The Snowshoed Sibelius

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That set looks pretty cool, Peter. I can't say I'm familiar with Collins at all. I've heard the name of course.

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Time to regroup some past postings about works:

Lemminkäinen Suite, Op. 22



The Lemminkäinen Suite (also called the Four Legends, or Four Legends from the Kalevala) is a work written by the Finnish composer Jean Sibelius in the early 1890s which forms his opus 22. Originally conceived as a mythological opera, Veneen luominen (The Building of the Boat), on a scale matching those by Richard Wagner, Sibelius later changed his musical goals and the work became an orchestral piece in four movements. The suite is based on the character Lemminkäinen from the Finnish national epic, the Kalevala. The piece can also be considered a collection of symphonic poems. The second/third section, The Swan of Tuonela, is often heard separately (the work's inner movements are often reversed as their order is a subject of disagreement among scholars).

Lemminkäinen and the Maidens of the Island: this is based on Runo 29 ("Conquests") of the Kalevala, where Lemminkäinen travels to an island and seduces many of the women there, before fleeing the rage of the men on the island.

The Swan of Tuonela: this is the most popular of the four tone poems and often is featured alone from the suite in orchestral programs. It has a prominent cor anglais solo. The music paints a gossamer, transcendental image of a mystical swan swimming around Tuonela, the island of the dead. Lemminkäinen has been tasked with killing the sacred swan, but on the way he is shot with a poisoned arrow, and dies himself.

Lemminkäinen in Tuonela: this is based on Runos 14 ("Elk, horse, swan") and 15 ("Resurrection"). Lemminkäinen is in Tuonela, the land of the dead, to shoot the Swan of Tuonela to be able to claim the daughter of Louhi, mistress of the Northland, in marriage. However, the blind man of the Northland kills Lemminkäinen, whose body is then tossed in the river and then dismembered. Lemminkäinen's mother learns of his death, travels to Tuonela, recovers his body parts, reassembles him and restores him to life.

Lemminkäinen's Return: the storyline in the score roughly parallels the end of Runo 30 ("Jack Frost"), where after his adventures in battle, Lemminkäinen journeys home.

The above order of the movements matches their numbering within opus 22. However, Sibelius revised the order in 1947, transposing the middle two movements, which is the order in which most concert performances are played.

The suite is scored for two flutes (one doubling on the piccolo), two oboes (one doubling on the cor anglais), two clarinets (in B) (one doubling on bass clarinet), two basoons, four horns (in E and F), three trumpets (in E and F), three trombones, tuba, timpani, triangle, bass drum, cymbals, tambourine, harp, and strings.

[Article taken from Wikipedia]

Symphony No. 4 in A minor, Op. 63



Op. 63 Symphony no. 4 in A minor
1. Tempo molto moderato, quasi adagio, 2. Allegro molto vivace, 3. Il tempo largo, 4. Allegro. Completed in 1911; first performance in Helsinki on 3rd April 1911 (Orchestra of Helsinki Philharmonic Society under Jean Sibelius).

The fourth symphony was once considered to be the strangest of Sibelius's symphonies, but today it is regarded as one of the peaks of his output. It has a density of expression, a chamber music-like transparency and a mastery of counterpoint that make it one of the most impressive manifestations of modernity from the period when it was written.

Sibelius had thoughts of a change of style while he was in Berlin in 1909. These ideas were still in his mind when he joined the artist Eero Järnefelt for a trip to Koli, the emblematic "Finnish mountain" in Karelia, close to Joensuu. The landscape of Koli was for Järnefelt an endless source of inspiration, and Sibelius said that he was going to listen to the "sighing of the winds and the roar of the storms". Indeed, the composer regarded his visit to Koli as one of the greatest experiences of his life. "Plans. La Montagne," he wrote in his diary on 27th September 1909.

The following year Sibelius was again travelling in Karelia, in Vyborg and Imatra, now acting as a guide to his friend and sponsor Rosa Newmarch. Newmarch later recollected how Sibelius eagerly strained his ears to hear the pedal points in the roar of Imatra's famous rapids and in other natural sounds.

The trip also had other objectives. On his return Sibelius wanted to develop his skills in counterpoint, since, as he put it, "the harmony is largely dependent on the purely musical patterning, its polyphony." His observations contained many ideas on the need for harmonic continuity. Since the orchestra lacked the pedal of the piano, Sibelius wanted to compensate for this with even more skilful orchestration.

Yet one more natural phenomenon – a storm in the south-eastern archipelago – was needed to get the symphonic work started. In addition, in November 1910 he was preparing the symphony at the same time as he was working on music for Edgar Allan Poe's The Raven, which he had promised to Aino Ackté. The Raven was never finished, but its atmosphere and sketches had an effect on the fourth symphony.

The symphony was performed for the first time on 3rd April 1911, in Helsinki. Its tone was both modern and introspective, and it confused the audience so much that the applause was subdued. "Evasive glances, shakes of the head, embarrassed or secretly ironic smiles. Not many came to the dressing room to deliver their congratulations," Aino Sibelius recollected later. The critics, too, were at a loss. "Everything was so strange," was how Heikki Klemetti described the atmosphere. In the years that followed audiences in many parts of the world reacted the same way.

