Sibelius: Luonnotar, Tapiola, Pelleas and Melisande, Rakastava, Spring Song
Lise Davidsen (soprano)
Edward Gardner / Bergen Philharmonic (Chandos)
(scroll down for English review)
加德納和貝爾根愛樂的西貝流士系列來到第二張，繼續探索交響曲以外的管弦作品。其實西貝流士這類作品不乏佳作，只是今天的指揮及樂團疏於介紹給聽眾。
這碟還有現在Decca力捧的挪威華格納女高音Lise Davidsen參與兩曲（正確來說是兩軌）。首先是交響詩篇《路奧拿他》（軌一），其實此曲當成詠嘆調來聽就更容易，Davidsen真正的實力雖未足以完全展現，但不少地方已聽到她的過人之處，尤其是穩定無比的弱音，收放自如的音量反差。
交響詩《塔比奧拉》（軌二）是西貝流士接近封筆前的作品，加德納這個演奏，頗大膽展現樂曲最後三分一的狂亂，令我不禁想像西貝流士要是繼續創作下去會是怎麼樣。
然後回到早一點的作品，《佩利雅斯與梅利桑：戲劇配樂》（軌三至十一）算是多一點指揮演奏的作品，然而加德納做得很對的地方，就是不採用淡泊虛幻的心境，而是用大樂隊作激情演奏，用音樂去訴說文字故意隱藏的感情。
最後一曲《春天之歌》（軌十五）屬於早期作品，我好像以前沒聽過。雖然有此曲題，但旋律頗為激昂奔放，甚有西貝流士頭兩首交響曲的氣魄。樂曲介紹寫道這是馬勒第一首聽的西貝流士作品，私底下對妻子表示很惡俗。我恕不苟同。
This is the second disc of Edward Gardner’s Sibelius series with the Bergen Philharmonic. Nowadays Sibelius’ orchestral works are overlooked while conductors and orchestras are busying themselves with his symphonies. Try this disc and you’ll know what a shame that is.
Lise Davidsen took part in two tracks before she signed to Decca. Luonnotar (track 1) is a tone poem for soprano and orchestra, although I prefer to approach it as a concert aria. This is no vehicle for the full power of Davidsen but her superb voice came through with her sustained pianissimo and very flexible changes in volume.
Tapiola (track 2) should have been a major Sibelius work but don’t get to be played these days. It’s among Sibelius’ last works before he practically gave up composing. Gardner unleashed the frenzy of the last third of the work and left me wondering what if Sibelius kept on composing.
Then onto earlier, more accessible works. The incidental music to Pelleas and Melisande (tracks 3 to 11) are still played in our times but Gardner’s approach stood out for his eschewing of mysticism. This work is quite often played by chamber orchestras but Gardner used the full orchestral sound to deliver a passionate reading.
This is probably my first time listening to Spring Song (track 15), an early work before Finlandia or First Symphony. Despite the title, this is a full-blooded romantic piece, very much in the spirit of Sibelius’ First and Second Symphonies. The programme notes said this piece was Mahler’s first encounter with Sibelius’ music. Mahler told Alma this was so kitsch, but I beg to differ.