Jean Sibelius

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Jean Sibelius, 1913

Johan Julius Christian ("Jean") Sibelius (born December 8, 1865 in Hämeenlinna ; † September 20, 1957 in Järvenpää near Helsinki ; also called Janne Sibelius ) was a Finnish composer at the transition from late Romanticism to modernism .

Life

origin

Jean Sibelius's birthplace
Maria Charlotta Borg, the composer's mother, with Jean ("Janne") Sibelius (right) and his sister Linda (left)

Jean Sibelius was born in Hämeenlinna in 1865 as the son of Christian Gustaf Sibelius and his wife Maria Charlotte, née Borg, into a Swedish-speaking family.

Christian Gustaf Sibelius was a doctor by profession after studying medicine in Helsingfors . He had written a highly acclaimed dissertation on specialist gynecological issues and then became a military doctor in Tavastehus . He was well known for playing the piano and guitar, and for singing Carl Michael Bellman's leaning songs . He was always in debt through hunting and playing cards as well as the consumption of cognac, sherry and cigars, so that his widow Maria Sibelius had to file for bankruptcy when he died in 1868 at the age of 47.

Numerous academics, priests, and civil servants can be found among Maria Borg's ancestors. Like Jean Sibelius himself, she was also prone to melancholy, but, unlike her son, found support in faith. For a long time she let Jean Sibelius address her exclusively by her first name.

Sibelius' brother Christian ("Kitty") Sibelius became a psychiatrist. Sister Linda developed manic-depressive traits from the age of 40 and had to be treated in mental hospitals.

Both the Sibelius family and the Borg family included numerous musicians, such as a 17th century trumpeter from Brandenburg who was related to the Finnish composers Ernst Fabritius and Ernst Mielck . There were also family ties to Axel Gabriel Ingelius, the bass singer Kim Borg and the soprano Aino Ackté and to Sibelius' later teacher Martin Wegelius .

schooldays

As a child, Sibelius was called Janne at home and at school . He grew up as a half-orphan from 1868, when his father died. He indirectly owed his later first name Jean to his uncle: the ship's captain Johan Sibelius had died of yellow fever on an Atlantic voyage in 1864 and was a legendary figure within the family. The young composer later found in his uncle's estate a “pack of business cards on which his first name was written in French according to the custom of the time among merchantmen: Jean Sibelius. His nephew used these business cards two decades later when he was about to embark on his artistic career. "

After the death of Christian Gustaf Sibelius, Maria Sibelius moved with her two children - the third was on the way - to live with her mother, a provost widow, and her husband Pehr Borg. In school, Sibelius showed only moderate commitment. He became all the more interested in the violin when he played the Jakob Stainer violin given by his uncle Pehr Borg . A career as a violin soloist, however, was no longer an option, as Sibelius had only begun seriously to learn the violin at the age of 14.

Sibelius received his first piano lessons from his mother and later from his aunt. The latter had an uncomfortable habit of punishing mistakes in piano playing by hitting the hands with their knitting needles. The piano, tuned a third tone too low, on which Sibelius learned to play the piano as a boy, established his later preference for low registers. Sibelius composed his first youthful works during his school days, but initially he hid them in cupboards and chests. They did not appear until a hundred years later and came to the Helsinki University Library in 1982. During this time Sibelius founded a children's orchestra with friends, played in the school orchestra, wrote his first datable composition Luftschlösser at the age of 16 and studied theTeaching the musical composition of Adolph Bernhard Marx . His most ambitious work to date was the piano quartet in D minor from August 1884.

Education

Trio of the Sibelius siblings (around 1890)

After graduating from high school in 1885, Sibelius began studying law in Helsingfors , but at the same time attended the Helsinki Music Institute, founded three years earlier by Martin Wegelius . Sibelius studied a. a. with the music professor of German origin, composer and collector of Finnish folk songs Richard Faltin and above all with Martin Wegelius, who was trained in Germany. He also had violin lessons there with Hermann Csillag in 1886/87 . A friendship developed between Sibelius and Wegelius. While Wegelius was a staunch supporter of Richard Wagner , Sibelius was unfazed by his music. Also by Johannes Brahms Sibelius was unfazed and developed his own style from the start.

Järnefelt family with Jean Sibelius (1896)

After completing his studies, Sibelius moved to the spa town of Loviisa , where ten years earlier he had founded a trio with brother Christian and sister Linda during the summer vacation . In his private life he made friends with the Italian composer Ferruccio Busoni , who introduced him to the “Leskoviter”, a group of young artists. The "Leskovites" went up in the successor group "Symposium" and dissolved by 1898. Alcohol consumption at the gatherings should help shape Sibelius' alcohol addiction.

This group also included the writer Arvid Järnefelt and his brother, the composer Armas Järnefelt . It was at this time that Sibelius began to call himself "Jean". Through the Järnefelts, Sibelius met their sister Aino , who would later become his wife, and the writer Juhani Aho , who aroused Sibelius' interest in Finland.

Studies in Berlin and Vienna

Memorial plaque on the house at Marienstraße 4 in Berlin-Mitte
Music Mile Vienna

From 1889 to 1890 Sibelius studied in Berlin with Albert Becker , to whom Wegelius had sent him, and from October 25, 1890 to June 8, 1891 in Vienna with Karl Goldmark and Robert Fuchs ; The Bruckner reception remained important throughout his life in Vienna.

In Berlin, Sibelius was impressed by the atmosphere of the big city. Becker's teaching methods were too antiquated for him, but the Berlin performances of Ludwig van Beethoven's symphonies under the conductor Hans von Bülow shaped Sibelius as a symphonist. Drained and impoverished by his Berlin lifestyle, Sibelius returned home, where he was eagerly awaited by Aino Järnefelt. After a period of uncertainty, he did not become engaged to her until the summer of 1890. Although courted by Juhani Aho, Aino immediately chose Sibelius.

