Jean Sibelius

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Jean Sibelius
Portrait of Jean Sibelius
Born	December 8, 1865 Hämeenlinna, Finland
Died	September 20, 1957 (aged 91) Järvenpää, Finland
Occupation	composer of classical music
Spouse	Aino Sibelius (1871–1969)
Parents	Christian Gustaf Sibelius Maria Charlotta Sibelius

Johan Julius Christian "Jean"/"Janne" Sibelius (pronunciation (help·info); December 8, 1865 – September 20, 1957) was a Finnish composer of classical music and one of the most notable composers of the late 19th and early 20th centuries. His music played an important role in the formation of the Finnish national identity.

Sibelius was born into a Swedish-speaking family in Hämeenlinna in the Russian Grand Duchy of Finland. Although known as "Janne" to his family, during his student years he began using the French form of his name, "Jean", inspired by the business card of his seafaring uncle. In Finland he is known as Jean Sibelius.

Against the larger context of the rise of the Fennoman movement and its expressions of Romantic Nationalism, his family decided to send him to a Finnish language school, and he attended The Hämeenlinna Normal-lycée from 1876 to 1885. Romantic Nationalism was to become a crucial element in Sibelius' artistic output and his politics.

The core of Sibelius' oeuvre is his set of seven symphonies. Like Beethoven, Sibelius used each one both to develop a single musical idea and to develop further his own personal compositional style. These works continue to be performed frequently in the concert hall and are often recorded.

In addition to the Symphonies, Sibelius' best-known compositions include Finlandia, Valse Triste, the Violin Concerto, the Karelia Suite and The Swan of Tuonela (one of the four movements of the Lemminkäinen Suite). Other works include pieces inspired by 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, 21 separate publications of choral music, and Masonic ritual music. Sibelius composed prolifically until the mid-1920s. However, soon after completing his Seventh Symphony (1924) and the tone poem Tapiola (1926), he went into a 30-year period of near artistic silence, which lasted until his death in 1957.

Contents 1 Family and personal life 2 Musical style 3 Trivia 4 Media 5 Selected works 5.1 Orchestral works 5.2 Other works 6 See also 7 Notes 8 References 9 Further reading 10 External links

[edit] Family and personal life

After Sibelius graduated from high school in 1885, he began to study law at Aleksander's Imperial University in Helsinki. However, music interested more than law and he soon quit his studies. From 1885 to 1889, Sibelius studied music in the Helsinki music school (now the Sibelius Academy). One of his teachers there was Martin Wegelius. Sibelius continued studying in Berlin (from 1889 to 1890) and in Vienna (from 1890 to 1891).

Jean Sibelius married Aino Järnefelt (1871–1969) at Maxmo on June 10, 1892. Their home, called Ainola, was completed at Lake Tuusula, Järvenpää in 1903, and the two lived out the remainder of their lives there. They had six daughters: Eva, Ruth, Kirsti (who died at a very young age), Katarine, Margaret, and Heidi.

In 1911, Sibelius underwent a serious operation for suspected throat cancer. The impact of this brush with death can be seen in several of the works that he composed at the time, including Luonnotar and the Fourth Symphony.

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 said to have inspired his composition of Tapiola. On the subject of Sibelius' ties to nature, one biographer of the composer, Erik Tawaststjerna, wrote the following:

Even by Nordic standards, Sibelius responded with exceptional intensity to the moods of nature and the changes in the seasons: he scanned the skies with his binoculars for the 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.

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. 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.

Tawaststjerna also relayed an endearing anecdote regarding Sibelius' death:

[He] was returning from his customary morning walk. Exhilarated, he told his wife Aino that he had seen a flock of cranes approaching. "There they come, the birds of my 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 haemorrhage.

He died of a brain haemorrhage at age 91 on September 20, 1957 in Ainola, where he is buried in a garden. Another well-known Finnish composer, Heino Kaski, died that same day. Aino lived there for the next twelve years until she died on June 8, 1969; she is buried with her husband.

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

[edit] Musical style

Like many of his contemporaries, Sibelius was initially enamored with 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).

