# Sibelius: Symphony no. 6



## Waehnen (Oct 31, 2021)

The 6th Symphony by Sibelius has been the most meaningful piece of music of my summerholiday this year.

What makes this year different is that I have at last found a perfect recording and interpretation of the music: Bournemouth Symphony Orhestra with Paavo Berglund. I claim that before this version I had not really understood all the material to it’s full potential.

I have listened to all my tens of the 6th and Berglund/Bournemouth comes on top, always.

Berglund really really lets the sun shine through the polyfony. And I live for music which lets the sun shine through the polyphony! Perfectly articulated and communicated, even emotionally, which sometimes has not been the forte of Berglund. The 6th suits perfectly both Berglund and the Bournemouth — and me!

With the right version the 6th rises to the same level of the 4th, 5th and the 7th.


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## Forster (Apr 22, 2021)

The 6th is my favourite of Sibelius' symphonies, and it was the Berglund/BSO that I first heard. Owning a couple of others and hearing several more - some of which are too fast for my taste (Davis/LSO for example) - I return to Berglund to find him now a little too slow, but that's a small point. It remains my preferred interpretation.


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## Waehnen (Oct 31, 2021)

Forster said:


> The 6th is my favourite of Sibelius' symphonies, and it was the Berglund/BSO that I first heard. Owning a couple of others and hearing several more - some of which are too fast for my taste (Davis/LSO for example) - I return to Berglund to find him now a little too slow, but that's a small point. It remains my preferred interpretation.


I am happy to read we have similar experiences on the music and this particular recording of it — although you started off with Berglund/BSO and for me it is my latest meaningful Sibelius finding, really.


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## Great Uncle Frederick (Mar 17, 2021)

... coupled with an equally fine recording of the 3rd!


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## EvaBaron (Jan 3, 2022)

I always do research into recordings before listening to a new piece and I’m against cycles but with Sibelius symphonies it’s really hard. There seems to be little general consensus on which recording is best


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## Waehnen (Oct 31, 2021)

Great Uncle Frederick said:


> ... coupled with an equally fine recording of the 3rd!


In my opinion, there are 2 other recordings of the 3rd on the same level as the Berglund/Bournemouth. And they are: Barbirolli/Halle and Järvi/Gothenburg/Deutsche Grammophon.

But there is only one recording of the 6th on the very top.


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## Ulfilas (Mar 5, 2020)

I love the 6th too. Bergund/Helsinki is wonderful too, but my favourite is probably Blomstedt/San Francisco.


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## Enthusiast (Mar 5, 2016)

EvaBaron said:


> I always do research into recordings before listening to a new piece and I’m against cycles but with Sibelius symphonies it’s really hard. There seems to be little general consensus on which recording is best


Berglund seems a reliable pick and is very widely liked. I came to it later than many others and now find it tells me little new about the music so I don't bother with it. But I do recognise it has much to offer.


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## Philidor (11 mo ago)

I don't appreciate Berglund's recordings of op. 104 from Bournemouth and Helsinki. Too slow. Much better imho is the recording with with LSO at the Label LSO live.

If you want a really bad recording, choose Georg Schnéevoigt.

But if I want to listen to Sibelius' sixth symphony, I mostly choose Karajan and the Berlin Philiharmornic (DG). Or Segerstam with the Helsinki Philharmonic.


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## Brahmsian Colors (Sep 16, 2016)

For me, it's Sanderling and the Berlin Symphony that best characterize the moods and colors of this work.


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## Waehnen (Oct 31, 2021)

Philidor said:


> I don't appreciate Berglund's recordings of op. 104 from Bournemouth and Helsinki. Too slow. Much better imho is the recording with with LSO at the Label LSO live.
> 
> If you want a really bad recording, choose Georg Schnéevoigt.
> 
> But if I want to listen to Sibelius' sixth symphony, I mostly choose Karajan and the Berlin Philiharmornic (DG). Or Segerstam with the Helsinki Philharmonic.


The Karajan/Berlin/DG is in my ears no way near as good as Berglund/Bournemouth. The playing is sloppy, inaccurate and Karajan’s tempi too fast even to a musically neglecting extent. Very bad recording of the sixth in fact although the very beginning is magic.


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## Philidor (11 mo ago)

Waehnen said:


> The Karajan/Berlin/DG is in my ears no way nearly as good as Berglund/Bournemouth. The playing is sloppy, inaccurate and Karajan’s tempi too fast even to a musically neglecting extend. Very bad recording of the sixth in fact although the very beginning is magic.


