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Sibelius: Theatre Music

Scottish Chamber Orchestra

Sibelius: Theatre Music

CKD 220 (Linn Records)
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Compact Disc

$22.00

Studio Master

FLAC 24bit 96kHz 1,238.0MB $24.00

Studio Master

ALAC 24bit 96kHz 1,268.8MB $24.00

CD Quality

FLAC 16bit 44.1kHz 237.8MB $13.00

CD Quality

ALAC 16bit 44.1kHz 243.9MB $13.00

MP3

MP3 320k 44.1kHz 150.6MB $11.00
Prices shown in US Dollars



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Tracks: Listen and Download

Format
Track Time Listen
1
Pelleas and Melisande At the Castle Gate

Pelleas and Melisande At the Castle Gate

Composer Jean Sibelius
Conductor Joseph Swensen
2:58 Play $1.70
2
Pelleas and Melisande Melisande

Pelleas and Melisande Melisande

Composer Jean Sibelius
Conductor Joseph Swensen
4:14 Play $1.70
3
Pelleas and Melisande At the Seashore

Pelleas and Melisande At the Seashore

Composer Jean Sibelius
Conductor Joseph Swensen
2:06 Play $1.70
4
Pelleas and Melisande A Spring in the Park

Pelleas and Melisande A Spring in the Park

Composer Jean Sibelius
Conductor Joseph Swensen
1:58 Play $1.70
5
Pelleas and Melisande The Three Blind Sisters

Pelleas and Melisande The Three Blind Sisters

Composer Jean Sibelius
Conductor Joseph Swensen
2:16 Play $1.70
6
Pelleas and Melisande Pastorale

Pelleas and Melisande Pastorale

Composer Jean Sibelius
Conductor Joseph Swensen
2:01 Play $1.70
7
Pelleas and Melisande Melisande at the Spinning-Wheel

Pelleas and Melisande Melisande at the Spinning-Wheel

Composer Jean Sibelius
Conductor Joseph Swensen
1:47 Play $1.70
8
Pelleas and Melisande Entr'acte

Pelleas and Melisande Entr'acte

Composer Jean Sibelius
Conductor Joseph Swensen
2:51 Play $1.70
9
The Death of Melisande

The Death of Melisande

Composer Jean Sibelius
Conductor Joseph Swensen
6:05 Play $3.40
10
Kuolema Valse Triste

Kuolema Valse Triste

Composer Jean Sibelius
Conductor Joseph Swensen
5:54 Play $3.40
11
Belshazzars Feast Oriental Procession

Belshazzars Feast Oriental Procession

Composer Jean Sibelius
Conductor Joseph Swensen
2:40 Play $1.70
12
Belshazzars Feast Solitude

Belshazzars Feast Solitude

Composer Jean Sibelius
Conductor Joseph Swensen
3:26 Play $1.70
13
Belshazzars Feast Nocturne

Belshazzars Feast Nocturne

Composer Jean Sibelius
Conductor Joseph Swensen
3:38 Play $1.70
14
Belshazzars Feast Khadra's Dance

Belshazzars Feast Khadra's Dance

Composer Jean Sibelius
Conductor Joseph Swensen
3:54 Play $1.70
15
The Tempest: Suite No. 2 Chorus of the Winds

The Tempest: Suite No. 2 Chorus of the Winds

Composer Jean Sibelius
Conductor Joseph Swensen
3:27 Play $1.70
16
The Tempest: Suite No. 2 Intermezzo

The Tempest: Suite No. 2 Intermezzo

Composer Jean Sibelius
Conductor Joseph Swensen
1:50 Play $1.70
17
The Tempest: Suite No. 2 Dance of the Nymphs

The Tempest: Suite No. 2 Dance of the Nymphs

Composer Jean Sibelius
Conductor Joseph Swensen
1:38 Play $1.70
18
The Tempest: Suite No. 2 Prospero

The Tempest: Suite No. 2 Prospero

Composer Jean Sibelius
Conductor Joseph Swensen
1:41 Play $1.70
19
The Tempest: Suite No. 2 Song 1

The Tempest: Suite No. 2 Song 1

Composer Jean Sibelius
Conductor Joseph Swensen
0:53 Play $1.70
20
The Tempest: Suite No. 2 Song 2

The Tempest: Suite No. 2 Song 2

Composer Jean Sibelius
Conductor Joseph Swensen
0:59 Play $1.70
21
The Tempest: Suite No. 2 Miranda

The Tempest: Suite No. 2 Miranda

Composer Jean Sibelius
Conductor Joseph Swensen
1:51 Play $1.70
22
The Tempest: Suite No. 2 Naiads

The Tempest: Suite No. 2 Naiads

Composer Jean Sibelius
Conductor Joseph Swensen
1:21 Play $1.70
23
The Tempest: Suite No. 2 Dance Episode

The Tempest: Suite No. 2 Dance Episode

Composer Jean Sibelius
Conductor Joseph Swensen
2:02 Play $1.70
24
Andante Festivo

Andante Festivo

Composer Jean Sibelius
Conductor Joseph Swensen
4:14 Play $1.70
Total Running Time 66 minutes Purchase all tracks 
$13.00 
Prices shown in US Dollars

In Linn's third release in collaboration with the Scottish Chamber Orchestra Joseph Swensen conducts a programme of Jean Sibelius' theatre music.