After Johannes Brahms stopped accepting students in Vienna and Anton Bruckner had left the academic teaching profession shortly before, Sibelius took lessons from Karl Goldmark. However, he only had time for a few superficial lessons. So Sibelius took additional lessons from Robert Fuchs. But as in Berlin, Sibelius remained stylistically unaffected by his teachers. During this time he dealt with Richard Wagner and Anton Bruckner as well as the way to compose works in their dimensions.

On a private level, Sibelius said that he had reason to be jealous when Aino gave him the recently published novel Einsam by Juhani Ano, in which he dealt with his hapless relationship with Aino. In the salon of the Viennese soprano Pauline Lucca , the newly engaged man threw himself into an adventurous affair. In addition, at the end of April there was a three-week stay in an exclusive sanatorium, which had become necessary for an unknown reason; Sibelius' own statements in this regard vary between "ovarian inflammation", "stomach tumor" and "kidney stone". During this time he read Gottfried Keller's The Green Heinrich .

His moral crisis in relation to his guilty conscience towards his fiancée Aino on the one hand and his artistic crisis in relation to his dealings with Richard Wagner, Anton Bruckner and also Ludwig van Beethoven led him to turn to Finnish music as a source of inspiration. Sibelius first came up with his Kullervo symphony while walking in the woods of Vienna .

First success with "Kullervo"

In 1891 he returned from his studies and began composing Kullervo . The five-movement symphony work is based on the Finnish national epic Kalevala . The main character in Sibelius' music is Kullervo , who wants to avenge his father's death. The first performance of the work in April 1892 under Sibelius's direction made the composer well known in Finland. However, three more performances in March 1893 were disastrous failures and led to Sibelius withdrawing the work; it was only performed again after his death.

The "Symposium" (sketch for the painting "Probleemi" or "Kajustaflan" by Akseli Gallen-Kallela )

In 1892 he married Aino . The marriage produced six daughters: Eva (1893–1978), Ruth (1894–1976), Kirsti (1898–1900), Katarina (1903–1984), Margareta (1908–1988) and Heidi (1911–1982). Due to a lack of financial means, Aino and Jean Sibelius financed their honeymoon with a scholarship from the university. In return for the scholarship, Sibelius was supposed to travel through Karelia and visit the singers of runes, the sung verses of the national epic Kalevala , and write down their melodies. Sibelius processed his findings in his lecture folk music and its influence on musicin connection with his taking up the position as music director at Wegelius' music institute. From 1892 to 1900 Sibelius taught theory classes and violin students and also worked at Robert Kajanus' orchestral school . In 1892 Sibelius composed En Saga , to which he was inspired, among other things, on his homeland trip from Karelia, when he rode part of the route through the moonlit night. Initially, the Sibelius family lived in their city apartment in summer and rented in the country in winter. In 1904 the family moved into Villa Ainola, built in 1903/04 on the banks of Tuusulanjärvi .

In 1893, Sibelius, Akseli Gallen-Kallela and Robert Kajanus founded a symposium at the Hotel Kamp, a not long-standing successor organization to the Leskovites . The aim of the symposium was to promote symbolism in Finland.

A visit by Richard Wagner's Parsifal during a stay in Germany in the summer of 1894 sparked the idea in Sibelius of doing something similar in Finland. The first result was Sibelius' opera The Virgin in the Tower about a virgin who is locked in a tower by a castle bailiff and freed by the lady of the castle.

The four-movement Lemminkäinen Suite with the figure of Lemminkäinen from the national epic Kalevala evolved from Sibelius' previous, rejected operas . Of Sibelius's composition, the sentence The Swan of Tuonela became particularly popular. Lemminkäinen responded enthusiastically to both critics and the public . Sibelius kept having plans for operas, but did not write any more operas, but on the other hand he wrote a total of ten music for theater pieces.

Failure at the university

Sibelius' father-in-law died in April 1897, and his mother Maria at the end of 1897. Since the Sibelius couple had three children in the meantime, Sibelius sought a teaching position at the university. The authorities there voted 25 to 3 for Sibelius and against Robert Kajanus . He got the job after all, because he blamed Sibelius for the unsuccessful performance of the coronation cantata for the Russian Tsar Nicholas II and even presented it to the Russian Minister of State for Finland.

After Sibelius had demonstrated his ties to the university with another cantata for his master's degree in 1897, he was awarded a state pension by the Russian tsar - possibly even on the initiative of Kajanus - at the request of the academic council.

First successes as a symphonic orchestra

Shortly afterwards, Sibelius set the poem Eisgang auf dem Uleå River by the poet Zacharias Topelius to music , which is a symbol of Finnish independence. The patriotic hymn Finlandia , which originated from the Scènes historiques I a little later, achieved world fame.

On April 26, 1899, Sibelius' Symphony No. 1 in E minor, Op. 39 was premiered and a great success. In the summer of 1900, Sibelius revised the symphony; shortly before - in February 1900 - daughter Kirsti had died of typhus . Sibelius processed his grief with the composition of the romance Malincolia .

The success of Symphony No. 1 and Finlandia led to donation-funded concerts at the Paris World's Fair and several stopovers where Sibelius conducted both works. During the concert tour, Sibelius found solace in alcohol after the death of his daughter. In Stockholm, a stopover on the trip, he made friends with the Swedish composer Hugo Alfvén and found an admiring advocate in Wilhelm Stenhammar . However, Sibelius's encounter with Alfvén did not lead to any further contact. Moderate musical success for the symphony meant intermediate stops such as Copenhagen; furthermore there was only Carl Nielsen and Louis Glass hererather manageable and inharmonious contact. But the performances of the symphony under Kajanus' direction in critical Berlin were a great success. However, the performances at the actual destination of the trip, the Paris World Exhibition , were not under a good star. An important reason was the development of public taste in France from 1815: Instrumental music had a difficult time compared to the favored opera and was only accepted if it came from Ludwig van Beethoven .

