{"product_id":"collins-the-complete-sibelius-symphonies-1952-55-pabx039","title":"COLLINS The Complete Sibelius Symphonies (1952-55) - PABX039","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSIBELIUS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphonies 1-7\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1952-1955\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLondon Philharmonic Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eAnthony Collins\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC677.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cdiv class=\"pristine-boxset-track-listing--heading\"\u003eClick below to expand note:\u003c\/div\u003e\u003cdiv class=\"pristine-boxset-track-listing\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eCOLLINS The Sibelius Symphonies, Volume 1 (1952\/53) - PASC671\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"margin-left: 25px;\"\u003e\n“Anthony Vincent Benedictus Collins (3 September 1893 – 11 December 1963)\nwas a British composer and conductor. He scored around 30 films in the US\nand the UK between 1937 and 1954, and composed the British light music\nclassic \u003cem\u003eVanity Fair\u003c\/em\u003e in 1952. His Decca recordings of the seven\nSibelius symphonies was only the second cycle by a single conductor and\norchestra to appear.\n\u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003e\nCollins was born in Hastings, East Sussex, in 1893. At the age of seventeen\nhe began to perform as violinist in the Hastings Municipal Orchestra. He\nthen served four years in the army. Beginning in 1920 he studied violin\nwith Achille Rivarde and composition with Gustav Holst at the Royal College\nof Music.\n\u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003e\nIn 1926, he began his musical career performing as principal viola in the\nLondon Symphony Orchestra. For ten years he performed in that orchestra and\nalso in the Royal Opera House Covent Garden Orchestra. He resigned these\npositions in 1936. For the rest of his career he divided his time between\nconducting, beginning with opera and moving to orchestra; and composition.\nHis conducting debut was on 20 January 1938, when he led his former\ncolleagues in the London Symphony Orchestra in Elgar's First Symphony, and\nthe following year he founded the London Mozart Orchestra.\n\u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003e\nHe moved to the United States in 1939 to conduct orchestras in Los Angeles\nand New York City as well as composing film music for RKO Pictures. He was\nnominated for three Academy Awards for best music and original score in\nthree consecutive years (1940, 1941 and 1942) for \u003cem\u003eNurse Edith Cavell\u003c\/em\u003e, \u003cem\u003eIrene\u003c\/em\u003e and \u003cem\u003eSunny\u003c\/em\u003e. He returned\nto England in 1945, continuing to conduct the major British orchestras and\nalso compose for British film studios. He retired at the end of the 1950s,\nreturning to Los Angeles, where he died at the age of 70 in 1963.\n\u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003e\nCollins conducted a series of classical recordings, notably of music of\nElgar and Sibelius, for Decca Records and EMI. His Decca Kingsway Hall\nrecordings made between 1952 and 1955 of the seven Sibelius symphonies (the\nsecond complete cycle with one orchestra and conductor; the first was by\nSixten Ehrling and the Stockholm Philharmonic, 1952–1953) and the tone\npoems were very highly regarded. He recorded with Decca from May 1945 to\nDecember 1956.” – \u003cem\u003eWikipedia\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e\n\u003c\/p\u003e\n\u003cp\u003e\nDecca’s LXT series of mono LPs began in June 1950 with LXT 2500, making the\nfirst Sibelius symphony probably the 195\u003csup\u003eth\u003c\/sup\u003e twelve-inch LP\nrelease for the company. Listening to it today, in this XR-remastered\nAmbient Stereo release, it’s hard to believe the new technologies of tape\nand vinyl were not in truly expert hands, and a glance at the name of\nrecording engineer Kenneth Wilkinson immediately confirms this to be the\ncase. This is the Sibelius of magnificent sweeping orchestration, vast\nsoundscapes and beautiful fine details, all immaculately captured some\nseventy years ago.