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David Gutman
Gramophone, July 2011

Midway through the decade in Boston, Serge Koussevitzky was advocating a broader, more grandiose performance style. The interpretation is easier to enjoy in the sonically superior remake dating from the very end of his career. Already there are textual uncertainties. Koussevitzky supplies his own timpani part for the finale’s grand, motivically summatory Molto largamente coda.



Geoff Wood
The Flying Inkpot, November 2004

"The newly-formed English orchestra ... play within an inch of their lives and the results are thrilling. A fevered intensity is sustained at a pitch that, far from being self-indulgent, as many critics have suggested, only serves to emphasize the extraordinary concision of Sibelius' formal logic. The filler items are no less great, too; particularly notable is the powerful and deliberately rough-hewn Tapiola with the Boston Symphony that showcases to an even greater degree than the Symphony that concentration of purpose that is a defining feature of Koussevitzky's Sibelius. ... There is no questioning the authority that Koussevitzky brings to these admittedly second-rate works.

These are, for me, the greatest recordings of Tapiola and the Seventh Symphony; some may prefer the more muted approach of a Maazel or an Ashkenazy, but Koussevitzky's blazing grandeur makes them sound almost inconsequential."



Rémy Franck
Pizzicato, January 2002

("Good")"Koussevitzky's expositions of two Sibelius symphonies prove to be highly intense, glowing, in all rather romantic. Stupendous, again, is the extremely high standard of the Boston Symphony Orchestra, as is the sound of the restored recordings."





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