Conceived in one sole movement, the Symphony No. 7 is a triumphant display
of "organic-thematic growth," with melodies and rhythms blending into one
another, giving birth to new elements and branching out to develop in
passages reminiscent of symphonic movements. Sibelius's last symphony was
given its first performance in Stockholm on 24 March 1924 and was first
heard in Finland in 1927.
In the mid 1980s, Unitel began recording a complete cycle of Sibelius
symphonies with Leonard Bernstein and the Vienna Philharmonic. Bernstein's
death in 1990 unfortunately cut short this project after the release of
Symphonies Nos. 1, 2, 5 and 7. They were recorded live at Vienna's
Musikvereinssaal and were the object of stellar reviews. Bernstein, in the
words of a leading Austrian daily, "painted a canvas of late-romantic
splendor with the Philharmonic's sound - the incomparable brilliancy of the
strings, the glowing intensity of the brass - in a way that only the
greatest conductors can." (Symphony No. 1) And in its review of the Second
Symphony, a major Viennese newspaper wrote: "For the sake of Jean Sibelius,
Leonard Bernstein leaps with fanatical zeal into the heaving waves of late
romantic emotions." It is not surprising that Leonard Bernstein felt so
passionately about Sibelius's music. In many respects, it strikingly
parallels that of Gustav Mahler. In fact, Sibelius's oeuvre is seen along
with Gustav Mahler's as the most important symphonic legacy between late
romanticism and modernity. And as Mahler's glowing advocate, Bernstein was
suited like none other to disseminate the music of his great colleague
Jean Sibelius.
