Sakari Oramo has been Chief Conductor the Royal Stockholm Philharmonic Orchestra since 2008 and is about to leave the post. So this “Grand Finale I” was the first of four concerts to mark his farewell with music in which his reputation stands high – the seven symphonies of Jean Sibelius. Oramo feels they are best heard in sequence, as “Sibelius worked on several symphonies simultaneously, and there are always elements in one symphony that can be detected in the symphony preceding it.” So this first concert had just two items, the First and Second Symphonies.
A soft (pp crescendo) drumroll, and a clarinet (mf espressivo), hairpin dynamics punctuating its rise and fall over 26 bars, is the mysterious portal to this cycle, and already we heard the benefits of observing detailed markings. That Andante opening yielded to a stirring Allegro energico and Oramo maintained momentum even through the lyrical episodes, right up to that curt close with two pizzicato string chords. The ensuing Andante had an especially hushed opening muted violin lullaby – with a metre between each fiddler and no sharing of desks each violinist must have felt they were playing a solo. The cymbal clashes registered well at the climax, but the harp – a key instrument in this work – was too subdued in the streamed sound mix despite its position in the very centre of the layout. The Scherzo’s rhythm can challenge an orchestra, but its tricky syncopations were delivered with flair by the Stockholm players. The finale’s thrilling ardour was not diminished in the empty hall, as we approached the triumphant ending that Sibelius, despite being armed with bass drum, cymbal and triangle, omitted to write. Instead we heard the two resigned pizzicato chords that ended the first movement.