Discography Of Sibelius Symphony Cycles
- Symphony No. 1 in E minor, Op. 39 (1899; minor revisions 1900)
- Symphony No. 2 in D major, Op. 43 (1902)
- Symphony No. 3 in C major, Op. 52 (1907)
- Symphony No. 4 in A minor, Op. 63 (1911)
- Symphony No. 5 in E-flat major, Op. 82 (1915; major revisions 1916 and 1919)
- Symphony No. 6 in D minor, Op. 104 (1923)
- Symphony No. 7 in C major, Op. 105 (1924)
Although early advocates such as Robert Kajanus, Sir Thomas Beecham, and Serge Koussevitzky had conducted many of Sibelius's symphonies for gramophone in the 1930s and 1940s, none of these Sibelians recorded all seven. Instead, the earliest complete traversal dates to 1953, four years before the composer's death on 20 September 1957; it is by Sixten Ehrling and the Stockholm Radio Orchestra, recorded from 1952–1953 for the Swedish label Metronome Records (released by Mercury Records in the United States). Ehrling had outpaced Anthony Collins and the London Symphony Orchestra, whose cycle—recorded from 1952–1955 on Decca Records—was concurrent with Ehrling's but arrived second.
Since the pioneering examples of Ehrling and Collins, the Sibelius cycle has, as of November 2024, been recorded an additional 46 times. The most recently completed (48th) cycle, finished in 2022, is by Owain Arwel Hughes and the Royal Philharmonic Orchestra; an additional two projected cycles are in progress, according to press releases. A number of conductors have tackled the project more than once: Paavo Berglund (1977, 1987, 1997, 1998) recorded the Sibelius cycle four times, Sir Colin Davis (1976, 1994, 2008) three times, and Akeo Watanabe (1962, 1981), Lorin Maazel (1968, 1992), Jukka-Pekka Saraste (1989, 1993), Leif Segerstam (1992, 2004), Neemi Järvi (1985, 2005), Vladimir Ashkenazy (1984, 2007), Pietari Inkinen (2009, 2013), Sir Simon Rattle (1987, 2015), and Osmo Vänskä (1997, 2015) have done so twice. Leonard Bernstein completed one cycle (1967) but died in the middle of a second. Finally, Herbert von Karajan and Eugene Ormandy left, respectively, three and two incomplete Sibelius cycles.
Additionally, the Sibelius cycle can, in its non-standard form, include its "grand precursor" Kullervo (Op. 7, 1892), which some commentators view as a programmatic choral symphony. This perspective conceptualizes Kullervo as Sibelius's de facto "Symphony No. 0", thus expanding his completed contributions to the symphonic canon from seven to eight. Eleven of the 48 cycles include Kullervo as a supplement.
Precursors: 1930–1951
In 1930, the Finnish government, perceiving a wide audience for Sibelius's works, enlisted Britain's Columbia Graphophone Company (later merged in 1931 with HMV to form EMI) to record the First and Second symphonies. The government's subsidization of such an artistic project (it contributed 50,000 Finnish marks) was, according to Sibelius's biographer Erik Tawaststjerna, "an enlightened and at this time unprecedented gesture ... a measure of the unique importance Finland attached to Sibelius as a national figure". Sibelius was permitted his choice of native-born conductors and selected his long-time interpreter, Robert Kajanus, writing of the septuagenarian conductor, "Very many are the men who have conducted these symphonies during the last thirty years, but there are none who have gone deeper and given them more feeling and beauty than Robert Kajanus".
The First and Second were recorded in the Westminster Central Hall on 21–23 and 27–28 May, respectively; although the orchestra was credited as the "Royal Philharmonic Orchestra", the musicians were "largely drawn from the London Symphony [Orchestra], which could not be named for contractual reasons". Two years later, in 1932, the British record producer Walter Legge founded the His Master's Voice (HMV) Sibelius Society, a subscription service that promised to record "all his [Sibelius's] major works and to culminate in the forthcoming Eighth Symphony". Legge enlisted Kajanus—by then in ill health—to record the Third (21–22 June) and Fifth (22–23 June) symphonies at Abbey Road Studio No. 1, again with the London Symphony Orchestra (this time properly credited). Each of Kajanus's recordings was a world premiere and, because of his close association with and personal selection by Sibelius, they "can generally be regarded as authoritative ... he communicates overwhelmingly a sense of total identification with the composer's mind".
Legge and HMV had planned for Kajanus to complete the cycle by recording the Fourth, Sixth, and Seventh symphonies, but the maestro's death on 6 July 1933 prevented it. At Sibelius's "express wish", they turned to the Finnish conductor Georg Schnéevoigt to record the Fourth and the Sixth in June 1934; Schnéevoigt was touring London with the Helsinki Philharmonic Orchestra (it was billed as the "Finnish National Orchestra"), the principal conductorship of which he had inherited in April 1933 due to Kajanus's ill health. They recorded the Sixth in studio on 3 June (its world premiere recording) and the Fourth at a public concert on 4 June (its second recording, the premiere having been by Leopold Stokowski and the Philadelphia Orchestra on 23 April 1932 for Victor Records). However, Sibelius did not approve the test pressings of Schnéevoigt's Fourth and Legge did not issue it commercially; although Sibelius permitted the release of Schnéevoigt's Sixth, his response to the performance was tepid.
With the Schnéevoigt recordings lacking favour, the English conductor Sir Thomas Beecham stepped in to fill the void: for Legge, he and the London Philharmonic Orchestra recorded the Fourth on 10 December 1937 at Abbey Road. To prepare this performance, Beecham referenced a "detailed list of [Sibelius's] comments concerning tempi, phrasing, note durations, and so on", which the composer had sent to Legge upon hearing Schnéevoigt's Fourth. As such, Beecham's performance is seen as adhering more closely to Sibelius's standards. Ten years later, in 1947, Beecham and the Royal Philharmonic Orchestra would displace Schnéevoigt's Sixth, recording the work for Legge from May to November 1947 at Kingsway Hall. According to Robert Layton, Sibelius is said to have referred to Beecham's Sixth as "his favourite recording of any of his symphonies".
A final important Sibelian from this period was the Russian émigré conductor Serge Koussevitzky, an "energetic disciple" to whom Sibelius had promised the world premiere of the ever-elusive Eighth Symphony. Koussevitzky and the Boston Symphony Orchestra performed the entire cycle during the 1932–1933 season (a programming first), and while in London to guest conduct the BBC Symphony Orchestra at the Queen's Hall, Koussevitzky made the world premiere recording of the Seventh Symphony at a public concert on 15 May 1933. Koussevitzky dispatched the test pressings to Sibelius with a 6 June letter: "if they [the discs] do not please you, they will be destroyed"; the composer, however, was pleased, writing on 3 July: "I find it hard to express the joy I experienced when I listened to you dear Maestro ... Everything was so full of life and natural, and I cannot thank you sufficiently". Although he never obtained the Eighth (Sibelius abandoned the project and destroyed the score), Koussevitzky's advocacy remained undiminished: he commercially recorded the Second on 24 January 1935 and the Fifth on 29 December 1936, as well as an additional Second on 29 November 1950, six months before his death.