Well, if you like Berglund/Bournemouth, there is nothing wrong with it.

However: Do you know Sibelius' own metronome markings?

And do you know his statement that his music is like clear, clean, pure spring water?


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## Waehnen (Oct 31, 2021)

Philidor said:


> Well, if you like Berglund/Bournemouth, there is nothing wrong with it.
> 
> However: Do you know Sibelius' own metronome markings?
> 
> And do you know his statement that his music is like clear, clean, pure spring water?


I am not familiar with Sibelius’ metronome markings. I do know though he preferred slow tempi.

The talk about pure spring water referred to the 6th symphony exactly. Berglung/Bournemouth offers just that.

When it comes to the 4th and 7th Symphonies, Karajan/Berlin/DG are my top choices, but the 6th is just bad. (In my honest opinion.)


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## CnC Bartok (Jun 5, 2017)

I'd probably put No.6 as my favourite Sibelius symphony, it's a toss-up between that and No.7, depending on my mood. It's difficult to think of a favourite recording though, but if pressed, I'd go for these three:

Berglund's live LSO recording (I reckon it's a finer performance that either of his excellent commercial recordings, in Helsinki and Bournemouth)
Anthony Collins. I have to be honest, I cannot find a weak performance in any of Collins' set, and the recording is absolutely fine as far as I am concerned. (Had that been the case with the crackly old Beecham recording I have, I might have chosen that one instead.)
Neeme Jarvi on BIS. It was my first CD recording of this work, and it has retained a great deal of affection here. Stunningly good sound quality too!


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## dko22 (Jun 22, 2021)

Brahmsian Colors said:


> For me, it's Sanderling and the Berlin Symphony that best characterize the moods and colors of this work.


Yes, Sanderling is the best in my view. There is an extraordinary richness of expression and depth of feeling. It used to be my favourite Sibelius symphony until I really got into the remarkable 7th.


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## Kreisler jr (Apr 21, 2021)

Richard Kaplan, "Sibeliusaurus", who did a huge survey on Sibelius preferred Karajan (1950s)


Fanfare Magazine Archive of CD Reviews




Sibelius symphonies - The Classical Music Guide Forums



"DESERT ISLAND VERSION: Karajan (1967). Karajan had a special affinity
for this work (see Historic and Memorable, below); he captured its
unique sound world and paced its four problematic movements better than
anyone else before or since.
HIGHLY RECOMMENDED: Maazel (1968). It’s the tempo, stupid! The biggest
problem in this symphony is that there’s no real slow movement, but too
many conductors are tempted to treat one or more of the four as if they
were. Maazel’s first version, which happens to be the fastest in our
survey, has a lovely, atmospheric opening that only gradually turns into
a real Allegro (at the appropriate point, where the strings begin their
moto perpetuo eighth-notes). The second and third movements may be a
bit too speedy at 4:03 and 3:02, but Maazel’s non-sentimental approach
and light touch are a good fit for this enigmatic score."

HISTORIC AND MEMORABLE:
Karajan (1955). This is, quite simply, the most sublime version of the Sixth ever recorded. Further comment would be superfluous."


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## Vasks (Dec 9, 2013)

Put me in the 1967/DGG Karajan camp. It's very atmospheric with subdued sonics


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## Waehnen (Oct 31, 2021)

All you friends of the Karajan/Berlin/DG sixth — do you not hear the mistakes and the sloppy conducting and playing? There were not enough rehearsals, obviously.


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## RobertJTh (Sep 19, 2021)

I never "got" the 6th, it's probably my least favorite Sibelius symphony.
Sibelius always had a problem with his endings, and never is that more clear than in the 6th. 3 of the movements just end in mid-air, like the composer ran out of ideas and just stopped composing.
I think he partially solved that problem in the 7th by turning it into a one-movement fantasia - but he still had to end the piece somehow, and the ending is - again - weak.
That said, count me in the Sanderling team for at least symphonies 3, 4 and 6.


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## Vasks (Dec 9, 2013)

Waehnen said:


> All you friends of the Karajan/Berlin/DG sixth — do you not hear the mistakes and the sloppy conducting and playing? There were not enough rehearsals, obviously.


