Repertoire: The BEST Sibelius Symphony No. 4 

These little keyboard examples were definetely a nice addition to this great survey, thank you so much !

I was listening to the Segerstam recording while walking through a thick, desolate forest without any paths or means of navigation. Needless to say, it was a mildly terrifying experience

The Segerstam cycle arrived a few days ago. I'll be listening to the 4th tonight...

Been waiting for this one; Sibelius 4th is one of my favourites: tight, elusive and mysterious.

I have to agree with your choices and also think that Sibelius 4 is dark rather than grim. I have a few string playing friends who have worked with Berglund in concerts and on recordings playing Sibelius (London orchestras, CBSO and Bournemouth). Berglund was insistent on the strings playing with different types of vibrato depending on what worked for the music. Sometimes he asked for no vibrato at all. For me his work in Bournemouth was superb, building on what Silvestri achieved. Terrific review, David. Thanks.

Thanks for the illustrated explanation of the tritone. For those like me who love music and like to try to understand it, but haven't received formal musical training, this was really helpful compared to the various texts that talk about a tritone when you can't actually hear it.

One of the most stunning openings to a symphony ever written.

Way back in the distant past, when I was just a lad, I ordered a recording of Sibelius 4 from a mail-order catalogue. It was a Beecham recording from the 1930s on Columbia Special Products, I think. It was dirt cheap - like 99 cents. The postage cost more than the record. My parents had very conservative tastes, and my exposure to anything "modern" had been very limited. Dave, you say "don't be afraid"... I was afraid when I heard it. I was very, very afraid. But I kept listening to it over and over. And yes, my parents thought I had lost my mind. Maybe they were right. Then a couple of years later, I bought the Berglund LP, and my fears were amplified by modern stereo sound. By that time, my listening had been banished from any room in the house within earshot of the other inhabitants. ***correction*** Not Columbia Special Products. It was on Vox/Turnabout.

Thank You David - You add so much to my understanding and enjoyment of this and other fine music. Sibelius 4 - has long been a favorite - But I hear it NOW - ANEW !

Sibelius would be so proud of your description of the piece. He insisted that he only had music-related ( thematically, harmonically and form-wise) reasons for his symphony and wouldn't want people to attach a theme/nationality/story/ specific emotional presentation/psychological reasons to it. This type of thing I suspect was one of the things he and Mahler dissagreed about during their long walk and talk that one time they met.

Of all Sibelius's symphonies ,the fourt one left the deepest impression on me!When I hear its beginning with the fascinating sound of the cello,my association is that the great composer confirmed for the umpteenth time that when the power of words ends,music begins.That sound is cosmic for me,a mistery,a question about the mesning of life...We usualy say that it is dark and heavy music..I am enchanted by such musical power.All your suggestions are as always precious to me.From the performance of this fantastic symphony that I listened to,I will single out the version by Esa Pekka Salonen with Swedich Radio Orchestra ,who conducted when he was wery young,22years old and maestro Karajan!Simply,I adore it phenomenal symphony!

The first movement is absolutely incredible. Few musical works can sustain my attention so intensely from its first note to its last note.

Yes! This is a video for which I have been waiting. And it's fantastic! The Sibelius 4th is probably the only work for which I have a collection of modestly Hurwitzian proportions (a mere 35 or so recordings). Of course, I still lacked several of the recommendations (Sanderling and the most recent Segerstam, though I have his earlier recording). As DH writes in his User's Guide to Sibelius "This is a hell of a symphony," and, for me, it marks the moment when I grew up as a classical music listener. I was around 30, and had never found a way into Sibelius. But I was reading the old Penguin Stereo Record Guide (for which the Sibelius expert Robert Layton was one of the authors), and it kept referring to how strange and austere the Sibelius 4th was. I decided I really had to give it a try. I made a trip to Tower Records and picked up the Karajan Sibelius 4th and 5th recordings. Say what you will, since they were the EMI versions generally considered inferior, but I became a convert. I played the 4th the evening I got it, and was puzzled. Then I played it the next day. And the next. And the next. For a month. I was in grad school and had a brilliant and kind Chemical Engineer roommate who heard it several times as well (when he wasn't in the lab), and who didn't think I was crazy. Some months later, Blomstedt and the San Francisco Symphony were playing it in concert, and when I told Jeff that I was going to hear it, he said he wanted to go too. So, by all means, keep on listening, but give some other people the chance to listen too! Of versions not mentioned, I've enjoyed Davis and the BSO, Saraste and the Finnish Radio Symphony, and Szell and the Cleveland (only on the CO's Szell centennial set from 1997, but posted at RU-vid). One I don't recommend is Bernstein: he has great performances of the 5th and the 7th, but the plodding finale of the 4th is a letdown. For "historic" performances, it's fascinating to hear Schneevoigt, Stokowski, and Rodzinski (in a 1947 recording on 78s that wasn't legally on CD until the NYPO 175th anniversary box set on Sony came out). As several others have noted, DH has the perfect adjectives for the 4th, and the one that I like best is "indifferent." My sense is that the 4th is about a a larger world (and universe) that just doesn't care about us, and that makes it an extraordinary experience. Long live DH, and many thanks for these insightful and enthusiastic talks!

