woodwind and cello theme. The finale was similarly brisk, dawning with bristling, frenetic strings (who mustered remarkably good control even at tiny dynamics) and blossoming into a wonderfully fresh, airy account of the famous ‘swan hymn’. The Andante was relatively forward looking, more an intermezzo than slow movement, though the troubled rumblings near its end were neatly highlighted. Kamu pushed the current along, driving it to a blazingly climactic account of the movement’s rising four-note theme. This was a perfectly proportioned and immensely satisfying performance which never lost sight of the symphony’s structural arc.įor all the focus on allowing the music’s natural shape to breathe, there was no shortage of character or detail, noticeably so in the unhurried and engaging woodwind dialogues in the early minutes of the symphony, and later in the first movement across stage between trumpet, horn and woodwinds. Here, at last, his expansive style came into its own, capturing every ebb and flow of the music and placing it neatly within the context of the work as a whole. The opportunity to hear Kamu, a revered Sibelean, conduct his compatriot’s Fifth Symphony must have been a significant draw for many of the large audience. It was not until the last moments that Kamu indulged a broadening of tempo and valedictory climax of the concerto. The brooding angst continued into the finale, where the minimally sentimental first appearance of the flute theme, though attractively played, did little to dispel the mood of Gavrylyuk’s thunderous solos.
The slow movement, widely spaced and airily dreamy, found attractive moments of light in its central passages, where Gavrylyuk produced resolute optimism amid the duskier hues of the orchestral accompaniment and elegantly handled horn solos. This highlighted the darker moments of the first movement, especially with his careful shaping of long string lines. Even with a slightly reduced string section, Okko Kamu’s conducting tended towards thick textures and broad tempi. He mustered enormous power from the piano’s lower register in the cadenzas, often bouncing on his stool as if on springs, but elsewhere played with a pleasing lightness of touch and sensitivity to the orchestra. Pianist Alexander Gavrylyuk was a dynamic presence on stage, both musically and physically, for Grieg’s ever-popular concerto by Grieg.
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