Jean Sibelius [PDF]

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Jean Sibelius This article is about the Finnish composer. For other and 21 separate publications of choral music. uses, see Sibelius (disambiguation). Sibelius composed prolifically until the mid-1920s. Jean Sibelius (/sɪˈbeɪliəs, -ˈbeɪljəs/;[1] Swedish proHowever, after completing his Seventh Symphony (1924), the incidental music to The Tempest (1926), and the tone poem Tapiola (1926), he produced no large scale works for the remaining thirty years of his life. Although he is reputed to have stopped composing, he in fact attempted to continue writing, including abortive efforts to compose an eighth symphony. He wrote some Masonic music and re-edited some earlier works during this last period of his life, and retained an active interest in new developments in music, although he did not always view modern music favorably. The Finnish 100 mark bill featured his image until it was taken out of circulation in 2002 when the euro was adopted as a cash currency.[3] Since 2011, Finland has celebrated a Flag Day on 8 December, the composer’s birthday, also known as the 'Day of Finnish Music'.[4]

1 Early life Sibelius was born in Hämeenlinna in Grand Duchy of Finland in the Russian Empire, the son of Swedishspeaking doctor Christian Gustaf Sibelius and Maria Charlotta Sibelius née Borg. As a boy he was nicknamed Janne, as is common in Finland. However, during his student years, he began preferring the French form Jean, inspired by the business card of his seafaring uncle.[5] He therefore became known as Jean Sibelius.

Sibelius in 1913

nunciation ; born Johan Julius Christian Sibelius; 8 December 1865 – 20 September 1957) was a Finnish Sibelius’ younger brother Christian Sibelius (1869– composer of the late Romantic period. His music played 1922), MD, university professor and head of Lapinlahti an important role in the formation of the Finnish national Asylum, was a psychiatrist and founder of modern psyidentity. chiatry in Finland. The core of Sibelius’ oeuvre is his set of seven The rapid rise of Romantic Nationalism in Europe was symphonies. Like Beethoven, Sibelius used each succes- inspired by the philosophy of Hegel and had a profound sive work to further develop his own personal compo- effect on educational systems in Europe. The gradual sitional style. His works continue to be performed fre- demise of Latin was accompanied by opportunities to quently in the concert hall and are often recorded. study more native languages. In Finland this meant eiIn addition to the symphonies, Sibelius’ best-known compositions include Finlandia, the Karelia Suite, Valse triste, the Violin Concerto in D minor, Kullervo, and The Swan of Tuonela (one of the four movements of the Lemminkäinen Suite). Other works include pieces inspired by the Finnish national epic, the Kalevala; over 100 songs for voice and piano; incidental music for 13 plays; the opera Jungfrun i tornet (The Maiden in the Tower); chamber music; piano music; Masonic ritual music;[2]

ther Finnish or Swedish, which became part of the syllabus, from elementary school up to university. Young Janne Sibelius went to the Finnish-speaking Hämeenlinna Normal-Lycee secondary school which he attended from 1876 to 1885, but his first language was Swedish. Romantic Nationalism was to become a crucial element in Sibelius’ artistic output and his political leanings. From around the age of 15, he set his heart on becoming a great violin virtuoso, and he did become quite an accomplished 1

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MARRIAGE AND FAMILY

Sibelius in 1889

ing when I had to admit that I had begun my training for the exacting career of a virtuoso too late”. According to Sibelius’ biographer Erik Tawaststjerna, he was an enthusiastic Wagnerian at the beginning of the 1890s but then began to feel disgust for his music, calling it pompous and vulgar.

11-year-old Sibelius in 1876

3 Marriage and family

player of the instrument, even publicly performing the last two movements of the Mendelssohn’s Violin Concerto in Helsinki. On 10 June 1892, Jean Sibelius married Aino Järnefelt (1871–1969) at Maxmo. Their home, called Ainola, was completed at Lake Tuusula, Järvenpää, in 1903. They had six daughters: Eva, Ruth, Kirsti (who died at a 2 Studies very young age from typhoid),[6] Katarina, Margareta and After Sibelius graduated from high school in 1885, he be- Heidi. Eva married an industrial heir Arvi Paloheimo and gan to study law at the Imperial Alexander University in later herself became the CEO of the Paloheimo CorpoFinland (from 1919 the University of Helsinki). How- ration. Ruth Snellman was a prominent actress, Katarina ever, he was more interested in music than in law, and Ilves the wife of a banker, and Heidi Blomstedt a dehe soon quit his studies. From 1885 to 1889 Sibelius signer, her husband Aulis Blomstedt being an architect. studied music in the Helsinki Music Institute (now the Margareta married the conductor Jussi Jalas, previously Sibelius Academy). One of his teachers there was the Blomstedt, Aulis Blomstedt’s brother. founder Martin Wegelius. Sibelius continued studying in Berlin (from 1889 to 1890 with Albert Becker) and in Vienna (from 1890 to 1891 with Karl Goldmark). It was around this time that he finally abandoned his cherished violin playing aspirations: “It was a very painful awaken-