No, but perhaps the sonics on my *LP* hides some. I'm only reacting to the magical mood that the recording itself produces. I just downloaded the score to #6 and I'll follow it to see what mistakes there are. However, I've owned the score to the 7th and as many times as I've followed along with Karajan's DG LP which is on the flip side of #6 I've not seen mistakes/sloppines.



RobertJTh said:


> Sibelius always had a problem with his endings, and never is that more clear than in the 6th. 3 of the movements just end in mid-air, like the composer ran out of ideas and just stopped composing.


Well, not "always", but yeah, this symphony has some movements that resolve differently than the norm. But does it say more about your expectations than what he intended? And as to the 7th's ending, it is firm and resolute.


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## Waehnen (Oct 31, 2021)

RobertJTh said:


> I never "got" the 6th, it's probably my least favorite Sibelius symphony.
> Sibelius always had a problem with his endings, and never is that more clear than in the 6th. 3 of the movements just end in mid-air, like the composer ran out of ideas and just stopped composing.
> I think he partially solved that problem in the 7th by turning it into a one-movement fantasia - but he still had to end the piece somehow, and the ending is - again - weak.
> That said, count me in the Sanderling team for at least symphonies 3, 4 and 6.


How do you define a weak ending? For me the endings of the 6th are gorgeos and add to the overall effect.

The ending of the first movement obviously asks a question with the polyphonic rotations, to be answered later on.

The second movement is very ’old music’ and the ending chords emphasize the modality of the harmonies to a great effect. Again this is another ’episode’ which leaves things unanswered.

The 3rd movement is hunting music, still leaving things unanswered and strongly contributing to the feeling of needing a solution.

And then the finale answers all our questions in a most satisfying way, turning the episodic old music modality into most delicate and profound and beautiful sibelianism. It is like pulling the curtains aside: here I am, of course I am!


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## hammeredklavier (Feb 18, 2018)

Waehnen said:


> The 3rd movement is hunting music


haunting?


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## Waehnen (Oct 31, 2021)

hammeredklavier said:


> haunting?


It is referring to old hunting music. Haendel and earlier baroque comes to mind. Natural horns would have suited the music well. ’Music for the Royal Hunt’ kind of thing.


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## Waehnen (Oct 31, 2021)

Vasks said:


> No, but perhaps the sonics on my *LP* hides some. I'm only reacting to the magical mood that the recording itself produces. I just downloaded the score to #6 and I'll follow it to see what mistakes there are. However, I've owned the score to the 7th and as many times as I've followed along with Karajan's DG LP which is on the flip side of #6 I've not seen mistakes/sloppines.
> 
> 
> 
> Well, not "always", but yeah, this symphony has some movements that resolve differently than the norm. But does it say more about your expectations than what he intended? And as to the 7th's ending, it is firm and resolute.








Listen to that from 21:04 onwards. Rather sloppy to my ears. The strings galloping and spiralling down out of sync with each other. That kind of things everywhere.


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## Forster (Apr 22, 2021)

RobertJTh said:


> Sibelius always had a problem with his endings,


Always? Every movement of every symphony, or just every finale? Every ending of every piece he composed?

I can't hear a problem with his endings. Your hyperbole is mistaken.


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## Philidor (11 mo ago)

Just remembering the original ending of symphony No. 5 ... or the ending of symphony No. 2, abstaining from maximum overwhelming, but developing everything from the big flow ... not to mention the 7th ...


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## RobertJTh (Sep 19, 2021)

Forster said:


> Always? Every movement of every symphony, or just every finale? Every ending of every piece he composed?
> I can't hear a problem with his endings. Your hyperbole is mistaken.


I'd say the "ending problem" is more or less noticeable in every symphony. Don't get me wrong, I love Sibelius as much as everyone else here, but I'm not blind for his (little) shortcomings.
Sibelius' strength lies in his power to generate momentum in his music by continuous variation and development. Which sometimes leads to movements where the classical forms (thesis-antithesis-synthesis) are abandoned completely in favor of a continuous flow of varied development - and to the problem that it's very hard to end such a "flow" if you can't fall back to the classic forms. Sibelius tried to solve that problem in various ways, sometimes he was successful, sometimes he wasn't.



Philidor said:


> Just remembering the original ending of symphony No. 5 ... or the ending of symphony No. 2, abstaining from maximum overwhelming, but developing everything from the big flow ... not to mention the 7th ...