\n\u003c\/p\u003e\n\u003cp\u003e\nThe Sibelius was the first of a number of recordings Anthony Collins made\nwith the London Symphony Orchestra; he had already recorded for Decca with\nboth the London Philharmonic and his own London Mozart Orchestra prior to\nbeginning the Sibelius series – his first recording with the former orchestra\nplaying music by Bizet and Falla graced LXT 2510 and was among the very\nfirst tranche of British LP releases, issued by Decca in June 1950, whilst\nhis own orchestra had been recorded for 78rpm release in 1945 playing, not\nsurprisingly, music by Mozart.\n\u003c\/p\u003e\n\u003cp\u003e\nIt is unfortunate that only Collins’ final three recording sessions for\nDecca were captured in stereo, with his Sibelius series (and much more)\nrecorded entirely in mono. Glancing through the Decca discography it\nappears the majority of their earliest stereo experiments were conducted\nwith vocal and operatic music, with stereo orchestral recordings not\nbeginning in earnest until late 1956, just before Collins’ retirement. We\ncan, however, with the use of Ambient Stereo, get some idea of the broad\nsweep of his sound, if not the placing of individual instruments. Even so,\nit’s a glorious thing to behold in these fabulous symphonies.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003ci\u003e\u003cb\u003eANDREW ROSE\n\u003c\/b\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eCOLLINS The Sibelius Symphonies, Volume 2 (1954) - PASC675\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n\u003cb\u003eSibelius's third symphony\u003c\/b\u003e has been regarded as more classical than his\nprevious works. The scholar Gerald Abraham has argued that the first\nmovement bears strong comparison with the first movements of Haydn's and\nMozart's symphonies. Against this background, it seems all the more\nremarkable that the history of its composition has turned out to be quite\ncomplicated.\n\u003c\/p\u003e\n\u003cp\u003eInfluences from Finnish folk music are discernible in the very first chords\nof the symphony. There were also some programmatic notions behind it. In\nParis in January 1906, after a period of lively celebrations, Sibelius\nplayed three themes to the painter Oscar Parviainen. These were: Funeral\nMarch, A Prayer to God and A Great Feast. The scholar Markku Hartikainen\nhas shown that these themes were probably connected with Jalmari Finne's\nlibretto for the oratorio Marjatta, which Sibelius did not manage to\ncompose despite several attempts. However, the Prayer to God theme ended up\nas a hymn theme within the finale of the third symphony – and it also\nappeared on the wall at Ainola, for the theme inspired Oscar Parviainen to\nproduce a painting for Sibelius.\n\u003c\/p\u003e\n\u003cp\u003e\nIn 1906 Sibelius completed the orchestral poem \u003cem\u003ePohjola's Daughter\u003c\/em\u003e.\nThe sketches for the work contain material which ended up in the third\nsymphony. Thus, it seems that the symphony, which in itself was heard as a\nnon-programmatic work, received - as is often the case with Sibelius - its\ninitial stimulus from various programmatic ideas; these lost their\nprogrammatic meaning during the process of composition as the material was\nreworked in purely musical terms.\n\u003c\/p\u003e\n\u003cp\u003e\nSibelius conducted the first public performance on 25th September 1907. The\nreviews were mixed: Karl Flodin praised the work, but the Helsingin Sanomat\nreviewer claimed that the direct impact of the work was weaker than that of\nthe first symphony.\n\u003c\/p\u003e\n\u003cp\u003e\nStylistically, Sibelius was now approaching notions of Neoclassical music\nin ways that his friend Ferruccio Busoni would write about a short time\nlater. Sibelius's third symphony is more condensed than its predecessors.\nNow there are three movements instead of four, since the scherzo and the\nfinale are combined more organically than in the second symphony.\n\u003c\/p\u003e\n\u003cp\u003e\nRomanticism is replaced by functionalism, and the orchestration is lighter\nthan before, with no tuba or harp. In his old age Sibelius was of the\nopinion that the third symphony need not be performed with an orchestra of\nmore than fifty players.\n\u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003e\n\"The symphony meets all the requirements of a symphonic work of art in the\nmodern sense, but at the same time it is internally new and revolutionary –\nthoroughly Sibelian.\"\n\u003cbr\u003e\n\u003cem\u003e\nKarl Flodin, critic, 1907\n\u003cbr\u003e\n\u003c\/em\u003e\n\u003cbr\u003e\n\"After hearing my third symphony Rimsky-Korsakov shook his head and said:\n'Why don't you do it the usual way; you will see that the audience can\nneither follow nor understand this.' And now I am certain that my\nsymphonies are played more than his.