In 1907, Sibelius underwent a serious operation for suspected throat cancer. The impact of this brush with death has been said to have inspired works that he composed in the following years, including Luonnotar and the Fourth Symphony.[7]

3 phonic poem The Oceanides commissioned by the millionaire Carl Stoeckel.[8]

5 Activity in Freemasonry

Sibelius in 1891

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Life abroad and travels Sibelius in 1923

When freemasonry was revived in Finland, having been forbidden during the Russian sovereignty, Sibelius was one of the founding members of Suomi Lodge Nr 1 in 1922 and later the Grand Organist of the Grand Lodge of Finland. He composed the ritual music used in Finland (op 113) in 1927 and added two new pieces composed 1946. The new revision of the ritual music of 1948 is one of his last works.[9]

6 Nature Sibelius loved nature, and the Finnish landscape often served as material for his music. He once said of his Sixth Symphony, "[It] always reminds me of the scent of the first snow.” The forests surrounding Ainola are often Blue plaque, 15 Gloucester Walk, Kensington, London, his home said to have inspired his composition of Tapiola. On the in 1909 subject of Sibelius’ ties to nature, one biographer of the Sibelius spent long periods abroad studying in Vienna and composer, Erik W. Tawaststjerna, wrote the following: Berlin 1889–1891 and 1900–1901 with family in Italy. "Even by Nordic standards, Sibelius reHe composed, conducted and socialized actively in Scansponded with exceptional intensity to the moods dinavian countries, the UK, France and Germany. In of nature and the changes in the seasons: he 1914 he was the composer of the year at the Norfolk scanned the skies with his binoculars for the Music Festival in Connecticut, USA, premiering his sym-

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8 LAST YEARS geese flying over the lake ice, listened to the screech of the cranes, and heard the cries of the curlew echo over the marshy grounds just below Ainola. He savoured the spring blossoms every bit as much as he did autumnal scents and colours".[10]

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Later works

The year 1926 saw a sharp and lasting decline in Sibelius’ output: after his Seventh Symphony he only produced a few major works in the rest of his life. Arguably the two most significant were incidental music for Shakespeare’s The Tempest and the tone poem Tapiola.[11] For most of the last thirty years of his life, Sibelius even avoided talking about his music publicly. There is substantial evidence that Sibelius worked on an eighth symphony. He promised the premiere of this symphony to Serge Koussevitzky in 1931 and 1932, and a London performance in 1933 under Basil Cameron was even advertised to the public. However, the only concrete evidence for the symphony’s existence on paper are a 1933 bill for a fair copy of the first movement and short draft fragments first published and played in 2011.[12][13][14][15] Sibelius had always been quite selfcritical; he remarked to his close friends, “If I cannot write a better symphony than my Seventh, then it shall be my last.” Since no manuscript survives, sources consider it likely that Sibelius destroyed most traces of the score, probably in 1945, during which year he certainly consigned a great many papers to the flames.[16] His wife Aino recalled,

“In the 1940s there was a great auto da fé at Ainola. My husband collected a number of the manuscripts in a laundry basket and burned them on the open fire in the dining room. Parts of the Karelia Suite were destroyed – I later saw remains of the pages which had been torn out – and many other things. I did not have the strength to be present and left the room. I therefore do not know what he threw on to the fire. But after this my husband became calmer and gradually lighter in mood.”[17]

Sibelius in 1939

8 Last years Since 1903 Sibelius had lived in the countryside, but from 1939–1944 Jean and Aino again held a residence in Helsinki. After the war he came to the city only a couple of times. The so-called “Silence of Ainola” appears a myth, knowing that in addition to countless official visitors and visiting colleagues also his grandchildren and great grandchildren spent their holidays in Ainola. Sibelius avoided public statements about other composers, but Erik W. Tawaststjerna and Sibelius’ secretary Santeri Levas have documented his private conversations in which he considered Bartók and Shostakovich the most talented composers of the younger generations. In the 1950s he actively promoted the young Finnish composer Einojuhani Rautavaara. His 90th birthday, in 1955, was widely celebrated and both the Philadelphia Orchestra under Eugene Ormandy and the Royal Philharmonic Orchestra under Sir Thomas Beecham gave special performances of his music in Finland. The orchestras and their conductors also met the composer at his home; a series of memorable photographs were taken to commemorate the occasions. Both Columbia Records and EMI released some of the pictures with albums of Sibelius’ music. Beecham was honored by the Finnish government for his efforts to promote Sibelius both in the United Kingdom and in the United States.

Erik W. Tawaststjerna also related an endearing anecdote On 1 January 1939, Sibelius participated in an interna- regarding Sibelius’ death: tional radio broadcast which included the composer con[He] was returning from his customary ducting his Andante Festivo. The performance was preserved on transcription discs and later issued on CD. This morning walk. Exhilarated, he told his wife is probably the only surviving example of Sibelius interAino that he had seen a flock of cranes appreting his own music.[18] proaching. “There they come, the birds of my

5 youth,” he exclaimed. Suddenly, one of the birds broke away from the formation and circled once above Ainola. It then rejoined the flock to continue its journey. Two days afterwards Sibelius died of a brain hemorrhage, at age 91 (on 20 September 1957), in Ainola, where he is buried in the garden. Another well-known Finnish composer, Heino Kaski, died that same day. Aino lived there for the next twelve years until she died on 8 June 1969; she is buried with her husband.