An anonymous patron made it possible for Sibelius and his family to stay in Rapallo, Italy in 1901 . Since Sibelius drowned the travel budget in Berlin for three months before the trip to Italy, new sources of finance had to be found. One month after arrival, the six-year-old daughter Ruth fell ill with typhus in March 1901, but was able to recover. Sibelius left for Rome, where his Symphony No. 2 in D major, Op. 43 was composed. On the return trip to Finland, the Sibelius family made a stopover in Prague, where Sibelius was impressed by meeting Antonín Dvořákshowed. The premiere of the 2nd symphony under Sibelius's direction in March 1902 was a sensational success and had to be repeated three times. This work by Sibelius was also interpreted patriotically. Hopes of increasing the success of the symphony in Berlin, however, were not fulfilled, since the leading conductor Arthur Nikisch was initially interested in the second symphony , but then hesitated with his commitment to Sibelius.

Violin concerto

After his return from Berlin, Sibelius was accepted into the Euterpe , a circle of cultural sponsors. In 1903, Sibelius' brother-in-law Arvid Järnefelt asked the composer for incidental music for his drama Kuolema , in which the main character Paavali only believes in death when his mother, wife and children die. The popular Valse triste comes from Sibelius' incidental music, which was completed together with the drama .

Sibelius' Violin Concerto in D minor, Op. 47, composed in 1903, also falls during this period . After complications during the premiere and first performance - Sibelius had initially promised the world premiere in Helsingfors to violinist Willy Burmester and then entrusted it to the Czech Viktor Nováček ; Sibelius also postponed the Berlin premiere, scheduled for 1903, for two years in order to revise the concerto - the violin concerto was considered a failure for three decades until it was carried out by Jascha Heifetz and David OistrachFound its way into the standard repertoire. In parallel to the unsuccessful performance of the violin concerto, Symphony No. 2 also became an international success. The Berlin premiere of the symphony in January 1905 further cemented Sibelius' reputation.

Ainola

Ainola (photo from 2007).

At that time - during the international triumph of Symphony No. 2 - the Villa Ainola , designed by architect Lars Sonck and for which Sibelius had clearly borrowed , could be moved into. The villa, in the vicinity of which several painters already lived, became a meeting place for various artists over the course of time. When Sibelius moved into the villa, so too did the number of carousing parties with his artist colleagues. The first major work of this period was the symphonic fantasy of Pohjola's Daughter in the early summer of 1906 , in which the aged bard Väinämöinen (the main character of Kalevala) in vain freed for the daughter of the gloomy north country. It was around this time, in June 1906, that Sister Linda was finally admitted to the mental hospital. In the year 1907 the symphony No. 3 in C major op.52 falls .

In the autumn of 1907, Jean Sibelius met Gustav Mahler . Mahler missed the performance of Pohjola's Daughter and the Third Symphony under Sibelius' direction by a month and instead heard the spring song and the dreary Valse in a concert on October 29, 1907 . In a letter to his wife Alma , he described what he heard as "kitsch". Sibelius described his meeting with Mahler as profound; beyond that, however, it brought no results.

A performance of the Third Symphony under Sibelius' baton in Saint Petersburg was a failure. Sibelius behaved cautiously towards contemporary Russian composer colleagues; he also reacted irritated when Kajanus Alexander Glasunow courted.

Health and financial problems

A throat tumor had already developed in St. Petersburg as a result of Sibelius' tobacco consumption, which - when conventional brush treatment did not work - finally had to be surgically removed in Berlin. As a result, from 1908 onwards, Sibelius stopped consuming tobacco and alcohol for the next seven years. Additionally, Sibelius's lavish lifestyle - in addition to the debts for Ainola and the running costs for the staff - had put a heavy financial burden to which Aino responded with depression and nervous breakdowns.

At the same time, Sibelius made three trips to England from 1905 to 1909, which, with the support of his composer colleague Granville Bantock, made him the most widely performed contemporary composer in England and America. Sibelius's string quartet Voces intimae was composed in 1906 .

A trip to Koli at the end of September 1909 inspired Sibelius to write his Symphony No. 4 in A minor, Op. 63 . Depressed u. a. through the financial worries and the resulting state of mind of his wife, Sibelius developed a certain foresight towards death. In 1911, the birth of the sixth daughter Heidi made it necessary to expand Ainola . On the European mainland the reactions to the 4th Symphony were subdued; however, it was well received in England and America. For Sibelius, the symphony still had a special place decades later.

However, new plans to compose an opera came to nothing. Instead, u. a. then the Scènes historiques II and The Hunt . The years 1911 to 1913 were a period of tremendous creativity, which was followed by an honorary doctorate from the University of Helsingfors, the offer of a professorship in Vienna and an invitation to the USA. Sibelius' six-week stay in the USA had been initiated by Horatio Parker , in May 1914 Sibelius arrived in New York and was received by Carl Stoeckel . Sibelius found a rich musical life in America with composers such as Horatio Parker, Henry Kimball Hadley , John Knowles Paine and George Chadwickknow. He wrote The Oceanids for the Norfolk Festival and received an honorary doctorate from Yale University .

First World War

When Sibelius returned from the USA, the First World War broke out. This made impossible a US tour planned for 1915, which could have paid off all of the composer's debts. Finland was musically isolated from abroad. During this time, Sibelius's abstinence from alcohol was drawing to a close. The composer's only trip abroad during the war years took him to Sweden, where - in Gothenburg - he conducted the 2nd and 4th symphonies as well as the Oceanids .

The ceremony for his 50th birthday on December 8, 1915, on the occasion of which Robert Kajanus gave an exuberant eulogy of Sibelius, was a pleasant event. Sibelius was less impressed by the world premiere of Symphony No. 5 in E flat major, Op. 82 , the composition of which he had begun in 1912. Dissatisfied with the work, he revised it twice. With this third version, the work of the symphony came to an end in April 1919.