Do you mean the original as opposed to the revised version of the 5th? I listened to that verion once, never more (I think the recording did a disservice to the composer and it shouldn't exist in the first place) so I can't remember what it was like. But I never liked the ending of the 5th, it's kind of a cop-out ending after the gorgeous music that precedes it. I always thought those crude chords would be more in place in the 7th. Really, someone should try and edit the ending of the 7th, leaving the final 7th chord unresolved for a while, then adding the hammered chords of the 5th. Would be so much better!

Jokes aside, these works, the 4th, 5th and 7th specially, are among my most favorite symphonies ever, I couldn't live without them. But nothing is perfect or beyond criticism.


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## Waehnen (Oct 31, 2021)

RobertJTh said:


> I'd say the "ending problem" is more or less noticeable in every symphony. Don't get me wrong, I love Sibelius as much as everyone else here, but I'm not blind for his (little) shortcomings.
> Sibelius' strength lies in his power to generate momentum in his music by continuous variation and development. Which sometimes leads to movements where the classical forms (thesis-antithesis-synthesis) are abandoned completely in favor of a continuous flow of varied development - and to the problem that it's very hard to end such a "flow" if you can't fall back to the classic forms. Sibelius tried to solve that problem in various ways, sometimes he was successful, sometimes he wasn't.
> 
> 
> ...


You have all the right in the world to find Sibelius’ endings problematic — although myself and many find none of them problematic. No need to apologize.

I also find the 7th Symphony by Mahler a very bad symphony, even through the evaluation using some ’objective seeming’ criteria. Nevertheless, I am aware not many here share this conviction of mine.


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## Philidor (11 mo ago)

RobertJTh said:


> But I never liked the ending of the 5th, it's kind of a cop-out ending after the gorgeous music that precedes it.


The chords at the end are the maximum compression of the swan flight theme. Where Bruckner is expanding more and more, Sibelius is concentrating. 

Yes, this brain-drive insight is also a matter of taste. I didn't like the ending until I recognized that the chords are just a concentrated swan flight theme. Now I hear it and I am satisfied with this ending.

The two final notes just indicate that all complexity from the first movement with its two antagonist subjects has transformed into a full synthesis - the oneness of everything ...


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## RobertJTh (Sep 19, 2021)

Philidor said:


> The chords at the end are the maximum compression of the swan flight theme. Where Bruckner is expanding more and more, Sibelius is concentrating.
> 
> Yes, this brain-drive insight is also a matter of taste. I didn't like the ending until I recognized that the chords are just a concentrated swan flight theme. Now I hear it and I am satisfied with this ending.
> 
> The two final notes just indicate that all complexity from the first movement with its two antagonist subjects has transformed into a full synthesis - the oneness of everything ...


That's a really interesting thought - but where do you see the swan theme in those chords?
I'm looking at the score right now, all I see is 6 detached chords: Eb6, Bb, Bb with added 7th and 9th, Bb again, then unisono Bb and Eb. I can't really discern the outlines of the theme in this.


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## Forster (Apr 22, 2021)

RobertJTh said:


> I'd say the "ending problem" is more or less noticeable in every symphony. Don't get me wrong, I love Sibelius as much as everyone else here, but I'm not blind for his (little) shortcomings.
> Sibelius' strength lies in his power to generate momentum in his music by continuous variation and development. Which sometimes leads to movements where the classical forms (thesis-antithesis-synthesis) are abandoned completely in favor of a continuous flow of varied development - and to the problem that it's very hard to end such a "flow" if you can't fall back to the classic forms. Sibelius tried to solve that problem in various ways, *sometimes he was successful, sometimes he wasn't*.


So, not "always" then.

I understand your analysis, but I disagree with your conclusion, especially wrt the 6th Symphony.


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## Philidor (11 mo ago)

RobertJTh said:


> I'm looking at the score right now, all I see is 6 detached chords: Eb6, Bb, Bb with added 7th and 9th, Bb again, then unisono Bb and Eb. I can't really discern the outlines of the theme in this.


We have the swan theme - four groups of three thirds each:

Eb/C - Bb/G - Eb/C
D/Bb - Bb/G - D/Bb
C/Ab - Bb/G - C/Ab
D/Bb - Bb/G - D/Bb

The final chords are:

Eb major (6/4) - Bb7 - (C and Ab framed by high and low Bb) - (Bb and D only) followed by unisono Bb - Eb.

Apart from the first chord (a C is missing), you find in any chord the two notes of the first third of each triplet.