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mutations and derivations. The completeness and organic feel of this synthesis has prompted some to suggest that Sibelius began his works with a finished statement and worked backwards, although analyses showing these predominantly three- and four-note cells and melodic fragments as they are developed and expanded into the larger “themes” effectively prove the opposite.[20]

Heritage

In 1972, Sibelius’ surviving daughters sold Ainola to the State of Finland. The Ministry of Education and the Sibelius Society of Finland opened it as a museum in 1974.

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Musical style

Like many of his contemporaries, Sibelius was initially enamored of the music of Wagner. A performance of Parsifal at the Bayreuth Festival had a strong effect on him, inspiring him to write to his wife shortly thereafter, “Nothing in the world has made such an impression on me, it moves the very strings of my heart.” He studied the scores of Wagner’s operas Tannhäuser, Lohengrin, and Die Walküre intently. With this music in mind, Sibelius began work on an opera of his own, entitled Veneen luominen (The Building of the Boat). However, his appreciation for Wagner waned and Sibelius ultimately rejected Wagner’s Leitmotif compositional technique, considering it to be too deliberate and calculated. Departing from opera, he later used the musical material from the incomplete Veneen luominen in his Lemminkäinen Suite (1893). He did, however, compose a considerable number of songs for voice and piano, whose early interpreters included Aino Ackté and particularly Ida Ekman.

Portrait of Sibelius from 1894 by his brother-in-law Eero Järnefelt

This self-contained structure stood in stark contrast to the symphonic style of Gustav Mahler, Sibelius’ primary rival[11] in symphonic composition. While thematic variation played a major role in the works of both composers, Mahler’s style made use of disjunct, abruptly changing and contrasting themes, while Sibelius sought to slowly transform thematic elements. In November 1907 Mahler undertook a conducting tour of Finland, and the two composers had occasion to go have a lengthy bath together. Sibelius later reported that during the bath:

I said that I admired [the symphony’s] severity of style and the profound logic that creMore lasting influences included Ferruccio Buated an inner connection between all the mosoni, Anton Bruckner and Tchaikovsky. Hints of tifs... Mahler’s opinion was just the reverse. Tchaikovsky’s music are particularly evident in works 'No, a symphony must be like the world. It such as Sibelius’ First Symphony (1899) and his Violin must embrace everything.'[21] Concerto (1905).[19] Similarities to Bruckner are most strongly felt in the 'unmixed' timbral palette and sombre brass chorales of Sibelius’ orchestration, a fondness for However, the two rivals did find common ground in their pedal points, and in the underlying slow pace of the music. Like Mahler, Sibelius made frequent use both music. of folk music and of literature in the composition of Sibelius progressively stripped away formal markers of his works. The Second Symphony's slow movement was sonata form in his work and, instead of contrasting multi- sketched from the motif of Il Commendatore in Don Giople themes, he focused on the idea of continuously evolv- vanni, while the stark Fourth Symphony combined work ing cells and fragments culminating in a grand statement. for a planned “Mountain” symphony with a tone poem His later works are remarkable for their sense of unbro- based on Edgar Allan Poe's "The Raven". Sibelius also ken development, progressing by means of thematic per- wrote several tone poems based on Finnish poetry, be-

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11 RECEPTION

ginning with the early En Saga and culminating in the late cated his Third Symphony to the English composer, and Tapiola (1926), his last major composition. in 1946 he became the first President of the Bantock Over time, he sought to use new chord patterns, includ- Society). More recently, Sibelius was also one of the ing naked tritones (for example in the Fourth Symphony), composers championed by Robert Simpson. Malcolm and bare melodic structures to build long movements of Arnold acknowledged his influence, and Arthur ButterSibelius’ music as a source of inspiration music, in a manner similar to Joseph Haydn's use of built- worth also saw [25] in his work. in dissonances. Sibelius would often alternate melodic sections with noble brass chords that would swell and fade Eugene Ormandy and to a lesser extent, his predecesaway, or he would underpin his music with repeating fig- sor Leopold Stokowski, were instrumental in bringing ures which push against the melody and counter-melody. Sibelius’ music to American audiences by programming Sibelius’ melodies often feature powerful modal impli- his works often; the former developed a friendly relationcations: for example much of the Sixth Symphony is in ship with Sibelius throughout his life. Later in life he was Olin Downes, who wrote a biograthe (modern) Dorian mode. Sibelius studied Renaissance championed by critic [26] phy of the composer. polyphony, as did his contemporary, the Danish composer Carl Nielsen, and Sibelius’ music often reflects the influence of this early music. He often varied his movements in a piece by changing the note values of melodies, rather than the conventional change of tempi. He would often draw out one melody over a number of notes, while playing a different melody in shorter rhythm. For example, his Seventh Symphony comprises four originally sketched movements fused into telescopical and partly parallel functions without pause, where every important theme is in C major or C minor; the variation comes from the time and rhythm. His harmonic language was often restrained, even iconoclastic, compared to many of his contemporaries who were already experimenting with musical Modernism. As reported by Neville Cardus in the Manchester Guardian newspaper in 1958: Sibelius justified the austerity of his old age by saying that while other composers were engaged in manufacturing cocktails he offered the public pure cold water.[22]