However, Sibelius remained happy with the symphony and after the first public performance he prepared it for publication. Nowadays, the fourth symphony has come to be recognised as one of the great masterpieces of the 20th century and one of Sibelius's most magnificent achievements. It was, after all, contemporary music of the utmost modernity, a work from which all traces of aesthetisation or artificiality had been eliminated.

A kind of motto for the work is the augmented fourth, or tritone, which creates tension in all the four movements of the symphony. The atmosphere of the work varies from joyfulness to austere expressionism. Every movement fades into silence. We are as far as we could be from the triumphant finales of the second and third symphonies.

Indeed, the fourth symphony often seems to shock listeners, and analysis of the work can turn into philosophising. It is as if Sibelius were directly penetrating the merciless core of life, laying it bare without offering any kind of false consolation. He himself had felt close to death a few years earlier, when a tumour had been removed from his throat in an operation.


[Article taken from Sibelius.fi]

The Oceanides, Op. 73



Op. 73 Aallottaret (The Oceanides), symphonic poem. Version 1, 1913 (?).
First movement of 1st version missing. First public performance of the 2nd and 3rd movements in Lahti 19th and 20th September 2002.
2nd version in 1914; first performance in Lahti 24th October 2002 (Lahti Symphony Orchestra under Osmo Vänskä). Version 2 (in D flat major), April 1914. First performance in Lahti, 24th October 2002 (Lahti Symphony Orchestra under Osmo Vänskä). Final version (in D major), May 1914. First performance in Norfolk (USA), 4th June 1914 (conducted by Jean Sibelius).

The Oceanides ("sea nymphs"; in Finnish Aallottaret or "nymphs of the waves") was written for the Norfolk Music Festival in the United States. It resulted from a commission by Horatio Parker, who was acting on the authorisation of the millionaire and festival promoter Carl Stoeckel and his wife. In 1913 Sibelius started to prepare the work, initially as a suite in three movements. The first movement of the suite has not survived but the second and third movements were performed for the first time as unexpected encores in the autumn of 2002, at the Lahti Sibelius festival under Osmo Vänskä.

The movements are sketchy and their orchestration may be incomplete. The thematic material of The Oceanides is clearly recognisable in the third movement. The second movement is more heterogeneous, and material from it ended up in other compositions. Sibelius wrote on the sketches: "Fragments of a suite for orchestra (Precursor to 'The Oceanides')". Nevertheless, the sketch-like movements are good and interesting music in their own right.

In the spring of 1914 Sibelius prepared a one-movement orchestral work in D flat major from the material. He sent it to the United States on 3rd April. Sibelius considered giving the composition a German title, but in a copyist's receipt from 3rd April the name is already Aallottaret (The Oceanides). Along with the score Sibelius sent a brief explanation in German of what Aallottaret means in Finnish mythology.

Only a few days later Sibelius was asked, if he could come to the United States and conduct the work. He answered in the affirmative. At the same time, he decided to revise the composition, as we know from Aino Sibelius's diary. She writes as follows:

"I am very nervous about that journey, although I see how Janne can benefit from it. And it may be such fun! Janne is rewriting the whole American composition, Aallottaret, as it is called at least for the time being. It is so exhausting for me, but I understand him.Today we have been thinking of adding to the programme for America. Half of the concert programme falls to Janne."

In May the composition temporarily had a German name once again. Aino Sibelius describes the feverish process of copying the music:

"(14th May) The journey to America is approaching. Rondeau der Wellen is not yet completed. Feverish hurry. The journey has been scheduled for Saturday. The score is still unfinished. The copyist, Mr. Kauppi, lives with us and writes day and night. Yesterday we learnt that he has to leave already on Friday evening. It's indescribable. It was a question of using every last hour. Besides, the whole practical side is completely unprepared. This can work only with Janne's energy. Otherwise the journey would be completely out of question. (...)
"Yesterday evening we couldn't accomplish anything practical anymore, but then Janne forced himself to work with his great strength. There are still about twenty pages missing. We lit the lamps in the dining-room, the chandelier in the drawing room, it was a solemn moment. I did not dare to say anything. I just tried to create a pleasant environment. Then I went to bed and Janne stayed awake. All night long I kept hearing his steps, sometimes quiet playing. Towards morning he had moved upstairs. The copyist was awake in his own chamber. It is morning now. The tension continues, there are many things to be done today. If I just could stay very calm, it is the only way in which I can now be of any use."

Sibelius was able to take the new score in D major with him on the journey. He made a few corrections to it, inspired by the sea voyage. But why was it necessary to change the fully prepared D flat major version into a version in D major? The composer Kalevi Aho believes that the reasons were connected with the practicalities of performance and technique:

"In D flat major the string players can hardly use any open strings at all, and because the work is very swift-moving in places, it is very difficult for the strings, both technically and in terms of getting a clear tone. In contrast, D major is a very rewarding key for the violins because you can always use open strings in the swift figures. On the other hand, the orchestral tone in D flat major is veiled, somehow mysterious and impressionistic. Compared with it D major sounds clearer, but also more matter-of-fact. Maybe Sibelius was afraid of the reaction of the musicians to technically difficult music in D flat major and that was why he changed the key and rewrote the work once again. I don't think that purely musical weaknesses would have required a new version in this case."

In Aho's opinion the change of key and the simplification of a few details made the work easier to perform, but at the same time the composition lost "something essential" as regards the sound quality.

