Leif Segerstam (conductor)
Segerstam in Aarhus
Aarhus Symphony Orchestra
rec. 2019-2021 Symphonic Hall, Aarhus, Denmark
Danacord DACOCD941-944 [4 CDs: 257]
There is no doubt that Leif Segerstam (1944-2024) was a larger-than-life character. He himself mused on the notion that he was a “legend” because he looked like Santa Claus, or was it Johannes Brahms? Maybe it was his vast compositional output, including more than 370 symphonies, that led to his “near-mythical status”. The reality is that he was a prolific Finnish conductor, composer, violinist, violist and pianist. He held chief conductor positions with many orchestras, including the Helsinki Philharmonic, Danish National Radio Symphony and the Turku Philharmonic Orchestras. His career embraced guest appearances around the world. His extensive discography includes complete cycles of Mahler’s and Sibelius’s symphonies.
The present four-disc collection celebrates Segerstam’s associations with the Aarhus Symphony Orchestra. It offers the final studio recordings that he made before his death in October 2024.
The first disc gives a commanding performance of Anton Bruckner’s Symphony No.7 in E Major from 1881-1883. After the well-known No.4 Romantic, it is the best known of Bruckner’s eleven contributions to the genre. (The two early symphonies are not numbered.) It is certainly the most approachable to anyone who wishes to get to know this symphonic cycle.
The opening movement came to Bruckner in a dream: it presents a solemn mood. The Adagio was a tribute to the dying Richard Wagner, whilst the dramatic Scherzo is not as jolly as usual for this form. The finale, sometimes “hymn like”, leads to a triumphant conclusion. The Symphony has been subjected to many revisions. Segerstam has used the Nowak edition published in 1954, to give a superbly balanced, enthusiastic, transcendent performance of this great symphony.
I was curious to hear Segerstam’s take on Bruckner’s massive Symphony No.4 in E flat Major “Romantic”. Often said to be his impression of nature in general and the forest in particular, it remains absolute music without a programme. The symphony opens with a dramatic horn call, which dominates the entire movement. This defines its mood of pastoralism and heroic derring-do. The Andante calls for a consideration of “song, prayer and serenade”. There are some tremendous climaxes. The notion of hunting dominates the vivid scherzo. The long finale sums up all that has gone before, including a frightening storm passage and a triumphant conclusion. For me, Segerstam has created a magical account, where he allows the pace of the Symphony to develop in a natural manner. He does not rush too much or linger unnecessarily. The climaxes are perfectly judged. It is heard here in the 1878/1880 version.
I was disappointed that Leif Segerstam did not record the complete series of Bedřich Smetana’s tone poems fromMá vlast. The reason was presumably to allow the inclusion in the boxed set of something by a Scandinavian composer. Three of the six tone poems have been given splendid performances here. The entire cycle presents aspects of Czech history, landscapes, and folklore.
The most famous, Vltava (The Moldau), depicts the river’s journey through Bohemia. I was introduced to this piece at Music Appreciation class at grammar school: it has remained a favourite. Segerstam gives an imaginative journey through the Bohemian landscape, pointing up the water features from gentle ripples to rushing torrents and its eventual confluence with the Elbe to the north of Prague. The first tone poem, a musical depiction of Vyšehrad – the historic seat of Czech kings – unfolds with noble grandeur, evoking ancient legends through cascading melodies and a timeless sense of pride. The third depicts the warrior and femme fatale, Šárka. It conveys moods of betrayal, vengeance, stormy passion, and “fate’s relentless embrace”.
Rued Langgaard began the Symphony No.5 in 1917. Major revisions and title changes between 1926 and 1931 resulted in the present work, subtitled Steppelands. An aid to appreciating this piece was given in the original programme note: “Out flying, where earth and sky are one; Where nature has no boundary to mark; But where the Steppe stretches as far as wide as endless grief, unbounded.”
I have not heard this Symphony for many years, but my original thoughts remain. It is like the curate’s egg – good in parts. The liner notes correctly point out Langgaard’s sympathies for the late-romantic period. His inspiration was found in the compositions of Wagner, Gade and Tchaikovsky, rather than in 20th century developments. There are impressionistic moments and a few magical bars here and there. The overall impression is of a mosaic of ideas, offering a cinematic view that presents widely contrasting images in an unrelated whole.
The final disc presents a remarkable reading of Beethoven’s Pastoral Symphony No. 6 in F major, op.68. Unlike his other symphonies, it relies on its programmatic nature, depicting scenes from rural life. It is possible to listen to it as absolute music. Beethoven himself emphasized that it was “more an expression of feeling than painting”. Yet, the subtitles of the movements make it difficult to divorce these thoughts from one’s mind. The key to any performance of this ever-popular work is to bridge the gulf between classical clarity and romantic sensibility, harmonising the considerable contrasts and highlighting the narrative aspects, without descending into over-exaggeration. I feel that Segerstam gets this balance correct.
The extensive liner notes provide a helpful introduction to this music. There are resumes of Leif Segerstam and the Aarhus Symphony Orchestra.
Except for Smetana’s tone poems, these works are rarely on my “playlist”. Listening to Bruckner’s two Symphonies will encourage me to hear the full series. And then there is Segerstam’s Mahler cycle to consider…
One commentator suggested that Segerstam “has more music in his little finger than many conductors have in their whole body”. Hearing this selection of performances of several major symphonies and tone poems reveals his passion and “feelings of electricity” from end to end.
This boxed set is a brilliant final testimony to Leif Segerstam’s recording career.
John France
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Contents
Anton Bruckner (1824-1896)
Symphony No.7 in E Major (1883)
Symphony No.4 in E flat Major “Romantic” (1880)
Bedřich Smetana (1824-1884)
Má vlast (1874-1878): Vyšehrad; Vltava; Šárka
Rued Langgaard (1892-1953)
Symphony No. 5, Steppenatur (Sommersagnsdrama) (1917-1931)
Ludwig van Beethoven (1770-1827)
Symphony No.6 in F major, op.68 (Pastoral Symphony) (1802-1808)
