Joseph Nolan, Cavaille-Coll organ, La Madeleine, Paris

SIGNUM SIGCD 319        78’09

The first volume in this series had coupled the sixth and fifth symphonies, both probably better known than the first and second, even to regular followers of organ concerts.

The first symphony was worked on regularly by the composer over many years and appears in five different versions. Though the notes are extensive they do not tell us which version Joseph Nolan is playing – not that that need inhibit our enjoyment of his performance. The symphony is in fact seven loosely connected and contrasted movements, which give the organist many opportunities to demonstrate not only his technical finesse but the splendid range and subtlety of the Madeleine Cavaille-Coll. Just consider the wonderful contrast as Joseph Nolan moves from the gentle, floating phrases of the Allegretto to the skittish playfulness and power of the Intermezzo. The Marche pontificale (like the Toccata from the 5^th symphony) is certainly more familiar and here given a rousing, full-blooded romp which fires the blood.

The second symphony goes even further in its demands for range and texture, with movements vying for our attention. The Pastorale is particularly effective, the solo voice ringing out in the vibrant acoustic like a pipe across the valleys. By contrast the Salve Regina seems to hark back to the baroque in both style and registration, the organ coping brilliantly with both. The bright reeds come into their own for the vibrant Scherzo, before a haunting Adagio and the final Allegro which deserves to be as well known as the more popular finale to the fifth!

The notes give us appropriate background to the compositions, but the analysis may be a little too technical for the non-organ buff.

Given the rich acoustic of La Madeleine there is no such thing as silence. When the music dies there is still a very strong sense of place. A pity then that the engineers have chosen to cut off each movement with actual silence, rather than allow us to stay in the building, as we would in a live performance. BH

 Beethoven: Fidelio

Glyndebourne Festival Opera, London Philharmonic Orchestra, Bernard Haitink

ARTHAUS 102307        128’00

This DVD dates from 1979 and is the famous production by (Sir) Peter Hall with naturalistic sets by his regular designer, John Bury. It was originally made for Southern Television and the images suffer occasionally from the age of recording. There also some minor in-balances with individual singers as they move about the stage. This said there is still a great deal to recommend the DVD.

Peter Hall’s approach is deeply humane in its handling of character, moving without being sentimental and ultimately life-enhancing. Elisabeth Soderstrom is a convincing Leonore, and Anton de Ridder an heroic Florestan. Robert Allman’s Pizarro is no simple villain, and is sung with dignity and authority. Curt Appelgren’s Rocco may be a little too easy going but is in keeping with the naturalism which Peter Hall is creating.

Orchestra and chorus under Bernard Haitink are in good form, and given this was an unedited, live performance there are remarkably few slips. A welcome addition to the back catalogue of Glyndebourne’s historical productions. BH

Elgar: Symphony No 2, Sospiri, Elegy Op 58

Royal Stockholm Philharmonic Orchestra, Sakari Oramo

BIS 1879     63’54

Sakari Oramo has an innate feel for Elgar. His anniversary performances in Birmingham of the oratorios were among the finest I can recall. This new recording fully supports my memory of those events. Where many conductors can make the second symphony seem dense and even oppressive, Sakari Oramo brings clarity and light throughout. Time and time again it is the balance of voices we are aware of rather than the almost Brahmsian impact which can result. The Rondo is particularly impressive. The movement can easily seem confused or skittish but here every nuance is allowed to blossom and flourish no matter how fleetingly.

The disc also includes delicate versions of Sospiri and the less familiar Elegy for strings. BH

Sibelius: Symphonies No 1 & 4

Minnesota Orchestra, Osmo Vanska

BIS 1879     74’10

It is interesting to compare these new recordings with those Osmo Vanska made with the Lahti Symphony Orchestra. In the intervening years his approach to Sibelius seems to have become leaner and more intense. In the new recording the symphonies are marginally shorter, but more than that, there is an urgency in them which is not reflected in the original Finnish recordings. The first symphony seems less obviously romantic, looking forward rather than backwards, and the fourth is so bleak that at times it almost disappears into thin air. However, these are fine and totally convincing interpretations, and his new orchestra have many splendid solo musicians amongst their numbers. BH