In the United States Sibelius realised at the rehearsals that the work was demanding enough for the musicians even in D major. According to Carl Stoeckel The Oceanides was very different from anything the musicians had played previously.

Nevertheless, the concert was a splendid success. Indeed, the audience wept with emotion during Finlandia and Valse triste. The critics, too, were exultant and the composer himself was enthusiastic:

"Up till now I have never (...) conducted another orchestra made up of so many skilful musicians as that orchestra of a hundred players that Mr. Stoeckel got together from Boston and from the New York Metropolitan Opera. For example, in The Oceanides I achieved a build-up that, to a very great degree, surprised even myself.

In The Oceanides Sibelius utilises Debussy's impressionist tone world. It should be remembered, however, that this aspect had already become apparent in the musical language of Sibelius, in such early orchestral works as Kullervo and Lemminkäinen in Tuonela.

[Article taken from Sibelius.fi]

The Origin of Fire, Op. 32



Op. 32 Tulen synty (The Origin of Fire) for baritone, male choir and orchestra; words from Kalevala. First version 1902; first performance in Helsinki, 9th February 1902 (Abraham Ojanperä, "Jubilee Choir", Orchestra of Helsinki Philharmonic Society under Jean Sibelius). Final version 1910, piano score 1910.

The Origin of Fire was Sibelius's contribution to the opening of the National Theatre in 1902. It is definitely one Sibelius's best works for choir and orchestra since Kullervo, which had been completed ten years earlier.

The 47th rune of Kalevala stirred Sibelius's patriotic feelings. It mentioned a dark night, which could be understood to reflect the feelings of the people under the rule of Governor-General Bobrikov. The rune ends with a description of the origin of fire. This was seen to symbolise the awakening of the people.

The first public performance on 9th April 1902 was only part of a very long Christmas programme. Päivälehti published the lyrics of the work the following day, commenting only that "the magnificent work made a powerful impact on the audience"..

The work remained in the repertoire and was performed regularly in Finland in the years that followed. Sibelius understood the value of his work and revised it eight years later. The dark and severe composition shows considerable skill in the baritone, choir and orchestral parts, although Erik Tawaststjerna thought their were some stereotypical elements in the solutions the composer arrived at. The work shows a side of Sibelius that combines patriotism with real compositional interest.

[Article taken from Sibelius.fi]

Symphony No. 3 in C major, Op. 52



The Symphony No. 3 in C major, Op. 52, by Jean Sibelius is a symphony in three movements composed in 1907. Coming between the romantic intensity of Sibelius's first two symphonies and the more austere complexity of his later symphonies, it is a good-natured, triumphal, and deceptively simple-sounding piece. The symphony's first performance was given by the Helsinki Philharmonic Society, conducted by the composer, on 25 September 1907. In the same concert, his suite from the incidental music to Belshazzar's Feast, Op. 51, was also performed for the first time.

The first recording featured the Finnish conductor Robert Kajanus and the London Symphony Orchestra, for the HMV label in January 1934.

The Third symphony represents a turning point in Sibelius's symphonic output. His First and Second symphonies are grandiose Romantic and patriotic works. The Third, however, shows a distinct, almost Classical desire to contain the largest amount of musical material in the fewest possible melodic figures, harmonies, and durations. This musical economy is most apparent in the first movement, almost reminiscent of Beethoven in its clear and cleanly developed sections. A typical performance runs slightly under half an hour. The piece is scored for an orchestra including 2 flutes, 2 oboes, 2 clarinets (in Bb and A), 2 bassoons, 4 horns (in F), 2 trumpets (in Bb), 3 trombones, timpani, and strings.

I. Allegro moderato
II. Andantino con moto, quasi allegretto
III. Moderato – Allegro ma non tanto

The symphony opens with a strident and rhythmic melody in the cellos and double basses, after the announcement of which the brass and the remaining strings enter the scene in turn. The C-F♯ tritone, which plays such an important role in both this and the next symphony, is clearly articulated and emphasised as early as the beginning of bar 15 by a rinforzando marking. A lilting, almost folk-like flute solo gives way to a triumphant horn call over brush-like strings in the first of three major climaxes in the first movement. After this rush of sound, the gentle serenity of the opening is recalled by the cellos once again, but this time in a more vulnerable and sostenuto manner in the more remote key of B minor.

From this point, the music gently winds down. Then, a succession of woodwind instruments recall the second cello melody over soft string scales, which repeatedly recall the opening of the movement. The tension grows and finally explodes into the opening theme, underscored by timpani, and the violins flit their way over a pulsating cushion of brass-and-woodwind chorales and offbeat pizzicatos in the cellos. The flute theme is once again recalled, and the second cello theme is finally brought to life by the entire orchestra; played in the string section, the timpani and woodwind provide rhythmic material while more brass chorales are sustained throughout the section.

The music once again winds down, but this time, before it is let go completely, a glorious flute and horn chorale lead into more recollections of past themes, which have the last word before this phenomenal movement closes in a manner that is brilliant in its simplicity: two two-chord "Amen" cadences (plagal cadences) in E minor (a chord of A minor followed by a chord of E minor), which, because there is no F in either chord, leave the F-F♯ dichotomy (set up by the C-F♯ tritone near the beginning of the work) unresolved; this dichotomy is then finally resolved (for the time-being at least) by a single plagal cadence in C (F major, then C major).

