The Italian word malinconia was very commonly used in the nineteenth century as a title for melancholy pieces. Yet the idea of malinconia covered a myriad of romantic notions, so that simply translating it as "melancholy" does not do it justice. It subsumes many other emotional states as well - all kinds of dejection, gloom, unknown sadness, desperation, depression and even frustration. Each language has evolved its own terms, and interpretations of the word itself also differ from region to region. Malinconia in sunny Italy or Spain is quite different from melancholy in Norway and in Finland, where the winters are harsh and long. The Nordic variant is expressed here in various musical examples; words alone are anyway inadequate.
A string quartet was among the very first works that Edvard Grieg presented after completing his studies in 1861, but the Quartet in G minor, Op. 27, was the only such work to be published in his lifetime. In 1878, while composing it, Grieg wrote that ‘it aims at breadth, to soar, and, above all, at vigorous sound’, and the amplitude of the sound is indeed striking: the generous use of double-stops creates an almost orchestral effect, unusual for the genre. This caused some reviewers to criticize the quartet as being unidiomatic, while others, including Liszt, greeted it with enthusiasm. Some thirty years later, when Jean Sibelius composed his D minor quartet Op. 56, he too had previous experience of writing for the medium, but Op. 56 is the only quartet among his mature works. The often used 'nickname' Voces intimae is often taken to refer to the intimate interchange between the four voices in a quartet, but is probably a more specific allusion to a brief passage in the third movement: Sibelius wrote the remark into a score some time after the work had been published.
Vol. 2 in BIS' complete Sibelius Edition is given over the Finnish master's chamber music for strings and for strings and piano. Fifty years earlier, this release would've included only the "Voces intimae" string quartet. But BIS' 2007 release includes all four quartets and all four piano trios, plus 35 other works or substantial fragments lasting between 13 seconds to 32 minutes. One thing is instantly clear: Sibelius scholarship has made enormous strides since the mid-twentieth century.
This well recorded disc from 1985 delivers impressive readings of both of these works. Mullova takes a very individual view of these concertos and has the technical assurance to communicate her view with compelling certainty.
The Tchaikovsky concerto is played in the full uncut version that was written by the composer. This is now becoming more common but in 1985 was still unusual enough to warrant comment. By playing the notes as Tchaikovsky had intended Mullova signals a very serious intent which she carries out throughout these two concertos.
The Finnish conductor Osmo Vänskä, music director since 2003 of the Minnesota Orchestra, long ago proved himself a formidable interpreter of Nordic music in general and Sibelius in particular. This symphonic cycle – two highly praised discs are already out – is now complete, with this album of the pliant, classical Symphony No 3, the little known and underrated No 6 and the mysterious, enthralling single-movement No 7. The playing is polished and detailed, now springy and buoyant, now occluded and chilling. Tempi are slightly broad but convincingly so. From the plunging energy of the opening of the Third Symphony to the bleak, raw ending of the Seventh, this is a gripping listen.
British orchestras and their audiences have long held a special affinity for the orchestral works of Jean Sibelius, and the Hallé's venerable tradition of playing his music continues in this superb recording of the Symphony No. 5 in E flat major, the Symphony No. 7 in C major, and the symphonic poem En Saga. Mark Elder's straightforward interpretations are clear-headed and meticulous yet intensely passionate, and the orchestra responds to his direction by digging deep and playing with a commitment that is nearly perceptible. These symphonies and En Saga are representative of Sibelius' mature style, so their deliberate pacing and steady unfolding of motives into organic developments over long time spans require attentive listening, but the clarity of Elder's readings makes the progress of the music easy to follow. Add to this the exceptional reproduction, which brings out every detail with crispness, and presents the Hallé's warm and rich sonorities with credible presence, and the end result is a nearly ideal presentation of Sibelius' music.