this guy is awesome

I wish you had been my music teacher back in the early 60s....

One of my very first classical purchases and still on my 10 desert island discs list, the Karajan BPO 4th. As with the Bernstein VPO Mahler 6th, after playing it I can't listen to anything else for about 24 hours. Along with HVK's Sibelius 5th and Prokofiev 5th, one of the very few recordings that sounds better on vinyl than cd, to my ears.

I don’t understand why certain so-called modernists couldn’t appreciate Sibelius’ forward-looking abilities. You’d think that on paper, the Fourth would be right up Boulez’s alley. No matter. It’s such a great work!

Along with the 7th and Tapiola, the 4th is a supreme masterpiece of the first half of the 20th century. Thanks for the great review.

Each of Sibelius' seven symphonies are unique, but his 4th Symphony provides the greatest contrast to the others. In the 4th he experimented with elements of modern music such as prolonged dissonance, unstable tonality, irregular phrasing and even bi-tonality in the Finale. With the Dominant to Tonic cadence in the key of A Minor to concluded the symphony, his verdict appeared to be "I cannot escape from traditional harmony, melody and rhythm and so from henceforth I will compose with these" as indicated by the tonal conservatism of his final three symphonies.

An entertaining and insightful video as ever Dave. Please don't apologise for spending the vast majority of the video dissecting the music and providing examples, this is extremely informative especially in a misunderstood work such as this. My old music teacher used to rave about Ansermet's "terrifying performance", it is indeed special. I too like Maazel's (and his cycle) and Vanska's (and his cycle - Lahti!). I have downloaded the entire Segerstam cycle, I'm sure you've mentioned it before, but I will start with his fourth. As for Berglund, indeed this cycle is my favourite of his three cycles. Let's face it, aside from a couple of years with George Hurst this is essentially Silvestri's orchestra and boy to they play the cycle well. Finally... Talking of spooky Sibelius, any plans on doing the BEST Tapiola?

My choice for this work has always been Ormandy's original mono recording from the mid-50's.

My favorite Sibelius symphony, especially the 3rd movement. It was gratifying to learn that Sibelius chose this movement to be played at his funeral.

New line of Tshirts Dave...love them...

Splendid introduction to Sibelius' greatest symphony. In the third movement that emergent theme consoles with its open fifths suggesting a fulfillment, perhaps a "healing" of the raw tritones which have until then dominated. But the "collapse" of that theme at the climax brings a reversion to the omnipresent tritones. Though I had known this work for decades, it wasn't until this year, amid the terror of the pandemic, that the significance of this intervallic shift was brought home to me. You rightly noted that this symphony better heard as "desolate" rather than tragic. Of course it's absolute music and Sibelius would stoutly deny that this symphony is "about" anything other than itself. But I can't help but thinking that the desolation in question is not anthropocentric, but rather an evocation of nature, in all its wildness and indifference to human values. I'll have to check out the Segerstam recording sometime. To date, I have found that Karajan "reigns supreme" in this work, though Ormandy and Colin Davis are not far behind.

Oh baby, devilish music theory with Uncle Dave on keys! Sibelius 4 will never be a crowd pleasing hit the way Nos. 1 & 2 are, but it can be easily argued the 4th is as good as both. Often envisioned (and played) as a tragic symphony, you correctly point out that term misses the mark a bit. I imprinted on the Berglund first and it is hard to beat his glorious desolation. Ormandy is my favorite recording of the 4th by an Americanski orchestra. Somehow, I’ve actually never heard Segerstam - time to fix that post haste!