The opening of the second movement is a nocturne, a movement of supreme clarity and austere romantics, seemingly contradictory, but immediately accessible; the first section almost waltzes out of the pervading darkness, but, in a constrained manner, the music refuses to do so. Commentators disagree over exactly what form the structure of this movement represents; however the four appearances of the theme with developmental episodes suggest a kind of rondo. After the extended introduction, a brief moment of lightness gives way to the string section taking over the theme, with woodwinds and horns providing masterful, touching comments. The music is propelled to the end by perpetual cello pizzicatos, and then the second movement ends in several string pulses where the midnight waltz grinds to a halt in which the tune is still almost recognizable.

The last movement is really two movements compacted into a single finale. Sibelius described it as 'the crystallisation of chaos'. The opening contains thematic fragments from previous material and of material yet to come. A hushed, tense scherzo breaks into a triumphant chorale (with prominent C-F♯ tritone) which is repeated several times. The coda brings the chorale-type theme into greater and greater expanses, until at long last the symphony concludes in a compendium of the chorale theme and a rush of string figures and woodwind scales. The cadence brings the piece to an almost abrupt halt with a single, arpeggiated C major triad in the brass. The piece is relatively short, usually lasting about 31 minutes.

[Article taken from Wikipedia]

The Tempest, Op. 109



Sibelius: Music for "The Tempest" by William Shakespeare, op. 109 (1925-26)

Sibelius's late period has puzzling aspects. When the composer approached the age of 60, he found it more and more difficult to work. "Self-criticism is increasing to the point of impossibility," he commented. Yet there is no trace of these problems in the compositions dating from the start of the 1920s. The writing of the sixth and the seventh symphony (1923, 1924), and the music for The Tempest (1925-26) and Tapiola (1926) seem to have been rather easy for Sibelius compared to the difficult composition process of the fifth symphony (1915-19). Most importantly: in the same way as Sibelius in his last symphony perfected a genre which was vitally important to him, Tapiola is a masterly conclusion to his series of symphonic poems and The Tempest is his most magnificent work of incidental music.

The immediate impetus for The Tempest was an inquiry from Sibelius's Danish publisher Wilhelm Hansen, who asked in May 1925: "Have you composed music for The Tempest? Det Kongelige Teater in Copenhagen is going to perform this play and would like to use your music."
Interestingly enough, as early as 1901 Sibelius's friend and patron Axel Carpelan (died 1919) had suggested: "Now look here Mr S., shouldn't you someday direct your interest to the dramas of Shakespeare ... The Tempest should be very appropriate for you: Prospero (magician), Miranda, spirits of the earth and air etc." Given that Sibelius would shortly (1926) compose another work that had been suggested by Carpelan, a "Waldsymphonie" (realised as Tapiola), one could speculate that the subject-matter of The Tempest had been in his mind for a long time. The fate of another aging artist, Prospero, may have been one that he felt he could identify with.

The score of the new stage work began to take shape surprisingly quickly, during the autumn of 1925, and possibly also at the beginning of the following year. The incidental music lasts for over an hour. It is composed for vocalists, mixed-voice choir, harmonium and a large orchestra. The music comprises 36 pieces in all.

The first public performance took place in Copenhagen on 15th March 1926, and the music of the play was considered particularly successful.
"Shakespeare and Sibelius, these two geniuses, have found each other," was one comment.

Immediately after the premiere Sibelius wrote: "The Tempest music has many themes which I would like to deal with more thoroughly. Because of the drama I have only been able to outline them." It appears that the climax of Tapiola and its whole-tone and chromatic textures do indeed develop from the overture to The Tempest. Unfortunately, the composer gave up his intentions in other respects. The two orchestral suites prepared from the incidental music, plus the overture (published as a separate piece) comprise 19 pieces in all. In these Sibelius actually condensed and combined items from the stage music, sometimes in somewhat strange ways which obscured the drama. Consequently, restoration of the original incidental music for concert performance is completely justified, especially since many of the pieces that Sibelius left out of the suites are of high musical excellence. The restored (i.e. the original) version is described below.

In The Tempest Sibelius's orchestral genius is at its most splendid. His ingenuity, his talent for creating utterly new orchestral colours seems inexhaustible. The magical sonorities of the pieces - which are familiar from the suites – are revitalised when we hear them in their original form. A dreamlike, intoxicating atmosphere is conjured up by the harp and harmonium in the Chorus of the Winds (No. 4) and by the combination of harp and harmonium with high muted strings and solo flute in The Oak (no. 9).

Moreover, in the reconstituted version certain pieces strike home with full force. These include the short, recurrent phrases depicting the flight of Ariel (nos. 3, 5, 21, 28-30), and various items that are pruned to a torso in the suites but which are allowed their full extent in the incidental music - the characterisation of the villainous Antonio (no. 17) and the thrillingly dissonant portrait of Prospero (no. 32). In addition, the interlude depicting Caliban (no. 11) and the powerful baroque portrait of Prospero (no. are both much more impressive in their original length.

