The North is not only the magic of white nights aurora, not only the beauty of the blue mountain peaks in the distance, but also the bewitching music of the sea waves. The North is courage, struggle, it is always work, and therefore the traditional saga of the North is not verbose and harsh. Even if it is narrated by the sounds of music. Let's remember this when opening our excursion into the music of Suomi, which we used to call Finland.
Jean Sibelius is the founder of the Finnish national music school and its largest representative. The art of Sibelius is inextricably linked with the past and present of the Finnish people, with the nature of Finland, with its songs and stories. In Sibelius's music we feel the pulse of his native country. The harsh nature of Finland, the country of “a thousand lakes”, granite rocks and ancient forests, is also reflected in his work. To feel happy, the composer always needed the sun, light, birdsong; but from a young age he fell in love with another aspect of his native land: the matte, pastel colors of the snowy northern landscape, the mysterious twilight of the long polar nights, the whirlwinds and howls of snow storms.
Jan (Johan) Julius Christian Sibelius was born on December 8, 1865 in the small Finnish town of Hemeenlinna in the family of a regimental doctor. Amateur choirs and music clubs existed in Hemeenlinna, and artists from Russia, Helsinki and Turku often came. It is clear that amid such an environment, Janne’s interest in music increased.
At the age of five he was taught to play the piano, but scales and exercises for a long time discouraged the boy from playing the piano. music lessons. However, for all his extraordinary musical abilities, little Sibelius did not at all give the impression of a child prodigy. He was an ordinary, cheerful child who sometimes loved to play pranks and frolic with his comrades. The only thing that distinguished him was his extraordinary love for nature. After graduating from high school, yielding to the insistence of his mother and grandmother, who, although they encouraged Janne to study music at home, did not want to hear about the profession of a musician, the young man entered the Faculty of Law at the University of Helsinki. At the same time, he studied violin and music theory at the Music Institute. Soon the musical life of the capital so captivated the young Sibelius that he forgot about jurisprudence. At the Music Institute, Sibelius took lessons in violin playing and composition theory. At first, Ian was more interested in the violin, but gradually the composition overpowered him. Sibelius' graduation works - string trio, string quartet - were publicly performed in 1889 in Helsinki and were a great success. At the institute, Sibelius began a friendship with the famous pianist and composer Ferruccio Busoni, who was a piano teacher in 1888-1889. In the autumn of 1889, Sibelius went to Berlin to complete his education. A two-year stay in Germany and Austria brought many interesting impressions. In Berlin he took lessons from the famous theorist Albrecht Becker. New acquaintances were made there: with young German and Finnish musicians, with their music; he listened to Richard Strauss's Don Juan and the Aino Symphony.
Sibelius's stay in his homeland in 1890 was marked by important event in his life - he became engaged to Aino Järnefelt. During this happy period of his life, the young composer became one of the central figures in the artistic life of Finland. He communicates with its major figures, meets the famous playwright Minna Kant, continues to meet with his patron and adviser R. Kayanus, pianist-composer O. Merikanto, etc. A talented artist, Axel Galen, who attracted the attention of all of Europe with his paintings, became his close friend - Kallela. The friends spent whole hours in lively conversations on pressing issues of art somewhere in a cafe or restaurant in Helsinki. All of them were ardent adherents of the national trend in art, and the images of “Kalevala” were an inexhaustible source of their inspiration.
Sibelius gained many interesting impressions from his trip to Italy. Having visited Rome, Venice and other cities, he was, by his own admission, “highly captivated by nature, the amazing historical sights and the population of the country.” Thanks to the friendly help of Cajanus, Sibelius was able to improve his orchestral skills through self-education.
Almost all of his works of this period are directly related to the images of his native country, its history, folk poetry, especially "Kalevala". Sibelius remains committed to music associated with poetic text, vocal and program. In a letter to the poet J. H. Erkko, he says: “I believe that music in itself, so to speak, absolute music, cannot satisfy. It evokes certain sensations, emotions, but at the same time some kind of feeling always remains in the soul. dissatisfaction...Music can only fully manifest its effect when it is given direction by some poetic subject, in other words, when the sphere created by music becomes clearer, and the words, however beautiful they may be in themselves, acquire even greater meaning." . Soon he left again for further improvement, this time to Vienna. The Austrian capital, which was the largest musical center, had a huge attractive force for everyone involved in art.
When the 26-year-old composer returned home in 1891, he became convinced that some of his works were eagerly performed and enjoyed recognition. Soon Sibelius performed a large work in which his talent was widely revealed for the first time - the symphonic poem "Kullervo" for two soloists, a male choir and orchestra. Its first sketches were made during the years of my stay abroad.
K. Flodin wrote: "...He strove to create Finnish music from beginning to end. In the unique character of the rune tunes, in the rhythms of folk dances, in the melodies of shepherd's horns, he found moods close to him. In the scales he used, in the use of five-beat time, he completely followed ancient runes..." The appearance of a work of such scope and significance after purely school experiences and few chamber works and orchestral pieces published or performed publicly, after unproductive “years of wanderings” abroad, poses a mystery for the biographer.
In the autumn of 1892, Sibelius began teaching at the Music Institute in Helsinki. He teaches a composition class and at the same time takes part in the work of the institute string quartet, performing the part of the second violin. At this time, an Orchestra School was opened in Helsinki at the Philharmonic Society on the initiative of Kayanus. Sibelius was invited there as a composition teacher.
“And this was not the only proof of Kayanus’s active interest in me,” said the composer. “What was of great importance for me was that he completely put his orchestra at the service of my art, putting it at my disposal when I wanted to try the effect of certain timbre combinations or to hear the actual sound of my score. Cajanus' encouragement greatly contributed to my development as an orchestral composer during the last decade of the nineteenth century. I am indebted to him for all that he did for me, not only in my early years, but also later. , because the art was very small."
Despite the fact that the Institute and school took Sibelius up to thirty hours a week, he managed to compose a lot. .
The summer months of 1893 gave birth to other works of Sibelius. Apparently, back in the spring, the Vyborg student society approached him with a request to write musical accompaniment for a series of “living pictures” telling about some moments of the historical past of Karelia. The composer readily responded to this proposal. The coming years will pass in tireless and fruitful work. Sibelius completed the Lemminkäinen suite and composed his only one-act opera, The Girl in the Tower.
The last years until the end of the century turned out to be a time of great creative growth for Sibelius. The composer still works in different genres.
The winter of 1903/04 was the last that Sibelius spent in Helsinki. Life in the capital began to weigh more and more on him. There were a number of reasons - both personal and social. The aggravated political situation in the country and national oppression, especially felt in the cities, caused the patriotic composer severe moral suffering. This was also mixed with physical illness: the ear disease that began in 1901 intensified and caused serious concern. In addition, life in Helsinki constantly prevented him from concentrating all his mental strength on creativity, in which Sibelius saw both his calling and the fulfillment of his public duty.
The composer's creative activity was gradually coming to an end. His statements about music are full of deep meaning. They show a great and wise artist, who thought broadly and boldly, and never followed fashion trends. “Having lived such a long life as mine,” Sibelius said, “and watching how one direction was born after another, flourished and died, you take a less decisive position. You try to find good where you look. You often realize that almost every musical "school" has something good in it in one way or another. If I were young again, but with the experience I have now, I think, for example, that I would be more tolerant of Wagner than I once was. then my attitude towards Wagner, I think, depended to a large extent on the fact that all my friends, both young and old, succumbed to his influence. And yet, even today I put Verdi above Wagner...”
At the request of Jean Sibelius, E. Gilels played two preludes and fugues by Shostakovich. “Sibelius listened with half-closed eyes, concentrated, in complete immobility. When the sounds of the piano died down, he was silent for a while and then said, making a wide gesture with his hand: “This is music, listening to which you begin to feel that the walls of this room have moved apart and the ceiling has become higher...”
Until the end of his life, Sibelius (September 20, 1957, in his ninety-second year of life) retained a bright, insightful mind, a wonderful sense of humor, physical strength and vigor, and extraordinary smartness.
The Finnish people idolized their great singer.
In 1985, the International Jean Sibelius Prize was established.
The beginning of Sibelius's composer activity coincided with the emergence of national music schools in European countries.
The new Russian school, which gave the world such brilliant artists- realists like Mussorgsky, Borodin, Rimsky - Korsakov, Tchaikovsky. In the Czech Republic, wonderful composers Smetana and Dvorak are nominated. In Norway - Grieg.
Sibelius's art was also imbued with the national spirit, but he expressed it differently than his predecessors in Finland.
The peculiar northern flavor of Finnish folk song always inspired Sibelius. But, as we have already said, in his works the composer did not quote folk melodies, managing to capture their character by using individual melodic and harmonic intonations and rhythmic features.
The history of songs of the Finnish people goes back centuries. In the eastern part of Finland, wonderful songs - runes - arose. Runes are strophic songs, with a predominance of trochaic meter (alternating one long and one short syllable), with a rich, varied melody, with a certain clear rhythm. The most common sizes are 5/4 and 7/4. The art of runes has been preserved. And today, in more remote areas of Finland, you can find singer-storytellers who remember many of these tunes by heart, supplementing them with new improvisations. The runes included in the collection "Kalevala" are genuine folk art.
A whole galaxy of talented Finnish composers grouped at the end of the 20th century around Martin Wegelius, director of the Helsinki Music Institute, author of symphonic, piano and vocal music, and compiler of a number of theoretical works. These were Jean Sibelius, Armas Jernefelt, Erkki Melartin and others.
Development national identity Sibelius was also facilitated by the environment in which he moved in early years. The composer's friends, young poets and writers encouraged Sibelius to work in the field of vocal lyricism and theatrical music. It is to this period that the creation of “Kulervo - Symphony” in five movements for a large orchestra, choir and soloists dates back; The plot for it was some episodes of "Kalevala".
On the advice of his friend R. Cajanus, Sibelius wrote “Saga” in 1892, a symphonic poem for large orchestra.
In 1893, during one of his summer stays in Kuopio, in northern Finland, Sibelius, inspired by an episode from Kalevala, decided to write an opera. He set to work with enthusiasm and created the large orchestral suite Lämminkäinen.
The first poem is a legend - “Lämminkäinen and the girls on the island of Saari”. The program content of the second legend - "Lämminkänen in Tuonela" is dedicated to the three heroic feats that he performs in order to win the hand of his beloved girl.
We see that almost from the very beginning, Sibelius's work won wide public recognition. This recognition of Sibelius’s services to national culture was expressed, among other things, in the fact that by decision of the Finnish Senate in 1897, Sibelius was awarded an annual scholarship, which gave him the opportunity to significantly reduce his teaching activity.
Sibelius began composing his First Symphony at the age of 34.
Dramatic music has always attracted the composer. But not a single work by Sibelius was as widespread as the “Sad Waltz” from the music to Arvid Jernefelt’s drama “Death,” written in 1903.
Sibelius's numerous solo songs are a valuable contribution to romance lyrics - mostly composed on Swedish texts, like the poets of Finland in the 19th century.
Runberg, Rydbeg, Topelius - wrote in Swedish.
The chamber instrument closest to Sibelius is the violin. Sibelius' major violin works include his concerto for violin and orchestra.
The Russian musical community deeply respects the work of the wonderful Finnish composer. His music is constantly heard in concert halls cities and on the radio. In our country, significant dates in the life of Sibelius are always celebrated.
