The Snowshoed Sibelius

[Mirror Image]

The world outside this thread believes that Sibelius wrote 7 symphonies and nothing else.

And I'm certainly glad I'm not one of those people.

[Jaakko Keskinen]

The world outside this thread believes that Sibelius wrote 7 symphonies and nothing else.

Yes, and that's sad because he was a masterful tone poet, could write effectively for both human voice and chamber ensembles, magnificent incidental music etc. Piano writing was maybe not his strongest point, but it has several gems as well (Kyllikki and op. 75 for ex.).

[North Star]

Yes, and that's sad because he was a masterful tone poet, could write effectively for both human voice and chamber ensembles, magnificent incidental music etc. Piano writing was maybe not his strongest point, but it has several gems as well (Kyllikki and op. 75 for ex.).

I don't know about 'maybe not his strongest point', especially when comparing to e.g. his overall chamber output.

https://www.youtube.com/v/eL6DAKBiHUU    https://www.youtube.com/v/oMju7bu4CWU   https://www.youtube.com/v/-ImwDht3fPs

[Mirror Image]

The Wood-Nymph, Op. 15



Op. 15 Skogsrået (The Wood Nymph), symphonic poem (ballad); based on a poem by Viktor Rydberg of the same name. Completed 1894-95; first public performance in Helsinki, 17th April 1895 (Orchestra of Helsinki Orchestral Society under Jean Sibelius). Arrangement as a play with music (for narrator, piano, two French horns and strings), first public performance in the premises of the Helsinki Club, 9th March 1895; piano arrangement of the final sequence (Ur "Skogsrået") 1895.

An early sketch of Skogsrået or The Wood Nymph may have been included in the plan for an opera in the summer of 1894. In addition to the opera (The Building of the Boat), Sibelius was planning a stage work about an unfaithful student. According to a theory presented by the musicologist Veijo Murtomäki, the "march-like musical piece" which Sibelius mentioned in a letter of 10th August 1894 could be the opening sequence of The Wood Nymph, while the trip to the forest would be the second sequence, the descriptions of unfaithfulness and sensual love the third sequence and the funeral march the finale of the work.

However, towards the end of 1894 the plan became more specific, and Sibelius decided to base the work on Viktor Rydberg's Skogsrået. In March 1895 Sibelius completed "the first sketch" of The Wood Nymph – a play with music, for narrator, strings, two French horns and piano. It was performed on the occasion of a lottery at the premises of the Helsinki Club, on 9th March 1895.

Viktor Rydberg's text related the adventures of the hero Björn in the forest, where evil dwarfs are carrying out their malicious schemes and a curvaceous wood nymph lures Björn into making love to her. The spell he is under cannot be broken: Björn can no longer love his wife. Nor does he feel like working. He dies alone and full of yearning.

The orchestral version of The Wood Nymph was performed on 17th April 1895. The Wagnerian features of this erotically charged work were now more obvious than before. According to Merikanto The Wood Nymph included strange and enchanting colours, but one had to know the content of the poem to understand it. "And indeed, the audience were very attentive in following the content of the composition from the programme notes," he wrote.

In his opinion Sibelius's music had changed: it had gained in clarity as compared with its earlier "excessively passionate and incoherent fumbling".

The Wood Nymph remained in Sibelius's concert programmes for years. For instance, it was performed in 1899 when the first symphony had its first public performance. Although the piece was basically well worked-out, Sibelius never prepared the manuscript for publication. It gradually sank into oblivion with the exception of a single performance in 1936. Then, in the late 1990s, the work was again thrust into the international spotlight after the Lahti Symphony Orchestra had played and recorded it.

Opinions of the work have varied. Erik Tawaststjerna did not regard the composition as "central" to Sibelius's output, arguing that the composer "did not succeed in merging the different materials into a coherent whole". The composer Kalevi Aho took the same view: "An interesting work which would have needed more polishing."

The Sibelius scholar Veijo Murtomäki has defended The Wood Nymph: "One of the finest moments in the work is the modal-diatonic sound field which starts after the majestic opening and lasts for several minutes, bringing to mind Gorecki's third symphony!"