Above all one is grateful for ten entirely new pieces, among them a few delightful songs. These include Ariel's Third Song (no. 10) and the wild Stefano's Song (No. 12). In waltz rhythm we have Iris's Recitation (no. 24) and the gallant Juno's Song (no. 25). Finally, we have the splendid Cortège (no. 34) and, to conclude, the questioning Epilogue (no. 34 bis).

In the original music for The Tempest Sibelius proves to be a tone poet at the height of his creative powers. The music ranges from Baroque in the style of Corelli and Purcell to Stravinskian Neoclassicism (Scene, no. 31) and Prokofievian brashness (Caliban pieces 11 and 13). Despite the range of styles he manages to keep the music together. He combines the grossest commedia dell'arte (Stephano's and Caliban's songs, and The Drinking Companions' Canon, no. 16) with the most elevated tragedy (the Prospero pieces) – and in a genuinely Shakespearean spirit. In The Tempest Sibelius created one of his most ingenious orchestral scores.

Synopsis

With the help of Alonso, King of Naples, Antonio has seized power from his brother Prospero, Duke of Milan. With his daughter Miranda, Prospero
has settled down on a desert island, whose inhabitants - Ariel, a spirit of the air, and Caliban, a monster - he rules over by means of his magic powers. After several years a ship sails past the island. On board are Antonio and also Alonso, together with his son Ferdinand, his brother Sebastian and the courtier Gonzalo. The musical pieces start from this point (1-34bis.):

No. 1, Overture (later the ninth piece of the first concert suite, = I/9 The Tempest).
The ship sinks in a tempest raised by Prospero.

Act 1

No. 2, Miranda Falls Asleep (I/7b: Berceuse). Miranda is shocked at seeing the shipwreck. Prospero tells her about his past, then uses his magic to make her fall asleep.
No. 3, Ariel Flies In. Prospero calls on Ariel's help. (Note: Being a spirit, Ariel is asexual. On the stage the role is usually played by a man or a young boy, but Sibelius gave the role to a female vocalist.)
No. 4, Chorus of the Winds (II/1: Chorus of the Winds). Ariel tells how he sank the ship; the music depicts the gentle winds after the tempest.
No. 5, Ariel Hurries Away. Prospero tells Ariel to leave, and to turn into a mermaid whom only Prospero can see.
No. 6, Ariel's First Song with introduction and chorus (II/8: The Naiads). After an exchange of words between Prospero and Caliban, Ariel returns as an invisible mermaid, playing and singing, accompanied by the barking of dogs and the crowing of cocks.
No. 7, Ariel's Second Song (I/8b: Ariel's song). Ferdinand is sitting on the beach mourning his father, whom he believes to be dead. Ariel confirms the death in his song.

Act 2

No. 8, Interlude (II/4: Prospero). The music paints a portrait of the noble Prospero, after which we move to the characters from the shipwreck.
No. 9, The Oak Tree; Ariel plays the flute (I/1: The Oak). Alonso is grieving, believing his son to be dead. The others curse their fate, that they have ended up on a desert island. Ariel comes to play the flute, whereupon some members of the groupfall asleep.
No. 10, Ariel's Third Song. After the others have fallen asleep, Antonio and Sebastian intend to kill Alonso and Gonzalo, but Ariel returns to hinder the plans.
No. 11, Interlude [Caliban] (I/6: middle part of Scène). This is a portrait of the monster Caliban, whom Prospero has enslaved.
Nro 12, Stephano' Song. Caliban meets the jester Trinculo, who was saved from the shipwreck, and the hard-drinking cup-bearer Stephano, who sings with a bottle in his hand.
No. 13, Caliban's Song (I/3 Caliban's song). When Caliban gets his "heavenly drink" he thinks Stephano is a god and regards him as his new master.

Act 3

No. 14, Interlude [Miranda] (II/7: Miranda). The act begins with an interlude which portrays the charming girl Miranda; with the help of Prospero, Miranda and Ferdinand have found each other.
No. 15 (I/2: Humoreske). Stephano, Trinculo and Caliban squabble with each other.
No. 16, Canon (I/5: Canon). The companions plan to kill Prospero, sing a canon and march off, guided by Ariel's music.
No. 17, Devil's Dance (II/9: Dance Episode). Antonio and Sebastian once again plan to murder Alonso; a Spanish dance portrays Antonio.
No. 18, Ariel as a Harpy (I/1: The Oak, only the first chords). Devilish creatures set a table for the survivors, but the feast ends when Ariel arrives in the guise of a harpy and wipes the table clean with his wings.
No. 19, Dance II [The Devils Dance Away] (I/4:The Harvesters, final sequence). Strange creatures carry away the table and disappear, dancing.
No. 20, Intermezzo (II/2: Intermezzo). Alonso repents of his deeds, believing that Prospero has caused his son's death as revenge; the music between the third and fourth acts depicts Alonso's grief.