Sibelius wrote more than 150 piano works, about 115 of which were published. A significant portion of them still serve as vulnerable targets for critics. Sibelius himself recklessly said that he wrote little things for the piano in his free moments, as a break from big orchestral things, and in fact, he was not particularly interested in the piano. However, already in his declining years, he jokingly predicted: " I know that my piano pieces have a safe future, despite the fact that they have completely fallen into oblivion - one day they will become as popular as Schumann's pieces"And indeed, many pianists, among whom Glenn Gould, took the trouble to study Sibelius's piano music, recognizing its originality and suitability for the instrument. Gould, emphasizing the composer's skill, said that "in Sibelius's piano works, everything is music, everything sings ..and, most importantly, it is a significant addition to the too limited piano repertoire of late romanticism." Many recordings of Sibelius's collections of piano music have appeared in the digital era. Finnish pianist Erik Tavaststjerna (b. 1951), whose father was also a pianist (a student of Neuhaus, Cortot and researcher of Sibelius's work) recorded the most thorough of them in the early 80s. According to him, " Many of Sibelius's piano works are quite remarkable both in their form and in the sense of musical material and style, which is well suited to the character of the instrument. His compositions contain significant technical difficulties that are interesting for the performer; the texture is generally melodic and colorful, which is interesting for the listener..."
Several periods can be distinguished in the composer's style. The first of these dates back to Sibelius's youth (1881-1891), when he adopted the techniques of the classical and romantic style. In the second, "national romantic" period (1891-1902), Sibelius's music became more chromatic and the composer created an interesting synthesis of Central European melodies and Finnish elements. During his third, “neoclassical” period (1908), Sibelius, strongly influenced by Kalevala romanticism and symbolism, actively used classical idioms. During the fourth period of so-called "modern classicism" (1908-1919), he wrote neoclassical sonatines, and at the same time he was largely influenced by impressionism. Fifth and last active creative period(1919-1929) was the time of the “universal synthetic style”, which combined the foundations of the classical tradition, radical elements of modernism, mysticism, pantheism, and tonal meditation.
IN Six Impromptu Op. 5 (1890-93)- an early, but quite significant in content piano opus young composer, we find, along with the influences of Russian music, echoes of Sibelius’s travels to Karelia, where he collected traditional Finnish runes. The researchers consider the theme of the first impromptu as a “musical symbol of Finland.” 2nd piece - trepak dance with a fast middle part, 3rd - fabulous, in the spirit of Grieg, 4th - melancholic, based on the alternation and repetition of two motives, 5th piece - sparkling arpeggio, written as if for a lute, harp or kantele, the last 6th impromptu - graceful waltz.
Wonderful Sonata in F major, Op. 12 (1893)- combines the characteristics of orchestral and virtuoso piano writing. The first part opens with powerful, almost “Brucknerian” sounds with echoes of “Kullervo”, “Saga” and the music of “Karelia”. Tremolo and ostinato play a significant role here. In the second part of the sonata - lyrical and sad, Sibelius used the melody of an unfinished song for a male choir, twice interrupted by a calm dance. The stormy, dizzying finale is based on the alternation of two motives - again the trepak and the lyrical theme, carried out in a deafening fort. The unusual "Karelian style" of Sibelius's sonata has no obvious model in the composer's contemporary academic music, although there may be something from Grieg and Tchaikovsky in it.
Ten pieces for piano op. 24 (1895-1903) is a fairly popular and frequently performed opus by Sibelius. Here the composer develops mainly traditional romantic traditions, and not a unique national Karelian style, although undoubtedly folklore finds left their mark on this work. Opening cycle No. 1 - Impromptu evokes thoughts of Schubert, some moments are reminiscent of future motives of the "Sad Waltz". No. 2 - Romance, a dramatic love scene with orchestral climaxes in the style of Wagner. No. 3 Caprice is a virtuoso piece with violin techniques clearly overheard from Paganini. No. 4 - again a dramatic love Romance, No. 5 - Waltz in E-flat major in the spirit of Chopin, No. 6 - Idyll, which is reminiscent of Chopin's ballad in F major (in the middle of the piece there is an impressive passage depicting a storm of feelings and an imitation of a solo violin). No. 7 - catchy melodic Andantino, No. 8 - Nocturne with a cello melody, No. 9 - Romance in the spirit of Liszt, much loved by Finnish pianists, No. 10 - Barcarolle.
Six Finnish folk songs for piano (1902-1903)- a very interesting example of processing folk melodies. This is perhaps the only opus where Sibelius, who throughout his life openly acknowledged the influence of the melody and modality of folk songs and runes on his work, used genuine folk melodies. The composer harmonizes the melodies in such a way as to move away from the romantic style. He avoids dominant and traditional tonal features, emphasizing the originality of the melody.
"Kulliki", three lyric pieces op. 41 (1904)- a program opus based on "Kalevala", a kind of addition to the orchestral "Lemminkäinen". The music of "Kulliki" combines the Kalevala romanticism of Sibelius and classical Beethoven tendencies. The first play is somewhat warlike, filled with drama - the story of the kidnapping of the Finnish beauty Kyllikka Lemminkäinen. The hunter kidnapped her, and while taking the girl away, he threatened: if the Saari girls tell who took Kyllikki, he will bring war and destroy all their husbands and boyfriends. Kyllikki initially resisted, but then agreed to become Lemminkäinen’s wife and took an oath from him that he would never go to war in her native land. Lemminkäinen swore and took a reciprocal oath from Kyllikki that she would never go to her village to dance with the girls. Lemminkäinen lived happily with his wife. One day a hunter went fishing and stayed late, and meanwhile, without waiting for her husband, Kyllikki went to the village. The second thoughtful piece tells about Kyllikka’s life with Lemminkäinen, and the finale in a polka rhythm is her departure from him.
Ten Little Pieces, Op. 58 (1909)- a somewhat experimental composition written during a period of active creative searches for the composer. The traditional vocabulary of romanticism is complemented here by modern polyphonic techniques and harmonies, even dissonances. No. 1 “Dream” - the French title of the work and the tempo clearly indicate an impressionist-expressionist flavor (Debussy, Scriabin). No. 2 - cheerful Scherzino. The composer saw in him the image of Benvenuto Cellini, meaning, perhaps, the lively character and capriciousness of the witty Renaissance artist. No. 3 Aria - funny tonal adventures based on Bach's suites. No. 4 "The Shepherd" is a fast piece in the spirit of the 18th century French Baroque, reminiscent of the passpier from Debussy's Suite de Bergamasco. No. 5 “In the Evening” is written in the spirit of Schumann. The apparent simplicity of the piece hides unpredictable changes in key moments, No. 6" - Dialogue", No. 7 "At the tempo of a Minuet" - according to the composer, is full of nostalgic dreams and "melancholy in the style of bygone days." No. 8 "Fisherman's Song", in which Italian melodic material is combined with harp-arpeggio figures. No. 9 - Serenade with violin trills. No. 10 "Summer Song" with a choral type melody - filled with a solemn or even religious atmosphere.
Three Sonatinas, Op. 67 (1912)- retrospective works demonstrating Sibelius’s interest in classicism, which was quite in the spirit of the times (remember Reger, Busoni, French stylization). It would be difficult to find more concise and noble themes in the music of the time than in the Sonatina No. 1 in F sharp minor with a beautiful first movement, a slow chorale Largo and a sparkling finale. The model for Sonatina No. 2 in E-flat major was the music of Bach. But the images of the sonatina are far from Cubist adaptations (Bach with irregular bass lines, capricious and broken rhythms, etc.), they are classical in the truest sense of the word - healthy polyphony, clear diatonic melodies, full of light and pure joy. In the two-movement Sonatina No. 3 in B flat minor, Sibelius pays tribute to the late Beethoven. this is an interesting experiment in the field of form: an example of virtuoso transformation and fusion of thematics, the use of arpeggio techniques, ornament, and play of registers.
Two Little Rondos, Op. 68 (1912) close in style to the Sonatinas, they were also written in a neoclassical key, but in a freer manner. The first rondo has wonderful aspirations reminiscent of Liszt's waltzes, the second is based on a cheerful polka rhythm and contains several sharp dissonances in the spirit of Poulenc and Prokofiev.
10 Bagatelles, Op. 34 (1913-16) And Lyric Pieces, Op. 40 (1912-16) together they form something of an album for young people. These are salon pieces, quite simple, very melodic and pleasant to the ear, paying tribute to the pianism of Chopin, Schumann, Liszt and Tchaikovsky. In op.34, interesting is No. 2 - a charming stylization of the gavotte, original piece No. 8 "The Harpist" in the spirit of the poem "The Bard" - subtle work with arpeggios, No. 9 "Confession" - a stylization in the spirit of Schumann. In the Lyrical Pieces, interesting is No. 4 - a dance in the spirit of Rococo, No. 5 Lullaby - a melodic pearl of the cycle, No. 7 Rondetto - a Viennese polka at a moderate tempo, No. 10 - a solemn and festive polonaise.
Four lyric pieces op. 74 (1914)- a collection of beautiful programmatic poetic plays marked by the influence French impressionism. 1st - "Eclogue" takes its inspiration from classical antiquity and the pure innocence of classicism. Play No. 2 - "Tender West Wind" is reminiscent of the compositions of Debussy and Ravel in its mood. 3rd - “At the dance”, 4th - “In the old house”.
Five Pieces, Op. 75 (1914-19) "Trees" - one of the best examples of the sensitive pantheistic perception of the composer, who admitted that “the trees speak to him.” No. 1 - “When the Rowan Blossoms” is an excitedly lyrical introduction in the spirit of Tchaikovsky. No. 2 "Lone Pines" gives the impression of absolute fortitude, as a symbol of Finland's resilience against the icy wind from the east. No. 3 “Aspen” breathes the mystery of impressionism. No. 4. “Birch” - the favorite tree of the Finns, an original piece in the Mixolydian mode. No. 5. “Spruce” is one of Sibelius’s undisputed hits, a slow waltz comparable in beauty to the Sad Waltz. Fast arpeggios really sound amazing.
Five Pieces, Op. 85 (1916-17) is subtitled "Flowers". Each piece of the cycle, marked by seriousness and poetry, is dedicated to a specific flower: No. 1 “Daisy”, No. 2 - “Carnation”, No. 3 - “Iris”, No. 4 - “Catchment” (Aquilegia), No. 5 - “Bell” - bright , a sparkling finale.
13 pieces, op. 76 (1911-19)- again a collection of simple miniatures, some of them are very popular among pianists (No. 2 - Etude, No. 9 - Arabesque, No. 11 - Linnea (flower), No. 12 - Capriccietto, No. 13 - Harlequinade).
Six Pieces, Op. 94 (1914-1919), Six Bagatelles, Op. 97 (1920) and Eight Short Pieces, Op. 99 (1922)- interesting cycles in which Sibelius approaches the French aesthetics of stylizations, showing kinship with Satie and Poulenc, partly with Prokofiev with his perky gavottes and marches. Plays written under the influence of French ballet and neoclassicism are reminiscent of the salon pieces of Beethoven, Schumann, Brahms, Grieg and other classics.
Sibelius's last piano works are marked by a subtle and refined texture, motifs of worship of Finnish nature, and orchestral sonority, akin to his last symphonies.
Five Romantic Pieces, Op. 101 (1923-1924): No. 1 - Romance, the harmonies of which are bolder than in earlier works. No. 2 - "Evening Song" and No. 3 - "Lyrical Scenes" - musical paintings in the melodic key of the Sixth Symphony. No. 4 - Humoresque in the rhythm of a mazurka, No. 5 - “Romantic Scenes” is reminiscent of Fauré’s piano opuses.