\"\n\u003cbr\u003e\n\u003cem\u003e\nJean Sibelius, 1940\n\u003cbr\u003e\n\u003c\/em\u003e\n\u003cbr\u003e\n\"The third symphony was a disappointment for the audience, as everybody was\nexpecting that it would be like the second. I mentioned this to Gustav\nMahler, and he also observed that 'with each new symphony you always lose\nlisteners who have been captivated by previous symphonies'.\"\n\u003cbr\u003e\n\u003cem\u003eJean Sibelius, 1943\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cem\u003e \u003c\/em\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cb\u003eThe fourth symphony\u003c\/b\u003e was once considered to be the strangest of Sibelius's\nsymphonies, but today it is regarded as one of the peaks of his output. It\nhas a density of expression, a chamber music-like transparency and a\nmastery of counterpoint that make it one of the most impressive\nmanifestations of modernity from the period when it was written.\n\u003c\/p\u003e\n\u003cp\u003e\nSibelius had thoughts of a change of style while he was in Berlin in 1909.\nThese ideas were still in his mind when he joined the artist Eero Järnefelt\nfor a trip to Koli, the emblematic \"Finnish mountain\" in Karelia, close to\nJoensuu. The landscape of Koli was for Järnefelt an endless source of\ninspiration, and Sibelius said that he was going to listen to the \"sighing\nof the winds and the roar of the storms\". Indeed, the composer regarded his\nvisit to Koli as one of the greatest experiences of his life. \"Plans. La\nMontagne,\" he wrote in his diary on 27th September 1909.\n\u003c\/p\u003e\n\u003cp\u003e\nThe following year Sibelius was again travelling in Karelia, in Vyborg and\nImatra, now acting as a guide to his friend and sponsor Rosa Newmarch.\nNewmarch later recollected how Sibelius eagerly strained his ears to hear\nthe pedal points in the roar of Imatra's famous rapids and in other natural\nsounds.\n\u003c\/p\u003e\n\u003cp\u003e\nThe trip also had other objectives. On his return Sibelius wanted to\ndevelop his skills in counterpoint, since, as he put it, \"the harmony is\nlargely dependent on the purely musical patterning, its polyphony.\" His\nobservations contained many ideas on the need for harmonic continuity.\nSince the orchestra lacked the pedal of the piano, Sibelius wanted to\ncompensate for this with even more skilful orchestration.\n\u003c\/p\u003e\n\u003cp\u003e\nYet one more natural phenomenon – a storm in the south-eastern archipelago\n– was needed to get the symphonic work started. In addition, in November\n1910 he was preparing the symphony at the same time as he was working on\nmusic for Edgar Allan Poe's \u003cem\u003eThe Raven\u003c\/em\u003e, which he had promised to\nAino Ackté. The Raven was never finished, but its atmosphere and sketches\nhad an effect on the fourth symphony.\n\u003c\/p\u003e\n\u003cp\u003e\nThe symphony was performed for the first time on 3rd April 1911, in\nHelsinki. Its tone was both modern and introspective, and it confused the\naudience so much that the applause was subdued. \"Evasive glances, shakes of\nthe head, embarrassed or secretly ironic smiles. Not many came to the\ndressing room to deliver their congratulations,\" Aino Sibelius recollected\nlater. The critics, too, were at a loss. \"Everything was so strange,\" was\nhow Heikki Klemetti described the atmosphere. In the years that followed\naudiences in many parts of the world reacted the same way.\n\u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003e\n\"The motif of the symphony is a journey to the famous mountain Koli, which\nrises 252 metres above the level of Lake Pielisjärvi (…) [As regards the]\nmagnificent connection which Sibelius has previously made with our people\nand its national epic and which has made him so strong and great, this bond\nis lacking in the fourth symphony.\"\n\u003cbr\u003e\n\u003cem\u003e\nBis, i.e. the critic Karl Fredrik Wasenius in Hufvudstadsbladet, 1911\n\u003c\/em\u003e\n\u003cbr\u003e\n\u003cbr\u003e\n\"The assumptions of the pseudonymous Bis concerning the programme of my new\nsymphony are incorrect. I guess that they have to do with the topographical\nreport which I presented to a few friends on 1st April.