Meanwhile it seemed at least possible that the initially victorious Russia could lose the war after several defeats, which would mean independence from Russia for Finland. It was during this time that Sibelius wrote the Patriotic Hunter's March .

The civil war in Finland began with the Russian February Revolution in 1917 . The Swedish-speaking bourgeoisie, who sympathized with Germany, and the Finnish-speaking proletariat, who sympathized with Russia, faced each other. The fighting reached Ainola ; Robert Kajanus obtained a letter of safe conduct for Sibelius and his family and thus helped them to escape. The family members were accommodated in three accommodations, Sibelius himself in the mental hospital where his brother Kitty worked as a senior physician. There he composed the cantatas The Own Land , The Song of the Earth and The Hymn of the Earth. He also continued work on his 5th symphony. In September 1918, when the end of the war was on the horizon, the Berliner Philharmoniker gave a Finnish concert with works by Sibelius, among others, such as the song of the Athenians and the hunters' march .

After the First World War

While Sibelius was working on the final version of the 5th Symphony in the years after the war, while his composer colleagues and Brother Kitty died and Sister Linda could no longer be released from the mental hospital, he was tormented by fear through an early end of his own to no longer be able to complete planned works.

He undertook various trips, for example to England, Norway, Sweden and Italy as well as to Copenhagen for the Nordic Music Festival in 1919. During his travels there were last meetings with companions like Knut Hamsun and Ferruccio Busoni . Sibelius intensified his activities in Great Britain and America, where conductors such as Leopold Stokowski , Thomas Beecham and John Barbirolli in Great Britain as well as Leonard Bernstein , Eugene Ormandy and George Szell stood up for him.

During this time he conducted the world premiere of his Symphony No. 5 in November 1919.

After initial interest, he declined an appointment to the 1921 founded and funded by Kodak founder George Eastman music school in Rochester , New York , because he had doubts about his teaching skills and his English skills. While Sibelius's international successes solidified his status as a national hero in Finland and he received numerous monuments and awards, his tremor worsened , which he tried to alleviate with increased consumption of whiskey and cigars.

In 1922, Sibelius's beloved brother Christian, called Kitty, died after months of anemia. Sibelius felt paralyzed by the loss, but kept working.

During this time, after a few years in which only smaller works had been written, Sibelius completed Symphony No. 6 in D minor, Op. 104 , in September 1922 . The Finnish premiere of the symphony in 1923 was mixed, while the symphony was received much more friendly abroad.

From 1923 onwards, Sibelius's diary entries decreased significantly. In 1926 he made his last concert tour and conducted his last symphony concert; In 1931 Sibelius finished his compositional work. In April 1923, Sibelius missed the last opportunity to visit his seriously ill friend Busoni; the Italian, who had stood up for Sibelius's work to the end, died a year later. In turn, his wife Aino had to contend with Sibelius's alcohol-related antics. Sibelius, in turn, took refuge in alcohol when all the income was insufficient to pay off the loans.

Sibelius' late works include Symphony No. 7 in C major, op. 105 , the symphonic poem Tapiola and his last works, Op. 113 and Op. 114 (composed around 1929), a Masonic ritual music for the Loge Suomi Lodge No. 1 , in Helsinki, of which he had been a member since August 18, 1922, as well as Cinq Esquisses for piano and the seven pieces for piano and violin op.115 and op.116, also composed in 1929.

When it premiered in Stockholm in 1924, Symphony No. 7 was met with great admiration.

On Sibelius's 60th birthday in 1925, Prime Minister Lauri Kristian Relander appeared in Ainola and honored the composer with the Finnish Order of the White Rose . Sibelius' state pension was tripled; Compatriots of the composer collected almost 300,000 marks for Sibelius in a collection campaign. Sibelius did not appear at the gala concert in December under the baton of Kajanus.

In March 1926 Sibelius went to Italy for the last time with a childhood friend; In September 1927 he made his last appearance abroad in Copenhagen. Sibelius was still much more enthusiastic than in Copenhagen in the USA, where he had to promise Sergei Kusewizki the world premiere of an Eighth Symphony in Boston. The world premiere of Tapiola in December 1926 in New York under Walter Damrosch was initially cautious; Success under Kussewitzky did not materialize until six years later.

In January 1927 Sibelius traveled to Paris with Aino; On the way back, the couple made a stopover in Berlin. A performance of the violin concerto under Sibelius as conductor was planned in Berlin , but this failed because of the criticism of the concerto.

In the same year, Sibelius was also debt-free for the first time, which also relaxed the relationship with Aino. On the other hand, Sibelius had to cope with the death of his friend Wilhelm Stenhammar in February.

The first recordings of Sibelius' music were made under Kajanus in the early 1930s.

Eighth symphony

From the spring of 1931, Sibelius concentrated on composing an Eighth Symphony . The manuscript made progress and the world premiere was scheduled for October 1932 in Boston , but despite great optimism, repeated attempts and Kussewitziki's always urgent calls for the promised premiere in Boston, Sibelius was unable to produce a print-ready version of the symphony.

It is possible that Sibelius was unable to transfer his late style, developed in smaller compositions, to the form of the symphony. In the mid-1940s Sibelius burned the manuscript of the symphony and, Aino reported, was relieved afterwards.

Second World War

From 1933 onwards, Sibelius was instrumentalized by the German National Socialist government and received, among other things, the Goethe Medal with a certificate signed by Adolf Hitler on his 70th birthday in 1935 . Despite knowing about the persecution of the Jews, Sibelius accepted the honor, but, contrary to the claims of the Sibelius opponent Theodor W. Adorno, never committed himself to the Third Reich. Around 1930, Sibelius and Aino had sympathized with the Lapua movement , an extra-parliamentary, right-wing extremist opposition from Ostrobothnia, but then distanced themselves when it went over to political murders and the kidnapping of a former president.

