The Temple of Dagon

Sibelius 7 of these means the 7th Symphony is one of the most ambitious and extraordinary symphonies in the repertoire. So why the scream? For me, it can because the big powers that Sibelius is unleashing in his symphony - whether they're the cosmic dance of the faster music, or the Corrientes yet shatteringly moving gradual music at the start and end of the piece, or the stately power of the broche theme - are too massive to be comprised by any structure, even one as superior as Sibelius's. I'm somehow aware, listening to the part, of the vast places that lie just at the edges of the symphony, the strange parts it glimpses along it is time-bending journey that Sibelius at once reveals and shrinks back from discovering. That's why the end of the piece can sound like a yell into the void: that aching appoggiatura as the strings fight their way from B to C is the sound of a striving toward a coherence that Sibelius could well have felt was impossible, given the scale of the musical forces he knew he recently released - even as he closes off his symphony, and with it, his symphonic project (despite what may have took place to the Eighth Symphony). But all that's in the ear of the beholder. Choose one of the performances below, and take your own quest into the other-world of Sibelius's most astonishing and fantastical symphony.
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