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At
long last, EMI has reissued the legendary world-premiere recording
of Sibelius' Kullervo Symphony,
made in 1970 by Sibelius scholar and conductor Paavo Berglund. Though
the music was composed and first performed in 1892, over one hundred
years ago, Sibelius withdrew it from the world, and only allowed
the third movement to be performed in celebration of the centenary
of the publication of the Kalevala in 1935, when the composer
himself was 60 years of age.
 Since
then, Sibelius' choral symphony was not performed in its entirety
until 1958, the year after his death. It was only finally recorded
for the first time ever in November 1970. Paavo Berglund (left)
recorded it again in June 1985 with EMI Records, in a much-acclaimed
performance. But it is this 1970 world-premiere which many Sibelius
fans have been waiting for.
Now,
in what seems to be a double-dose of celebration for these fans,
EMI has not only released John Barbirolli's beautiful cycle of the
symphonies, but also this - I must confess at having scoffed and
cursed at EMI's many strange policies regarding the circulation
of their recordings. For now, I must issue my heartfelt thanks.
So
how does this "new", older, Kullervo compare to
the 1985 recording? As with Berglund's Bournemouth cycle of the
symphonies  ,
it is at least revelatory, to say the least. The performance sounds
matured and well-prepared - which is a major point considering that
this is the world-premiere recording of a rarely-encountered piece
of music at that time. On first impression, it is also clear that
the 1985 recording is much better, with finer details and crisper
colours; the strings are richer, the brass mellower, the rhythms
and figures sharper.
In terms of interpretation, both versions exhibit very fine stature,
with the later one sounding more sure of itself, not surprisingly
- as if it has grown up. This is not to say that the earlier recording
is unsure, but rather it has a greater impression of exploration
- which is exactly what the classical recording world was doing
then with Kullervo.
And
what an impression it must have received - 78 years after its debut
performance, Berglund's reading does more than ample justice to
this majestic score. The impact of the unravelling introduction,
the tragic-heroic brass outcries, the pathos of the singers, the
chanting chorus - surely, it is not hard to imagine the impact which
Sibelius wrought on the Finnish world of music during his time.
The
heart of the work, Kullervo and his Sister, receives fine
performances on both recordings. The choral entry on both are fascinating.
The later 1985 version has more kick, more energetic drive, sharper-toned
strings, even more heroic atmosphere. But listening to the 1970
version, I find it refreshing in its certain youthfulness, its smooth
delivery backed - on both recordings - by the foot-tapping pulse
of the bass line. At the same time, the relatively inferior 1970
recording only brings into sharp contrast the details of the 1985
version. In any case, what satisfies me about Berglund's way with
the work is how he brings so much underlying energy to the music,
despite its fairly moderate pace and the simplicity of the devices
Sibelius used to constuct the music. If like me, you should grow
to like this music, I assure you, you will be memorising the first
six lines of the chorus in no time - such is the heroic momentum
of the Helsinki University Male Choir (and company).
The
baritone employed in 1985, Jorma Hynninen, is a highly experienced
Kullervo. With a much darker voice, his rendition is somewhat more
"Wagnerian" in style, certainly more dramatic and dynamic.
However, Usko Viitanen's contribution to the world-premiere is quite
excellent, sung with much emotional power and sincerity. His is
a more noble Kullervo, perhaps, more meditative. His anguish at
the realisation of his incestuous deed has a tragic dignity; but
in Hyninnen, the sense of horror mixed with guilt is stronger, the
emotions of the story more visceral.
The
soprano part of Kullervo isn't exactly a particularly "visual"
experience, consisting quite a bit of "wandering". It's
emotional message is either underplayed or subtle, depending on
your perspective. The main chunk, in which the sister reveals that
her father is the same as Kullervo's, simultaneously describes both
her contented youth and her admission of guilt - The part is rather
hard to pull off satisfactorily if only because Sibelius' musical-emotional
dynamics here are rather subtle.
 Of
the sopranos on record, Raili Kostia gives an adequate reading in
1970. But Eeva-Lilsa Saarinen's interpretation in 1985 is more multi-dimensional,
depicting the scenes more distinctly. In the passage where Kullervo's
sister defiantly rejects him in fast, semi-stuttering fashion ("Päästa
pois minua tästä"), Saarinen's jittery reading is
more natural than Kostia's rather more rigid, almost straight-staccato
rendition.
Left:
"Kullervo Goes To War" by Akseli Gallen-Kallela.
One
interesting difference is in the final chords - the earlier version
is actually much more angry and defiant of tone, which I find much
more appropriate to Berglund's smoother, less-sharp 1985 interpretation.
In any case, both orchestras in both records are absolutely splendid.
However, in terms of vocal soloists, the 1985 version is superior.
Berglund's
1970 rendition of the fourth movement, Kullervo goes to War,
is absolutely spectacular stuff - the volatile energy and pure living
imagery the Bournemouth musicians conjure is a splendour to behold
- watch out for the brass, how they fanfare at each other with pinpoint
staccato and confidence; or the collective chirps of the woodwinds,
the fluttering winds - this so much makes me want to ask Sibelius
what he was picturing in his mind when he wrote this. This is an
all-out amazing journey all Sibelians must hear, right up to the
shattering trumpet blasts of the heroic conclusion (don't miss that!).
The best Kullervo goes to War I've ever heard.
By
contrast the later version of this movement is taken slower - 10'01"
versus 8'52". The pace is thus slower, and the old recording
even matches the newer one in sound quality. Without a doubt, in
this case, the earlier 1970 performance wins hands down.
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Kullerov,
Kalervo's offspring,
Grasped the sharpened sword he carried,
Looked upon the sword and turned it.
And he questioned it and asked it,
And he asked the sword's opinion,
If it was willing to slay him. ...
"Wherefore
at my heart's desire
Should I not thy flesh devour,
And drink up thy blood so evil?
I who guiltless flesh have eaten,
Drank the blood of those who sinned not?"
The
Kalevala
excerpts from Cantos 35 & 36
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The
finale, Kullervo's Death, is spectacularly well-performed
in both recordings. The 1970 version, however, has more emotional
depth - I find myself sympathising with it more even as in the past
I have sympathised most with Berglund's 1985 version. It seems as
if, as we follow the two recordings towards the end of the music,
Berglund's 1970 performance shows more and more of its true mettle.
In
the final analysis - the 1985 version is a better recording, has
better soloists; but the 1970 version has stronger conclusions;
in both cases, orchestral support is beyond reproach - these are
two fantastic orchestras at work here, and Berglund deserves to
have both recordings lauded.
The
INKPOT SIBELIUS NUTCASE fully
intends to buy more Sibelius stuff in the 21st century.
To
respond to this article, please post your comments to classical@inkpot.com
823:
8.1.2001 ŠISN
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