The opening is is indeed majestic, with an impressive theme in C major portraying Björn. After that we experience that long, almost minimalist "sound field", which ends with the return of the heroic theme. In the third episode we witness the meeting of Björn and the Wood Nymph. The long instrumental line from the cellos produces an extremely erotic atmosphere. However, the atmosphere changes to melancholy in the final episode, which depicts the hopeless yearning of the hero.

In The Wood Nymph, the listener can admire the young Sibelius's sensual orchestration and glowing tone colours.

[Article taken from Sibelius.fi]

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What does everyone think of The Wood-Nymph? For me, it's simply magical. I really enjoy these folklore-based works (Tveitt's Nykken springs to mind here as well) Of course, Vanska rules the day here since his recording in the mid-90s (?) was one that caught many listeners' ears for the first-time.

[Madiel]

Honestly, the forest-riding sequence in The Wood-Nymph (aka "the modal-diatonic sound field") is one of the most amazing things I've ever heard. When I first heard it (on the Vanska disc with the Legends) I was just... transported might be a good word for it.

I do like the piece as a whole, but as soon as anyone mentions it it's that particular (quite extended) sequence that I immediately think of. As much as anything, it's a perfect early demonstration of Sibelius' manipulation of tempo/pulse.

[Mirror Image]

Honestly, the forest-riding sequence in The Wood-Nymph (aka "the modal-diatonic sound field") is one of the most amazing things I've ever heard. When I first heard it (on the Vanska disc with the Legends) I was just... transported might be a good word for it.

I do like the piece as a whole, but as soon as anyone mentions it it's that particular (quite extended) sequence that I immediately think of. As much as anything, it's a perfect early demonstration of Sibelius' manipulation of tempo/pulse.

Awesome! Would you mind enlightening me on the 'forest-riding sequence'? Where does this occur in the work? I'm planning a revisit of this tone poem very soon.

[Madiel]

Awesome! Would you mind enlightening me on the 'forest-riding sequence'? Where does this occur in the work? I'm planning a revisit of this tone poem very soon.

On the Vanska recording it really technically starts around the 2-minute mark, but keeps building and building for a LONG time after that, not breaking down until the 7.5 or 8-minute mark.

It can take a couple of minutes to realise that something rather odd is happening as the music refuses to "develop" in a conventional way.

[asin]B00IU5PVQA[/asin]

[Mirror Image]

On the Vanska recording it really technically starts around the 2-minute mark, but keeps building and building for a LONG time after that, not breaking down until the 7.5 or 8-minute mark.

It can take a couple of minutes to realise that something rather odd is happening as the music refuses to "develop" in a conventional way.

[asin]B00IU5PVQA[/asin]

Thanks, orfeo. I'll listen out for this sequence. I'm sure I've heard it hundred times, but didn't realize how unconventional this particular section sounded.

[Mirror Image]

I'm a hardcore Sibelian but I really don't have favorite recording of VC, since I have never been that selective with recordings. As long as they don't completely f*ck it up, I'm usually satisfied.

But I think this is a pretty good one:

I'm enjoying Fried's performance right now. Of course, Kamu is in top-form. Fried sounds quite good. Almost closer to Kyung Wha Chung, but without the edginess in her attack. I've read a good bit about Miriam Fried earlier and I wonder why she hasn't caught on as a major soloist? I suppose it might have to do with her not being a supermodel. I have nothing negative to say about this performance. This one could be one of those 'sleeper' performances I've read about.

[Karl Henning]

The Bard just kinda lies there. Like a blanc-mange.

Don't they jiggle rather, if made properly?

[Karl Henning]

The world outside this thread believes that Sibelius wrote 7 symphonies and nothing else.

Never true, even if considering only the Violin Concerto, Finlandia, and the Valse triste.

Why, the tune from Finlandia is part of many a hymnal.

[Madiel]

Little else, then. The point - and it's a point I' ve seen made in at least one article - is that there is a vast supply of symphony recordings and performances, and that the rest of Sibelius' output is usually reduced to "oh, there's a bit of room on the CD after the symphonies, what can we squeeze in?"

The only work that seems to escape this fate is the Violin Concerto, which of course goes quite nicely on a recording with someone else's Violin Concerto. Tchaikovsky seems to be a popular pairing.

