3rd Symphony (Sibelius)
The third symphony by Jean Sibelius in C major op. 52 from the years 1904 to 1907 has, in contrast to the first two, only three movements and lasts about 28 minutes. Stylistically, it stands between the romantic intensity of the first two symphonies and the harsh complexity of the later works. The world premiere took place on September 25, 1907 with the Helsinki Symphony Orchestra under the direction of the composer. As with the previous symphonies, the first record was made by the then famous Finnish conductor Robert Kajanus with the London Symphony Orchestra in 1934.
In 1991, Barry Millington wrote in the supplement to the complete recording of the symphonies with the Birmingham Symphony Orchestra under Simon Rattle 1984–88: “The orchestral line-up hardly differs from the apparatus of the second; however, the symphony does not achieve the effect of jagged, romantic monumentality, but rather smooth, classical clarity. "
composition
The third symphony marks a turning point in Sibelius' symphonic work. The first two symphonies were romantic and 'patriotic' works. The third shows the determined, almost classic will to concentrate most of the musical material on as few melodic figures and harmonies as possible. This musical economy is particularly evident in the first movement.
sentences
- 1. Allegro moderato
- 2. Andantino con moto, quasi allegretto
- 3. Moderato - Allegro ma non tanto
The symphony begins with a rhythmic and clearly contoured melody in the cellos and double basses. Then the winds and the remaining strings join in. The CF ♯ - tritone , which plays a crucial role here and in the following symphony is clearly identified and from bar 15 particularly emphasized by a rinforzando mark. A warbling, almost folk-sounding solo flute heralds a triumphant horn call over excited strings at the first of a total of three musical highlights of the first movement. After this stormy part, the measured serenity of the beginning comes back - again carried by the cellos - but this time more broken in a sostenuto manner in B minor .
From now on the music will be much calmer. Then the woodwind repeats the second cello melody over gentle string movements that pick up on the beginning of the symphony. The tension rises and finally explodes into the opening theme, accompanied by the kettledrum , and the strings find their way over a pulsating chorale-shaped soundscape of the brass and woodwinds and the cellos in pizzicato . The flute theme returns and the second cello theme is taken up by the entire orchestra. Then the music calms down again. But this time a victorious flute and horn chorale leads to a recap of the past themes that have the final say before this movement closes in a simple yet brilliant form.
The second movement, which begins with a nocturne , is characterized by extreme clarity and a bitter, romantic and catchy mood. The first part almost seems like a waltz that tries to drive away the previous darkness, but this tendency does not hold. The music critics are divided on the exact form and structure of this movement. In any case, the appearance of the main theme four times is reminiscent of a rondo . After the lengthy introduction of the movement, a brief moment of brightness reveals the view for the strings, who now take over the theme, with wood and brass carefully accompanying them. Towards the end the music is driven forward by constant pizzicato passages in the cellos. Finally, the second movement ends in several string eruptions, while the 'Midnight Waltz' grinds off almost beyond recognition.
The third movement actually consists of two different movements that are combined into a finale. Sibelius described this as the "crystallization of chaos". The opening contains thematic fragments of different material from already known or future sources. A sluggish, intense scherzo turns into a triumphant chorale - again in the dominant CF ♯ tritonus - which is repeated several times. The coda brings the chorale theme in ever increasing dimensions until the symphony finally to a summary of the chorale themes and a frenzy of string and woodwind figures scales abruptly with a C major arpeggio - chord ends.