Osmo Vänskä gave us a superb Kullervo in 2001 as part of his lauded cycle with the Lahti Symphony, but this release justifies itself by preserving a programme celebrating Finnish musical identity recorded over several chilly Minnesota nights in February 2016. Premiered in 1892, the sprawling work was a watershed in Sibelius’ creative development – he effectively invented the Finnish musical idiom overnight – its runic tunes and “wind rustling through the pines” textures would be distilled in the later tone poems and symphonies. The work does have its longueurs – Vänskä is daringly expansive in the second movement (Kullervo’s Youth) yet it somehow works, despite its 19-minute duration. Lilli Paasikivi reprises her role as Kullervo’s sister; she pretty much owns the role, though her widening vibrato is worrying. Tommi Hakala is an excellent Kullervo. Vänskä maintains a fine balance of expansive atmosphere and thrilling bite though I miss the intensity of Berglund’s 1985 Helsinki recording with a blistering Jorma Hynninen at his peak. Commissioned as a companion piece for similar forces, Olli Kortekangas’ Migrations is a tribute to the Finnish immigration to North America on texts by Sheila Packa, a Minnesotan of Finnish heritage. A fine… Continue reading Get…

The Finnish maestro discusses the joys of Sibelius’s symphonies and thoughts on his second cycle. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Such a coupling is unusual on CD these days. However, bearing in mind that Beethoven was influenced by the Mozart concerto, the juxtaposition is appropriate. Yevgeny Sudbin is talked of as one of the top pianists of the new century. I ran comparisons of his Beethoven with one of the benchmarks, the old Emil Gilels recording from 1954. I also chose a contemporary recording with François-Frédéric Guy on Naïve. In every way this new recording matches the Gilels. Sudbin’s evenly measured runs, with just enough lift in the middle of each phrase to keep the performances from sounding too academic, evinces a superb technique. Similarly his elegant and stylishly executed turns are almost cheeky as he exhibits the balance required between power and delicacy demanded from the best Beethoven performers. Guy is gentlemanly by comparison. The Mozart is notable for the balance between soloist and orchestra. If you think you can hear Beethoven coming through the Mozart at times, then so do I. The orchestra is on superb form. Vänskä is not simply an attentive accompanist, but a partner in these adventures. One can see why the Critics’ Circle gave Sudbin the 2013 Exceptional Young Talent award. It is sad…