Five Characteristic Impressions, Op. 103 (1924)- an example of Sibelius's powerful orchestral pianism, close in its breadth to the Seventh Symphony. Piece No. 1. "Village Church" is based on Sibelius's Andante Festivo for string quartet (1922). The compositional technique shows similarities to Debussy's preludes, especially in the arpeggio section. No. 2. “The Violinist” is a stylization of folk musicians playing music. No. 3 “The Oarsman” is a diatonic piece in the spirit of the 7th symphony, No. 4 “The Tempest” may be related to the music for Shakespeare’s “The Tempest”, which Sibelius wrote later. No. 5 "In a Mournful Mood" - a funeral march in miniature.
Five Sketches, Op. 114 (1929)- Sibelius's last work for piano is a masterful farewell to the instrument. The composer managed to find new aspects here, new look pianistic sound, close to his orchestral works. Five pantheistic impressions of nature show the style of the late Sibelius in pure form and contain interesting tonal and harmonic innovations. The opus was first published only in 1973. No. 1. Landscape - fragile delicacy here is created by simple melodic elements. No. 2. “Winter Place” - alternating Ionic and Aeolian modes, a combination of sweet and sour, joyful and sad. No. 3 "Forest Pond" is based on modal improvisation in the Dorian mode. No. 4 “Song in the Forest” - an endless song about the eternity of the forest. Here Sibelius demonstrates modern and exciting tonal techniques. No. 5. “Visions in Spring” - a fleeting image, again a combination of the Mixolydian mode and Ionian-Aeolian harmonic features, Sibelius’ technique here impresses with its amazing plasticity.
Sibelius's first-class knowledge of the instrument is evident in numerous piano transcriptions orchestral works that the composer made - among them "Karelia", "Finland", the famous Sad Waltz, symphonic poems and suites, theater music, song arrangements, including "The Bell Melody of the Kallio Church", which every resident of Helsinki knows.
Original works for piano:
Six Impromptu, Op. 5 (1890-93)
Sonata in F major, Op. 12 (1893)
Ten Pieces, Op. 24 (1894-1903)
Six Finnish folk songs (1902-1903)
Küllikki, three lyric pieces, Op. 41 (1904)
Ten Pieces, Op. 58 (1909)
Three Sonatinas, Op. 67 (1912)
Two Little Rondos, Op. 68 (1912)
Ten Bagatelles, Op. 34 (1913-1916)
Lyric Pieces, 10 Pieces, Op. 40 (1912-1916)
Four Lyric Pieces (1914) Op. 74
Five Pieces, Op. 75 "Trees" (1914-1919)
Five Pieces, Op. 85 "Flowers" (1916-1917)
Thirteen Pieces (1911-1919) Op. 76
Six Pieces, Op. 94 (1914-1919)
Six Bagatelles, Op. 97 (1920)
Eight Short Pieces, Op. 99 (1922)
Five Romantic Pieces, Op. 101 (1923-1924)
Five Characteristic Impressions, Op. 103 (1924)
Five Sketches, Op. 114 (1929)
Piano transcriptions of orchestral works:
Karelia, suite, Op. 11 (1893)
Forest Nymph, Op. 15 (1894)
Finland, op.26 (1899)
King Christian II, from the music to the play by A. Paula (1898)
Two Songs, Op. 31 (Nos. 2,3) (1899-1904)
Sad Waltz, from the music to the drama by A. Järnefelt, Op. 44 (1903)
Pelleas and Mélisande, from the music to the play by M. Maeterlinck (1905)
Belshazzar's Feast, from the music to the drama by J. Procope, Op. 51 (1906)
Dryad, op.45, No. 1 (1910)
Intermezzo Dance, Op. 45, No. 2 (1910)
Bell Melody of Kallio Church, op. 65b (1912)
Scaramouche, from the music for the pantomime ballet, op. 71 (1913)
Finnish March, Op. 91a (1918)
Scottish March, Op. 91b (1918)
Three Pieces, Op. 96 (1920)
Little Suite, Op. 98a (1921)
Country Suite, Op. 98b (1921)
Genre Suite, Op. 100 (1922)
The Tempest, from the music to the play by William Shakespeare, op. 109 (1930)
Jan Sibelius (1865-1957)
Complete Original Piano Music
Erik Tawaststjerna, piano
Vol. 1
Kyllikki, Three Lyric Pieces, Op. 41
1. I. Largamente. Allegro
2. II. Andantino
3. III. Commodo
6 Impromptus, Op. 5
4. I. Moderato
5. II. Lento - Vivace
6. III. Moderato (alla Marcia)
7. IV. Andantino
8. V. Vivace
9.VI. Commodo
Piano Sonata in F major, Op. 12
10. I. Allegro molto
11. II. Andantino
12.III. Vivacissimo
6 Finnish Folksongs
13. I. Minun kultani
14. II. Sydamestani rakastan
15.III. Ilta tulee, ehtoo joutuu
16. IV. Tuopa tytto, kaunis tytto kanteletta soittaa
17. V. Velisurmaaja
18.VI. Haamuistelma
Vol. 2
10 Piano Pieces, Op. 24
1. I. Impromptu
2. II. Romance in A major
3. III. Caprice
4. IV. Romance in D minor
5. V. Waltz
6.VI. Idylle
7.VII. Andantino
8. VIII. Nocturne
9. IX. Romance in D flat major
10. X. Barcarole
10 Bagatelles, Op. 34
11. I. Valse
12.II. Air dance
13.III. Mazurka
14.IV. Couplet
15. V. Boutade
16.VI. Reverie
17.VII. Danse pastorale
18. VIII. Joueur de harpe
19. IX. Reconnaissance
20. X. Souvenir
Vol. 3
10 Pieces, Op. 58
1. I. Reverie
2. II. Scherzino
3. III. Air variety
4. IV. Le berger
5. V. Le soir
6.VI. Dialogue
7.VII. Tempo di menuetto
8. VIII. Chant du pecheur
9. IX. Serenade
10. X. Chant d'ete
10 Pensees lyriques, Op. 40
11. I. Valsette
12. II. Chant sans paroles
13.III. humorous
14.IV. Menuetto
15. V. Berceuse
16.VI. Pensee melodique
17.VII. Rondoletto
18. VIII. Scherzando
19. IX. Petite serenade
20. X. Polonais
Vol. 4
Piano Sonatina F sharp minor, Op. 67, no. 1
1. I. Allegro
2. II. Largo
3. III. Allegro moderato
Piano Sonatina E major, Op. 67, no. 2
4. I. Allegro
5. II. Andantino
6. III. Allegro
Piano Sonatina B minor, Op. 67, no. 3
7. I. Andante. Allegro moderato
8. II. Andante - Allegro
2 Rondinos, Op. 68
9. I. Rondino in G sharp minor
10. II. Rondino in C sharp minor
4 Lyric Pieces, Op. 74
11. I. Ekloge
12. II. Sanfter Westwind
13.III. Auf dem Tanzvergnugen
14.IV. Im alten Heim
13 Pieces, Op. 76
15. I. Esquisse
16. II. Etude
17.III. Carillon
18. IV. humorous
19. V. Consolation
20.VI. Romanzetta
21. VII. Affetuoso
22. VIII. Piece enfantine
23. IX. Arabesque
24. X. Elegiaco
25.XI. Linnaea
26.XII. Capriccietto
27.XIII. Harlequinade
Vol. 5
5 Pieces, Op. 75, "The Trees"
1. I. When the Rowan blossoms
2. II. The Solitary Pine
3. III. The Aspen
4. IV. The Birch
5. V. The Spruce
5 Pieces, Op. 85, "The Flowers"
6. I. Bellis
7.II. Oeillet
8.III. Iris
9. IV. Aquileja
10. V. Campanula
11. Mandolinato, without op., 1917
12. Till tranaden (To yearning), without op., 1913
13. Spagnuolo, without op., 1917
6 Pieces, Op. 94
14. I. Dance
15. II. Novellette
16.III. Sonnet
17. IV. Berger et Bergerette
18. V. Melody
19.VI. Gavotte
6 Bagatelles, Op. 97
20. 1. Humoresque I
21. 2. Lied
22. 3. Kleiner Walzer
23. 4. Humoristischer Marsch
24. 5. Impromptu
25. 6. Humoresque II
Vol. 6
8 Piano Pieces, Op. 99
1. I. Piece humoristique
2. II. Esquisse
3. III. Souvenir
4. IV. Impromptu
5. V. Couplet
6.VI. Animoso
7.VII. Moment de valse
8. VIII. Petite marche
5 Piano Pieces, Op. 101
9. I. Romance
10. II. Chant de soir
11.III. Scene lyrique
12.IV. humorous
13. V. Scene romantic
5 Piano Pieces, Op. 103
14. I. The Village Church
15. II. The Fiddler
16.III. The Oarsman
17. IV. The Storm
18. V. In Mournful Mood
19. Morceau Romantique sur un motif de M. Jacob de Julin, 1929
20. Kavaljeren, without op., 1909
5 Esquisses, Op. 114
21. I. Landscape
22. II. Winter Scene
23.III. Forest Lake
24.IV. Song in the Forest
25. V. Spring Vision
vol. 1
Karelia Suite, Op. 11 (arr. for piano)
1. I. Intermezzo
2. II. Ballade
3. Wood Nymph, Op. 15 (arr. for piano)
4. Finlandia, Op. 26 (arr. for piano)
King Christian II, Op. 27 (arr.for piano)
5. I. Elegy
6.II. Minuet
7.III. Musette
8. Har du mod (Have you courage), Op. 31, No. 2 (arr.for piano)
9. Atenarnes sang (Song of the Athenians), Op. 31, No. 3 (arr. for piano)
10. Valse Triste, Op. 44 (arr. for piano)
11. The Dryad, Op. 45, No. 1 (arr. for piano)
12. Dance-Intermezzo, Op. 45, No. 2 (arr. for piano)
Pelleas and Melisande, Op. 46 (arr. for piano)
13.No. 1: Prelude to Act I Scene 1, At the Castle - Gate
14.No. 2: Prelude to Act I Scene 2, Melisande
15.No. 3: Prelude to Act II Scene 1, A Spring in the Park
16.No. 4: Song in Act III Scene 2, The 3 Blind Sisters
17.No. 5: Melodrama in Act III Scene 4, Pastorale
18.No. 6: Prelude to Act III Scene 1, Melisande at the Spinning Wheel
19.No. 7: Prelude to Act IV Scene 1, Entr"acte
20.No. 8: Prelude to Act V Scene 2, The Death of Melisande
vol. 2
Belshazzars Feast, Op. 51 (arr. for piano)
1. I. Oriental procession
2. II. Solitude
3.III. Nocturne
4. IV. Khadra's Dance
5. Bell Melody of Berghall Church, Op. 65b (arr. for piano)
Scaramouche, Op. 71 (arr. for piano)
6. I. Danse elegiaque
7.II. Scene d'amour
8. Finnish Jäger March, Op. 91a (arr. for piano)
9. Scout March, Op. 91b (arr. for piano)
3
Pieces, Op. 96 (arr. for piano)
10. I. Valse lyrique
11. II. Autrefois
12.III. Valse chevaleresque
Suite Mignonne, Op. 98a (arr. for piano)
13. I. Petite Scene
14. II. Polka
15.III. Epilogue
Suite Champetre, Op. 98b (arr. for piano)
16. I. Piece caracteristique
17. II. Melodie elegiac
18.III. Dance
Suite Caracteristique, Op. 100 (arr. for piano)
19. I. Vivo
20. II. Lento
21.III. Commodo
The Tempest, Op. 109 (arr. for piano)
Episode 22
23. II. Scena
24.III. Dance of the Nymphs
Covers
http://files.mail.ru/FMGPD9
Added
Youth works for piano
Youth Production for Solo Piano, Vol.1
1. Scherzo in E major with Trio in E minor, JS 134K1a 2"34
2. Con moto, sempre una corda in D flat major (1885), JS 52 3"34
Three Pieces (1885)
3. Andante in E flat major, JS 74 3"00
4. Menuetto in A minor, JS 5 1"16
5. Tempo di valse in A major, JS 2 0"55
6. Scherzo in E major with Trio in A minor, JS 134K1b 2"04
11 Variations on a harmonic formula in D major (1886)
7. Index 1 - 11 10"12
A Catalog of Themes, 50 Short Pieces (1887)
8. Index 1 - 10 1"26
9. Index 11 - 20 1"39
10. Index 21 - 30 2"10
11. Index 31 - 40 4"18
12. Index 41 - 50 5"52
Tranaden (Suckarnas myster) (Yearning - The Mystery of the Sighs)
13. Poem: Tvenne lagar styra menniskolifvet… - Piano:Largo - Andante 5"13
14. Poem: Ser du hafvet?… - Piano: Andantino 4"19
15. Poem: Hor du vinden?… - Piano: Molto allegro - Andante - Adagio cantabile 4"08
16. Poem: Hvad ar varen?… - Piano: Allegro - Andantino - Moderato 2"44
17. Poem: Menska, vill du lifvets vishet lara… - Piano: Largo 3"03
18. Andante in E flat major (1887), JS 30a 4"02
19. Aubade in A flat major (1887), JS 46 2"48
20. Au crepuscule (At Twilight) in F sharp minor (1887), JS 47 1"52
Five Short Pieces (1888)
21. Tempo di menuetto in F sharp minor 0"24
22. Allegro in E major 0"27
23. Moderato in F minor 0"57