Act 4

No. 21, Ariel Flies In [= No. 3]. Prospero admits that he has tested Ferdinand. But now he grants Miranda to Ferdinand and summons Ariel.
No. 22, Ariel's Fourth Song (II/5: Song). At the request of Prospero, Ariel conjures up a harvest feast from antiquity, complete with goddesses, to celebrate the engagement of the young couple.
No. 23, The Rainbow (I/8a: Interlude). A rainbow illuminates a feast held in honour of Iris, the goddess of the rainbow.
No. 24, Iris's Recitation. Iris's recitation is accompanied by a waltz rhythm.
No. 25, Juno's Song. In her waltz song the supreme goddess Juno wishes the young couple "riches, love, long life, kindness, happiness and honour".
No. 26, Dance Of The Naiads (II/3: Dance of the Nymphs). The mermaids dance a charming minuet.
No. 27, The Harvester (I/4: The Harvesters). The harvesters join in the dance.
No. 28, Ariel Flies In [= No. 3]. Prospero remembers Caliban's deceitful plan and summons Ariel again.
No. 29, Ariel Flies Off [= No. 5]. Prospero commands Ariel to fetch fine garments to lure the thieves, and Ariel hurries away.
No. 30, Ariel flies In. Ariel returns immediately after carrying out the command.
No. 31, The Dogs (I/6: Scéne). Caliban, Stephano and Trinculo intend to kill Prospero, but are charmed by the garments.
They try them on, until spirits in the shapes of dogs - summoned by Prospero - drive the villains away.

Act 5

No. 31bis, Overture (II/6: Song II). As an introduction we hear an Overture. This is the same music as Ariel's 5th song which comes a little later.
No. 32 Intrada (I/7a: Intrada). Prospero in his magician's robe commands Ariel to go and free those he has practised his magic on; his decision to give up his magic powers is characterised by "mindless chords followed by festive music".
No. 33, Ariel's Fifth Song (II/6: Song II). Prospero once again dresses in the apparel of the Duke of Milan and sets Ariel free. Ariel rejoices.
No. 34, Cortège. Both the virtuous characters and those who had fallen into error come to Prospero. He pardons everybody. After the amnesty and a happy reunion the whole party proceeds to Prospero's cabin to the rhythm of a festive polonaise.
No. 34bis, Epilogue.

For a performance in Helsinki in 1927 Sibelius wrote this additional concluding piece, full of majestic resignation, in the spirit of Prospero's music

[Article taken from Sibelius.fi]

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]

Symphony No. 5 in E flat major, Op. 82



First version 1915: 1. Tempo moderato assai, 2. Allegro commodo, 3. Andante mosso, 4. Allegro commodo - Largamente molto; first performance in Helsinki on 8th December 1915 (Helsinki City Orchestra under Jean Sibelius).
Second version 1916: 1. Tempo molto moderato, 2. Andante mosso, 3. Allegro molto - Largamente assai; first performance in Turku on 8th December 1916 (Orchestra of Turun Soitannollinen Seura under Jean Sibelius).
Final version 1919: 1. Tempo molto moderato - Allegro moderato (ma poco a poco stretto), 2. Andante mosso, quasi allegretto, 3. Allegro molto; first performance in Helsinki, 24th November 1919 (Helsinki City Orchestra under Jean Sibelius).

The second and fifth symphonies compete for the title of Sibelius's most popular symphony. Both sound splendid and end in a blaze of glory.

The sovereign mastery of the fifth symphony gives no hint of the years of hard decision-making that went into it. Ideas were conceived initially, then discarded, then rewritten, then finally taken up again in a new form.

During the First World War Sibelius as a composer led his life "on two levels". His contacts with the outside world were sparse because of the war, and financial pressures forced him to produce a great number of small pieces for Finnish publishers. At the same time he was planning an entirely new kind of symphony. He would write three different versions of it before he was satisfied with the result.

Sibelius had been thinking about the fifth symphony, at least since the spring of 1912 when he was working on other pieces. In the summer of 1914, just after the outbreak of the First World War, he wrote that he had got an idea for "a lovely theme". Then in the autumn of 1914 he wrote a prophecy to his friend Axel Carpelan: "Another depth of misery. But I can already make out the mountain that I shall ascend (...) God is opening his doors for a moment, and his orchestra is playing the fifth symphony."

While Sibelius's diary notes show that his mood during the fourth symphony was one of determination, the initial stages of the fifth symphony seemed to be filled with ecstasy. "The autumn sun is shining. Nature in its farewell colours. My heart is singing sadly – the shadows grow longer. The Adagio of my fifth symphony? That I, poor fellow that I am, can have moments of such richness!!" he wrote on 10th October 1914. And in November the sentiment grew even stronger: "I have a lovely theme. An adagio for the symphony – earth, worms and misery, fortissimo and sordinos [mutes], lots of sordinos. And the melodies are divine!!"

In another diary entry (April 1915) Sibelius wrote: "In the evening, working on the symphony. This important task which strangely enchants me. As if God the Father had thrown down pieces of a mosaic from the floor of heaven and asked me to work out the pattern." Indeed, he produced a "mosaic" of drafts during the autumn and winter of 1914. But from such an assembly of material can we know which draft belonged to which movement, or even to which work?
In addition to the symphony Sibelius was planning a violin concerto, which he also discussed with Breitkopf & Härtel. And this plan began to develop into yet another work, the sixth symphony. Themes were moved from one draft to another. Part of the first drafts for the sixth symphony finally ended up in the fifth symphony - and the second theme of the finale of the sixth symphony can first be found among the drafts for the fifth symphony!

On the 21st April Sibelius saw sixteen swans. In his diary he immediately wrote a magnificent thematic sequence, which ended up in the finale of the fifth symphony. "One of the great experiences of my life! God, how beautiful," he wrote in his diary.