After the Soviet Union invaded Finland on November 30, 1939 as part of the Second World War , the Sibelius family returned to Ainola after temporary absences in the summer of 1941 . When the Finns marched alongside German troops against the Soviet Union, Sibelius advocated this, among other things, out of fear of Bolshevism , but without sympathizing with the ideology of Nazi Germany.

Sibelius did not comment on genocide; In a diary entry from 1943, he himself wonders why he had taken the " Aryan paragraph " seriously in the past .

After the Second World War

Grave of Jean and Aino Sibelius

After the Second World War, Sibelius was only played by a few German conductors due to its instrumentalisation by the Nazi government. His popularity with British and American conductors continued unabated; the first composers and conductors from the Soviet Union took an interest in Sibelius' music. In his home country Finland, Sibelius influenced the symphonic works of the following generations of composers.

Jean Sibelius died in Ainola on September 20, 1957 . The cause of death was a hemorrhage in the brain .

Membership and Honors

Sibelius Monument in Helsinki
Finnish postage stamp for Sibelius' 80th birthday in 1945

In 1923, Sibelius was elected honorary member of the International Society for Contemporary Music ISCM ( International Society for New Music ).

In 1929 Sibelius received an honorary membership of the London Royal Philharmonic Society . The Sibelius Academy in Helsinki is named after him.

In 1937 he was elected an honorary member of the American Academy of Arts and Letters and in 1941 of the American Academy of Arts and Sciences .

In honor of Sibelius, the Finnish Wihuri Foundation for International Prizes donated the Wihuri Sibelius Prize in 1953 , which it also awarded him as the first prize winner.

The 100 Finnmark banknote in circulation from 1986 until the introduction of the euro bears his portrait. On the occasion of his 150th birthday, the Central Bank of Finland issued a € 2 commemorative coin with tree tops and a starry sky in January 2015 .

In Favoriten , Vienna's 10th district, Sibeliusstrasse, where there is also a police station of the same name, was named after the composer.

The Sibelius music notation program bears the composer's name.

The asteroid (1405) Sibelius , which was discovered by Yrjö Väisälä on September 12, 1936 , was named after Sibelius, as was the Mercury crater Sibelius . The same applies to the Sibelius Glacier on Alexander I Island in Antarctica. In addition, the Finlandia Foothills on the same island bear the name of one of his compositions.

The Sibelius Monument in Helsinki, created by the sculptor Eila Hiltunen , is colloquially referred to as the "pipe organ" and after its unveiling in 1967 led to protests because the honoree himself is not depicted. Therefore, the artist had to deliver a bust that was larger than life and set up in silver metallic on an adjacent rock edge. The entire ensemble in Sibelius Park became the most photographed object of around 400 sculptures in Helsinki.

meaning

Sibelius is considered one of the most important composers in Finland and is one of the few who became famous beyond the borders of their homeland. In German-speaking countries he is best known for his Violin Concerto in D minor, Op. 47 and his symphonic poems, in which he a. a. Issues from Finnish sagas and mythology processed, such as B. from the national epic Kalevala . The best known is the Lemminkäinen Suite op. 22. Less known, but just as significant, is the tone poem for solo voice (soprano) and orchestra Luonnotar op. 70, in which the legendary creation of the world is sung about. From the incidental music to the play by Arvid Järnefeld Kuolema(Death) comes the world famous waltz Valse triste . The tone poem Finlandia comes from the 6th tableau of his press music composed in 1899. With them Sibelius made his musical contribution to the identity of Finland, which was liberating itself from Russian domination. The Karelia Suite, Op. 11, is a popular version of all of Karelian Music without an opus number. His seven symphonies are also of great importance, in which he, initially influenced by late Romanticism and Finnish folk music, found his own orchestral style. This style is characterized by predominant transparency despite high musical density, abruptness, idiosyncratic rhythms and melodic pathos.

rating

In contrast to the Anglo-Saxon countries, Sibelius' symphonies were almost unknown in Germany for a long time. However, the 1960s saw a rapid turnaround, especially through

Until 1982, only the first two symphonies were performed in Reclam's concert guide. There it says: “The little that Sibelius felt at home with us characterizes him as one of the essential phenomena at the turn of the century. His music is strong, healthy, heavy-blooded. Tart colors and melodies (motifs!), Idiosyncratic monotonous rhythms and noble pathos, these are some of their prominent characteristics. Its most attractive effects arise from the sympathetic humanity and the love of home of the sound poet, who never tired of singing about its dark beauties in harmony with nature. "

Musicologists such as Tomi Mäkelä and Joachim Brugge have shown that Sibelius endeavored all his life to develop his very own compositional style on the threshold of modernity in order to expand the classical conception of the symphony. His aim was to break up the tonal structures in order to explore them to their limits. However, his aim was not to rearrange the tonal structures like the twelve-tone speakers or to dissolve them completely into atonality . In doing so, he opposed competing currents, initially mainly located in Central Europe, and formulated his position in a letter to Rosa Newmarchfrom 1911: “My music has nothing, absolutely nothing of the circus; what I have to offer is clear, cold water. ”In addition, in a letter to Axel Carpelan from 1918:“ I am a slave to my subjects. ”In a diary entry from 1910, Sibelius describes his symphonies as“ creeds ”.

Sibelius also worked on the “genre-historical” contrast between absolute musical symphony and symphonic poetry. This contrast is particularly effective in his Lemminkäinen Suite , op. 22. From a purely musical point of view, it is more of a symphonic poem, with its four-movement structure and its harmonious design, but at the same time like a symphony. This contrast is also given a formal shape in the Kullervo Symphony , Op. 7, his “zeros”. In the third and fifth movements there are also two solo voices (mezzo-soprano and baritone) and a male choir.