24. Vivace in E flat major 0"16
25. Andantino in C major 1"17
Three Short Pieces (1888)
26. Andantino in B major, JS 44 1"22
27. Allegretto in B flat minor, JS 18 1"02
28. Allegro in F minor 0"43
Youth Production for Solo Piano, Vol.2
Three Walzes (1888)
1. Waltz in E major 1"03
2. Piu lento - Tempo di valse in E flat major, JS 150 3"19
3. Waltz, Fragment in F minor 0"31
Two Pieces (1888)
4. Andantino in E major, JS 41 1"59
5. Two Sketches, Presto in A minor, JS 6 1"00
2 Pieces (1888)
6. Allegretto in G minor, JS 24 0"49
7. Moderato - Presto in D minor, JS 133 1"30
8. Allegro, Fragment in E major (1888) 0"18
Three Sonata Movements (1888)
9. Largo in A major, JS 117 4"07
10. Vivace in D minor, JS 221 2"36
11. Adagio in D major, JS 11 4"04
12. Three Fugue Expositions in D minor (1888-89) 1"35
13. Polka in E flat major, JS 75 (1888-89) 1"08
Florestan. Suite for Piano, JS 82 (1889)
14. I. Moderato 1"33
15. II. Molto moderato 2"23
16.III. Andante 4"06
17. IV. Tempo I 2"04
18. Allegretto in E major, JS 21 (1889) 1"33
19. Valse. A Betsy Lerche in A flat major, JS 1 (1889) 3"48
20. Sonata Allegro Exposition and Development Section in D minor (1889) 6"51
Sonata Fragments for Becker 1889 J.S.
21. Two Sonata Sketches 0"47
22. Eleven Sonata Sketches 2"17
23. Sonata Allegro Exposition in F minor, JS 179a 4"04
24. Sonata Allegro Exposition in C major, JS 179b 1"29
25. Sonata Allegro in E major, JS 179c 5"00
26. Sonata Allegro Exposition in C minor, JS 179d 3"38
27. Polka, Fragment in E minor (1890-92) 0"21
28. Mazurka, Sketch in D minor (1891-94) 0"23
29. Scherzo in F sharp minor, JS 164 (1891) 1"44
Folke Grasbeck, piano
http://files.mail.ru/H4NQR0
ape+cue / 2CD with booklets
Jean Sibelius
Finland / Composer / Late romanticism, neoclassical features / Main genres: symphonic music, concert
Jean Sibelius had the honor of becoming a symbol of his country. The Finnish people honored the maestro during his lifetime with such honors that are given to only a few composers. Sibelius is such a large-scale figure, a real block, that one can write about him endlessly. Sibelius's music is holistic and original. It seems that it is literally carved from granite stone.
Sibelius lived a long life and went through a difficult creative path, becoming a major musical figure. Everything about his personality is very complicated. It is known that he was a gentleman with a character, sometimes hot-tempered, unpredictable and very peculiar. Genius, in a word. He, being the national Finnish composer, the main hero of the country, whose face was on the 100 Finnish kroner banknote (how many composers do we have on money?), was not himself a Finn by nationality. Sibelius is an ethnic Swede, and he spoke mainly Swedish. However, Finland has two official languages.
Johan Christian Julius Sibelius is his full name. In the family circle it’s just Janne. This is a fairly common name in Scandinavia. However, later he called himself “Jean” in French, and throughout the world he is known precisely as Jean Sibelius. In Russia they stubbornly call him Jean Sibelius. This is the tradition.
Speaking about Sibelius, one cannot fail to mention the composer’s connection with Russia. He was born and lived on the territory of the Grand Duchy of Finland, which was then part of the Russian Empire. In fact, he was a Russian subject until 1917, when Vladimir Ilyich Lenin granted independence to Finland by decree. Sibelius actively maintained creative ties with Russian composers. Many researchers have noted the connection between the first symphonies of Sibelius and Borodin. In 1906, Sibelius visited St. Petersburg, conducting his symphonic poem “Daughter of the North.” It is known that he was friends with Nikolai Rimsky-Korsakov and Alexander Glazunov, with whom he was connected not only by a love of music, but by a special passion for strong drinks.
However, Sibelius is the longest-lived composer. He lived a life almost a century long. The composer died at the age of ninety-three in 1957. In the Finnish city of Turku there is the Sibelius Museum. This museum appeared thanks to the efforts of Otto Andersson, a professor of ethnology and musicology at the Abo Academy, who collected information about composers and music and in 1928 donated a collection of musical instruments to the city. In the thirties, the museum acquired the manuscripts of Jean Sibelius and detailed information about the life and work of the composer, which was provided by Sibelius’s friend Adolf Paum. Already in 1949, Sibelius agreed that the museum, called the Musical and Historical Collections of the Abo Academy, would be renamed in his honor.
Sibelius's work has a strong connection with the folklore of the Finnish land. The composer has always had an interest in everything Finnish and, especially, in the Finnish language. Sibelius discovered mysterious world"Kalevala": " I think Kalevala is very modern. In my opinion, it is the music itself: theme and variations" While working on the symphonic poem Kullervo, Sibelius met the famous storyteller Larin Paraske, who was in Porvoo at that time. The authentic performance of runes and lamentations influenced not only the themes of Kullervo, but also the formation of Sibelius’s own musical language. For Finland, Sibelius is simultaneously Glinka, Tchaikovsky, and Prokofiev rolled into one.
At the beginning of his career as a composer, Sibelius was primarily a composer of chamber works. During his studies in Vienna, he became acquainted with the symphonic music of his contemporaries and became increasingly imbued with the charm of the orchestra. In 1899 he wrote his First Symphony. Turning to this genre led Sibelius to the ideal of absolute music. In the First Symphony, as in the Second, written in 1902, contemporaries rushed to hear the features of the struggle for national independence. Thus, Sibelius and his music became a symbol of the national movement. Sibelius himself had nothing against this.
The Second Symphony is universally recognized and popular throughout the world. The first part is calm, one might say pastoral. At the same time, there is some kind of natural strength in her, something real, genuine. And it’s impossible not to hear it. The second part of the symphony demonstrates a different mood. The music permeates the gloominess that would later become a signature of Sibelius's style. This is very beautiful, expressive music. The influence of the Russian school is heard in the finale of the work, analogies with Tchaikovsky and Glazunov arise. Sibelius said about his attitude to timbre colors: “I was never legally married to the orchestra, I was always his lover...”
Interestingly, Sibelius is often compared to Mahler. They are almost the same age, although Sibelius outlived Mahler by 40 years. In 1907, Gustav Mahler came to give concerts in Helsinki. They met and talked. Sibelius enthusiastically told Mahler: “I admire your symphonies. The deep logic of the symphony as a genre requires the internal unity of all its themes.” To which Mahler responded with a statement that was absolutely opposite in idea: “ A symphony should be like the world: everything should fit in it.” Mahler, who was one of the most eminent conductors of his time, never conducted the works of his colleague.
Sibelius's life was tragic. Already in the twenties, the composer outlined some features of a future severe crisis. The First World War was a difficult time for Sibelius. No royalties were received from his German publisher Breitkopf & Hartel. For Sibelius this meant poverty. In order to somehow support his family, he was forced to compose songs and pieces for the piano. Sibelius himself called such works “sandwich works.” Here is what he wrote in 1927, he had just turned 61: “Isolation and loneliness lead me to despair. Alcohol helps me survive. I'm lonely and humiliated".
Sibelius, like many composers, dreamed of writing the Ninth Symphony. For many composers, nine is sacred number. Beethoven, Schubert, Bruckner, Mahler, even Ralph Vaughan Williams strove to achieve this figure. Sibelius could not even finish the Eighth. Already while writing the Sixth Symphony, he noted: “Work now does not proceed at the same speed as before, and self-criticism grows beyond all limits.” It is known that Sibelius worked meticulously on the creation of the Eighth Symphony until 1943. Apparently, he was not satisfied with the result and at the end of the 1940s the composer burned a number of works. This became indisputable proof of the mysterious “silence of Järvenpää.” The Eighth Symphony was to become the main masterpiece. By the way, a choir was planned there. Tormented by a deep creative crisis, Sibelius completed his composing career more than thirty years before the end of his life. All this time, the musical world was expecting new works from him, especially the Eighth Symphony, which was talked about so much, but the expectations did not come true. In recent years, he lived virtually in creative silence and despair.
The riddle of Sibelius is not easy to solve. Although he is a strange composer, he is certainly a great one. His music acts like a kind of infusion of mysterious herbs. It’s as if you are drinking it and don’t know how it will end - fun, sadness, oblivion, and maybe death.
Sibelius's most popular and frequently performed work is the small masterpiece “Sad Waltz” (Valse triste). Perhaps not everyone knows that this is only one part of the music for A. Järnefelt’s drama “Death” (Kuolema). The protagonist of the drama Paavali is convinced that there is no death. However, throughout the play, his relatives leave this world one after another: death takes away his mother, wife, children and forces Paavali to humbly bow before her power. The music of “Sad Waltz” illustrates the following picture: a son stands at night at the bedside of his dying mother and sees Death approaching the bed.
The death of Jean Sibelius himself is surrounded by a tragic mystery. The maestro died in Ainola at the very moment when his Fifth Symphony, considered the most life-affirming of all his works, was being performed in the celebration hall of the University of Helsinki.
Rendezvous with an amateur:
Flickr.com/Piers Cañadas / Monument to Sibelius in Helsinki. By Eila Hiltunen.