Thank you for a very perceptive & revealing discussion about Sibelius 4. I'll investigate Segerstams's recording. It would be great if you could review Tapiola sometime in the not-too-distant future.

Sibelius 4 is on that list of pieces that always do the trick for me when I want to feel that deep aching feeling of bittersweet sadness. Because sadness is actually a sweet feeling if it isn't caused by something tangible and traumatic. If it's just a state of mind, a mood condition that you can switch on and off by - for instance - listening to bittersweet music, it's actually a great experience. So yes, Sibelius 4, Strauss' Metamorphosen, Mahler's Lied von der Erde, Franz Schmidt's 4th, Shostakovich' 15th - and the slow movements from Schubert's String Quintet, his last piano sonata, Bruckner's 6th and 7th, Elgar's 2nd, the list goes on. Thanks for mentioning Sanderling! I always return to his cycle (which came out on Brilliant Classics too, btw) when I want my Sibelius to sound darker and gruffer. But I think not only the 4th benefits from this approach, the other symphonies do too, including the "bright and happy" ones, like the 3rd and 5th. In my opinion, Sanderling's readings are just as succesful in those works, since they they show that Sibelius music can be approached from different directions and still sound convincing. My favorite recording of the 3rd has always been Okko Kamu's (in his old cycle shared with Karajan), but Sanderling's 3rd, being the polar opposite of Kamu's bright and cheery version convinces me just as much.

I have a soft spot for the Levine/BPO recording. I know some people think it sounds too 'Hollywood'. But thanks to you, David, I just listened to the Ormandy #4. Wow! Amazing. A true revelation.

It's a darkness that shines.

I love the Sibelius 4th. One of my all time favorites.

Would love to hear a review of the best SHOSTAKOVICH Symphony No. 4!!! Please!

My two favorite performances are Maazel and Ormandy, who are two conductors I generally really don't like.

I like the way you talk about classical music! Please continue, greetings from Germany.

Thanks for this. Marvellous dark and disturbing work, which is has moments of melencolic beauty ( the wonderful ethereal string writing in the third movement for instance). You mentioned about the tritone and that would make an interesting talk in of itself for other music that uses it (apologies if you've already covered it). I've always come back to Askenazy's Philharmonia version on Decca - just seems to get the balance between desolation and beauty about right to me.

Looking forward to best fifth!

A brilliant presentation of this incredible and unique work! I am also familiar with most of the recordings mentioned in the video, except maybe for Ormandy and Maazel. Among the young conductors I really like Harding's performance with Orchestra de Paris, don't know if they managed to put it on a disk. Generally, the slower versions are more credible for me, once had a chance to hear the Toscanini recording and was unpleasently surprised, the music felt so rushed, painful to listen, especially Largo. So, Segerstam is a very great choice for me too, not only because of the tempi but also because of the fascinating playing.

Laughed out loud at how to know when you’ve arrived at Sibelien nirvana! Thanks for the pep talk - looking forward to it now. Sounds like the greatest Halloween music ever - may have to replace Bartok’s “Bluebeard’s Castle.”

My goodness Colin Davis’ Largo to this symphony is nearly 4 minutes longer than is Ormandy’s. The piece is disjointed enough. Thank you Gene, like Bruno Walter, for staying out of the way and letting the notes do the talking.

Long-time Sibelius Fourth collector here. Glad to see you covering this. I used to debate other listeners who hated this one, but I'd tell them they were full of it; it's his best symphony.

Great description of the symphony. Always welcome. I’ll put another recording into the mix which I have liked quite a few years. Neeme Jarvi/Gothenburg SO/BIS. Thank you.

i agree Sibelius Symphony # 4 is not so grim (thanks to life under Stalin, Shostakovich is much better at that) - but Sibelius is still too much the 'romantic' to remove all light and beauty

As for Karajan,he defined was a dedicated Sibelian. I believe Karajan conducted the 6th at his inaugural concert upon taking charge of the BPO. That entire DG is fantastic. I’ll have to consider the Berglund. (I have a lot of CDs. Not as many as DH).