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Reception

Sibelius exerted considerable influence on symphonic composers and musical life, at least in English-speaking and Nordic countries. The Finnish symphonist Leevi Madetoja was a pupil of Sibelius. In Britain, Vaughan Williams and Arnold Bax both dedicated their fifth symphonies to Sibelius. Furthermore, Tapiola is prominently echoed in both Bax’s Sixth Symphony and Moeran’s Symphony in G Minor. The influence of Sibelius’ compositional procedures is also strongly felt in the First Symphony of William Walton.[23] When these and several other major British symphonic essays were being written in and around the 1930s, Sibelius’ music was very much in vogue, with conductors like Beecham and Barbirolli championing its cause both in the concert hall and on record. Walton’s composer friend Constant Lambert even claimed that Sibelius was “the first great composer since Beethoven whose mind thinks naturally in terms of symphonic form”.[24] Earlier, Granville Bantock had championed Sibelius (the esteem was mutual: Sibelius dedi-

In 1938 Theodor Adorno wrote a critical essay about the composer, notoriously charging that “If Sibelius is good, this invalidates the standards of musical quality that have persisted from Bach to Schoenberg: the richness of interconnectedness, articulation, unity in diversity, the 'multifaceted' in 'the one'.”[27] Adorno sent his essay to Virgil Thomson, then music critic of the New York Herald Tribune, who was also critical of Sibelius; Thomson, while agreeing with the essay’s sentiment, declared to Adorno that “the tone of it [was] more apt to create antagonism toward [Adorno] than toward Sibelius”.[17] Later, the composer, theorist and conductor René Leibowitz went so far as to describe Sibelius as “the worst composer in the world” in the title of a 1955 pamphlet.[28] Perhaps one reason Sibelius has attracted both the praise and the ire of critics is that in each of his seven symphonies he approached the basic problems of form, tonality, and architecture in unique, individual ways. On the one hand, his symphonic (and tonal) creativity was novel, but others thought that music should be taking a different route. Sibelius’ response to criticism was dismissive: “Pay no attention to what critics say. No statue has ever been put up to a critic.”

Sibelius’ birthplace in Hämeenlinna

In the latter decades of the twentieth century, Sibelius began to be re-assessed more favourably: Milan Kundera dubbed the composer’s approach to be that of “antimod-

12.1

Orchestral works

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ern modernism”, standing outside the perpetual progression of the status quo.[17] In 1990, the composer Thea Musgrave was commissioned by the Helsinki Philharmonic Orchestra to write a piece in honour of the 125th anniversary of Sibelius’ birth: Song of the Enchanter was premiered on 14 February 1991.[29] In 1984, American avant-garde composer Morton Feldman gave a lecture in Darmstadt, Germany, wherein he stated that “the people you think are radicals might really be conservatives – the people you think are conservatives might really be radical,” whereupon he began to hum Sibelius’ Fifth Symphony.[17] Sibelius has fallen in and out of fashion, but remains one of the most popular 20th century symphonists, both in the concert hall and on record. Sibelius had spent much time producing profitable chamber music for home use, salon music, occasional works for the stage and other incidental music, all of which has now been systematically recorded on BIS Records' complete Sibelius Edition. This major editorial project to record every note Sibelius left us also encompasses surviving sketches and early versions of the major works. Jean Sibelius celebrates 150th Anniversary in 2015. The Helsinki Music Centre produces an illustrated and narrated Sibelius Finland Experience show every day during summer 2015. The production runs also in 2016 and 2017 at least.

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• Vårsång (The Spring Song) for orchestra, Op. 16 (1894) • Kung Kristian II (King Christian II), Suite from the incidental music for orchestra, Op. 27 (1898) • Sandels, Improvisation for chorus and orchestra, Op. 28 (1898) • Finlandia for orchestra and optional chorus, Op. 26 (1899) • Snöfrid (The Beloved Beauty) for reciter, chorus and orchestra, Op. 29 (1899) • Tulen Synty (The Origin of Fire), Op. 32 (1902) • Symphony No. 1 in E minor for orchestra, Op. 39 (1899/1900) • Symphony No. 2 in D major for orchestra, Op. 43 (1902) • Violin Concerto in D minor, Op. 47 (1903/1905) • Kuolema (The Death) (Valse triste and Scene with Cranes) for orchestra, Op. 44 (1904/06) • Dance Intermezzo for orchestra, Op. 45/2 (1904/07) • Pelléas et Mélisande, Incidental music/Suite for orchestra, Op. 46 (1905) • Pohjolan tytär (Pohjola’s Daughter), Tone Poem for orchestra, Op. 49 (1906)

Selected works

Main article: List of compositions by Jean Sibelius

• Symphony No. 3 in C major for orchestra, Op. 52 (1907)

These are ordered chronologically; the date is the date of composition rather than publication or first performance.