'This is an absolutely super Sibelius program containing a well-chosen selection of some of his finest theater music.' ClassicsToday.com

Download includes - cover art, inlay, booklet
Joseph Swensen

Joseph Swensen

Joseph Swensen was principal conductor of the Scottish Chamber Orchestra from 1996-2005.
profile & recordings >>
Scottish Chamber Orchestra

Scottish Chamber Orchestra

The Scottish Chamber Orchestra is one of Scotland’s foremost cultural ambassadors. The Linn series features performances conducted by Robin Ticciati, Alexander Janizcek, Joseph Swensen and Sir Charles Mackerras.
profile & recordings >>

The foundations of Sibelius's reputation are his symphonies, tone poems and increasingly his songs but the music he wrote for the stage throughout his creative life includes some of his finest scores. This CD presents his theatre music from two distinct periods - the 1900s (contemporary with his Violin Concerto, and the Second and Third Symphonies) and the 1920s, including some of the last works of his to survive.

Striking economy of expression and intensity are characteristics shared by much of his incidental music for the stage. In his stage music, Sibelius tends not so much to accompany dramatic action but to set scenes, create atmosphere or provide a prelude or intermezzo to the action for what were predominantly exotic or mystical dramas.

Joseph Swensen and the SCO have released five recordings together through the Orchestra's partnership with Linn including music by Dvorak, Brahms, Mendelssohn and Prokofiev.  

 

Sibelius Theatre Music 

In 1902 Sibelius was approached by his brother-in-law Arvid Jarnefelt and asked to provide a score for his new play Kuolema (Death). By this time Sibelius was reasonably experienced, having already written music for Adolf Paul's King Christian II - to great acclaim - as well as the Karelia music. He was working on the Violin Concerto at the time, but was still able to produce a score of around 20 minutes with six movements. Two of these went on to enjoy an independent life in the concert hall: the Scene with Cranes and Valse Triste. In his text, Jarnefelt specified a waltz tune to accompany a stark scene early in the action: a young boy sits beside his mother's sick bed. She dreams of rising up and dancing with ghostly spectres in the room. Eventually Death arrives at the door and claims her. This little waltz subsequently became Sibelius's most often played and arranged work. The impecunious composer stood by and watched as the piece became an international hit - yet he made not a penny in royalties from the many arrangements, having signed away the rights to a publisher. He would spend many years writing light music, fruitlessly hoping to strike gold again.

Maeterlinck's drama Pelleas et Melisande (1893) fired the imagination of a number of prominent fin-de-siecle composers, Debussy, in his great opera, Schoenberg in his huge romantic orchestral canvas, and in the delicate atmospheric stage scores by Faure and Sibelius. Faure's score was written for a production at the Prince of Wales Theatre in London in 1898 while Sibelius worked on a staging for Helsinki's Swedish Theatre, translated by Bertel Gripenberg, in 1905.

Most of the music takes the form of interludes, conjuring up the magical and fantastical nature of the play, and also the claustrophobic atmosphere of the love triangle of Golaud, Melisande and Pelleas. Sibelius almost immediately produced a concert suite. It opens with an imposing evocation of a castle, broadly drawn and epic in style. The darkness of the drama is already evident in the second movement, a portrait of Melisande. With At the Seashore Melisande and Pelleas see the departure of the ship in which she arrived. By a Spring in the Park acts as a prelude to the two lovers walking together but hints at the darker turn of events to come. The Three Blind Sisters is a song, sung by Melisande in the play and takes the form of a medieval ballad. The Pastorale conjures up a scene of colourful harvesting. The music of Melisande at the Spinning Wheel is very graphic but it also, in its dark obsessive way, portends tragedy to come. The Entr'acte acts as a prelude in the play to a scene where Pelleas and Melisande plan a secret meeting but once again there is dark undercurrent. The suite ends with The Death of Melisande, the longest and most substantial movement, a remarkably touching prelude to the last act, as Melisande lies dying from childbirth, Golaud left with the unresolved question of her relationship with Pelleas.

The early 1900's, a heady time for theatre in Finland, was also the time of Sibelius's most intense activity in writing for the stage. Very quickly after Kuolema (1902) and Pelleas et Melisande (1905) he produced music for Hjalmar Procope's play, Belshazzar's Feast. In contrast to Maeterlinck's masterpiece, Procope's play now really only survives through Sibelius's music - and critics at the time were not slow to point out the superiority of the music to the drama.