Erik Tawaststjerna made an in-depth analysis of the way in which Sibelius developed the ideas in his sketchbook into his fifth symphony. Tawaststjerna divided the motifs (those that passed the self-criticism stage) into those generated by a "stepping impulse" and those generated by a "rocking impulse".

Both of these impulses are clearly present in the first version of the fifth symphony, which was performed in Helsinki on the composer's 50th birthday, 8th December 1915. It achieved enormous and immediate success. Sibelius was already a national hero, and the reception was overwhelming: the composer had to receive delegations for hours before the concert, the audience shrieked for joy during the concert, and the celebrations continued over several days and many performances.

The reception of the first version is reflected in Otto Kotilainen's review in Helsingin Sanomat. The symphony was still in four movements, and Kotilainen noted quite correctly that the second movement stood in a very close relation to the first. In the first version the first movement ends in an oddly inconclusive manner, as if it were an introduction to the second movement. Kotilainen regarded the third, slow movement as "one of the strangest andante movements ever written", describing it in terms of "simplicity, depth, beauty" (and soon Sibelius discovered that the slow movement was still too simple in this form).
According to Kotilainen the finale was like the raging of the forces of nature. In the canon at the end Kotilainen heard the "wildest dissonances" as the theme criss-crossed from one instrument to another. "True musical magic," the critic marvelled. He declared the fifth symphony to be a masterpiece.

The review shows how much the first version differed from the final version. The original version is clearly longer, and the scherzo episode at the end of the first movement is still a separate movement. In the finale of the first version there are exciting dissonant features, which look back to the fourth symphony, and which Sibelius later smoothed out. Even the famous final strokes were still ligatured to each other with the timpani. In 1995, the first version attracted international attention, when Osmo Vänskä recorded it with the Lahti Symphony Orchestra.

Sibelius was preparing the symphony for publication in January 1916, but he was not satisfied with its form. Now began the revision in which the two first movements of the symphony were joined together by means of an ingenious bridge passage – moreover, this was done in a way that revealed the connections between the movements; thus the first two movements now form an organic whole.

In the version which was completed in 1916 the slow movement was apparently – to judge by the parts of the score that have survived – an intermediate form of the versions from the years 1915 and 1919. The same applies to the finale: in this, part of the original material had been temporarily discarded and replaced with ideas which were eventually cut from the 1919 version. The precise revisions of the second (December 1916) version are not entirely clear, as the critics did not make detailed comparisons with the previous version.

The third version was the only version that Sibelius was satisfied with. The beginning was not far from its original form, but the slow movement had become a more versatile movement with rich and ambiguous variations of its theme. In the finale some loosely-connected episodes were eliminated, but the splendid largamente section of the 1915 version was restored.

On the 22nd April Sibelius wrote: The fifth symphony – mirabile, [not] to say horribile dictu: completed in its final form. Been struggling with God." Six days later he was already striking out the second and third movements! However, after one more revision of the finale the whole work was at last ready. "Now it is good," Sibelius wrote.

[Article taken from Sibelius.fi]

[Ken B]

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[Mirror Image]

Oh jeez...Ken....

[Moonfish]

There is another box from Decca (11 cds) as well with Flagstad, Nilsson, Collins, Rosbaud, and Van Beinum listed as artists/conductors.

Sibelius: Great Performances (Aug 7, 2015) - no image yet

http://www.amazon.de/Sibelius-Great-Performances-Flagstad/dp/B00YG7W8EO

Now with added art..   
The Collins cycle (currently available separately on Eloquence) is included in this release.

[Mirror Image]

Cool, but what about a tracklisting? I don't own Collins' symphony cycle, so this may be a worthy addition to my collection. I'm just a bit put off by the fact that the Collins is in antique sound quality, which could actually be why I don't own his cycle already.

[Sergeant Rock]

I don't own Collins' symphony cycle, so this may be a worthy addition to my collection....

...or not. The two twofers are Classics Today CDs from Hell:

"...these mid-1950s performances are mediocre and irrelevant, compromised by Anthony Collins' lack of distinctive insights (other than basically correct tempos) and the orchestra's often miserable response. Most awful is the first movement of the Fifth Symphony, with horrible woodwinds in the first half, perhaps the flabbiest non-happening of a transitional climax ever recorded, and a coda missing its timpani solo and featuring vile trumpet tone. Symphony No. 6 suffers from really scruffy string playing, and where the playing isn't bad the performance is simply boring, particularly in the finale.

"The Second and Fourth Symphonies are both pretty dreadful. The first movement of the former and the finale of the latter stand among the dullest on disc, resolutely flat and under-inflected."

"...there isn't a bar here that hasn't been realized more effectively, in much finer sound, from the likes of Colin Davis, Bernstein, Ormandy, Karajan, Blomstedt, Vänskä, Segerstam, Gibson, Berglund, and perhaps a dozen other conductors of greater or lesser repute."

[Mirror Image]

...or not. The two twofers are Classics Today CDs from Hell:

"...these mid-1950s performances are mediocre and irrelevant, compromised by Anthony Collins' lack of distinctive insights (other than basically correct tempos) and the orchestra's often miserable response. Most awful is the first movement of the Fifth Symphony, with horrible woodwinds in the first half, perhaps the flabbiest non-happening of a transitional climax ever recorded, and a coda missing its timpani solo and featuring vile trumpet tone. Symphony No. 6 suffers from really scruffy string playing, and where the playing isn't bad the performance is simply boring, particularly in the finale.