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## RobertJTh (Sep 19, 2021)

Forster said:


> So, not "always" then.


Not in every movement, no, but one can argue that every symphony has one or more movements with unsatisfying endings.
I didn't invent the "Sibelius endings" trope btw. Hurwitz mentions it often, but the first time I heard about it was many decades ago, when I read a book by Dutch author Simon Vestdijk about Sibelius. A brilliant mind who mainly wrote novels but was active as an amateur musicologist as well. Vestdijk was never afraid of criticizing the music he loved, and I think that's a very healthy principle.



Philidor said:


> We have the swan theme - four groups of three thirds each:
> 
> Eb/C - Bb/G - Eb/C
> D/Bb - Bb/G - D/Bb
> ...


That's actually pretty convincing.


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## Becca (Feb 5, 2015)

There is a fascinating discussion between Simon Rattle and the Sibelius expert, Vesa Siren, in which they discuss each of the symphonies. One of the points that they make is how the symphonies reflect the Finnish personality, particularly the tendency to say no more than what's needed then quit, and how that was very characteristic of Sibelius' perssonality. It seems to me that the current discussion about the endings falls into that. I recommend the discussion which can be found as a free video on the BPO's Digital Concert Hall site.


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## Merl (Jul 28, 2016)

EvaBaron said:


> I always do research into recordings before listening to a new piece and I’m against cycles but with Sibelius symphonies it’s really hard. There seems to be little general consensus on which recording is best


There's more polarised opinions on Shosty and especially Sibelius symphonies than any other composers, I reckon.


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## Waehnen (Oct 31, 2021)

When it comes to the 6th, it is obvious to me that the movements form a kind of a suite logic rather than a traditional symphony logic. That’s also the reason why there is a lot of the same key/modality instead of stark contrasts. Not every movement in a Bach keyboard partita or some suite end in fanfares.

My only main and constant criticism on Sibelius’ symphonies over the years has been that some movements might have been too short or lightweight. One of them is the 2nd movement in the 4th and two of them have been in the 6th.

That is actually one of the main reasons I am so very happy about this Berglund/Bournemouth. This version has convinced me the middle movements of the 6th symphony are actually heavy weight. Berglund is so convincing that no way do I perceive any problems with the music ending too soon or in a too blunt manner.

I need to admit one problematic ending though: the 5th that is under discussion here also. There could be crescendos on timpany rolls and some other instruments leading to the chord strikes. That way the noble character of the music before would continue until the very end.

I cannot help but perceive the ending as a kind of good-humoured jest the way it is now. It does not ruin anything because the chords and the harmonic progression belong to the symphony but I do not particularly enjoy it either.


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## Forster (Apr 22, 2021)

Becca said:


> There is a fascinating discussion between Simon Rattle and the Sibelius expert, Vesa Siren, in which they discuss each of the symphonies. One of the points that they make is how the symphonies reflect the Finnish personality, particularly the tendency to say no more than what's needed then quit, and how that was very characteristic of Sibelius' perssonality. It seems to me that the current discussion about the endings falls into that. I recommend the discussion which can be found as a free video on the BPO's Digital Concert Hall site.


Is that the same discussion where Rattle said that Karajan had no sense of rhythm? 😄 It was indeed an interesting discussion.

For me, the music is what it is. One either likes it or is indifferent to it, but it's not wrong, nor does it have "weak" endings just because they're not hammered home (like, say, LvB's who also couldn't end his symphonies 😉) or too short movements. Whilst classical symphonies might have had some inevitability about where they had to go given their starting points, it was never going to remain that way, as successive masters of the form demonstrated. By the time Sibelius was writing them, composers were already changing the rules so that one could believe there weren't any. The irony is that Sibelius seems to be regarded as too conservative by some, and too innovative by others.


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## Waehnen (Oct 31, 2021)

Forster said:


> Is that the same discussion where Rattle said that Karajan had no sense of rhythm? 😄 It was indeed an interesting discussion.
> 
> For me, the music is what it is. One either likes it or is indifferent to it, but it's not wrong, nor does it have "weak" endings just because they're not hammered home (like, say, LvB's who also couldn't end his symphonies 😉) or too short movements. Whilst classical symphonies might have had some inevitability about where they had to go given their starting points, it was never going to remain that way, as successive masters of the form demonstrated. By the time Sibelius was writing them, composers were already changing the rules so that one could believe there weren't any. The irony is that Sibelius seems to be regarded as too conservative by some, and too innovative by others.