David, How about a review of Pojola’s Daughter? I just heard a recording of it on the radio by Colin Davis with the BSO that gave me chills and made the hairs on my arms stand up! I think it’s one of his greatest Symphonic works, right up there with the Symphonies.

Thanks for devoting over 30 minutes and making a strong case for this bleak (but very beautiful) masterpiece. I agree with you on the Segerstam and Karajan (on DG) recordings, two conductors who "get it" with Sibelius. Late in life, Bernstein recorded Sibelius 1, 2, 5 & 7 in Vienna. Too bad he didn't live to get around to #4. I think that would have been special.

Next Weekend Sibelius 4 and Brahms 3 with Blomstedt and the BPO....I’m blessed! Thank you for that enthusiasm...can’t wait to hear it!!!

A fabulous presentation, Dave, of a masterpiece. I particularly enjoyed your explanation about the symphony and it's construction with your home-made examples. Inspired. Your critiques are so much more useful and relatable than the majority of dull writings and / or broadcasts by, say, the BBC who just don't cut the mustard. Keep them coming. Thanks.

I listened to several of your recommendations . My pick is Sanderling- absolutely perfect - dark brooding - gripping - and this is a 1972 recording? The sound is terrific. (it matters to me). I am much less impressed by Vanska and Segerstrom. They just do not have the same punch for me. Another great one is Levine/Berlin. (Although his 5th on the same disk is lousy).

Thanks Dave. I love this format of providing some musicological discussion of the piece, and then talking about the recordings.

Your comment about Sibelius's ability to combine instrumental timbres in such a way as to create seemingly new sound worlds really resonated with me. I remember the first time I heard the Fourth frantically trying to identify what was happening orchestrally when the stopped horns enter under the strings a few measures before Figure B in the opening movement. I'd never heard anything quite like it! To this day, it still sends shivers down my spine.

Agree that the Berglund is a good 4th but the glockenspiel can hardly be heard in that EMI recording. That's a real let down for me after all that precedes it being a very good performance. Regarding Ormandy's Sibelius 4th which I have on RCA: Way back in my early days of getting to know classical music I heard him do it in concert with the Philadelphia Orchestra. He used the tubular bells (Stokowski did too !) and I remember what an effect it had on my then undeveloped sense of orchestral sonority. I was disappointed for years to come because no one ever did it that way either in concert or on record.

Great video, wonderfully descriptive. Such a great work.

The first time I heard Sibelius' Fourth was when I picked up the Karajan/Berlin recording and was immediately struck by it. I never thought of it as being "grim" - it struck me as intensely beautiful. Tritones don't bother me, I guess.

Enjoyable video, one of your best! Can I suggest the Ansermet /OSR Sibelius 4, with quite 'sonorous' tubular bells? An all-around fine recording of this great work.

Coming from the Kosmische Musik of Klaus Schulze and Tangerine Dream, this was my first classical music purchase. Sibelius 4 is every bit as dark, desolate and beautiful as music on albums like Schulze’s Timewind and Mirage... Interesting review, thanks!

Enjoyed this more than a Lenny lecture! For my money the climax of this is the calling of the cranes in the third mvt. And for me, nobody has done this better than Karajan/BPO in the 60s recording. Lots of other great recordings - and I love the Segerstam. Thanks for this David.

Thanks, David. Another great review. I loved your illustrations on the keyboard. I’m glad you sunk your teeth into this (at first) intimidating work, and I really love the DG Karajan in this one. Even though he liked to use his polish, I still hear the elemental Sibelian growl in this recording, as I do with Berglund in Bournemouth.

Great, great breakdown of the elements of the 4th, David! Great reviews too. I bought the Ansermet/Suisse Romand LP ages ago. I was use to that recording, but I haven’t listened to it in quite some time. When I want to listen to the 4th I just pop in my Maazel/Vienna CD (more convenient) and it satisfies. I RU-vidd the Segerstam and found it to be excellent. But I still prefer the Maazel, mainly because the pace is a bit swifter.

I thought of the opening harmonic material’s resemblance to the Tristan chord: F sharp minor 7 with the low 5th. That’s in essence what’s presented here? In a darker setting. Not a few thematic and harmonic twists in Sibelius’ symphonies seem related to Wagner Leitmotifs but presented in a different surrounding so one doesn’t hear the resemblance at first.

Kegel‘s performance on Berlin Classics is the unsung hero of the discography.

