Norwegian-born violinist Vilde Frang makes her solo recording debut with Prokofiev's first Violin Concerto and Sibelius' Violin Concerto, plus three of the Finnish composer's Humoresques for violin and piano. With her sweet tone, fluent technique, and soulful interpretations, Frang's performances can stand comparison to many of the great recorded performances of the past. She digs in deep in Sibelius' outer movements and dispatches their manifold difficulties with apparent ease.
The exceptional collaboration and friendship between the late Einojuhani Rautavaara and the internationally acclaimed bass-baritone Gerland Finley culminates in this unique album of orchestral songs by Sibelius, on which the Bergen Philharmonic Orchestra is conducted by Edward Gardner. The album offers orchestrations, by Sibelius and others, of songs which Sibelius originally wrote for voice and piano, and includes the premiere recording of ‘In the Stream of Life,’ seven songs orchestrated by Rautavaara for his friend. Throughout, the poetry perfectly reflects the instinctively felt relation between Finnish nature and Sibelius’s music.
The years spanned by this seven-disc Warner Classics collection coincide with the peak years of Jean Sibelius' popularity. At that time, he was widely regarded in Western countries as the greatest living composer, though he had essentially stopped producing major works after the mid-1920s, when he wrote the Symphony No. 7 in C major, the incidental music to The Tempest, and Tapiola.
If there is a country famous for its reservoir of extraordinary musicians and its significant composers in particular, then it's Finland, which is all the more astonishing when you consider the size of its population - Finald has 5.5 million inhabitants. The country's distinguished tradition of music-making is fundamental to this reputation for artistic excellence. Finland can be rightly called a "country of singers". Even when it comes to contemporary compositions, traditional music always plays an essencential role in the pieces, contributing to their accessibility.
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.