More lasting influences included Ferruccio Busoni, Anton Bruckner and Tchaikovsky. Hints of Tchaikovsky's music are particularly evident in works such as Sibelius' First Symphony (1899) and his Violin Concerto (1905). The influence of Bruckner is most strongly felt in the 'unmixed' timbral palette and sombre brass chorales of Sibelius' orchestration, as well as in the latter composer's fondness for pedal points and in the underlying slow pace of his music.

Sibelius progressively stripped away formal markers of sonata form in his work and, instead of contrasting multiple themes, he focused on the idea of continuously evolving cells and fragments culminating in a grand statement. His later works are remarkable for their sense of unbroken development, progressing by means of thematic permutations and derivations. The completeness and organic feel of this synthesis has prompted some to suggest that Sibelius began his works with their 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.^[1]

Sibelius has often been criticized as a reactionary figure in 20th century classical music. Despite the innovations of the Second Viennese School, he continued to write in a strictly tonal idiom. However, critics who have sought to re-evaluate Sibelius' music have cited its self-contained internal structure, which distills everything down to a few motivic ideas and then permits the music to grow organically, as evidence of a previously under-appreciated radical bent to his work. The severe nature of Sibelius' orchestration is often noted as representing a "Finnish" character, stripping away the superfluous from music.

This self-contained structure stood in stark contrast to the symphonic style of Gustav Mahler, Sibelius' primary rival 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. Sibelius reported that while on a walk with Mahler during his conducting tour of Finland in November 1907,

“

I said that I admired [the symphony's] severity of style and the profound logic that created an inner connection between all the motifs... Mahler's opinion was just the reverse. 'No, a symphony must be a world. It must embrace everything.'[2]

”

However, the two rivals did find common ground in their music. Like Mahler, Sibelius made frequent use both of folk music and of literature in the composition of his works. The Second Symphony's slow movement was sketched from the motive of Il Commendatore in Don Giovanni, while the stark Fourth Symphony combined work for a planned "Mountain" symphony with a tone poem based on Edgar Allan Poe's "The Raven". Sibelius also wrote several tone poems based on Finnish poetry, beginning with the early En Saga and culminating in the late Tapiola (1926), his last major composition.

Sibelius' melodies often feature powerful modal implications: for example much of the Sixth Symphony is in the (modern) Dorian mode. Sibelius studied Renaissance 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 movements 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 in the Manchester Guardian newspaper in 1958, Sibelius summed up the style of his later works by saying that, while many other composers were engaged in the manufacture of cocktails for the audience and public, he offered them pure cold water.

Because of this conservatism, Sibelius' music is sometimes considered insufficiently complex, but he was immediately respected by even his more progressive peers. Later in life he was championed by critic Olin Downes, who wrote a biography, but he was attacked by composer-critic Virgil Thomson. 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."

Over time, he sought to use new chord patterns, including naked tritones (for example in the Fourth Symphony), and bare melodic structures to build long movements of music, in a manner similar to Joseph Haydn's use of built-in dissonances. Sibelius would often alternate melodic sections with blaring brass chords that would swell and fade away, or he would underpin his music with repeating figures which push against the melody and counter-melody.

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. For nearly the last thirty years of his life, Sibelius even avoided talking about his music.

There is substantial evidence that Sibelius worked on an eighth numbered 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 is a 1933 bill for a fair copy of the first movement [1]. Sibelius had always been quite self-critical; 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 all traces of the score, probably in 1945, during which year he certainly consigned (in his wife's presence) a great many papers to the flames.[2]

Sibelius has fallen in and out of fashion, but remains one of the most popular 20th century symphonists, with complete cycles of his symphonies continuing to be recorded. In his own time, however, he focused far more on the more profitable chamber music for home use, and occasionally on works for the stage. Eugene Ormandy and, to a lesser extent, his predecessor Leopold Stokowski, were instrumental in bringing Sibelius' music to the American audience by programming his works often, and the former thereby developed a friendly relationship with Sibelius throughout his life. Currently Paavo Berglund and Colin Davis are considered major exponents of his work. Other classic sets of recordings of the symphonies are by John Barbirolli, Vladimir Ashkenazy, Leonard Bernstein, Simon Rattle and Lorin Maazel. Herbert von Karajan was also associated with Sibelius, recording all of the symphonies except the Third, some several times. Recently Osmo Vänskä and the Lahti Symphony Orchestra released a critically acclaimed complete Sibelius cycle, including unpublished or retracted pieces such as the first versions of the Fifth Symphony (1915) and the Violin Concerto (1903).