Jean Sibelius, the most famous Finnish composer, is one of the most outstanding authors of symphonies and symphonic poems of the 20th century, and indeed the entire history of music. Sibelius is of particular importance as a national composer who drew on Finnish myths, history, as well as nature in his works. Despite his respected position, Sibelius during his creative path experienced financial difficulties.
Jean Sibelius is the most famous and respected Finnish composer, one of the most outstanding authors of symphonies and symphonic poems of the 20th century, and indeed the entire history of music. In some European countries, Sibelius is considered only a Finnish composer, a composer of his native land, a representative of national romanticism.
Indeed, it is a rare composer who has managed to so successfully depict in his works the myths of his own people, their history and nature. Sibelius is the founder of Finnish music, his music played an important role in the process of establishing an independent Finland. But after the Second World War, there was an increasingly widespread tendency to view Sibelius also as a modernist and innovator, whose large-scale orchestral works in their compositional and textural solutions could serve as a guide even for composers of the late 20th century.
Childhood in Hämeenlinna, Loviisa and Turku
Sibelius's birth in 1865 came at the most opportune moment. Finland, whose centuries-long connection with Sweden had been severed in 1809, now sought its own national identity as part of the Russian Empire. The development of their language and culture began. In 1882, Martin Wegelius founded the Helsinki Music School, and in the same year, under the leadership of Robert Kajanus, the Helsinki Orchestra Society (later the Helsinki Philharmonic Orchestra) began its activities. Thus, the key institutions of musical life were born. But the position of the creator of Finnish music remained vacant.
Johan Christian Julius Sibelius, in the Janne family circle, was born in Hämeenlinna, in a small garrison town in which his father Christian Gustav Sibelius worked as a city and military doctor. My father had a doctorate in medicine, but was bohemian in character. Thus, when Sibelius' mother Maria, after a short marriage (1862–1868), was left a widow (Christian
Sibelius died of typhoid fever), the inheritance he left consisted mainly of unpaid bills. Maria moved with the children back to her mother. Janne, who lost his father at the age of three, grew up in a female environment. The small town would hardly have been able to provide good educational opportunities if Finnish language had not been discovered in Hämeenlinna in 1876 thanks to the Fennophile movement. Lyceum, where three years later Janne was sent to study. He became bilingual and at an early age, in addition to the works of J.L. Runeberg and C. Topelius, written in Swedish, was familiar with the Kalevala and the works of Alexis Kivi. The main program also included ancient literature, which had a decisive influence on his understanding of art.
Music captured Sibelius already in early childhood. Unlike I.S. Bach and V.A. Mozart, he, of course, did not belong to a musical family, although his father loved to sing popular songs by K.M. Bellman and Swedish student songs by Wennerberg to the accompaniment of the lute, and his mother knew how to play the clavier a little. On the mother's side one can find an ancestor who lived in the 17th century, the crown vocht Jakob Hartmann, from whom some other prominent figures in Finnish musical history descend, in particular A.G. Ingelius, author of the first Finnish symphony, Martin Wegelius, Aino Akte, and Heikki Suolahti (1920–1936), a talented young composer who died at 16.
In addition, on my father’s side there was also a distant ancestor who lived in the 17th century, the merchant Jacob Dannenberg. From him descend the composers Ernst Fabricius (1842–1899) and Ernst Milk (1877–1899), as well as the musicologist Ilmari Krohn (1867–1960).
Sibelius began taking his first piano lessons at the age of seven from his aunt Julia. Even then, free improvisation took precedence over finger exercises. At one of the family evenings, he presented his improvisation “The Life of Aunt Evelina in Notes.” First own composition dates back to approximately 1875, when Janne made the musical notation for “Drops of Water for Violin and Cello.” It was not the early creation of a child of genius, but it still proved that he already had ideas about basics of classical composition. It is very indicative colorful use of instruments (pizzicato) to achieve the desired mood. Violin lessons under the guidance of a local military conductor began only when Sibelius was about 16 years old, and from the very beginning, as the composer himself recalled, the violin completely captured him. “For the next ten years, my most sincere desire, my most ambitious goal, was to become a great virtuoso violinist.” The piano “does not sing,” as the composer himself commented, and this instrument was for Sibelius mainly a means of composition. With the help of the violin, in addition to the violin repertoire itself, he became acquainted with the classical and romantic chamber repertoire. Playing music with friends, as well as with his sister Linda, who played the piano, and his brother Christian, who played the cello, became an incentive for his own creativity. Already during the years spent in Hämeenlinna (1880–1885), about 15 piano and chamber works for two or four players appeared. In addition to the Viennese classics, Felix Mendelssohn, Edvard Grieg and Pyotr Tchaikovsky served as models for Sibelius. Before moving to Helsinki in 1885
Sibelius completed the String Quartet in E flat major, indicating a purposeful penetration into the secrets of composition. Behind this was Johann Christian Lobe's textbook on musical composition, which Sibelius independently found in the school library.
“Hämeenlinna was the city where I went to school, Loviisa meant freedom.” In contrast school life Sibelius often spent time at Sääksmäki, the family estate of the von Kohn family near Hämeenlinna. Sibelius became an excellent shooter. But no less important was nature, which Sibelius perceived as a poetic, mysterious force: “At dusk, Janne amused himself by watching fairy creatures in the thicket of the forest." Thus, in closeness with nature outlined the path of the future composer.
Equally important were the summer months that Sibelius spent in Loviisa with his grandmother and aunt Evelina. In Loviis, Sibelius was captivated by the sea, freedom and longing for distant countries. Fantasies took him to distant countries, following Uncle Johan, a sailor who died in a shipwreck before Janne was born. When Sibelius took on a new pseudonym in 1886, he used business cards uncle, where the name Johan was printed in the French manner - Jean. Sibelius's other uncle, Per, who lived in Turku, was a self-taught musician and seed merchant who watched the stars through a telescope and played the violin in the evenings. In Janne's life, he took the place of a father, and in the early stages even the role of an adviser in music. In Turku, Sibelius became more familiar with music through Per Sibelius's collection of scores, and also probably heard real orchestral music for the first time.
It is easy to see that the family environment and the experience of youth confidently spoke in favor of choosing a career that was not related to the bourgeois environment. Among the close relatives there were impractical, dreamy, or even reckless individuals. The subtle, deeply mystical-religious character of the mother and the character of the father, who was easy about money, but also knew how to focus intensely on work, created the foundation not only for the extravagant lifestyle of the future composer, which sometimes plunged the family into ruins, but also for his ability to create great works amidst the chaos of everyday problems.
Years of study in Helsinki
In the autumn of 1885, Sibelius entered the Faculty of Law at Alexander University in Helsinki and at the same time began his studies at the Helsinki Music School. A classic case followed: university textbooks were covered with dust, and in the fall of the next year there was no question of continuing to study at the university. Music absorbed the young aspiring composer. Under the guidance of the well-educated rector of the music school, Martin Wegelius, Sibelius studied subjects in the field of music theory, although at first playing the violin came first. At demonstration concerts at the school, Sibelius performed as a soloist with works by J. B. Viotti, F. Mendelssohn and P. Rohde, and also performed short works by romantic composers.
He also played in the school quartet and became concertmaster of the academic orchestra under the direction of Richard Faltin. Gradually, he began to understand that stage fright and, above all, the rather late start in learning to play the violin were serious obstacles to the career of a virtuoso.
Writing came first. The main emphasis in Wegelius's teaching was on composition exercises. But all the time, Sibelius, in secret from his teacher, composed works in his own style, different from the chromatic neo-German ideals of which Wegelius was an adherent. In particular, he wrote many short plays dedicated to friends, brother and sister. During the Helsinki period, about a hundred works were written in total: songs, works for various chamber compositions, in particular, trios for piano, violin sonata and string quartet.
Sibelius progressed quickly in his studies, and pretty soon he began to be called a musical genius. When the Violin Quartet in A minor was performed at the school's spring concert in 1889, it was highly praised by the leading music critic Karl Flodin: "Mr. Sibelius at one stroke found himself in the forefront of those on whom the future of the musical art of Finland rests." No less significant than studies were the friendships made in Helsinki. Among them was an acquaintance with the composer and conductor Robert Kajanus (1856–1933), who became the main supporter of the music of Sibelius, with the writer, pianist and composer Adolf Paul (1863–1942), as well as with the influential galaxy of Järnefelts, among whom was the composer and conductor Armas Järnefelt (1869–1958), the artist Eero Järnefelt (1863–1937), the Tolstoyan writer Arvid Järnefelt (1861–1932) and, of course, Aino, the future wife of Sibelius. Of particular importance was the fact that Wegelius managed to attract the world famous pianist and composer Ferruccio Busoni (1866–1924) to teach at the school. Busoni, Sibelius, Paul and Armas Järnefelt formed a close circle of friends that met almost daily at Erikson's cafe or the Camp restaurant and discussed issues related to life and art.
Years of study in Berlin and Vienna
In four years, Sibelius absorbed everything that Helsinki had to offer. It's time to study abroad. However, his path did not lie in St. Petersburg, where the orchestral genius Nikolai Rimsky-Korsakov would have been at his service. Wegelius wanted his protégé to receive strict German education. The first place of study abroad was Berlin, where Sibelius's teacher was the academic theorist Albert Becker. Endless counterpoint exercises, no doubt useful in themselves, did not bring much fruit, and Sibelius received his most important incentives from attending concerts. He attended concerts where Hans von Bülow conducted the symphonies of Ludwig van Beethoven and played his piano sonatas. He also had the chance to hear Beethoven's rarely heard late quartets performed by the Joachim Quartet. Listening to Richard Strauss's symphonic poem Don Giovanni was of great importance, and when Cajanus came to Berlin to conduct a performance of his Aino symphony, this may have been the impetus for Sibelius in the direction of creating a symphonic poem. Richard Wagner should also be mentioned. His operas Tannhäuser and Die Meistersinger of Nuremberg made an indelible impression on Sibelius and gave rise to long-term fascination with Wagner.
Under the influence of Christian Sinding, Sibelius wrote the “Piano Quintet in G Minor” in 1890, which became his first composition in the proper Sibelius style. Returning to his homeland for vacation in the summer of 1890, he completed his cheerful String Quartet in B flat major and became engaged to Aino Järnefelt.
Thanks to Busoni's assistance, in the autumn of 1890 Sibelius continued his studies in Vienna. In this city he felt much more comfortable: “Vienna is the place that suits me best.” The open, international atmosphere of Vienna, the society, the Romanian and Hungarian musicians he met, and the Strauss waltzes heard from everywhere captivated him. The aging Johannes Brahms did not accept Sibelius, despite Busoni's recommendations, and his teachers became the then popular Karl Goldmark (1830–1915), who taught him the technique of conducting an orchestra, as well as Robert Fuchs (1874–1927), whose students included Hugo Wolf and Gustav Mahler. Some musical impressions received then significantly influenced his further development. Anton Bruckner's Third Symphony, performed by the composer himself, forced Sibelius to admit: "He, in my opinion, is the greatest living composer." A future orchestral composer, Sibelius shed tears during a performance of Beethoven's Ninth Symphony conducted by Hans Richter: "I felt so small, so small."