From often very short motivic cells, interval structures and two-dimensional elaborations, Sibelius succeeds in constructing and developing his large orchestral works in a harmonious unit from the first to the last bar. He is faced with a new task in each of his seven completed symphonies. The overall development of his symphonies ranges from the expansive late-romantic sounds in his first and second, still in classic four-movement, to the concentrated, concentrated form of his seventh with a proven one-movement.

The first symphony in E minor , op. 39, and the second symphony in D major , op. 43, live entirely from their final character with an emphatic coda in the final movement. Thematically stringently elaborated and intentional opening movements, puzzled lyrical, slow movements and fast-paced Scherzi lead to the finale in a logical construction.

In his Third Symphony in C major , Op. 52, Sibelius proves himself to be a seeker in the symphonic form. Neoclassicism is unmistakable, but is not carried forward by it.

The fourth symphony in A minor , op. 63, proves that Sibelius was never interested in a romanticizing representation of Nordic landscapes. It shows the composer's struggle to get personal emotional worlds in harmony with tonal sound forms. In the tritone , which runs through the four movements as a motif, he finds the connection he is looking for thematically.

The fifth symphony in E flat major , op. 82, is once again a reminiscence of the classical symphonic construction with again a final orientation, although the first and second movements merge into one another through a thematically interwoven climax . The theme of the finale is one of the most famous melodies from Sibelius's creative complex. The fifth was Sibelius's most difficult creation. It marks his compositional crisis during the First World War. At the same time, it concisely shows the turning point in symphonic work between classic and modern, provided that the traditional symphony still had room in the further development at the time.

In the sixth symphony in D minor , op. 104, Sibelius delimits the sound of pure classical music, which he had tried to refine in the third, against the burden of excessive dramatic charge and complex, polyphonic structures. Ethereal melancholy, held in the sound of an old church key ( Doric ), and hymn-like strings alternate with the rhythmic passages and surprisingly eruptive wind sounds typical of Sibelius.

He refines this style further in his Seventh Symphony in C major , op. 105. In it, the entire harmonic, musical material is bundled in a broad, rhapsodic-seeming movement, which creates a formal structure in three huge, thematically uniform eruptions. At the very end, the waltz-like theme of his Valse triste appears as a wistful reminiscence , only to let the symphony end after just twenty minutes in the crescending C major.

Works

  • Early chamber music works, a. a. several piano trios (1883–1888), two string quartets (1885, 1889) and a piano quintet (1890)
  • String Quartet op.4 in B flat major (1890)
  • Kullervo , Symphony for Soprano, Baritone, Choir and Orchestra Op. 7 (1892)
  • En Saga , Symphonic Poem op.9 (1892)
  • Karelia Suite , Suite for orchestra op.11 (1893)
  • Piano Sonata in F major, op.12 (1893)
  • Rakastava (The Lover) Suite for String Orchestra op.14 (1893)
  • Skogsrået (The Woodnymph / Die Waldnymphe) , Symphonic poem for orchestra op.15 (1894)
  • Spring song op.16
  • 4 Legends (or Lemminkäinen Suite ) , four pieces from " Kalevala " - Symphonic poems for orchestra (I. Lemminkäinen and the girls on Saari; II. The Swan of Tuonela ; III. Lemminkäinen in Tuonela; IV. Lemminkäinen goes home) Op . 22 (1895/96; printed in full in 1954, played in full in Germany in 1956)
  • The Virgin in the Tower , opera (1896), libretto: Rafael Hertzberg (1845–1896)
  • King Kristian (König Christian) , Suite from the incidental music for orchestra op.27 (1898)
  • Finlandia , symphonic poem for orchestra op. 26 (1899), last part of the "Press Celebrations Music". The chorale part (towards the end) also exists individually as a choral movement with a Finnish patriotic text. Also popular outside Finland, it is sung as a hymn in America, and under the title "Land of the Rising Sun" it was temporarily used as the national anthem of the short-lived West African state of Biafra .
  • Snöfrid for speaker, choir and orchestra op.29 (1899)
  • Romance op. 42 for string orchestra
  • Valse triste from Kuolema for orchestra op.44 (1904)
  • The Dryad op. 45,1; Dance Intermezzo op.45,2
  • Pelleas and Melisande (Suite) , Suite from the incidental music for orchestra op.46 (1905)
  • Concerto for violin and orchestra in D minor op.47 (1903/1905), premier: 1905 Berlin, conductor: Richard Strauss
  • Pohjolan tytär (Daughter of the North) , Symphonic poem for orchestra op.49 (1906)
  • Belshazzar's Supper op.51
  • Pan and Echo op.53a
  • Svanevit (Schwanweiß) , Suite from the incidental music for orchestra op.54 (1908)
  • Öinen ratsastus ja auringonnousu (Nocturnal Ride and Sunrise) , Symphonic poem for orchestra op.55 (1909)
  • String Quartet in D minor (Sibelius) Voces intimae op.56 (1909)
  • In memoriam op.59
  • Canzonetta op. 62a; Valse romantique op.62b
  • The Bard Symphonic poem for orchestra op.64 (1913/1914)
  • Serenade No. 2 in G minor, Op. 69 b
  • Luonnotar , symphonic poem for soprano and orchestra op.70 (1913)
  • Scaramouche , op. 71, music for the tragic pantomime by Poul Knudsen
  • Aallottaret (The Oceanids) , Symphonic poem for orchestra op.73 (1914)
  • Sonatina in E major for violin and piano op.80
  • Three piano pieces, op.96
  • Suite mignonne op. 98a; Suite champêtre op.98b
  • Stormen (The Tempest) , 35-part incidental music for the eponymous play by William Shakespeare for orchestra, voices and choir op. 109 (1925), premiered in 1926 at the Royal Theater in Copenhagen
  • Intrada for organ op.111a
  • Tapiola , symphonic poem for orchestra op.112 (1926)
  • Suite in B major for violin and string orchestra op.117 (1929)
  • many songs and piano pieces

Aulikki Rautawaara made his songs known.