David rocking on the synthesizer organ.. I kept waiting for the Leslie speaker to kick in and the bass and drums drop the beat

I have never heard the opening as "spooky". To me it sounds alive - by which I mean it sounds like the music itself is breathing to me, vast and endless, rising from the depths. - or alternatively, the vast majestic emptiness among the stars.

In your Ideal Sibelius Symphony list, you recommended the Maael/Decca recording, whereas now you recommend the Segerstam/Ondine CD. Any reason?

I read a critic 50 years ago who said the 4th was pure, undiluted Sibelius, the composer not making any compromises, and that if the listener couldn't come to terms with it or didn't like it, then they didn't grasp the essentials of what Sibelius was about and couldn't think of themselves as true Sibelius fans no matter how many other of his symphonies they liked.

Kurt Sanderling ner records Mahler sixth, his son Thomas yes.

Hey, Dave. Any plans on doing a talk about the Sibelius 5th Symphony?

Maazel but with the Pittsburgh SO is simply amazing, much more refined sounding than the Vienna Phil. Long, elevated misery. Strangely enough, his recording with the Vienna Phil is my 2nd favourite!

Thanks for a wonderful review of one of my favorite symphonies. As I'm sure you know, Sibelius was facing a serious health issue at the time he composed it, perhaps thinking it could be his last.

Love this enthousiastic reviews!

My first time listening to this program and I love it. I read about this in Gramophone in an article by Jed Distler. I will be listening to all the programs now. What a blessing from David Hurwitz!

I've never seen you so excited! Thank you for a GREAT lecture! For years, I didn't know what to do with this symphony - until, one day, I heard that "mountain rise" and collapse in the third movement - and then I GOT IT! (I read later that Sibelius had survived a bout with throat cancer before he composed it.) This symphony personifies for me the Finnish winter as the Dark Night of the Soul!

Thank you. I have all those recordings but the Bournemouth. But my favorite is the Uppsala Chamber Orchestra conducted by Paul Mägi, as having a lighter touch, and not so massive.

I had to chuckle when you went into the whole "diabolus in musica" belief regarding the tritone in the middle ages and the banning of the note B. I wonder what medieval music theorists would have thought of 12 tone serialism if they had heard it? 😂 There are actually very beautiful pieces that composers have based on the B tonality, but i guess note banning made sense at that particular point and place in time. As for the Sibelius 4th--i don't find the beginning spooky or eerie as in "things that go bump in the night", but it does feel as if Sibelius is trying to communicate some very deep grief or hopelessness of the soul-- or perhaps even giving musical expression to a depressed state of mind. Either way your overall point stands that it is not cheery music, but nevertheless it is music that is worth listening to and that has something serious to say to us today. This symphony is powerful and we are better for the fact that it was written. Thank you so much for this review! I feel you are knowledgeable enough and charismatic enough to be able to teach a western music appreciation course (how to listen to great music) or a westerm music history course in something like the Great Courses or perhaps something like Coursera and get paid. We are certainly lucky enough to be getting a university level education in your youtube videos and it feels we are just tapping the tip of the iceberg as far as your knowledge!

A great explanation of how Sibelius in this work takes you from here to there, such as it is. Point well taken about the "sonore" passage. Without tubular bells, it would just be for whom the glockenspiel pings. The pizzicato passage right after this has always evoked an ear worm I'd like to forget--part of the theme from Gilligan's island. Since Sibelius supposedly drew material for the symphony from a possible setting of "The Raven," I can't help but think of that at the end of the finale. That's when the upward phrase of a flute is answered by the downward three syllables from a disconsolate oboe (as if to say, "Never more"). Sorry to bring this up, since such a great piece of music doesn't need the distraction of a talking bird. Birds that sound like birds--whether the swans evoked in the 5th symphony or the arctic soundtrack used by Rautavaara--are much better. The Segerstam is a great performance. Even better than the Maazel--which I bought more than 40 years ago--after someone at Harvard Coop told me it was definitely better than Davis with the Boston Symphony. The first recording I bought, in 1966, was by Ansermet and Orchestre de la Suisse Romande, perhaps the only stereo version at the time. I bought it at a downtown department store where I had spent weeks looking for it in vain, using the Schwann catalogue to squat and scan the inventory arranged by label and number--underneath the more accessible section arranged alphabetically by composer. Luckily for me, a salesperson I kept asking about the elusive 4th greeted me one day by flourishing the green jacket of Ansermet's recording, which he was kind enough to set aside for me. He was a refugee from Cuba who, I was told, had some kind of distinguished position in his native country. It was great to talk about music with him and absorb his recommendations. Maybe it was also good for him to be viewed as something more than just an interchangeable cashier. This is my tribute to the human exchange in exploration of music--something you can't get from the ability to sample tunes, download on demand, and sample ad nauseam.

