Then in measure 31, where Sibelius marks the timpani figure вЂњpoco forteвЂќ, the player whacks the daylights out of it. The result is a constant sapping of energy, a lack of propulsion.

VГ¤nskГ¤ has his players attack this figure sforzando and diminuendo. Sibelius marks the accompanying ostinato in the trombones to be played at a steady mezzo-forte, marcato. The reason is easy to describe, and itвЂ™s not a function of tempo. When it arrives, the finale similarly fails to surge forward. The scherzo trips along with admirable precision, but consequently with a certain lack of abandon. The second movement is deathly slowвЂ“more than 16 minutes (shades of BernsteinвЂ™s perverse VPO remake, but without the same degree of devastating power). The opening movement is exaggeratedly pastoral in a manner strangely reminiscent of something that Harnoncourt might do it takes too long to wake up. The entire performance is strangely inert. But weвЂ™ve heard all of it before.ДЄs if worrying that he had nothing new to bring to the table, VГ¤nskГ¤ offers ample compensation in this version of the Second symphony, but not in a good way.

The central Andante flows poetically, and the finale soars aloft in its early stages, then builds to an impressive climax. ItвЂ™s a very good one: VГ¤nskГ¤ handles the transition between the two parts of the first movement with easy naturalness, and the coda is perfectly done. Indeed, if you consider his version of the original edition of the Fifth, this is his third recording of that work. DoesnвЂ™t conductor Osmo VГ¤nskГ¤ have anything better to do? It wasnвЂ™t so long ago that he recorded an excellent Sibelius cycle with his Lahti forces.

Sibelius 5 movment 3