Belshazzar's Feast was premiered at the Swedish Theatre in Helsinki in November 1906. Sibelius provided a score of ten numbers, and although the concert suite (which Sibelius premiered himself, in 1907) has only four movements, it incorporates all the significant material from the full score. The opening Oriental Procession is the nearest Sibelius came to conjuring up the colour and exoticism of the east - comparable to Anitra's Dance and the Arabian Dance in Grieg's music for Peer Gynt. This procession arrives from the distance, and disappears again with a broad, stately tread. Solitude was originally a song for Leschanah, the Jewish woman of the play who sings ‘Jerusalem, how can I forget thee', but in the suite the vocal line is compellingly rescored for solo viola and cello. The intensely beautiful Nocturne features a long sad melody on solo flute. It accompanied a beautiful stage setting of the starry night. The final movement, Khadra's Dance, integrates two of the original movements, Dance of Life and Dance of Death.

By the mid-1920s Sibelius was reaching the climax of his compositional career and, although it was only to become apparent later, the period of his last major surviving works. In close succession, in 1923 and 1924, the Sixth and Seventh Symphonies emerged and the greatest of the symphonic poems, Tapiola, would appear in 1926. In 1925 Sibelius composed his score for Shakespeare's The Tempest. This was a return for him: back in 1901 his close friend and patron Axel Carpelan had suggested that he look at the play as a source of inspiration. This commission turned out to be his largest and most ambitious theatre score. In his theatre music to date, Sibelius had shown great resource in working around the limited forces available. With this score, he had the Royal Danish Theatre, a home of opera as well as drama, at his disposal and his music extends to around an hour with vocal soloists, choir, harmonium and large orchestra.

A great success in Copenhagen, the score was revived a year later in 1927 in Helsinki, when Sibelius added a different Epilogue and also produced, for the concert hall a Prelude and two Orchestral Suites. The first suite is for large orchestra and includes some of the larger, more dramatic numbers including a reprise of The Storm which in extended form constitutes the Prelude. The Suite No 2 is for small orchestra and concentrates on some of the more intimate portraits and episodes. Both suites include some of the composer's finest music for the theatre, indeed some of his most inspired ideas worthy of standing alongside the last two symphonies and Tapiola as the culmination of his life's work in these genres.

The suite opens with the Chorus of the Winds which accompanies Ariel's narration of how he conjured the storm and brought all on board the shipwreck to the island. The Intermezzo evokes Alonso's grief at what he believes is the death of his son, Ferdinand. The Dance of the Nymphs comes from the Harvest Festival scene. There is a baroque grandeur to the portrait of Prospero and magical fragility to that of Miranda. The two songs were originally sung by Ariel - a soprano - ‘Before you can say come and go' and ‘Where the bee sucks', but in the suite the second gives the melody to two clarinets. The Naiads is a response to Ariel's song ‘Come unto these yellow sands' and the suite ends with the Dance Episode a strange dance drawn from a larger portrait of Prospero's treacherous brother Antonio.

Like many composers before him (including Beethoven and Mozart), Sibelius had to be pragmatic about composing to order to generate much needed income. He wrote plenty of salon miniatures (not least because he never gave up the hope of chancing upon a second Valse Triste), and could also be commissioned to compose music for special occasions. The Karelia Music was written for a fund-raising event consisting of a series of tableaux portraying major events in Karelian history. The Press Pension Celebrations music was another case in point, and like the Karelia music it yielded one of Sibelius's most popular scores: Finlandia. The Andante Festivo was originally written, rather improbably for a factory in 1922. He was working on the final two symphonies when he received the commission. It was scored for string quartet but is normally played today in the 1930 version for string orchestra with optional timpani (omitted in this recording). Although it inhabits the same sound world as the luminous string writing in the last two symphonies, this slight but effective work is most famous for the distinction of being the only score to survive in a recording conducted by Sibelius himself. The recording was in the archives of Finnish Radio after the composer in 1939, at the age of 74 and already in retirement, conducted an orchestra for the last time for a short-wave radio broadcast to the New York Fair. Given that the technology for recording had been around from early in the century and Sibelius had been active on the podium until the late 1920's it is tantalising to imagine what else could have existed today if he had been lured in to the recording studio or if the radio broadcast of his 1924 concert, devoted entirely his own music, in Copenhagen had survived.

 

 

Recording information:

Recorded at the Usher Hall Edinburgh
Produced by Andrew Keener
Engineered by Philip Hobbs and Calum Malcolm
Post-production by Julia at Finesplice

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exotic and colorful
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4½ Stars
a fascinating programme and beautifully judged playing
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playing that is both crisp and charged with the underlying drama
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