• Svanevit (Swan-white), Suite from the incidental music for orchestra, Op. 54 (1908)

12.1

• Nightride and Sunrise, Tone Poem for orchestra, Op. 55 (1909)

Orchestral works

• Kullervo, Symphonic Poem for soprano, baritone, chorus and orchestra, Op. 7 (1892) • En Saga, Tone Poem for orchestra, Op. (1892/1902)

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• Karelia Overture for orchestra, Op. 10 (1893) • Karelia Suite for orchestra, Op. 11 (1893) • Rakastava (The Lover) for male voices and strings or strings and percussion, Op. 14 (1893/1911) • Lemminkäinen Suite (Four Legends from the Kalevala) for orchestra, Op. 22 (1893) – these legends, which include The Swan of Tuonela, are often performed separately • Skogsrået (The Wood Nymph), Tone Poem for orchestra, Op. 15 (1894)

• Dryadi (The Dryad) for orchestra, Op. 45/1 (1910) • Two Pieces from Kuolema for orchestra, Op. 62 (1911) • Symphony No. 4 in A minor for orchestra, Op. 63 (1911) • Scènes Historiques, Suite No. 2, Op. 66 (1912) • Two Serenades for violin and orchestra, Op. 69 (1912) • Barden (The Bard), Tone Poem for orchestra and harp, Op. 64 (1913/14) • Luonnotar (Spirit of Nature, Mother Earth), Tone Poem for soprano and orchestra, Op. 70 (1913) • Aallottaret (The Oceanides), Tone Poem for orchestra, Op. 73 (1914)

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14 • Impromptu, Op. 78 (1915)

REFERENCES

14 References

• Symphony No. 5 in E-flat major for orchestra, Op. 82 (1915, revised 1916 and 1919)

[1] “Sibelius”. Random House Webster’s Unabridged Dictionary.

• Oma Maa (My Own Land) for chorus and orchestra, Op. 92 (1918)

[2] “Brother Sibelius”. Retrieved 16 October 2011.

• Jordens sång (Song of the Earth) for chorus and orchestra, Op. 93 (1919)

[4] “Ministry of Interior-Days the Finnish flag is flown”.

• Valse Lyrique, Op. 96 (1920)

[6] “Classical Destinations: An Armchair Guide to Classical Music”. Amadeus Press. 2006. p. 87. ISBN 1-57467158-8.

• Symphony No. 6 in D minor for orchestra, Op. 104 (1923) • Symphony No. 7 in C major for orchestra, Op. 105 (1924) • The Tempest, Incidental music for soloists, chorus and orchestra, Op. 109 (1925) • Väinön virsi (Väinö's Hymn) for chorus and orchestra, Op. 110 (1926)

[3] “Setelit.com”. Setelit.com. Retrieved 30 January 2012.

[5] Ekman 1972, p. 11.

[7] “All Music Guide to Classical Music: The Definitive Guide to Classical Music”. Backbeat Books. 2005. pp. 1279–1282. ISBN 0-87930-865-6. [8] Jean Sibelius and His World. Princeton University Press. 2011. p. 162. ISBN 978-0-691-15280-6. [9] Music for Freemasonry [10] Tawaststjerna, volume II, p. 21.

• Tapiola, Tone Poem for orchestra, Op. 112 (1926)

[11] Leon Botstein (14 August 2011). “The Transformative Paradoxes of Jean Sibelius”. The Chronicle of Higher Education. Retrieved 21 January 2014.

• Andante Festivo (for string quartet 1922; string orchestra and timpani 1938)

[12] Kari Kilpeläinen. “Sibelius Eight. What happened to it?". Finnish Music Quarterly 4/1995.

• Suite for violin and strings, Op 117

[13] Vesa Sirén, “Is this the sound of Sibelius’ lost Eighth Symphony?" Helsingin Sanomat, October 2011.

12.2

Other works

• Viisi joululaulua, (Five Christmas Songs) Op. 1, solo songs (1897–1913)

[14] Vesa Sirén (2011-10-30). “Soiko HS.fi:n videolla Sibeliuksen kadonnut sinfonia?". Helsingin Sanomat. Retrieved 2015-01-11. [15] David Patrick Stearns (2012-01-03). “One last Sibelius symphony after all?". Philadelphia Inquirer. Retrieved 2015-01-11.

• Seven Songs, Op. 17, with lyrics by J. L. Runeberg, K. A. Tavaststjerna, Oscar Levertin, A.V. Forsman [16] “The war and the destruction of the eighth symphony 1939–1945”. Sibelius.fi. (Koskimies, Finnish surname), and Ilmari Calamnius (Kianto, Finnish surname). Composed between [17] Ross, Alex (2009) [2007]. “5”. The Rest Is Noise: Listen1891 and 1904. ing to the Twentieth Century (3rd ed.). Harper Perennial. ISBN 978-1-84115-476-3.