At the end of 2015, Deutsche Grammophon released a box with 14 CDs recorded by prominent orchestras on which u. a. all symphonies and a multitude of other works are interpreted, in some cases historical recordings ( Herbert von Karajan and others).

Symphonies

  • 1st Symphony in E minor , op.39 (composed 1898). Premiere April 26, 1899 under the direction of the composer
  • 2nd Symphony in D major , op. 43. Premiere March 8, 1902 under the direction of the composer in Helsinki
  • 3rd Symphony in C major , op. 52 (composed 1904–1907; dedicated to Granville Bantock , premiered September 25, 1907 under the direction of the composer in Helsinki)
  • 4th Symphony in A minor , op. 63. Premiere April 3, 1911 under the direction of the composer
  • 5th Symphony in E flat major , op. 82 premier of the first version December 8, 1915 Helsinki. - Revised versions (1916 and 1919)
  • 6th Symphony in D minor , op. 104 (composed 1918–1923). Premiere February 1923 Helsinki
  • 7th Symphony in C major, op.105 (started in 1914, completed March 2, 1924). Premiere March 24, 1924 under the direction of the composer in Stockholm
  • 8th Symphony (allegedly completed and destroyed in 1929)

literature

  • Theodor W. Adorno : Glossary on Sibelius. In: Gesammelte Schriften 17. Musikalische Schriften IV, Frankfurt am Main 1982.
  • Kalevi Aho : The symphonies of Jean Sibelius. in: Jean Sibelius, Tone Poet of the Finnish Forests, pp. 51–73, Metsäliitto / Metsä Group, Helsinki 2011, ISBN 952-90-9319-5 .
  • Andrew Barnett: Sibelius. Yale Univ. Press, New Haven, Conn. [u. a.] 2007, ISBN 978-0-300-11159-0 .
  • Joachim Bruges : Jean Sibelius, symphonies and symphonic poems. A foreman. CH Beck Verlag, Munich 2010, ISBN 978-3-406-58247-9 .
  • Fabian Dahlström: Jean Sibelius. Thematic-bibliographic index of his works. Breitkopf & Härtel, Wiesbaden / Leipzig / Paris 2003.
  • Matthias Falke: Jean Sibelius: Fifth Symphony. Norderstedt 2009, ISBN 978-3-8391-2367-6 .
  • Glenda Dawn Goss: Jean Sibelius: a guide to research. Garland Publishing, New York 1998, ISBN 0-8153-1171-0 .
  • Glenda Dawn Goss: Sibelius: a composer's life and the awakening of Finland. Univ. of Chicago Press, Chicago 2009, ISBN 978-0-226-30477-9 .
  • Daniel M. Grimley: The Cambridge companion to Sibelius. Cambridge Univ. Press, Cambridge et al. a. 2004, ISBN 0-521-81552-5 .
  • Timothy L. Jackson: Sibelius studies. Cambridge Univ. Press, Cambridge et al. a. 2001, ISBN 0-521-62416-9 .
  • Peter Kislinger: Where did Sibelius live when he was studying in Vienna? In: Program 6, subscription concert Vienna Philharmonic, season 2004/05, pp. 289–297.
  • Peter Kislinger: Sibelius memorial plaque is unveiled in Vienna - this time in the right house. In: Online version (accessed October 15, 2012)
  • Hartmut Krones (Ed.): Jean Sibelius und Wien (= Wiener Schriften zur Stilkunde und Aufführungpraxis, special volume 4; report on the… Symposium Jean Sibelius - Founder of Nordic Modernism at the Wiener Konzerthaus in April 2002; includes introductions to the symphonies and the Songwriting). Böhlau Verlag, Vienna / Cologne / Weimar 2003, ISBN 3-205-77141-9 .
  • Jorma Daniel Lünenbürger: Between creativity and awareness of tradition. Jean Sibelius' chamber music from the early work of «Voces intimae». Lang, Frankfurt am Main 2015, ISBN 978-3-631-66196-3 .
  • Tomi Mäkelä : poetry in the air. Jean Sibelius. Studies of life and work. Breitkopf & Härtel, Wiesbaden / Leipzig / Paris 2007, ISBN 978-3-7651-0363-6 .
  • Tomi Mäkelä : Jean Sibelius . Translated by Steven Lindberg. Boydell, Woodbridge 2011, ISBN 978-1-84383-688-9 .
  • Tomi Mäkelä : Jean Sibelius and his time . Laaber, Laaber 2013, ISBN 978-3-89007-767-3 .
  • Guy Rickards: Jean Sibelius. Phaidon, London 2008, ISBN 978-0-7148-4776-4 .
  • Ernst Tanzberger: Jean Sibelius. A monograph. With a catalog raisonné. Breitkopf & Härtel, Wiesbaden 1962.
  • Erik W. Tawaststjerna: Jean Sibelius. A biography . Edited by Erik T. Tawaststjerna . Translated from Swedish and Finnish by Gisbert Jänicke . Jung und Jung, Salzburg / Vienna 2005, ISBN 3-902144-94-7 .
  • Volker Tarnow: Sibelius. Biography. Henschel Verlag, Leipzig 2015, ISBN 978-3-89487-941-9 .

