Later in March, the Finnish conductor Dalia Stasevska puts the magnificent Cleveland Orchestra through its paces in the inspirational Symphony No. 2 of her countryman Jean Sibelius (1865–1957). With Pittsburgh’s comparably impressive forces, she assays his more perplexing Symphony No. 5, which went through many revisions between 1914 and 1919. By this time in his life, the composer’s distinctive late-Romantic idiom was facing challenges from younger disrupters like Arnold Schoenberg (1884–1951) and Igor Stravinsky (1882–1971). Was Sibelius tempted to follow their example? Possibly, but if so, he ultimately decided his way forward lay along the path he was already traveling. “It was as if God the Father was throwing pieces of mosaic from the edge of heaven and asking me to figure out what the pattern was,” he told his diaries while in the throes of the Fifth. Stasevska’s program also includes Einojuhani Rautavaara’s beloved Cantus Articus (1972), with its disconsolate recorded birdsong from the Far North, and Leonard Bernstein’s Serenade (1954), for solo violin, strings, harp, and percussion. The Bernstein is inspired by Plato’s Symposium, and it’s among the maestro’s serious classical compositions that have weathered best. —Matthew Gurewitsch