Sibelius 2nd Symphony - RSNO Søndergård

Last night I went to a classical concert. I went along to hear one of my favourite pieces, the Sibelius Symphony No 2. It was part of a concert in Edinburgh at the Usher Hall, the Royal Scottish National Orchestra, conducted by Thomas Søndergård. My history with this piece goes back over 30 years and it is fair to say that I have heard it in several versions over the years, both live and on disc. 

The programme included a stunning contemporary piece by B Tommy Andersson which was at once accessible, pastoral and peculiar. There followed an aptly chosen two pieces by Mahler and as far as my Mahler knowledge goes, it was typically Mahler - mischeiveous and lyrical. Then came the Sibelius. One commentator has said of it:

The second symphony will always be the "best" symphony for those who have fallen in love with its memorable melodies and heroic character. The work is a highly functional synthesis of classical luminosity and romantic feeling

 This "romantic feeling" conjures up all sorts of things associated with the culture and landscape of Finland:

 "In comparison with the first symphony, the second symphony already shows a dignified man of the world looking into the horizon. We have moved from Slavism to Central Europe. Still, from time to time I also see images of Karelian grandmothers practising their witchcraft."
Jukka-Pekka Saraste, conductor, 2002

 This was the first time I had witnessed Mr Søndergård. His style is flash, although that epithet was of old reserved for Sir Malcolm Sargent, though mainly for his mode of dress rather than his reading of scores. He is steeped in the same kind of Nordic narrative that has of late become so fascinating to the British. 

 The RSNO were whipped through the symphony at break-neck speed. (If you are not familiar with it, just think of a song, any song, that you know well and sing it faster than it is usually rendered.) The effect is creepy and, although it brings out fresh nuances and a degree of virtuosity, it does perhaps lack the broad canvas that most renditions of the no.2 reveal. The brass section seemed more in evidence but I put this down to the acoustic peculiarities of the venue.

And then I came across a revue of an earlier concert by the same conductor, though not the same orchestra:

I particularly enjoyed the performance of the symphony and Thomas Søndergård seemed to propel it onwards with an exuberance that threatened to leave some of the more elderly players in the BBC Symphony Orchestra lagging behind the beat. The BBC SO’s sterling brass section seemed almost as enthusiastic as Søndergård himself  (Jim Pritchard, Seen and Heard International) 

Sibelius' second is one of his greatest works and the score can be surprising for a conductor coming to it fresh. Søndergård certainly surprised me, but not in an altogether good way.

So there you are. I was not altogether mad when I thought this piece was being played fast or if you like, exuberantly. It is in the end a matter of taste and I like my Sibelius as I prefer revenge, a dish best served cold.