by James Leonard
Older listeners may recall the shock of hearing Lorin Maazel's early-'60s cycle of the Sibelius symphonies with the Vienna Philharmonic. How could a young American conductor interpret the gnarly and enigmatic symphonies of Sibelius with such complete compassion and comprehension? And how could the greatest of central European orchestras play the strangely scored and weirdly colored symphonies of Sibelius with such luminous beauty and baleful strength of tone? How was it possible that Maazel and the V.P.O. could turn in what still stands as one of the greatest of all Sibelius cycles? Whatever it was, it was long gone by the time Maazel re-recorded the Sibelius symphonies with the Pittsburgh Symphony Orchestra in the early '90s. Whatever comprehension Maazel once had has turned to disdain: his conducting almost completely lacks any sense of forward momentum whatsoever and his performances are among the most torpid and turgid ever recorded. Whatever compassion Maazel once had has turned to dismissal: his capricious disregard of balances and tempos, his finicky fiddling with phasing and dynamics, his blithe indifference to the letter and the spirit of the scores bespeaks a conductor who thinks himself better than the music he conducts. Needless to say, the Pittsburgh Symphony is hardly in the same league as the Vienna Philharmonic. But they are also hardly in same league as the Pittsburgh Symphony under Reiner and Steinberg: Maazel's Pittsburgh is a second-rate provincial orchestra with scrappy strings, watery brass, weak winds, and a steroid-enhanced percussion section. And as good as Sony's clean and clear sound is -- and it is easily the best thing about the cycle -- it is no better than the wonderfully atmospheric sound that Decca/London gave Maazel and the V.P.O. in the '60s. This is a wholly unnecessary Sibelius cycle.