• Incidental music to Hjalmar Procopé's play [18] “INKPOT CLASSICAL MUSIC REVIEWS: SIBELIUS Belshazzar’s Feast, Op. 51 (1906) • Voces intimae, Op. 56, string quartet (1909) • Jäger March (Jääkärimarssi), for male chorus and symphony orchestra, Op. 91a (1915)

Karelia Suite. Luonnotar. Andante Festivo. The Oceanides. King Christian II Suite. Finlandia. Gothenburg SO/Järvi (DG)". Inkpot.com. Retrieved 30 January 2012.

[19] Tawaststjerna, volume I, p. 209. [20] Pike

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See also

[21] Burnett-James, p. 41. [22] Burnett-James, p. 94.

• International Jean Sibelius Violin Competition • Sibelius Monument

[23] Freed, William (1995). William Walton, Symphony No. 1 in B-flat minor [1968 version], Program note. Retrieved 29 June 2011.

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[24] In: Lambert, Constant (1934). Music Ho!. Retrieved 26 June 2011. [25] Walker, Lynne (2008). “King Arthur”. Classical Music/MusicWeb International. Retrieved 1 July 2011. [26] Glenda Dawn Goss. Jean Sibelius and Olin Downes: Music, friendship, criticism. [27] Adorno, Theodor (1938). “Törne, B. de, Sibelius; A Close Up”. Zeitschrift für Sozialforschung 7: 460–463. Later reprinted as “Glosse über Sibelius”. Cited and translated in Jackson, Timothy L. (2001). “Preface”. In Jackson, Timothy L.; Murtomäki, Veijo. Sibelius Studies. Cambridge University Press. xviii. ISBN 0-521-62416-9. [28] Leibowitz, René (1955). Sibelius, le plus mauvais compositeur du monde. Liège, Belgium: Éditions Dynamo. OCLC 28594116. [29] Song of the Enchanter, Thea Musgrave.

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Sources

• Burnett-James, David (1989). Sibelius. Omnibus Press. ISBN 0-7119-1683-7. • Ekman, Karl (1972). Jean Sibelius, his Life and Personality. Greenwood Press. ISBN 0-8371-6027-8. • Pike, Lionel (1978). Beethoven, Sibelius and 'the Profound Logic': Studies in Symphonic Analysis. Athlone Press. ISBN 0-485-11178-0. • Tawaststjerna, Erik (1976). Sibelius. Volume I. University of California Press. ISBN 9780520030145. Volume II. University of California Press. ISBN 978-0520058699.

• Goss, Glenda Dawn Sibelius: A Composer’s Life and the Awakening of Finland. Chicago: University of Chicago Press, 2009. ISBN 978-0-226-30477-9 • Tomi Mäkelä: “Poesie in der Luft. Jean Sibelius, Studien zu Leben und Werk”. Wiesbaden, Breitkopf & Härtel, 2007. 978-3-7651-0363-6 • Barnett, Andrew. Sibelius. New Haven and London: Yale University Press, 2007. ISBN 978-0-30011159-0 • Tomi Mäkelä: “Jean Sibelius”. Woodbridge and Rochester, Boydell, 2011* Minnesota Orchestra’s showcase concert magazine, 6 May, page 44 • Morgan, Robert P. (1991) [1990]. “Other European Currents”. The Norton Introduction to Music History: Twentieth-Century Music (1st ed.). New York: W. W. Norton & Company. pp. 121–123. ISBN 0-393-95272-X. • Goss, Glenda Sibelius: A Composer’s Life and the Awakening of Finland. Chicago and London: The University of Chicago Press, 2009. ISBN 0-22630477-9 • Antonin Servière, Jean Sibelius – Le style dans l'oeuvre symphonique, Editions Delatour France, 2011, 324 p., ISBN 978-2752100924

17 External links • Jean Sibelius – the website (English) • The Sibelius Society of Finland • Fennica Gehrman’s Sibelius page (publisher)

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Further reading

• Ekman, Karl. “Jean Sibelius, His Life and Personality”. New York, Tudor Publishing Co., 1945. • Levas, Santeri. Sibelius: a personal portrait. London, Dent, 1972. ISBN 0-460-03978-4. • de Gorog, Lisa (with the collaboration of Ralph de Gorog) “From Sibelius to Sallinen: Finnish Nationalism and the Music of Finland”. New York, Greenwood Press, 1989. • Layton, Robert. Sibelius. New York: Schirmer Books, 1993. Master Musicians Series. ISBN 002-871322-2. • Rickards, Guy. Jean Sibelius. London and New York, Phaidon Press, 1997. ISBN 978-0-71484776-4. • Goss, Glenda Jean Sibelius: Guide to Research. New York: Garland Press, 1998. ISBN 0-8153-1171-0

• Films on Jean Sibelius by director Christopher Nupen • Jean Sibelius Museum • Finlandia by Jean Sibelius, thisisFINLAND • Ainola – The home of Aino and Jean Sibelius • Sibelius material in the BBC Radio 3 archives • Jean Sibelius link collection • Free scores by Jean Sibelius at the International Music Score Library Project • Works by or about Jean Sibelius in libraries (WorldCat catalog) • Jean Sibelius discography at MusicBrainz • Eugene Ormandy – Jean Sibelius: A Reminiscence • Musical Finland in Brussels

