Sibelius - Pohjola's Daughter, Finlandia (ref.record.: Sir Malcolm Sargent, Wiener Philharmoniker)

Full album available // Sibelius: Finlandia, En Saga, The Swan of Tuonela.. by Sir Malcolm Sargent
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00:00 Pohjola's Daughter *
12:36 Finlandia **

BBC Symphony Orchestra *
Wiener Philharmoniker **
Conductor: Sir Malcolm Sargent
Recorded in 1958, at London and 1963, at Vienna
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"Sibelius talked about music in such a beautiful way. He also said: 'Music is for me like a beautiful mosaic which God has put together. He takes all the pieces in his hand, throws them into the world, and we have to recreate the picture from the pieces.'" POHJOLA'S DAUGHTER is orchestrated with extraordinary skill, even compared with the virtuoso orchestrating technique of Richard Strauss. It is astonishing how the composer eventually managed to build up an independent whole from drafts made for a number of different composition projects. In the drafts for Pohjola's Daughter there are also parts which did not fit into this whole. These later ended up in the third symphony and the suite Scènes historiques II. So there truly had been material for a work of symphonic proportions, but this time the pieces of the mosaic were better suited to separate compositions. The work begins with a low, recitative motif on the cellos. It was on the draft of this motif that Sibelius had at one time written the words "Marjatta" and "all" after trying to see whether the motif would fit the first phrases of the oratorio Marjatta.

By developing this material Sibelius presents a kind of "musical bank" into which the central elements of the orchestral poem return. According to Erkki Salmenhaara, throughout the symphonic poem the low register depicts how Väinämöinen vainly tries to reach up towards the sky. This is followed by a bold change of key. Pohjola's Daughter is weaving in the sky. The oboe, the cor anglais and finally the flute describe the beauty of the daughter. The following sequence may describe Väinämöinen's shock and delight on seeing the beauty of the maiden. Now the kinetic energy of the music is dissipated. The anticipatory pizzicato progressions in the strings start a development in which Väinämöinen's efforts and the daughter's sweetness and mockery are given their musical counterparts. The mocking second motif is at its wildest towards the end of the development, when it is played by the strings and woodwind. In the development - and in the relations between the keys in the work as a whole - there are many features that look forward to the fourth symphony. In Pohjola's Daughter these materials are in a form that is more easily digestible by the general public, as the central themes are catchy and brilliantly orchestrated. After a struggle the vision of the daughter disappears. The G-A-B progression in the double basses and the cellos tells us that Väinämöinen - and the composer - have pensively returned to the initial situation. But after such a wonderful adventure and such a blaze of colours! ( https://www.sibelius.info/english/musiikki/ork_finlandia.htm )

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Album available // Sibelius: Symphonies Nos. 1,2,7 & Orchestral Works by Eugene Ormandy
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