I recognize it is a subjective trait in me to aim for the most heavyweight. Sibelius had all the wisdom to create a lighter movement in the middle of the 1st and 3rd in the 4th Symphony. Something I could not have done.


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## Enthusiast (Mar 5, 2016)

RobertJTh said:


> Sibelius always had a problem with his endings,


I'll have to listen again to the endings of 6 and 7 to see if I can find what you are getting at. I certainly never noticed an issue with his endings before. Indeed, his 5th has one of the most wonderful and inventive endings in the whole symphonic repertoire. When the work is finished you are left with the magical feeling that the lovely music you have just been listening to continues in some other heavenly place and will do so forever.


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## Waehnen (Oct 31, 2021)

Enthusiast said:


> I'll have to listen again to the endings of 6 and 7 to see if I can find what you are getting at. I certainly never noticed an issue with his endings before. Indeed, his 5th has one of the most wonderful and inventive endings in the whole symphonic repertoire. When the work is finished you are left with the magical feeling that the lovely music you have just been listening to continues in some other heavenly place and will do so forever.


Wonderful way of perceiving the 5th!


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## clavichorder (May 2, 2011)

The 6th is absolutely great summer listening in a natural setting. Reminds me of lakes and loon calls and pines. It of course has a very human element, understated, that is hard for me to describe but in a natural summer setting this seems to come out.


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## Waehnen (Oct 31, 2021)

Not one but three to whom I have (independently, seperately) played the 1st Movement of this symphony have said it has a similar feeling to Bambi on a frozen lake or some other beautiful Disney scene.

I have never been totally happy with these reactions!


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## Pat Fairlea (Dec 9, 2015)

I have loved Sibelius 6th from first hearing it in my teens. It is not ostentatious, it never shouts or sobs to grab our attention, it is never over-decorated. It just is. A beautifully constructed piece that gently unfolds into a pastel soundscape of subtly shifting mood. And it ends with a contented sigh. Perfect.


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## Richannes Wrahms (Jan 6, 2014)

I only listen to the first movement. The rest sound like unfinished sketches to me.


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## Waehnen (Oct 31, 2021)

Richannes Wrahms said:


> I only listen to the first movement. The rest sound like unfinished sketches to me.


Ever listened to the Berglund/Bournemouth? Just curious. Nothing sketchy there! But I get it that some conductors just rush through the other 3 movements and I cannot bear it either.

It is precisely this issue that has been under discussion in this thread from different perspectives and emphasis. (Bad endings, too short movements, too fast tempi etc.)

I started this thread because the Berglund/Bournemouth is the first totally satisfying and convincing version of the symphony I have ever heard.


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## Judas Priest Fan (Apr 27, 2018)

His 6th is, according to my listening notes, "Ok". It´s one of my least favorites.

I absolutely love 1, 2, 3, and 5.


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## espressivo dolente (7 mo ago)

Sibelius'


clavichorder said:


> The 6th is absolutely great summer listening in a natural setting. Reminds me of lakes and loon calls and pines. It of course has a very human element, understated, that is hard for me to describe but in a natural summer setting this seems to come out.


Agree! (Although Sibelius himself claimed that it "always remind[ed him] of the scent of the first snow")!


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## 89Koechel (Nov 25, 2017)

Judas Priest Fan said:


> His 6th is, according to my listening notes, "Ok". It´s one of my least favorites.
> 
> I absolutely love 1, 2, 3, and 5.


Good, honest opinion ... and I'm not trying to "revive" this thread. In any case, would like to mention two, older recordings of the 6th. One, is from Georg Schneevoigt (from 1934!) ... and Lorin Maazel/VPO ... a Decca/London recording from around 1970.


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## Forster (Apr 22, 2021)

Kreisler jr said:


> Richard Kaplan, "Sibeliusaurus", who did a huge survey on Sibelius preferred Karajan (1950s)
> 
> 
> Fanfare Magazine Archive of CD Reviews
> ...


So, which is it? The '55 or the '67?


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## Kreisler jr (Apr 21, 2021)

It sounds inconsistent but the first bolded phrase refers to Karajan, not to the particular late 1960s recording. So I think he prefers the 1955 Karajan but either it was not easily available when he wrote that or he excluded pre-stereo from the main recommendations. The DG 4-7 twofer might still be the best and most economic option for many listeners.


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