10 • Free scores by Jean Sibelius in the Choral Public Domain Library (ChoralWiki) • Veijo Murtomäki, Sibelius, Jean (1865–1957). National Biography of Finland, online collection. 16.9.1997. Finnish Literature Society. • List of compositions at AllMusic • Jean Sibelius at the Notable Names Database • Jean Sibelius at Find a Grave

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EXTERNAL LINKS

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• Jean Sibelius Source: http://en.wikipedia.org/wiki/Jean%20Sibelius?oldid=660050817 Contributors: Kpjas, Mav, Deb, SteveDay, SimonP, Heron, Camembert, D, Paul Barlow, Alan Peakall, Llywrch, Menchi, Mic, Timberline, TUF-KAT, Den fjättrade ankan~enwiki, Александър, Cimon Avaro, Ruhrjung, Johan Magnus, Conti, Norwikian, Nedward, Bemoeial, Magnus.de, Will, Gestumblindi, Hyacinth, Tuomas, Dmetric, JonathanDP81, Opus33, Raul654, Dazissimo, UninvitedCompany, PuzzletChung, Robbot, Pigsonthewing, Altenmann, Timrollpickering, Hadal, JackofOz, Bbx, MikeCapone, Thule, Stirling Newberry, DocWatson42, Shleep, Huopa, Bfinn, Curps, Quadell, Antandrus, Enzino, Marcus2, Fanghong~enwiki, Kate, D6, Apalsola, Discospinster, Bo Lindbergh, Mwng, RJHall, Bill Thayer, Bobo192, Wipe, Viriditas, Schissel, Chino, Guaca, Ed Halter, Velella, Max rspct, SidP, Suruena, Grenavitar, Vuo, Deadworm222, Alai, Drbreznjev, HGB, Smedley Hirkum, Tom.k, Roland2~enwiki, Philthecow, Sterio, Mikko H., TarmoK, Youngamerican, Graham87, Kbdank71, JIP, Саша Стефановић, Missmarple, BlueMoonlet, TBHecht, FlaBot, RobertG, CalJW, KFP, Malhonen, Gareth E Kegg, King of Hearts, Chobot, Sbrools, Flcelloguy, Melodia, YurikBot, CodeGeneratR, RobotE, Jhbeck23, Mhare40, God of Goalkeepers, DE, Gaius Cornelius, Gillis, Ches88, Cleared as filed, Mysid, Bota47, Iconoclastodon, Zargulon, Contaldo80, Andrewski, Jonathan.s.kt, SmackBot, Stephensuleeman, Antidote, Gilliam, Jdfoote, Macduff, Mirokado, JCSantos, Tomi Ahti, Timneu22, Ehelling, Scwlong, Can't sleep, clown will eat me, Denisamadeus, Writtenright, MDCollins, Kingoftonga86, Grover cleveland, Hoof Hearted, StN, Ohconfucius, Snowgrouse, SashatoBot, Serein (renamed because of SUL), SecretTheatre, Murph78, Axem Titanium, Euchiasmus, Zapptastic, JHunterJ, Gwenlloyd, Neddyseagoon, Arctic-Editor, Dontworry, Jetman, Wspencer11, CmdrObot, Zarex, Pmyteh, Erik Kennedy, Metzenberg, Neelix, Keithh, Cydebot, Pinoy Pride, Languagehat, Firehurtsrealbad112, Bryan P. C. C., Thijs!bot, Epbr123, Biruitorul, Opheicus, Theniemi, Edwardx, John254, Basun, Folantin, K. Lastochka, Dr. Friendly, OrenBochman, Northumbrian, Escarbot, A.G. Pinkwater, Kmblacksquare, Dr. Blofeld, Geheimdienst, JAnDbot, Dsp13, Avaya1, Matthew Fennell, BKfi, Midnightdreary, Bahar, Rothorpe, −1g, Johnwoods, Avicennasis, Cgingold, Eldumpo, Mokgamen, Mschel, Kostisl, CommonsDelinker, PapalAuthoritah, Lontano, Numbo3, Oradej, Uncle Dick, MistyMorn, Kurkikohtaus, Century0, Sallyrob, DJRafe, DadaNeem, Robertgreer, Prhartcom, KylieTastic, STBotD, Idioma-bot, Sparklism, Hsalmela, Alfietucker, AlnoktaBOT, Sjones23, Martinevans123, TXiKiBoT, A4bot, Rei-bot, Nrswanson, Clarince63, Dwhdwh, Tomaxer, Spinningspark, Dick Shane, Movedgood, Cosprings, SieBot, Cymi, Dlslider, Nedeme, Avnjay, Android Mouse Bot 3, Alex.muller, OKBot, Maelgwnbot, Addaick, Budhen, Nikuda, ClueBot, All Hallow’s Wraith, Muddyb, Parkjunwung, Auntof6, Nickforster, LisaFin, Destern, Sun Creator, BOTarate, MelonBot, Stoljaroff1987, J Hazard, Addbot, Some jerk on the Internet, Fyrael, Htm, Axilera, Mentisock, LinkFABot, Wholetone, F Notebook, Lightbot, Luckas-bot, Yobot, Backfromquadrangle, Gongshow, MinorProphet, AnomieBOT, Sonia, Vivacissimamente, Citation bot, Bob Burkhardt, Cliftonian, Xqbot, მოცარტი, Karljoos, Almabot, GrouchoBot, Omnipaedista, Amaury, FrescoBot, Nepomuk 3, D'ohBot, Rigaudon, OgreBot, Citation bot 1, Unohtunutosoite, Jonesey95, Gwafton, Jauhienij, TobeBot, Ptj tsubasa, Lotje, Mishae, Sirkablaam, Biografiakeskus, SKS, DARTH SIDIOUS 2, Jfmantis, Ripchip Bot, WikitanvirBot, Qdiderot, Immunize, J8thompson, BrieCeleste, 4meter4, MURIEL43, Poulie, Midas02, L0ngpar1sh, , Donner60, Grashazk, New york art editor, Will Beback Auto, ClueBot NG, Frietjes, Braincricket, Shrekfin, Helpful Pixie Bot, BG19bot, Joe Kaniini, Rconmaster, Maxellus, Ballard leslie, ROFI44WIK, Yekshemesh, Pancho1331, Le Lapin Vert, Remaldi, SD5bot, Im2sick, SLONGLOVER, Jiikele, Dexbot, CorinneSD, FredericParis, Lekoren, ListMyCDs, BethNaught, Sgvrfjs, SoSivr, Producer Vesa Ruotonen and Anonymous: 248

