In Sibelius 5th Symphony, Thor swings his hammer, and the listener can feel cosmic forces at work in this music, something on which Sibelius himself commented when writing in 1914: “God opens the door for a moment and his orchestra is playing the Fifth Symphony.” In this recording, Celibidache galvanizes the Munich Philharmonic in an interpretation of tremendous power and vision, Stravinsky’s Firebird Suite is an opulent fairy tale. 82 by Jean Sibelius from 1988 as well as Igor Strawinsky‘s »The Firebird« from 1982. In spring 2022, it is a recording with Sergiu Celibidache with the Symphony No.
#JEAN SIBELIUS SYMPHONY NO 5 ARCHIVE#
Because of the Celibidache era and its part in forming the core essence of the orchestra, the MPHIL label has placed a particular focus on archive recordings under the baton of Sergiu Celibidache. On its MPHIL label, the Munich Philharmonic is opening up its vast archives, giving listeners the opportunity to enjoy one of the richest collections of recordings by legendary artists.
Sergiu Celibidache played an integral part in making the Munich Philharmonic what it is today: an orchestra of worldwide renown. He started his work as principal conductor in 1979 and remained in this position for as long as 17 years. Hear the NJSO perform this unique symphony alongside works by Mendelssohn and Fagerlund May 3–6 in Englewood, Newark and Morristown.The Munich Philharmonic and Sergiu Celibidache share an exceptional legacy. Sibelius’ path in the musical landscape of the 20th century was set and his “modernist” persona was established-and it arrived in the form of his Fifth Symphony. In just three movements, and using an orchestra less than half the size than what was popular at the time, Sibelius captured the grand landscape of the major symphonies and designed a new sphere for himself without submitting to the more radical procedures of his contemporaries. The main theme never becomes saturated, leaving the delicately orchestrated material fresh in heart and mind after leaving the concert hall.
He keeps the lively undercurrent under complete control. Sibelius handled a classic ending in a clever way. In stark juxtaposition, what follows are quick chords among potent silence to end the work. Sibelius favors an accumulative build with fragments of the main theme stretched and drawn-out. The powerful and glorious theme that Sibelius presented earlier in the last movement is not matched with the expected recall.
One of the more obvious differences is the final bars of the piece.
The thin textures and close harmonies make every subtle shift noticeably glisten. Sibelius hones a more controlled space, welcoming a calming stillness. These familiar sounds begin almost every symphony of Mahler and Bruckner, but something is different. The symphony starts in a familiar way, with long tones and horn calls. So why is Sibelius’ Fifth Symphony-a relatively modest work in scope, length and size-so recognized as a pioneering masterpiece? In this work, Sibelius tapped into the unique personal voice for which he is most remembered. The ethereal “open-space” introduction, smooth melodies, luscious harmonies and final triumphant climax had become the norm of the great symphonies and their ever-growing orchestral forces. When Jean Sibelius first started work on his Fifth Symphony in 1915, the type of symphony he set out to write had, for the most part, already been mastered and perhaps even overused.
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