Web links

Commons : Jean Sibelius  - collection of images, videos and audio files

Biographies

Radio broadcasts

Individual evidence

  1. ^ Volker Tarnow: Sibelius. Biography. Henschel Verlag, Leipzig 2015, p. 10
  2. ↑ a b Volker Tarnow: Sibelius. Biography. Henschel Verlag, Leipzig 2015, p. 11
  3. ↑ a b Volker Tarnow: Sibelius. Biography. Henschel Verlag, Leipzig 2015, p. 12
  4. ↑ a b Volker Tarnow: Sibelius. Biography. Henschel Verlag, Leipzig 2015, p. 29
  5. ^ Erik T. Tawaststjerna: Jean Sibelius. Jung and Jung, Salzburg / Vienna 2005, p. 13
  6. ^ Volker Tarnow: Sibelius. Biography. Henschel Verlag, Leipzig 2015, p. 13
  7. ^ Volker Tarnow: Sibelius. Biography. Henschel Verlag, Leipzig 2015, pp. 13-14
  8. ^ Volker Tarnow: Sibelius. Biography. Henschel Verlag, Leipzig 2015, p. 14
  9. ^ Volker Tarnow: Sibelius. Biography. Henschel Verlag, Leipzig 2015, pp. 14–15
  10. ^ Kari Kilpeläinen: The music manuscripts of Jean Sibelius in the Helsinki University Library, a complete directory , Wiesbaden, 1991
  11. ^ Volker Tarnow: Sibelius. Biography. Henschel Verlag, Leipzig 2015, p. 15
  12. ^ Volker Tarnow: Sibelius. Biography. Henschel Verlag, Leipzig 2015, p. 17
  13. ^ Volker Tarnow: Sibelius. Biography. Henschel Verlag, Leipzig 2015, pp. 17–24
  14. ^ Volker Tarnow: Sibelius. Biography. Henschel Verlag, Leipzig 2015, pp. 24–27
  15. ^ Volker Tarnow: Sibelius. Biography. Henschel Verlag, Leipzig 2015, pp. 28–30
  16. ^ Volker Tarnow: Sibelius. Biography. Henschel Verlag, Leipzig 2015, pp. 30–33
  17. ↑ Hartmut Krones (ed.): Jean Sibelius and Vienna. Wiener Schriften zur Stilkunde und Performancepraxis, special volume 4. Böhlau Verlag, Vienna / Cologne / Weimar 2003, pp. 15–65
  18. ^ Volker Tarnow: Sibelius. Biography. Henschel Verlag, Leipzig 2015, pp. 34–41
  19. ^ Volker Tarnow: Sibelius. Biography. Henschel Verlag, Leipzig 2015, p. 41
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  28. ^ Volker Tarnow: Sibelius. Biography. Henschel Verlag, Leipzig 2015, pp. 64–71
  29. ↑ Ilkka Oramo : On the influence of folk music on the music of our time. An unknown essay by Jean Sibelius from 1896 , in: Report on the international musicological congress Bayreuth 1981 , Kassel, 1984, pp. 440–444
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  85. ↑ http://www.cosmopolis.ch/musik/d0197/sibelius_biografie_volker_tarnow_d00197.htm
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  98. ↑ Famous Freemasons Jean Sibelius , Homepage: Grand Lodge of British Columbia and Yukon (accessed March 21, 2012)
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  110. ↑ a b Volker Tarnow: Sibelius. Biography. Henschel Verlag, Leipzig 2015, p. 268
  111. ^ Theodor W. Adorno : Abschied vom Jazz , in: Europäische Revue 9 , Heft 5, 1933 (see Gesammelte Schriften , Vol. 18, Frankfurt / Main 1984, pp. 795-799), resp. Theodor W. Adorno: The flags of the persecuted. Die Musik, 2nd half of 1934, p. 712
  112. ^ Volker Tarnow: Sibelius. Biography. Henschel Verlag, Leipzig 2015, p. 269
  113. ^ Volker Tarnow: Sibelius. Biography. Henschel Verlag, Leipzig 2015, p. 270
  114. ^ Volker Tarnow: Sibelius. Biography. Henschel Verlag, Leipzig 2015, pp. 270-271
  115. ^ Volker Tarnow: Sibelius. Biography. Henschel Verlag, Leipzig 2015, p. 273
  116. ↑ Dagbok, p. 336
  117. ^ Volker Tarnow: Sibelius. Biography. Henschel Verlag, Leipzig 2015, pp. 274–275
  118. ^ Volker Tarnow: Sibelius. Biography. Henschel Verlag, Leipzig 2015, pp. 275–277
  119. ^ Joachim Bruges: Jean Sibelius. Symphonies and symphonic poems. A musical factory guide. CH Beck, Munich 2009, p. 9
  120. ^ ISCM Honorary Members
  121. ^ List of honorary members of the RPS 1900–1949
  122. ^ Honorary Members: Jean Julius C. Sibelius. American Academy of Arts and Letters, accessed March 22, 2019 .
  123. ^ Members of the American Academy. Listed by election year, 1900-1949 ( PDF ). Retrieved September 27, 2015
  124. ↑ http://www.ecb.europa.eu/euro/coins/comm/html/comm_2015.de.html
  125. ↑ http://abload.de/img/jeansibelius2015r6s5a.jpg
  126. ^ Gazetteer of Planetary Nomenclature
  127. ↑ Joseann Freyer-Lindner, Nadia Al spa ski: Finland. 12th edition. Marco Polo editorial team Mairdumont, Ostfildern 2017, pp. 37–38.
  128. ^ Sibelius recordings and performances by Herbert von Karajan , accessed November 29, 2012.
  129. ↑ Hans Renner and Klaus Schweizer: Reclam's concert guide. Orchestral music. 12th edition, Stuttgart 1982, p. 496.
  130. ^ Joachim Bruges: Jean Sibelius. Symphonies and symphonic poems. A musical factory guide. CH Beck, Munich 2009, p. 109ff.
personal data
SURNAME Sibelius, Jean
ALTERNATIVE NAMES Sibelius, Johan Julius Christian (full name)
BRIEF DESCRIPTION Finnish composer
DATE OF BIRTH December 8, 1865
PLACE OF BIRTH Hämeenlinna , Grand Duchy of Finland , Russian Empire
DATE OF DEATH 20th September 1957
Place of death Järvenpää near Helsinki