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Images

• File:Commons-logo.svg Source: http://upload.wikimedia.org/wikipedia/en/4/4a/Commons-logo.svg License: ? Contributors: ? Original artist: ? • File:Hameenlinna_Sibelius_House_1.jpg Source: http://upload.wikimedia.org/wikipedia/commons/0/03/Hameenlinna_Sibelius_ House_1.jpg License: CC BY 2.5 Contributors: Self-published work by Balcer Original artist: Balcer • File:Jean_Sibelius_15_Gloucester_Walk_blue_plaque.jpg Source: http://upload.wikimedia.org/wikipedia/commons/7/76/Jean_ Sibelius_15_Gloucester_Walk_blue_plaque.jpg License: CC BY-SA 4.0 Contributors: Own work Original artist: Edwardx • File:Jean_Sibelius_1923.gif Source: http://upload.wikimedia.org/wikipedia/commons/d/d6/Jean_Sibelius_1923.gif License: Public domain Contributors: The last masterpieces 1920-1927 Original artist: Unknown • File:Jean_Sibelius_1939.jpg Source: http://upload.wikimedia.org/wikipedia/commons/0/0d/Jean_Sibelius_1939.jpg License: Public domain Contributors: Transferred from en.wikipedia to Commons. Original artist: The original uploader was -Majestic- at English Wikipedia • File:Jean_sibelius.jpg Source: http://upload.wikimedia.org/wikipedia/commons/a/aa/Jean_sibelius.jpg License: Public domain Contributors: What We Hear in Music, Anne S. Faulkner, Victor Talking Machine Co., 1913. Original artist: ? • File:Loudspeaker.svg Source: http://upload.wikimedia.org/wikipedia/commons/8/8a/Loudspeaker.svg License: Public domain Contributors: New version of Image:Loudspeaker.png, by AzaToth and compressed by Hautala Original artist: Nethac DIU, waves corrected by Zoid • File:Sibelius_1891.jpg Source: http://upload.wikimedia.org/wikipedia/commons/2/22/Sibelius_1891.jpg License: Public domain Contributors: Studies in Vienna 1890-1891 Original artist: Unknown • File:Sibelius_portrait_1892_by_Eero_Jaernefelt.jpg Source: http://upload.wikimedia.org/wikipedia/commons/6/6a/Sibelius_ portrait_1892_by_Eero_Jaernefelt.jpg License: Public domain Contributors: Original uploader was Flcelloguy at en.wikipedia - no source given there Original artist: Eero Järnefelt • File:Sibélius_1889-90.gif Source: http://upload.wikimedia.org/wikipedia/commons/1/1a/Sib%C3%A9lius_1889-90.gif License: Public domain Contributors: ? Original artist: ? • File:Sibélius_as_a_schoolboy.jpg Source: http://upload.wikimedia.org/wikipedia/commons/9/9c/Sib%C3%A9lius_as_a_schoolboy. jpg License: Public domain Contributors: http://www.sibelius.fi/svenska/elamankaari/index.html http://www.sibelius.fi/kuvituskuvat/080803/janne_147_senttia.jpg Original artist: Unknown • File:Wikiquote-logo.svg Source: http://upload.wikimedia.org/wikipedia/commons/f/fa/Wikiquote-logo.svg License: Public domain Contributors: ? Original artist: ? • File:Wikisource-logo.svg Source: http://upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg License: CC BY-SA 3.0 Contributors: Rei-artur Original artist: Nicholas Moreau

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