The birth of an orchestral composer
Up to this point, Sibelius had been a chamber composer. In Vienna, he unexpectedly turned to the orchestra. Under Goldmark's guidance, Sibelius composed the Prelude in E Major, which bears the influence of Bruckner, as well as the freer-colored Scene de Balais. Vienna also had another important influence on Sibelius: he suddenly developed an interest in all things Finnish and in the Finnish language. Sibelius became interested in the Kalevala and discovered its mysterious world: “I think the Kalevala is very modern. In my opinion, it is music itself: theme and variations.” The main theme of the symphonic poem “Kullervo” was born when the composer was under the influence of an ardent, originally Finnish mood. Returning from Vienna to Finland in the summer of 1891, Sibelius continued work on Kullervo. Although Sibelius later denied this fact, in the autumn of 1891 he met with the storyteller Larin Paraske, who was at that time in Porvoo. The authentic performance of runes and lamentations had a decisive influence not only on the themes and compositional forms of “Kullervo”, but also on the formation of our own musical Sibelius's language.
The premiere of Kullervo on April 28, 1892 was a huge success. “A deafening spring stream of Finnish melodies rushed powerfully from the desert,” is how Kajanus described this key moment in Finnish music history. Finnish music was created, and Sibelius lived up to the expectations.
The wedding took place in June of the same year. The newlyweds, in the spirit of the then fashionable Karelianism, went to the birthplaces of the Kalevala, in particular, Ilomantsi and Korpiselkä, where Sibelius recorded several folk melodies. The impressions from this trip can to some extent be found in the symphonic poem “The Tale” and, above all, in the “Karelian Suite” and the legends about Lemminkäinen.
Over the years, the family had six daughters, one of whom died in infancy. To provide for his family, until the turn of the century, Sibelius was forced to teach violin and theoretical disciplines at the music school and at the orchestral school founded by Cajanus. The composer's lifestyle, however, did not change much. The satirical “Book of Man” by Adolf Paul, published in 1891, told about the atmosphere of idleness and unrestrained consumption of champagne of the fictional character Silenus (whom Sibelius was guessed at). Gallen-Kallela's painting "The Problem" (later "Symposium"), exhibited in 1894, which depicts famous artists dozing exhausted after rampant drinking, also did not add a favorable impression to the public.
After The Tale and the Karelian Suite, Sibelius's composing received a new impulse of inspiration only after a trip to Bayreth and Munich in 1894. However, Wagner's powerful music ruined Sibelius's plans to write an opera. Work on the Kalevala-themed opera “The Making of a Boat” remained unfinished. Wagner left an indelible mark on Sibelius's work, but for him the symphonic poem became the form of musical drama, and F. Liszt became the composer's ideal. In 1895, Sibelius used the material from the opera for the orchestral suite Lemminkäinen, consisting of four legends (symphonic poems).
In 1896, Sibelius participated in a competition for the position of music teacher at the University of Helsinki. In this regard, he gave his famous public lecture on the topic “Some aspects of folk music and its influence on classical music" This was his only written statement of his views as a composer. According to Sibelius, folk music serves as the starting point for a composer's work, even if he ultimately must rise above the national level.
After a series of not entirely plausible appeals, the place went to Kayanus, which, fortunately, did not ruin their friendly relationship. As compensation, Sibelius, to his delight, received a one-year stipend, which later became his lifelong pension.
The romantic period of Sibelius's work ended in 1899 with the writing of the First Symphony, in the spirit of Tchaikovsky. At the same time, turning to the symphony led Sibelius to the ideal of absolute music. It is noteworthy that in it, as in the Second Symphony (1902), some also hastened to notice the features of the struggle for national independence. During the so-called “period of oppression,” Sibelius and his music naturally became a symbol of the national movement. Sibelius had nothing against this, and in 1899 he composed “The Song of the Athenians” and the work “Finland Awakens”, the final part of which, which became the program, was later dubbed “Finland”. However, such a view, which could easily turn into narrow-mindedness, especially in later years, could hinder the understanding of his works. He himself thought about them completely differently, first of all, as about music as such.
Decisive turn to more classic style, the departure from national romanticism dates back to the beginning of the century, when in 1900–1901. Sibelius and his family spent some time in Rapallo (Italy). The clear language of the forms of ancient Italian art brought concentrated harmony and ancient ideals to his music. Roman architecture and art, as well as the music of Giovanni Pierluigi da Palestrina, awakened in his mind “amazing thoughts about the essence of music.” The Second Symphony is, to some extent, the first manifestation of this new style. Other examples of movement in this direction were the reworking of “The Tale” in 1902. The work became clearer and acquired the classical architecture of the Violin Concerto, especially in the last version, which appeared between 1903 and 1905.
Moving to Ainola and becoming a hopscotch
The change in style was also facilitated by changes in external life. “The song died in me in Helsinki,” the composer himself noted. He wanted to escape the restaurant parties, which often dragged on for a long time, and be able to work in peace. In 1904, Sibelius and his family moved to a house designed by Lars Sonck in Tuusula, now Järvenpää. Axel Carpelan (1858–1919), an impoverished nobleman and music lover who also had free time. He repeatedly brought Sibelius's financial affairs into order, appealing to the conscience of patriotic entrepreneurs, and was perhaps the deepest connoisseur of Sibelius's art. Beginning with the concert at the 1900 Universal Exhibition in Paris, Sibelius constantly received suggestions for new compositions from Carpelan, as well as friendly criticism. “Who will I write for now?” asked Sibelius after the death of his friend in 1919.
The Third Symphony (1907) reflects a completely new situation in Sibelius’s life: “Despite everything, there is a lot of major in life, III (symphony) is written in C major!” Sibelius also won victories abroad, and his music took a strong place in England, where he came in 1905. Henry Wood, Rosa Newmarch and Ernest Newman became adherents of Sibelius' music there. In 1906, Sibelius visited St. Petersburg, conducting his symphonic poem “Daughter of the North”. Throughout his career, until the world premiere of the Seventh Symphony on March 24, 1924, Sibelius conducted performances of his works throughout Europe and organized their premieres.
In 1907, Sibelius met Gustav Mahler when he came to Helsinki for concerts. No deep understanding emerged between composers representing opposing stylistic ideals. Mahler, who was also one of the most eminent conductors of his time, never conducted the works of his colleague. The sayings that survive from the conversation between Mahler and Sibelius are part of the history of 20th century music. If Sibelius said that the main thing that admires him in a symphony is “its deep logic, which requires the internal unity of all its themes,” then, according to Mahler, “a symphony should be like the world: everything should fit in it.”
Expressionist period and war
In the spring of 1908, Sibelius had a tumor removed from his throat, and for eight years he completely gave up cigars and alcohol. It is probably no coincidence that his most meaningful and most difficult for the public to understand works belong to this period. The spiritual crisis is visible in the dark colors of the music, in the rejection of external showiness, in the restraint of language, in expressionism. At this time, the symphonic poem “Night Jump and Sunrise” (1908), the string quartet “Voces intimae” (“Hidden Voices”, 1909), the Fourth Symphony (1911), the symphonic poems “Bard” (1913) and “Goddess of Nature” appeared "(1913). In particular, the sharp dissonance and modernist nature of the Fourth Symphony was perceived as a slap in the face to the public. This Sibelius was not easy to understand, and in the eyes of many, the glory of the national composer was dealt a serious blow.
In the early 1910s. Sibelius gave many concerts, visiting, in particular, Gothenburg, Riga, Copenhagen and Berlin. His international fame began to take hold. In 1912, he was offered a professorship at the Vienna Academy of Music, which he, however, refused. The same thing happened in 1921, when Sibelius was invited to teach at the Eastman School of Music in Rochester, New York. Sibelius understood deep down that he was not born to be a teacher. The most pleasant impressions came from Sibelius's trip to America in 1914, when he was awarded an honorary doctorate from Yale University. During the American tour, he gave concerts, at which, in particular, he performed the impressionistic symphonic poem “Oceanids” written on request, and also made trips to Boston and Niagara Falls.
World War 1914–1918 was a difficult time for Sibelius, both mentally and materially. Travel difficulties led to isolation, the state pension was reduced due to inflation, and royalties from his German publisher Breitkopf & Härtel were not forthcoming. For Sibelius, with his lifestyle, and his family, this meant poverty, a real miserable existence. In order to somehow support his family, he was forced to compose small works: songs, works for piano, as well as works for violin and piano. Among these works, which Sibelius himself called “sandwich”, nevertheless, there are excellent pearls - the composer knew how to combine accessibility with high quality.
In 1917, Finland gained independence, but this was followed by brutal war. Sibelius's life was not under threat, even though in 1917 he wrote “The March of the Chasseurs.” Nevertheless, the Reds carried out searches in Ainola, and Sibelius and his family, just in case, with the help of friends, took refuge in Helsinki, where his safety could be more likely to be guaranteed. The hardships of wartime were also reflected in the painful process of creating the Fifth Symphony. Work on it lasted half a decade: although the symphony was first performed in 1915 at a concert in honor of Sibelius’s 50th anniversary, it was only in 1919 that the edition that is performed now was ready. The difficult process of writing a symphony also reflects the changes that took place in Sibelius’s creative thinking: he sought to replace the “symphony” and “symphonic poem” with a freer form symphonic fantasy, which would combine these two forms.
The latest masterpieces and the “silence of Järvenpää”
The hardships of wartime receded only in 1919, when Sibelius and his wife went to Copenhagen for the Nordic Music Days. Finally, Sibelius had the opportunity to “breathe the air of Europe” again. He met Carl Nielsen, but a close friendship did not develop between them, primarily because the press called Sibelius “the greatest musical figure of the North of the present time,” which was discourteous towards his colleagues.
After a creative break of 1920–1922. the late symphonic period of Sibelius began. He continued his foreign performances and wrote the Sixth (1923) and Seventh Symphony (1924). At the same time, he experienced the difficulties of an aging composer: “Work now does not proceed at the same speed as before, and self-criticism grows beyond all limits.” And yet, in the Sixth Symphony, Sibelius innovatively combines symphonism and modality, and the Seventh Symphony, thanks to its one-movement composition, can be described as a kind of final point in the classical and romantic symphonic repertoire. The last symphonies and the symphonic poem Tapiola (1926) are perhaps Sibelius's most mature works. But at the same time, his reserves of creative energy were quickly depleted. In between there was also work on the stage music for The Tempest (1925) in Copenhagen; the wide stylistic range and new compositional solutions of this music indicate that Sibelius undoubtedly has not lost his ability to renew.
Then in 1929 Opuses 114–116 appeared, works for piano, as well as for violin and piano, but after that practically nothing came from the pen of Sibelius. Sibelius struggled to create the eighth symphony until 1943, but at the end of the 1940s. the composer burned a number of works, and this became indisputable proof of the mysterious “silence of Järvenpää.” And only “Funeral Music,” written for the funeral of Sibelius’s long-time friend, indicates that the world was lost with the destruction of the Eighth Symphony. There must have been a lot of tragedy during these recent years, even if they brought honor and respect.
At the end of his life, Sibelius was generally considered one of the greatest composers his time. His music was performed everywhere, and festivals were held in his honor. Even in old age, Sibelius maintained an interest in the latest trends in music. The flow of visitors to Ainola continued, and when the composer turned 90, former British Prime Minister Sir Winston Churchill sent Sibelius a box of his favorite Havana cigars. Two years later, on September 20, 1957, Sibelius died as a result of a cerebral hemorrhage.
International status of Sibelius
Although Sibelius did not create his own school, he had followers both at home and abroad. IN early period in Finland they were Toivo Kuula and Leevi Madetoja. Subsequently, many Finnish composers were influenced by Sibelius's thematic, compositional and orchestral thinking, including Joonas Kokkonen, Einojuhani Rautavaara, Aulis Sallinen and Erkki Salmenhaara. Sibelius's influence was experienced by several British (in particular, Ralph Vaughan Williams), as well as American composers (Howard Hanson and Samuel Barber).