[Karl Henning]

Little else, then.

Emendation accepted 

But in a way it follows, since Sibelius's international reputation was built on the proliferation of the orchestral works.

[Ken B]

Don't they jiggle rather, if made properly?

Yes, rather like Sibelius himself when he snowshoes butt naked. wobble wobble

[TheGSMoeller]

Listened to the 3rd Symphony on the way home today (Davis/LSO - LSO Live). Such an interesting piece structurally and I've always found it to be one of Jean's best. I love how the second mvt. seems to be struggling with its direction, and I don't mean this as the composer himself being confused. The opening tone begins mysteriously, then slowly into a lovely waltz that never seems to complete itself, always succumbing to the mysteries. And the final bars take me by surprise as I always expect the waltz theme to finally prevail and end us on a major chord. But that doesn't happen, we are left with a powerful minor chord progression from the strings. It consistently feels quite sudden for me, but it's very compelling.
The 3rd movement also seems to sway back and forth between light and dark. But this time the middle of the movement is taken over by a jubilant chorale that sprints its way into the final chord.

Listened to Davis/LSO on RCA earlier performing the 2nd Symphony as well. I love how broadly Davis presents the finale Allegro Moderato, he allows plenty of breathing room for the beautiful melodies and harmonies to take shape. Although I do equally appreciate the quick intensity of Monteux/LSO's recording of the 2nd. I will add that the brass on the Davis/LSO/RCA recording is top notch, they play fantastically with such confidence.

About to hit up The Wood Nymph for a first time. (the music that is, I don't know any wood nymphs in real life. I think.  )

[Mirror Image]

Listened to the 3rd Symphony on the way home today (Davis/LSO - LSO Live). Such an interesting piece structurally and I've always found it to be one of Jean's best. I love how the second mvt. seems to be struggling with its direction, and I don't mean this as the composer himself being confused. The opening tone begins mysteriously, then slowly into a lovely waltz that never seems to complete itself, always succumbing to the mysteries. And the final bars take me by surprise as I always expect the waltz theme to finally prevail and end us on a major chord. But that doesn't happen, we are left with a powerful minor chord progression from the strings. It consistently feels quite sudden for me, but it's very compelling.
The 3rd movement also seems to sway back and forth between light and dark. But this time the middle of the movement is taken over by a jubilant chorale that sprints its way into the final chord.

Listened to Davis/LSO on RCA earlier performing the 2nd Symphony as well. I love how broadly Davis presents the finale Allegro Moderato, he allows plenty of breathing room for the beautiful melodies and harmonies to take shape. Although I do equally appreciate the quick intensity of Monteux/LSO's recording of the 2nd. I will add that the brass on the Davis/LSO/RCA recording is top notch, they play fantastically with such confidence.

About to hit up The Wood Nymph for a first time. (the music that is, I don't know any wood nymphs in real life. I think.  )

The 3rd has really become a favorite these past few months. I've definitely warmed up to it, although I've always liked it, but I love it now.

[Moonfish]

A new minibox from Decca (4 cds) with Sibelius's songs will be released in August.

http://www.amazon.de/S%C3%A4mtliche-Lieder-Ltd-Edt-Krause/dp/B00YQIFXWW

The MP3 version seems to have been released last year.

[Madiel]

Ooh, nice to know. Though as you can see from that second link, it actually dates all the way back to the 1980s. Still, a new edition of it might mean a better price?

[Jaakko Keskinen]

Never true, even if considering only the Violin Concerto, Finlandia, and the Valse triste.

Why, the tune from Finlandia is part of many a hymnal.

I was under the impression that from tone poems Tapiola, Swan of Tuonela and Pohjola's daughter are relatively well-known as well. From other compositions, Karelia suite.

[Sergeant Rock]

The 3rd has really become a favorite these past few months. I've definitely warmed up to it, although I've always liked it, but I love it now.

When I was dating the future Mrs. Rock, I bought her a LP box set of Sibelius Symphonies (DG, Karajan and Kamu). She decided to listen to them in order. She liked 1 & 2 but totally fell in love with 3. She loved it so much she never progressed beyond 3  Of course over the years, she eventually heard the rest (being married to me) but on her own she only listens to the Third.

Sarge