\"\n\u003cbr\u003e\n\u003cem\u003eJean Sibelius in Hufvudstadsbladet, 1911\u003c\/em\u003e\n\u003cbr\u003e\n\u003cbr\u003e\n\"The future will decide whether in the melodic structure of some the themes\nthe composer has crossed the boundary that healthy natural musicality\ninstinctively sets for the play of intervals in a melody.\"\n\u003cbr\u003e\n\u003cem\u003eHeikki Klemetti, critic,1911\u003c\/em\u003e\n\u003cbr\u003e\n\u003cbr\u003e\n\"A declaration of war against that superficiality, admiration of outward\ndevices, empty grandiloquence and overwhelming materialism which is\nswallowing up modern music.\"\n\u003cbr\u003e\n\u003cem\u003eEvert Katila, critic in the newspaper Uusi Suomi, 1911\u003c\/em\u003e\n\u003cbr\u003e\n\u003cbr\u003e\n\"I feel as if entirely new worlds were now opening for Sibelius as a\ncomposer of symphonies, worlds which have not been shown to others and\nwhich he, with his astonishingly highly developed sense of colour and\nmelody, can see and describe to others.\"\n\u003cbr\u003e\n\u003cem\u003eOskar Merikanto, critic in the newspaper Tampereen Sanomat, 1911\u003c\/em\u003e\n\u003cbr\u003e\n\u003cbr\u003e\n\"We have very good reasons to call the style of the fourth symphony\nexpressionism. This is because the line has a dominant position in the\nwork. (…) The fourth symphony exerts a healthy influence. It involves a\nquiet protest against all hollow impressionism, tasteless instrumentation\nand low naturalism.\n\u003cbr\u003e\n\u003cem\u003e\nErik Furuhjelm, scholar, 1916\n\u003cbr\u003e\n\u003c\/em\u003e\n\u003cbr\u003e\n\"I am pleased that I did it, for even today I cannot find a single note in\nit that I could remove, nor can I find anything to add. This gives me\nstrength and satisfaction. The fourth symphony represents a very important\nand great part of me. Yes, I'm glad to have written it.\n\u003cbr\u003e\n\u003cem\u003eJean Sibelius in the 1940s\u003c\/em\u003e\u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cem\u003e \u003c\/em\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cb\u003eNotes and quotes from Sibelius – The Website:\u003c\/b\u003e http:\/\/www.sibelius.fi\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eCOLLINS The Sibelius Symphonies, Volume 3 (1954\/55) - PASC677\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\nDuring the First World War Sibelius as a composer led his life \"on two\nlevels\". His contacts with the outside world were sparse because of the\nwar, and financial pressures forced him to produce a great number of small\npieces for Finnish publishers. At the same time he was planning an entirely\nnew kind of symphony. He would write three different versions of it before\nhe was satisfied with the result.\n\u003c\/p\u003e\n\u003cp\u003e\nSibelius had been thinking about the fifth symphony, at least since the\nspring of 1912 when he was working on other pieces. In the summer of 1914,\njust after the outbreak of the First World War, he wrote that he had got an\nidea for \"a lovely theme\". Then in the autumn of 1914 he wrote a prophecy\nto his friend Axel Carpelan: \"Another depth of misery. But I can already\nmake out the mountain that I shall ascend (…) God is opening his doors for\na moment, and his orchestra is playing the fifth symphony.\"\n\u003c\/p\u003e\n\u003cp\u003e\nWhile Sibelius’s diary notes show that his mood during the fourth symphony\nwas one of determination, the initial stages of the fifth symphony seemed\nto be filled with ecstasy. \"The autumn sun is shining. Nature in its\nfarewell colours. My heart is singing sadly – the shadows grow longer. The\nAdagio of my fifth symphony? That I, poor fellow that I am, can have\nmoments of such richness!!\" he wrote on 10th October 1914. And in November\nthe sentiment grew even stronger: \"I have a lovely theme. An adagio for the\nsymphony – earth, worms and misery, fortissimo and sordinos [mutes], lots\nof sordinos. And the melodies are divine!!\"\n\u003c\/p\u003e\n\u003cp\u003e\nSibelius found themes for the sixth symphony while working on the fifth,\nand some of the material was originally drafted for a lyrical violin\nconcerto. Somewhat later Sibelius was for a time considering a work to be\ncalled Kuutar (Luna): thematic material from this also ended up in the\nsixth symphony.\n\u003c\/p\u003e\n\u003cp\u003e\nThe symphony was performed for the first time on 19th February 1923. The\ncomposer conducted the orchestra himself. The critics praised the \"pure\nidyll\" of the symphony, but they would clearly have wished for stronger\ndramatic contrasts.