For many researchers and music historians, it has been far from easy to determine Sibelius's place in music history. One of the reasons was the idea of the need for progress, which dominated in the 20th century. and understood in a very limited way: atonality was interpreted as an element of modernity, while tonality was branded as a sign of conservatism. Thus, Sibelius's music could be considered a reactionary continuation of late romanticism. Throughout his work, Sibelius used elements of the musical language of romanticism, sometimes even composing salon pasticcio pieces in the style of the 19th century. But, on the other hand, he expanded the traditional tonality with modal elements.
Moreover, Sibelius's use of the orchestra, where different types of episodes are combined and overlapped, was revolutionary for its time. In this regard, Sibelius also serves as an example for modern composers such as Magnus Lindberg, Tristan Murray, David Matthews. Likewise, Sibelius's compositional thinking, in which traditional forms are used only as starting points for new solutions, is one of the most modern in 20th century music.
His technique of motive and theme, based on the free development of these elements, is also inimitable. Ultimately, further development the symphonic genre at a new stage in the history of music was Sibelius’ unique achievement.
Text – VEJO MURTOMYAKI
Material taken from the Collection of Biographies “One Hundred Remarkable Finns” on the website of the National Library of Finland © Biografiakeskus, Suomalaisen Kirjallisuuden Seura, PL 259, 00171 HELSINKI
Application:
Johan Julius Christian Sibelius, from 1886 Jan, b. 12/8/1865 Hämeenlinna, died 9/20/1957 Järvenpää. Parents: Christian Gustav Sibelius, doctor, and Maria Charlotte Borg. Wife: 1892–1957 Aino Järnefelt, b. 1871, died 1969, wife's parents: Alexander Järnefelt, general, and Elisabeth Klodt von Jürgensburg. Children: Eva (Paloheimo), b. 1893, died 1978; Ruth (Snellman), b. 1894, died 1976, actress; Kirsty, b. 1898, died 1900; Katarina (Ilves), b. 1903, died 1984; Margareta (Yalas) b. 1908, Master of Philosophy; Heidi (Bloomstedt) b. 1911, died 1982, artist.
Jean Sibelius(Swede. Jean Sibelius, Swedish Johan Christian Julius Sibelius; December 8, 1865, Hämeenlinna, Grand Duchy of Finland, Russian Empire - September 20, 1957, Järvenpää, Finland) is a Finnish composer of Swedish origin.
Biography
Jean Sibelius born December 8, 1865 in Tavastgusa in the Grand Duchy of Finland. Was the second of three children of Dr. Christian Gustav Sibelius and Maria Charlotte Borg. He lost his father early and spent his childhood with his mother, brother and sister in his grandmother's house in his hometown.The family spoke Swedish and supported Swedish cultural traditions. However, Jan's parents sent him to a Finnish-language high school. From 1876 to 1885 he studied at the Normal Lyceum of Hämeenlinna.
Following family tradition, children were taught to play musical instruments. Sister Linda practiced the piano, brother Christian practiced the cello, Ian- at first on the piano, but later preferred the violin.
Already at ten years old Ian composed a short play.
Subsequently, his attraction to music increased and he began systematic studies under the leadership of the leader of the local brass band, Gustav Levander.
The practical and theoretical knowledge gained allowed the young man to write several chamber instrumental compositions.
In 1885 he entered the Faculty of Law at the Imperial University in Helsinki, but he was not attracted to the legal profession, and soon he moved to the Institute of Music, where he became the most brilliant student of Martin Wegelius. Many of his early works for chamber ensembles were performed by students and teachers of the institute.
In 1889 Sibelius received a state scholarship to study composition and music theory with Albert Becker in Berlin. The following year he took lessons from Karl Goldmark and Robert Fuchs in Vienna.
Upon return Sibelius in Finland, his official debut as a composer took place: the symphonic poem “Kullervo”, op. 7, for soloists, male choir and orchestra - according to one of the Finnish legends folk epic Kalevala. These were years of unprecedented patriotic upsurge, and Sibelius immediately hailed as the musical hope of the nation. Soon he married Aino Järnefelt, whose father was the famous lieutenant general and governor who took part in the national movement - August Alexander Järnefelt.
Kullervo was followed by the symphonic poem “The Tale” (En Saga), op. 9 (1892); Suite “Karelia”, op. 10 and 11 (1893); "Spring Song", op. 16 (1894) and the suite “Lemminkissanen” (Lemminkissarja), op. 22 (1895). In 1897 Sibelius participated in a competition for a position as a music teacher at the university, but failed, after which his friends convinced the Senate to establish for him an annual scholarship of 3,000 Finnish marks.
Notable influence on early creativity Sibelius were provided by two Finnish musicians: he was taught the art of orchestration by Robert Kajanus, conductor and founder of the Helsinki Orchestra Association, and mentored in the field symphonic music there was music critic Karl Flodin. Premiere of the First Symphony Sibelius took place in Helsinki (1899). The composer wrote 6 more works in this genre - the last was the Seventh Symphony (one-movement Fantasia sinfonica), op. 105, first performed in 1924 in Stockholm. International fame Sibelius acquired precisely thanks to his symphonies, but his violin concerto and numerous symphonic poems, such as “Pohjolan’s Daughter” (Finnish: Pohjolan tytär), “Night Jump and Sunrise” (Swedish: Nattlig ritt och soluppgang), “Tuonela” are also popular. swan (Tuonelan joutsen) and Tapiola.
Most essays Sibelius for the dramatic theater (there are sixteen of them in total) - evidence of his special penchant for theatrical music: in particular, this is the symphonic poem “Finlandia” (1899) and “Sad Waltz” (Valse triste) from the music for the play by the composer’s brother-in-law Arvid Järnefelt “ Death" (Kuolema); the play was first staged in Helsinki in 1903. Many songs and choral works Sibelius often sound in his homeland, but are almost unknown outside its borders: obviously, their distribution is hampered by the language barrier, and in addition, they are deprived of the characteristic advantages of his symphonies and symphonic poems. Hundreds of piano and violin pieces and several suites for orchestra are also inferior to the composer's best works.
Special situation in the Finnish national culture occupied by the symphonic poem “Finland”, which is a musical illustration of the history of the people and had an anti-Russian orientation. The tune was a success and became the national anthem. Its performance, including whistling the melody in public places, was punishable by the Russian authorities with imprisonment.
Creative activity Sibelius actually ended in 1926 with the symphonic poem “Tapiola”, op. 112. For more than 30 years, the musical world has been waiting for new works from the composer - especially his Eighth Symphony, which was talked about so much (its premiere was even announced in 1933); however, the expectations did not come true. During these years Sibelius wrote only small plays, including Masonic music and songs, which did not enrich his legacy in any way. However, there is evidence that in 1945 the composer destroyed a large number of papers and manuscripts - perhaps among them were later works that did not reach their final embodiment.
His work is recognized mainly in Anglo-Saxon countries. In 1903-1921 he came to England five times to conduct his works, and in 1914 he visited the USA, where under his direction the premiere of the symphonic poem Oceanides (Aallottaret) took place as part of a music festival in Connecticut. Popularity Sibelius in England and the USA reached its peak by the mid-1930s. Such major English writers as Rose Newmarch, Cecil Gray, Ernest Newman and Constant Lambert admired him as an outstanding composer of his time, a worthy successor to Beethoven. Among the most ardent supporters Sibelius in the USA there were O. Downs, music critic of the New York Times, and S. Koussevitzky, conductor of the Boston Symphony Orchestra; in 1935, when music Sibelius was performed on the radio by the New York Philharmonic, listeners voted the composer their “favorite symphonist.”
Since the 1940s, interest in Sibelius's music has declined markedly: voices have been heard questioning his innovation in the field of form. Sibelius did not create his own school and did not directly influence the composers of the next generation. Nowadays, he is usually placed on a par with such representatives of late romanticism as R. Strauss and E. Elgar. At the same time, in Finland he was and is assigned a much more important role: here he is recognized as a great national composer, a symbol of the country’s greatness.
While still alive Sibelius received honors that were given to only a few artists. Suffice it to mention the numerous streets Sibelius, parks Sibelius, the annual music festival "Week Sibelius" In 1939, the composer’s “alma mater”, the Musical Institute, received the name Academy Sibelius.
Sibelius in Freemasonry
He was a Freemason for many years, and was rightfully one of the outstanding figures of Finnish Freemasonry. Sibelius was one of the founders of Suomi Lodge No. 1 in Helsinki. Later he was the chief organist of the Grand Lodge of Finland. In 1927 Sibelius wrote nine vocal and instrumental compositions, collected by him under the general title “Masonic Music for Rituals.” The first edition of the score, intended for distribution among Masons, was published in 1936. The second edition was published in 1950, revised and expanded by the author with new compositions, including the famous symphonic poem “Finland”, accompanied by a special text during Masonic performance.Major works
Symphonies
- "Kullervo", symphony for soloists, choir and orchestra, op.7 (1899)
- Symphony No. 1 e-moll, op.39 (1899)
- Symphony No. 2 in D major, op.43 (1902)
- Symphony No. 3 in C major, op.52 (1907)
- Symphony No. 4 in a minor, op.63 (1911)
- Symphony No. 5 Es-dur, op.82 (1915)
- Symphony No. 6 in d-moll, op.104 (1923)
- Symphony No. 7 in C major, op.105 (1924)
Symphonic poems
- "Saga", op.9 (1892, second edition 1901)
- "Forest Nymph", Op. 15 (1894)
- "Spring Song", Op. 16 (1894)
- "Finland", op.26 (1899)
- "Pohjola's Daughter", op.49 (1906)
- "Night Jump and Sunrise", op.55 (1907)
- "Dryad", op.45 (1910)
- “Luonnotar” for soprano and orchestra, op. 70 (1913)
- "Bard", op.64 (1914)
- "Oceanids", op.73 (1914)
- "Tapiola", op.112 (1926)
- "Tuonel Swan"
Symphonic suites
- “Lemminkäinen” (four symphonic legends: “Lemminkäinen and the girls on the island of Saari”, “Lemminkäinen in Tuonel”, “The Swan of Tuonel”, “The Return of Lemminkäinen”; 1893-1895)
- "Karelia", suite, Op. 11 (1893)
- "Pelléas et Mélisande" (1905, from the music to the play by Maurice Maeterlinck)
- "Historical Scenes" I, Op. 25 (1. Overture 2. Scene 3. Celebration) (1899)
- “Love Suite” for strings, timpani and triangle (Rakastava), op. 14 (1911)
- "Historical Scenes" II, Op. 66 (1. Hunt 2. Love Song 3. At the Drawbridge) (1912)
- "Three Pieces for Orchestra, Op. 96. (1. Lyrical Waltz, 2. Past (Pastoral), 3. Knight's Waltz) (1920)
- "Little Suite" for 2 flutes and string orchestra, Op. 98a (1921)
- "Rural Suite" for string orchestra, Op. 98b (1921)
- “Genre Suite” (Suite caracteristique), Op. 100 (1922)
Concert works
- Concerto for violin and orchestra in d minor, op.47 (1903)
- Two serenades for violin and orchestra, op. 69 (1912)
- Two solemn melodies for violin or cello and orchestra, op. 77 (1914, 1915)
- Six humoresques for violin and orchestra, op. 87 and 89 (1917)
- Suite for violin and string orchestra (1929)
Theater works
- “The Making of a Boat”, opera (1894, unfinished; the play “The Swan of Tuonel” was written on the material of the overture)
- "The Maiden in the Tower", opera in one act (1896)
- “King Christian II”, music for the play by A. Paula (1898)
- “Pelleas and Mélisande”, music for the play by M. Maeterlinck (1905)
- “Death”, music for the drama by A. Järnefelt, Op. 44 (including the famous "Sad Waltz") (1903)
- “Scaramouche”, pantomime ballet based on the play by P. Knudsen, op. 71 (1913)
- Belshazzar's Feast, music for the drama by Hjalmar Procope (1906) Op. 51.