"The Second and Fourth Symphonies are both pretty dreadful. The first movement of the former and the finale of the latter stand among the dullest on disc, resolutely flat and under-inflected."

"...there isn't a bar here that hasn't been realized more effectively, in much finer sound, from the likes of Colin Davis, Bernstein, Ormandy, Karajan, Blomstedt, Vänskä, Segerstam, Gibson, Berglund, and perhaps a dozen other conductors of greater or lesser repute."

I knew there was a reason why I haven't bought Collins' cycle yet.

[Moonfish]

Listened again to Collins (it has been a year or so)..

Sibelius: Symphony No 1         London SO/Collins

Middle-of-the road performance impaired by the recording engineers.

Every time I listen to this performance I am struck by the hollow metallic sound in the recording. I immediately reach for the bass (more) and treble (less) to improve the soundscape. There is a metallic emptiness that resides within the first movement that I have a difficult time with. The soundscape does not seem complete in my ears. The orchestra is detailed enough but somehow never reaches the levels I expect in Sibelius' works. Things improve in the second movement in this regard. However, I don't think the performance stands a chance against the fierce competition in the Sibelius realm (e.g. Vänskä or Segerstam - heck, I even prefer all the Davis cycles renditions of the first symphony over this one). 

[asin] B00104CIPK[/asin]

[Moonfish]

...or not. The two twofers are Classics Today CDs from Hell:

"...these mid-1950s performances are mediocre and irrelevant, compromised by Anthony Collins' lack of distinctive insights (other than basically correct tempos) and the orchestra's often miserable response. Most awful is the first movement of the Fifth Symphony, with horrible woodwinds in the first half, perhaps the flabbiest non-happening of a transitional climax ever recorded, and a coda missing its timpani solo and featuring vile trumpet tone. Symphony No. 6 suffers from really scruffy string playing, and where the playing isn't bad the performance is simply boring, particularly in the finale.

"The Second and Fourth Symphonies are both pretty dreadful. The first movement of the former and the finale of the latter stand among the dullest on disc, resolutely flat and under-inflected."

"...there isn't a bar here that hasn't been realized more effectively, in much finer sound, from the likes of Colin Davis, Bernstein, Ormandy, Karajan, Blomstedt, Vänskä, Segerstam, Gibson, Berglund, and perhaps a dozen other conductors of greater or lesser repute."

Sarge,
I read this after posting my impressions of Collins' rendition of the first symphony. Interesting how it kind of echoes the reviews you referred to.  The performance just seem half-baked.  Doesn't the Collins cycle have a following (well, not at GMG)?  I see it occasionally referred to as a hallmark recording.   

[Mirror Image]

Just as I suspected of the Collins' cycle, Peter. Glad I never pursued the cycle any further.

[Moonfish]

Just as I suspected of the Collins' cycle, Peter. Glad I never pursued the cycle any further.

Ha ha! I will (attempt to) listen to the whole Collins cycle, but the first symphony wasn't exactly a thrilling experience. It is only four cds after all. I take my time as I tend to mix up cycles (and composers) in my listening sessions.  0:)

Now I need Vänskä's Minnesota recording as an antidote!!!!

[Mirror Image]

Ha ha! I will (attempt to) listen to the whole Collins cycle, but the first symphony wasn't exactly a thrilling experience. It is only four cds after all. I take my time as I tend to mix up cycles (and composers) in my listening sessions.  0:)

Now I need Vänskä's Minnesota recording as an antidote!!!!

Good luck on listening to the Collins cycle. You'll probably need it.

[Moonfish]

How is Berglund's cycle with the Chamber Orchestra of Europe?

[Mirror Image]

How is Berglund's cycle with the Chamber Orchestra of Europe?

Haven't heard any of it (yet), but it's the only Sibelius cycle to employ a chamber orchestra to perform these symphonies. Definitely need to give it a listen.

[Ken B]

Just as I suspected of the Collins' cycle, Peter. Glad I never pursued the cycle any further.

Once you have 25, 26 is calling to you ...

[Ken B]

Haven't heard any of it (yet), but it's the only Sibelius cycle to employ a chamber orchestra to perform these symphonies. Definitely need to give it a listen.

It is absolutely worth a listen but for me it's not a top choice. I have heard 5,6,7.

[Mirror Image]

Once you have 25, 26 is calling to you ...

Hah!

It is absolutely worth a listen but for me it's not a top choice. I have heard 5,6,7.

I wouldn't think it's a top choice as I like my Sibelius with full-sized orchestra, but the chamber orchestra will make a nice contrast to what I'm accustomed to hearing in these symphonies, which is why I bought this Berglund cycle.

[TheGSMoeller]

The Wood Nymph is phenomenal. I listened to it before noticing the opus, I really would've thought it was composed in a later period. Definitely to my ears one of Sibelius' best works.

[vandermolen]

Good luck on listening to the Collins cycle. You'll probably need it.

I have the Collins cycle on CD. I think that these performances were highly rated when there was limited competition. Having said that, as a cycle, I rather enjoy the performances but must listen to them again.