Oh what a difficult piece I heard it for the first time today. Why is it so difficult? This is a challenge for the first time with Sibelius.

I was waiting for you to do this one, my favorite Sibelius Symphony. It was so far ahead of its time! I find the third movement unbearably moving. Maazel’s Vienna Phil recording was my intro to the work. I also loved Karajan’s Berlin recording on DG. On CD I have both Ashkenazy/Philharonia with the best sound, and the one I turn to most often and my current favorite is the Vanska/Lahti you discussed. When I listen to any new recording I always go to the end of the work first to see if the conductor slows down and emphasizes the ending. If that happens, I will not listen to that performance again!

What a week - your fascinating, brilliant 'disquistions' on work & recordings re the two 4ths by Shostakovich & Sibelius. It doesn't get any better, it really doesn't!

I love the transcript!! Pohjolas daughter comes out as “Pauls Killer” !!

Oh, yes, the Vanska (Lahti) is my personal favorite (the whole cycle, especially the 7th, is wonnnnderful). I love how he doesn't rush, but he's never flabby. Segerstam is my second favorite for the 4th. I don't understand why so many find this symphony so unapproachable, really. (I don't know, I guess I like my soul to get crushed hahaha). Lovely review(s)!

The symphony finishes with what I can only describe as the 'Ainola Amen'

I bought the Segerstam Sibelius box a few years back and I cannot agree with you more about the fourth. I would like to have the individual disc for the additional pieces. Probably out of print and a million dollars.

I was a college student in Chicago in the late 60's and knew virtually nothing by Sibelius when the Bernstein LP box was released. Late at night, when I might have been one of only a handful of listeners, WFMT played everything in the box. I imprinted on the Bernstein. Later, when Blomstedt arrived in San Francisco and a local station broadcast live performances, I switched allegiances. When the Blomstedt cycle came out on CD, it was a must have. It is a good thing that, unlike vinyl LP's, CD's don't wear out when you play them. I also have the Davis/Boston CD set, but Blomstedt/SFSO is my go-to CD collection and, within that set, the 4th gets more play than the others. Thank you for your analysis. The Bernstein recording grabbed me by the ears and made me pay attention. The Blomstedt recording grabbed me by the gut. With your analysis, all will grab me by the mind, as well.

Dear David. Thanks to an enlightened music teacher, I have been a Sibelius fan since my teenage years. Sadly it has taken until my early 70's to discover your videos about his music! I have no musical skills or training. My love of JS comes purely from the emotional response to wonderful tunes, dramatic progressions and original instrumentation. I can see how you describe the fourth symphony as desolate rather than tragic, but I don't feel that the desolation is absolute. The strings put me in mind of the grim stormy weather which you sometimes get in the English Lakes or Scottish Highlands. The brass, depicting great crags appearing out of the swirling mist, and as you say, the brief appearance of sunshine through the clouds. The woodwind to my ears, can be like brave little birds trying to be heard above the storm; their instinct overcoming the grimness. Thank you so much for helping me to understand so much more about this great composer and how he achieves such unique music effects.

For a video performance of this wonderful symphony I'd add Hannu Lintu's superbly structured, brooding recording n Arthaus BluRay.

I find the opening sombre rather than creepy. There is a darkness and desolation about it, too.

Another great survey. Thanks Dave. I love the clarity of the Sanderling performance, well recorded as many of those GDR releases were. Wonderfully detailed. In fact, my first encounter with the 4th was as a student in late 70s with Sanderling conducting the Melbourne Symphony. I was blown away. Rather dim sound, but I also love Karajan's mono Philharmonia recording. Maazel my go-to. Unfussy conducting (a rarity from Maazel...) & a privilege to hear that orchestra in this music.