\n\u003c\/p\u003e\n\u003cp\u003e\nToday the sixth symphony is recognised as a masterpiece. Its meaning often\nbecomes accessible only after one has become familiar with the heroism of\nthe second and fifth symphonies, or the profundity of the fourth and\nseventh symphonies.\n\u003c\/p\u003e\n\u003cp\u003e\nSibelius was going through difficult times in 1923-1924, when he was\ncompleting the seventh symphony. He had gone on a tour of Stockholm, Rome\nand Gothenburg and conducted successfully. However, before the last concert\nhe had taken alcohol. When the concert started Sibelius thought for a\nmoment that he was at a rehearsal and interrupted the performance. The\nconcert went well after this, but Aino, who was sitting in the audience,\nwas terrified. \"Everything was chaos in my ears, I was in a state of mortal\nterror,\" she said later. From then on, Aino refused to attend concerts in\nwhich her husband was conducting.\n\u003c\/p\u003e\n\u003cp\u003e\nSibelius quite often took alcohol to ease his stage fright and the tremor\nin his hands, which was getting worse with age. Even at home in Ainola it\nwas difficult for him to continue writing the seventh symphony without\ntaking a few glasses to steady his hand. A prohibition law was in force in\nFinland at the time, and Sibelius was forced to obtain alcohol as a\nprescription drug.\n\u003c\/p\u003e\n\u003cp\u003e\nBut the seventh symphony had been slowly maturing in his head for almost\nten years, ever since an adagio motif had appeared in his fifth symphony\nsketchbook. The motif expanded and took on a life of its own, becoming the\nroot of the seventh symphony. In 1918 he wrote: \"The seventh symphony. Joy\nof life and vitality mixed with appassionato. Three movements – the last of\nthem a 'Hellenic rondo'.\"\n\u003c\/p\u003e\n\u003cp\u003e\nBut the three-movement plan changed; it was now a work in one movement, and\nSibelius was ready to sacrifice his own health for it. The symphony was the\nresult of ten years of contemplation and nothing could prevent the transfer\nof the masterpiece from the composer's brain onto paper.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eNotes from Sibelius – The Website:\u003c\/strong\u003e\nhttp:\/\/www.sibelius.fi\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cdiv class=\"pristine-boxset-track-listing--heading\"\u003eClick below to expand track listing:\u003c\/div\u003e\u003cdiv class=\"pristine-boxset-track-listing\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eCOLLINS The Sibelius Symphonies, Volume 1 (1952\/53) - PASC671\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003eCOLLINS The Sibelius Symphonies, Volume 1\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSIBELIUS \u003c\/b\u003eSymphony No. 1 in E minor, Op. 39 \u003c\/span\u003e\u003cbr\u003e1. 1st mvt. - Andante, ma non troppo - Allegro energico  (9:19)\u003cbr\u003e2. 2nd mvt. - Andante (ma non troppo lento)  (8:50)\u003cbr\u003e3. 3rd mvt. - Scherzo: Allegro  (4:36)\u003cbr\u003e4. 4th mvt. - Finale: Andante - Allegro molto - Andante assai - Allegro molto come prima - Andante (ma non troppo)  (11:36)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded Kingsway Hall, London, 21-22 February 1952\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued as Decca LXT 2694\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSIBELIUS \u003c\/b\u003eSymphony No. 2 in D major, Op. 43 \u003c\/span\u003e\u003cbr\u003e5. 1st mvt. - Allegretto  (9:26)\u003cbr\u003e6. 2nd mvt. - Tempo andante, ma rubato  (12:43)\u003cbr\u003e7. 3rd mvt. - Vivacissimo  (5:40)\u003cbr\u003e8. 4th mvt. - Finale: Allegro moderato  (13:06)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded Kingsway Hall, London, 11-12 May 1953\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued as Decca LXT 2815\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eLondon Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003econducted by \u003cb\u003eAnthony Collins\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eXR Remastered in Ambient Stereo by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Anthony Collins\u003cbr\u003e\u003cbr\u003eDecca studio recordings\u003cbr\u003eProducer: Victor Olof\u003cbr\u003eEngineer: Kenneth Wilkinson\u003cbr\u003e\u003cbr\u003eTotal duration:  75:16  \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eCOLLINS The Sibelius Symphonies, Volume 2 (1954) - PASC675\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eCOLLINS \u003c\/b\u003eThe Sibelius Symphonies, Volume 2\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSIBELIUS \u003c\/b\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 3 in C major, Op. 52 \u003c\/span\u003e\u003cbr\u003e1. 