It was illuminating to hear two such different single span works bookending this concert of all Sibelius works, given by the Helsinki Philharmonic Orchestra under their Chief Conductor, John Storgårds. The first was Sibelius’ early En Saga (A fairytale) and the final work was his late masterpiece, his Symphony no 7. Both last around twenty minutes but that is mostly all they have in common.
En Saga was the fruit of a suggestion by Finnish conductor, Robert Kajanus, who suggested Sibelius should follow up his successful choral work Kullervo with a shorter and purely orchestral work. While Kullervo was a collection of symphonic poems based on a Finnish national epic, En Saga seems largely devoid of programmatic content. Though Sibelius did initially suggest its general atmosphere was inspired by the Edda, a collection of poems based on Norse mythology, he was later more ambivalent about literary comparisons.
The piece began as a feast for the eyes with the violinists of the Helsinki orchestra demonstratively rocking their bows, crossing their strings in deft spread chords as one. This device returned more than once in the concert, both in the solo part of the Violin Concerto and the opening of the Karelia Suite. Many moments like this in the piece reminded me just how modern Sibelius’ sound world can seem, even now.
The orchestra played with remarkable ensemble and precision but also with warmth where this was required. I have rarely heard the timpani flourish that opens the Seventh Symphony played with such clarity, for instance, and this important part was unusually clear throughout. Also, the crystalline sound of the Helsinki strings became much warmer as the violas and cellos gradually and tenderly laid the foundations for the first of the three great trombone solos that permeate the symphony at such key moments in the work. These solos were played with an edge that ensured they sang out above the orchestra without being too brash. The final return of this solo was truly hair-raising.
Storgårds’ conception of the symphony was spacious and tempi felt just right, such that phrases seemed to ebb and flow in and out of existence quite seamlessly. There was a feeling of gravitas even in the section that might be considered to be the ‘scherzo’ if following symphonic convention, which of course this symphony does not. The shock of the supposed tonic final chord of C major only emphasizes this point and Storgårds ensured this chord was both crystal clear and short-lived.