This is great! The keyboard examples are really helpful. I’ve just been listening to various versions of the 4th, since Sakari Oramo did it well with the Royal Phil. in Stockholm. IMHO, oneof the few he got mostly right. I look forward to more Sibelius reviews...

0:30 Oh so enjoying you, and your take on things I just don't get all off. But I love the music, so surely on some level we connect. But you are a wonderful voice on youtubes, this chatter box just had to say.

Regarding the glockenspiel or tubular bells, in Gramophone (April 2023) Geraint Lewis gives the reason for the glockenspiel. In Sibelius's autograph he apparently asks for a glockenspiel whereas the published score has glocken, as you say. Lewis states that at one point Sibelius found bells too "oriental" and also told the English conductor Leslie Heward to stick to the glockenspiel. I think Lewis is a bit OTT to then "disqualify" all the recordings, which use bells, some of which are marvellous in my opinion. I would be interested in your thoughts on this Dave.

Still feeling grateful for your recommendation of the Berglund cycle, it made me realise I had been missing out by not giving the Sibelius symphonies a chance.

Thei finale is rondo rather than sonata form, isn't it?

I have a historic choice. Decades ago I found a set of 78s by the Phil-Symph of NY, as it was known, conducted by Artur Rodzinski, to be played on an antique wind-up I have. I was really taken by how he handled the brass fp, crescendo, ffz at letter B in the score. Maybe a bit overdone, but better than than underdone. Chimes in the finale, btw. For years I've been trying to get a copy in a more modern form. Columbia never put it on LP or CD, but it was included in the recently released but nearly impossible to buy 16 disk Rodzinski box, which I finally was able to obtain. Bought the box just for the Sibelius, but there's other good stuff, including the first released recording of the Prokofiev 5th. Now downloads of the individual discs of the box can be found on Presto and maybe elsewhere. Sound isn't bad for the 1940s.

Beautiful, and so "On-Target". There's no doubt in my mind that Sibelius' recent cancer scare influenced the writing of the 4th, and there's an amazing story by the painter Arnefelt (to whom the 4th is dedicated), where he and Sibelius ventured into the wild, terrifying forests and cliffs at night in the rain, where Sibelius seemed to "confront" and defy the awesome, dark power of nature as he was composing this work. The 4th Symphony is a STATE OF MIND; don't even try to make rational sense out of it (even though it is meticulously constructed). Dave really nailed the end of the Symphony.."empty...completely INDIFFERENT"....it just STOPS! Same with the end of the Scherzo..listen to the final 2 minutes..as the jolly, breezy oboe tune suddenly DARKENS...and without our even realizing what's happening, we find ourselves engulfed in a bleak, foreboding dimension. It's absolutely stunning. YES..VANSKA'S LAHTI recording is about as close to an Out-of-body experience as you'll ever have in music. If you appreciate this great music, you MUST have this recording. And Segerstam/Helsinki is also Fabulous (and marginally better than his earlier Chandos version). Berglund..also great, Karajan too, in his own way (and I LOVE Karjan's 6th that's on the same CD). It will take a lot of persuading to convince me that Ormandy is anything more than a casual, hum-drum, by-the-book read-through..but I'm willing to see the error of my ways, based on your recommendation. LR

Hey Dave, Thanks to your Sibelius talks I've been able to persuade a friend to join the Sibelius camp. Also, any idea why Karajan never recorded Pohjola's Daughter ?

I believe that Sibelius referred to this symphony as a "clear cold glass of water".

According to what I’ve read,Beecham consumer this to be a ROMANTIC symphony. I have the LPO/1937/EMI recording in pretty good mono. Of course the symphony is recognizable but Beecham to seem to find some more light and Romance expressiveness than what is considered the standard interpretation(dark foreboding etc).

You aee at your best in these kinds of videos. By the way, The Oceanides is not on the Segerstam CD, it's Finlandia. I've been thinking about getting the complete symphonies with Segerstam. I'll check back through your videos and Classics Today. Right now, I just the 3rd Symphony on Chandos, by him.

Loved the beginning. Thank you

The starkness of the orchestration in this piece has always called Webern to mind for me.

On the website classics today. Can you order CD’s?

Great video, Dave. Thanks! You generally like Blomstedt's Sibelius, yet you don't include him here. I'm interested in how you think his Fourth stacks up. Does it perhaps lack some of the darkness of some of the others?