1st mvt. - Allegro moderato  (9:28)\u003cbr\u003e2. 2nd mvt. - Andantino con moto, quasi allegretto  (7:30)\u003cbr\u003e3. 3rd mvt. - Moderato - Allegro ma non tanto  (7:59)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded Kingsway Hall, London, 5-6 May 1954\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued as Decca LXT 2960\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSIBELIUS \u003c\/b\u003eSymphony No. 4 in A minor, Op. 63\u003c\/span\u003e\u003cbr\u003e4. 1st mvt. - Tempo molto moderato, quasi adagio  (8:50)\u003cbr\u003e5. 2nd mvt. - Allegro molto vivace  (4:05)\u003cbr\u003e6. 3rd mvt. - Il tempo largo  (8:56)\u003cbr\u003e7. 4th mvt. - Allegro  (10:17)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded Kingsway Hall, London, 22-25 February 1954\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued as Decca LXT 2962\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eLondon Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003econducted by \u003cb\u003eAnthony Collins\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eXR Remastered in Ambient Stereo by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Anthony Collins\u003cbr\u003e\u003cbr\u003eDecca studio recordings\u003cbr\u003eSymphony 3 producer: Peter Andry\u003cbr\u003eSymphony 4 producer: Victor Olof\u003cbr\u003e\u003cbr\u003eEngineer: Kenneth Wilkinson\u003cbr\u003e\u003cbr\u003eTotal duration:  75:16  \u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eCOLLINS The Sibelius Symphonies, Volume 3 (1954\/55) - PASC677\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eCOLLINS \u003c\/b\u003eThe Sibelius Symphonies, Volume 2\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSIBELIUS \u003c\/b\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 5 in E-flat major, Op. 82 \u003c\/span\u003e\u003cbr\u003e1. 1st mvt. - Tempo molto moderato  (13:05)\u003cbr\u003e2. 2nd mvt. - Andante mosso, quasi allegretto  (8:33)\u003cbr\u003e3. 3rd mvt. - Allegro molto  (8:17)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded Kingsway Hall, London, 25-27 January 1955\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued as Decca LXT 5083\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSIBELIUS \u003c\/b\u003eSymphony No. 6 in D minor, Op. 104 \u003c\/span\u003e\u003cbr\u003e4. 1st mvt. - Allegro molto moderato - Poco tranquillo  (8:36)\u003cbr\u003e5. 2nd mvt. - Allegretto moderato - Poco con moto - Poco a poco meno piano - Tempo I  (6:48)\u003cbr\u003e6. 3rd mvt. - Poco vivace  (3:30)\u003cbr\u003e7. 4th mvt. - Allegro molto - Allegro assai - Doppio più lento  (9:48)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded Kingsway Hall, London, 25-27 January 1955\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued as Decca LXT 5084\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e8. \u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSIBELIUS \u003c\/b\u003eSymphony No. 7 in C major, Op. 105\u003c\/span\u003e  (19:48)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded Kingsway Hall, London, 22-25 February 1954\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued as Decca LXT 2960\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLondon Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eAnthony Collins\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003eXR Remastered in Ambient Stereo by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Anthony Collins\u003cbr\u003e\u003cbr\u003eDecca studio recordings\u003cbr\u003eProducer: Victor Olof\u003cbr\u003eEngineer: Kenneth Wilkinson\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  78:25  \u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":55010095432046,"sku":"ncd1789306652859","price":36.2,"currency_code":"USD","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55010095464814,"sku":"kqp1789306652860","price":30.86,"currency_code":"USD","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55010095497582,"sku":"hbc1789306652861","price":21.3,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0915\/3986\/5966\/files\/collins-the-complete-sibelius-symphonies-1952-55---pabx039_1.jpg?v=1789306663","url":"https:\/\/www.harborviewgoods.shop\/products\/collins-the-complete-sibelius-symphonies-1952-55-pabx039","provider":"My Store","version":"1.0","type":"link"}