- "White as a Swan", music for the drama by August Strindberg (1908) Op. 54.
- "The Lizard", music for the play by Mikael Liebeck (1909) Op. 8
- "The Name", music to the play by Hugo von Hofmannsthal (1916) Op. 83.
- "The Tempest", music to the play by William Shakespeare, Op. 109 (1925)
Other works
- "Karelia" - overture, op.10 1893
- "Pan and Echo", op.53a 1906
Chamber works
- Two Pieces (Romance and Epilogue) for violin and piano (1888) Op. 2.
- String Quartet in B major (1889) Op. 4.
- "Melancholia" for cello and piano (1901) Op. 20.
- “Voces intimae” (“Hidden voices”), string quartet in d minor (1909) Op. 56.
- Four Pieces for Violin (or Cello) and Piano (1915) Op. 78.
- Six Pieces for Violin and Piano (1915) Op. 79.
- Sonatina in E major for violin and piano (1915) Op. 80.
- Five Pieces for Violin and Piano (1915) Op. 81.
- Novelleta for violin and piano (1923) Op. 102.
- "Country Dances", five pieces for violin and piano (1925) Op. 106.
- Four Pieces for Violin and Piano (1929) Op. 115.
- Three Pieces for Violin and Piano (1929) Op. 116.
For piano
- Six Impromptu Op. 5.
- Sonata in F major (1893) Op. 12.
- Ten Pieces (1894-1903) Op. 24.
- Ten Bagatelles (1914-1916) Op. 34.
- "Pensees lyriques", 10 pieces (1912-1914) Op. 40.
- "Küllikki", three lyric pieces (1904) Op. 41.
- Ten Pieces (1909) Op. 58.
- Three Sonatinas (1912) Op. 67.
- Two Little Rondos (1912) Op. 68.
- Four Lyric Pieces (1914) Op. 74.
- Five Pieces (1914) Op. 75.
- Thirteen Pieces (1914) Op. 76.
- Five Pieces (1916) Op. 85.
- Six Pieces (1919) Op. 94.
- Six Bagatelles (1920) Op. 97.
- Eight Short Pieces (1922) Op. 99.
- Five Romantic Pieces (1923) Op. 101.
- Five Characteristic Impressions (1924) Op. 103.
- Five Sketches (1929) Op. 114.
For organ
- Two pieces Op. 111.
- 1. Intrada (1925)
- 2. Funeral Music (1931)
For choir
- Six male a cappella choirs to the texts of “Kalevala”, “Kanteletar” and to the words of Kiwi (1893-1901) Op. 18.
- Impromptu for women's choir and orchestra to words by Rydberg (1902) Op. 19.
- "Natus in curas." Hymn for male choir a cappella (ed. 1899) Op. 21.
- "University Cantata 1897" for mixed choir a cappella (1897) Op. 23.
- "Sandels", improvisation for male choir and orchestra on words by Runeberg (1898) Op. 28.
- "The Origin of Fire" for baritone, male choir and orchestra (1902) Op. 32.
- "The Captive Queen", ballad for choir and orchestra (1906) Op. 48.
- Two songs for mixed choir a cappella (1911-1912) Op. 65.
- Five male choirs a cappella (1915) Op. 84.
- “Native Land”, cantata for choir and orchestra, lyrics by Kallio (1918) Op. 92.
- "Song of the Earth", cantata for choir and orchestra to a text by Jarl Gemmer - to commemorate the opening of the university in Turku (1919) Op. 93.
- "Hymn to the Earth", cantata for choir and orchestra, text by Eino Leino (1920) Op. 95.
- "Hymn" for choir and organ (1925) Op.107.
- Two male choirs a cappella (1925) Op.108.
- “Hymn to Väinö” (“Kalevala”) for choir and orchestra (1926) Op.110.
- "Masonic Ceremonial Music", a cycle of pieces for soloists, male choir and organ (1926-1948) Op.113.
For voice with accompaniment
Five Christmas Songs for Voice and Piano (1895-1913) Op.1Arioso to words by Runeberg for voice and string orchestra (1911) Op.3.
Seven songs to words by Runeberg with piano accompaniment (1891-1892) Op.13.
Seven songs to words by Runeberg, Tavastjerne and others for voice and piano (1894-1899) Op.17.
"The Carrier's Brides" for baritone or mezzo-soprano and orchestra (1897) Op.33.
Two Songs for Voice and Piano (1907) Op.35.
Six songs for voice and piano (1899), among them - “March Snow” (No. 5), “Diamonds in the Snow” (No. 6) (second edition by the author - for voice and orchestra) Op.36.
Five songs for voice and piano (1898-1902), among them “The Girl Came Back from a Date” (No. 5) to the words of Runeberg Op. 37.
Five Songs for Voice and Piano (1904) Op. 38.
Six songs for voice and piano (1906), among them “The Quiet City” (No. 5) to the words of Demel Op.50.
Eight songs for voice and piano to words by Josephson (1909) Op.57.
Two songs for voice and piano (or guitar) based on texts from Shakespeare's Twelfth Night (1909) Op.60.
Eight songs for voice and piano with words by Tavastjerne, Runeberg and others (1910) Op.61.
"Luonnotar", poem for soprano and orchestra (1913) Op.70.
Six songs for voice and piano to words by Topelius, Rydberg and others (1914-1915) Op.72.
Six Songs for Voice and Piano (1916) Op.86.
Six songs for voice and piano with words by Franzen and Runeberg (1917) Op.88.
Six songs for voice and piano with words by Runeberg (1917) Op.90.
Melodeclamation
- "Dryad" (lyrics by Rydberg), with accompaniment of piano, two horns and string orchestra (1894) Op.15.
- "Snowy Peace" (words by Rydberg), with choir and orchestra (1900) Op.29.
- “Ice drift on the Oulu River” (words by Topelius), with accompaniment of male choir and orchestra (1899) Op.30.
Works without opus designation
- Trio a minor (1881-1882)
- Piano quartet e-moll (1881-1882)
- Suite for violin and piano (1883)
- Andantino for cello and piano (1884)
- String Quartet in Es major (1885)
- Sonata for violin and piano in F major (1886)
- Piano Trio (1887)
- "Tranaden" ("The Wishing One"), melodic recitation to words by Stagnelius, with piano accompaniment (1887)
- "Nights of Jealousy", melodic recitation to words by Runeberg, accompanied by a piano trio (1888)
- Serenade for voice and piano to words by Runeberg (1888)
- "Water Spirit", two songs with piano trio accompaniment for Wennerberg's play (1888)
- Theme and variations for string quartet (1888)
- Suite for violin, viola and cello A major (1889)
- String quartet in a minor (1889)
- Piano quintet g minor (1889)
- Overture in a minor (1890-1891)
- Overture in E major (1890-1891)
- Piano Quartet in C major (1891)
- Octet for flute, clarinet and strings (1891), later used in Saga
- Ballet scene for orchestra (1891)
- "Tiera", piece for brass band (1894)
- "Dryad", symphonic poem (1894)
- "University Cantata 1894", for choir and orchestra (1894)
- “Min rastas”, for male choir a cappella (1894)
- Rondo for viola and piano (1895)
- "Endless Day" (words by Erkko), for children's voices a cappella (1896)
- "One Force" (lyrics by Cajander), for male choir a cappella (1898)
- "Swimming", for voice and piano (1899)
- "Hymn to Thaïs", to lyrics by Borgström, for voice and piano (1900)
- "Cortege", for orchestra (1901)
- "Portraits", for string orchestra (1901)
- "The Horseman", for piano (1901)
- Six Finnish Folk Songs for Piano (1903)
- “No need to complain” (with lyrics by Runeberg), for mixed choir a cappella (1905)
- "Carminalia", for boys' choir (1905)
- "The Language of Birds", music for the play by Adolf Paul (1911)
- "Drommarna", for mixed choir (1912)
- "Uusimaa", for mixed choir (1912)
- "Juhlamarssi", for mixed choir (1912)
- "Spagnuolo", piece for piano (1913)
- "Dream" (with lyrics by Runeberg), for two sopranos and piano (1915)
- "Mandolinata", for piano (1917)
- “The Folly of Fridolin” (to words by Karlfeldt), for male choir a cappella (1917)
- "Narcissus" (with lyrics by Gripenberg), for voice and piano (1918)
- "Sails", for voice and piano (1918)
- “Girls” (to lyrics by Procope), for voice and piano (1918)
- "Faded", for voice and piano (1918)
- Two songs for male choir a cappella (1918)
- “Brotherhood” (to lyrics by Aho), for male choir a cappella (1920)
- "Similarity" (with words by Runeberg), for male choir a cappella (1920)
- “Johan's Journey” (with lyrics by Fröding), for male choir a cappella (1920)
- "Romantic Piece", for piano (1920)
- "Passionate Desire", for piano (1920)
- “Solemn March of the Singing Brotherhood in Vyborg” I, for male choir (1920)
- "Andante festivo", for string quartet (1922). There is an original arrangement for string orchestra and timpani ad libitum, made in 1938.
- "Andante lirico", for string orchestra (1924)
- "Blue Duck", for voice and piano (ed. 1925)
- “Lonely Ski Trail”, melodic recitation (with words by Gripenberg) accompanied by piano (1925). There is an original arrangement for the reader, harp and bows, made in 1948.
- Two Psalms for mixed choir a cappella (1925-1927)
- "The Guard on the Bridge", for male choir a cappella (1929)
- “Solemn March of the Singing Brotherhood in Vyborg” II, for male choir a cappella (1929)
- “The Fate of Karelia”, for male choir and piano (1930)
Performances of Sibelius' music
Conductors who have recorded all of Sibelius' symphonies (including or excluding Kullervo) include Vladimir Ashkenazy (twice), John Barbirolli, Paavo Berglund (three times), Leonard Bernstein (twice), Osmo Vänskä, Alexander Gibson, Sir Colin Davis (three times). ), Kurt Sanderling, Lorin Maazel, Gennady Rozhdestvensky, Simon Rattle, Petri Sakari, Jukka-Pekka Saraste, Leif Segerstam (twice), Neeme Järvi (twice).Important recordings of some of Sibelius' symphonies were also made by Karel Ancherl (No. 1), Thomas Beecham (No. 4, 7), Herbert von Karajan (No. 1, 2, 4-7), Robert Kayanus (No. 1-3, 5), Kirill Kondrashin (No. 2, 3, 5), Sergei Koussevitzky (No. 2, 5, 7), James Levine, Evgeny Mravinsky (No. 3, 7), Eugene Ormandy (No. 1, 2, 4, 5, 7), Evgeny Svetlanov ( No. 1), Georg Tintner (No. 7), Sergiu Celibidache (No. 2, 5), Georg Schneevoigt (No. 6), Paavo Järvi (Kullervo). Other orchestral works of Sibelius were also recorded by conductors Hans Rosbaud and Wilhelm Furtwängler.
The violin concerto was recorded by violinists Camilla Weeks, Ida Handel, Gidon Kremer, Anne-Sophie Mutter, David Oistrakh, Itzhak Perlman, Isaac Stern, Jascha Heifetz, Henrik Schering.