But the first take was longer, especially in the first movement, thanks in large part to a second cadenza that allowed Vähälä to bring forth a more mournful character. Most of the elements that have made the oft-played revision so popular - the dark beauty of the Adagio, the bright, bouncy theme of the frolicsome finale - are in the original as well.
#SIBELIUS 5 MINNESOTA ORCHESTRA FULL#
But Vähälä's playing on the early-model concerto was breathtaking, full of fluidity and flair, her tone full-bodied and resonant.
Both the First and Sixth were given briskly paced interpretations pulsing with energy and striking a bittersweet emotional tenor. Not to say that Vänskä and the orchestra didn't achieve their customary magic with Sibelius symphonies. Slotted between Sibelius' Sixth and First Symphonies, it proved a resounding star turn. The consensus among scholars and soloists is that it's more difficult to play, but Vähälä met its ample demands with marvelous musicianship. He subsequently revised it, and the original was never again played in his lifetime the Sibelius family's permission is required to perform it. She and the orchestra performed the original version of the concerto, which the composer pulled from circulation after it premiered to lackluster reviews.
Vähälä will solo on Sibelius' very popular Violin Concerto this week, but on Friday night she did something only accomplished by a handful of violinists. The Minnesota Orchestra's three-week festival of music by Jean Sibelius may be the flagship event of Osmo Vänskä's final season as music director, but for now, the center of attention is Finnish violinist Elina Vähälä.
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