[edit] Trivia

• An image of Sibelius, designed by the Finnish graphic designer Erik Bruun, was used as the motif for the 100 markka bank note in Finland's final markka series.

• The Sibelius notation program was apparently named after Sibelius because the inventors' surname was "Finn."

• In the 2003 movie Sibelius, Jean Sibelius is portrayed as having a poor knowledge of the Swedish language while speaking the Finnish language fluently, when in fact the situation was the other way around.

• Sibelius is known for the quote "Art is the signature of civilizations"

• "At the Castle Gate," from Sibelius' incidental music to Maurice Maeterlinck's drama Pelléas et Mélisande, has long been used as the theme tune to the BBC's "The Sky at Night."

• Sibelius suffered from stage fright and had sound-to-color synesthesia.^{[citation needed]}

• A small park named "Sibelius Square" in the composer's honor stands in the downtown Toronto, Ontario, Canada neighborhood known as the Annex.

[edit] Media

• Sibelius (film) a 2003 Finnish film was the first feature film covering the life of Jean Sibelius.

[edit] Selected works

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

[edit] Orchestral works

[edit] Other works

• Viisi joululaulua, Op. 1, five Christmas songs (1895–1913)
• Incidental music to Hjalmar Procopé's play Belshazzar's Feast, Op.51 (1906); this was mainly for orchestra but voices were called for in some places. He later rescored some sections of the incidental music as a purely orchestral suite; in 1939 he wrote a new version of the section called "Solitude" (originally called "The Jewish Girl’s Song" in the incidental music) as a song, dedicated to Marian Anderson
• Voces intimae, Op.56, string quartet (1909)
• Jääkärimarssi (1915)

[edit] See also

• Sibelius monument

[edit] Notes

1. ^ Pike, Lionel. Beethoven, Sibelius and 'the Profound Logic
2. ^ Burnett-James, David (1989). Sibelius. Omnibus Press, 41. ISBN 0711916837. 

[edit] References

• Program notes to a 2006 performance of Sibelius' Sixth Symphony.
• Contemporary Music on the Finnish Music Information Centre
• Minnesota Orchestra's showcase concert magazine, May 06, page 44
• Morgan, Robert P. [1990]. "Other European Currents", The Norton Introduction to Music History: Twentieth-Century Music, 1st edition, New York: W. W. Norton & Company, 121-123. ISBN 0-393-95272-X. 
• Ormandy, Eugene (1962). Jean Sibelius: A Reminiscence (HTML). Retrieved on May 6, 2006.

[edit] Further reading

• Layton, Robert. Sibelius. New York: Schirmer Books, 1993. Master Musicians Series. ISBN 0-02-871322-2.
• Pike, Lionel. Beethoven, Sibelius and 'the Profound Logic'. London: The Athlone Press, 1978. ISBN 0 485 11178 0.

[edit] External links

• Jean Sibelius – the website (English)
• The Sibelius Society of Finland
• Films on Jean Sibelius by director Christopher Nupen
• Jean Sibelius Museum
• Virtual Finland – Sibelius
• Ainola – The home of Aino and Jean Sibelius
• Jean Sibelius link collection
• Free Public Domain Score by Sibelius at IMSLP
• WorldCat Identities page for 'Sibelius, Jean 1865-1957'

Persondata
NAME	Sibelius, Jean
ALTERNATIVE NAMES	Sibelius, Johan (Jean) Julius Christian "Janne"
SHORT DESCRIPTION	Composer of classical music
DATE OF BIRTH	December 8, 1865
PLACE OF BIRTH	Hämeenlinna, Finland
DATE OF DEATH	September 20, 1957
PLACE OF DEATH	Järvenpää, Finland