I have in front of me a copy of the complete draft of the full score (HUL manuscript 0304). Kari Kilpeläinen suggests in his authoritative manuscript catalogue that this was planned as a fair copy, though Sibelius must have then changed his mind as there are numerous corrections and the music differs sometimes from the published edition.

Just for info, one place where there is no correction and Sibelius's handwriting is totally, unquestionably clear is at the beginning of the finale, where he lists the instruments alongside their respective parts: Stahlstäbe.

I came across a very interesting piece by David Pickett 'The Fourth Symphony: Ending and beginning in complete disaster'.

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It throws much light on the early recordings of the fourth from Stokowski [1932] Scheevoigt [1934] Beecham [1938] and Karajan [1954] Facinating reading for all Sibelians.--kp

Glocken, Glocken, Glocken!!!!

Ok, Stahlstabe...

I think that Mr. Picketts article illuminates the almost super-human problems facing conductors with regard to recording and performing the Sibelius fourth during the infancy of recording. The nature of the symphony itself, a work that does end if not in complete disaster, then certainly as enigmatically as any music I know--presents enormous challenges. JS himself remarked 'As this symphony is hardly suitable for the gramophone one needs to perform much of it with a different balance than that indicated in the full score'. One can see how in the 1930's, the recordings of the fourth from Stokowski, Scheevoigt and Beecham would have failed even on a purely technical level to bring out the demands of this score. In the early 1950's audio excellence made enormous strides and Karajans 1954 recording of the fourth with the Philharmonia orchestra impressed Sibelius with good reason. Karajan was known for his strict orchestral discipline and as with Stokowski, he believed in recording excellence. Karajans hallmark was close control of tempo, quality of tone and immaculate ensemble. This recording still remains a bench-mark for me, with which to judge later recordings. One wonders just how Sibelius would view recordings today of his fourth symphony. The Vanskas, Segerstams and Davies of this world. My bet is that these maestro's would be recieving admiring mails from Sibelius and the recording producer would get a long list of criticisms. Sibelius was never satisfied by any one recording of his music.--kp