The Orchestral Music of Sibelius

663 Pages·1973·30.93 MB·English

by  Michael Stuart Collins

THE
ORCH2 RAI, MUSIC OF SIBMIUS
Vol. I.
(TEXT)
by
51,
M. STUART1O%LINS.
THESIS MJBNITTED FOR THE DEG EE OF DOCTOR OF PHILOSOPHY
L
D 'aR 1 IT OF MUSIC, UNIVERSITY OF LEEDS, MARCH 1973.
"
ABSTRACT
A the Sibelius its
study of published orchestral music of and
develo This the
stylistic x ent. study suggests presence of an essentially
tonal in the largely in basically
evolution symphonies, stated straight-
forward terms, frequently in It
musical and cadential origin. also suggests
that the for these tonal from the
energy evolutions arises exploration of
features further, that these tonal
certain ambivalent and procedures; and
(
to formal
evolutions give rise a considerable number and variety) of
innovations though, the Sibelius
even as a whole, symphonies of show a
few
frequent and
reliance on a relatively characteristic procedures
ingredients.
The this that the
results of survey also show orchestral colouring
the
itself directly contributes to the tonal argument of symphonies and,
that the
represent moro of a
certain of symphonic movements
additionally,
than has formerly been
unique achievement recognised.
increasingly
This traces the development
study also gradual and
(
'pace' that is, harmonic
rhythm, and
vital use of of pulse, speed,
tonality) factor in the
of as a constructive symphonies and
changes
The distinction between these two
tone
poems. and relationship
(
Sibelius's for the theatre
important areas of orchestral music music
is
in this
and other compositions stand somot, 'hat apart respect) examined
the
leads to the that,
and conclusion with some notable exceptions,
tonality, its
largely
tone-poers are concerned with the vagaries of and
though their in duo
establishment, original conception was scme measure
inspiration.
to
a pi-ogra:. matic
With to the theatre
regard compooitions..
music and other orchostrall
the this that Sibelius ( frequently)
results of study suggest was
inhibited by the fundamental inherent
creatively and small-scale
these in the inclusion
characteristic of works; contrast, of a solo
instrument to this limitation indeed to
would appear offset and give rise
to distinction.
some small--scalp compositions of
The influence Finnish folk ( is
of music and speech) also
discussed.
THE
ORCHESTRAL
MUSIC
OF
S E. I S
CORRIGENDA
P, 3, foot-note: for 'of the 'of
entire work' read each movement'.
P. 19, line 12: for 'With the best bluest '
stockings.......
i"With the bluest '
reac very stockings.......
P. 84, line 9: for 'largely 'clearly
maintains' read suggest'.
P. 90,6th line for 'sterilisation' 'sterility'.
up: read
Passim: for 'absorbtion' 'absorption'.
read
'propeller'.
for 'propellor'
Passim: read
C(14T L' 0
i'ii'.
i
Preface
1
Introduction
1.
7
2. Kullervo
Z7
Finnish
3. Sibelius music
and
38
Overture, Karelia Suite, 'Vf.
Karelia rs5ng'
4.
45
5. Lemnink . Kien Suite, 'King Christia: i II'
76
6. Symphony I-1o. 1
-
98
I, 'Finlandia', 'En Saga'
Scenes historiques
7.
114
8. Syrphony Ivo. 2
133
Valse Triste, Romance in C, Violin Concerto
9.
150
eliscnde' 'Pc; Echo',
1 'Belshazzars Feast' i and
'Pelleas
1 0 and
,
,
.
Daughter'
'Pohjola's
166
No-3
Symphony
11.
196
Sunrise'
Dance Intermezzo No. 2, 'Ivightride
12. and
209
' Swsnwhite' 'In 1,! 'The Dryad'
13. emori=n',
,
219
Rakastava'
'Valse
' Canzonetta',
14. roa, ntique'
,'
230
No-4
Symphony
15.
'Scaramouche'
II, 2 Serenades for Violin,
Scenes hislorioues
16.
278
Orchestra
Violin
'The Bard', 'The Oceanides', 2 Pieces for and
17
.
299
Symphony 'L:
o
18.
.5
331
Vise Lyrique,
for Violin Orchestra,
Huncresques
19. and
Suite
Suite
chaupetre
mignonn_e,
346
6
Symphony . 1.
20. o.
'282
.,
21. Symphcny o .
.7
413
'Tapiola', 'The Tempest'
430
7r Conclusion
23
t h58
Cab41cV Orch WO_i:
^. of st"ra. L B
.
462
Bibi;
c, raphy
465
Index
1.
PREFACE
In to do justice to the this I have
an attempt subject of study
found it necessary to refer the reader to an unusually large number of
in th. these be
musical examples and, order t may more conveniently
( in
they have for the been bound
most part) separately
available,
Volume 2. Details the to in the text will
of orchestral scores referred
h58.
be found in the
catalogue of orchestral works on page
It is this time duty to thank my
at my pleasant publicly
Music,
Mr. F. S. Mumby, Senior Lecturer in the Department
of
supervisor,
the
help throughout
Leeds, for his
University
of patient and unstinting
in
duration of this study. His comments, queries, and explanations our
hours discussion and enjoyablo
of were always extremely stimulating
many
his
the demands
in of
with unfailing courtesy; spite of
and presented
interests he less than helpful and always more
was never
own research
the
than kind. However I hasten to that the faults and shortcomings of
add
this 'all work'.
of study remain entirely my own
results
Bradford,
My thanks due to friends an&colleagues at not
are also my
to listen to ideas
least to Mr. `W. Iles Pulford ready my and
who was always
-
her
for
them to Mrs. Brenda Hiscock patient
discuss
with me and
-
into
typescript such a presentable
translations
of my own much-e-mended
version.
her loving
for
Finally I thank Margaret,
must my wife,
from the
this very
for study
encouragement and support my undertaking
beginning.
Collins
Stuart
1973"
March
Bradford,
t
CHAPTER 1
INTRODUCTION
it
CI' R1
It be if future to
would not surprising generations were regard
the 1890 1930 the in history
period as one of most significant - and
-
in the In these turbulent
especially politics, science, and arts. music
the 'official' Schoenberg,
years witnessed revolution of experiments
(notably
by I? the
with microtones aba), and use of polytonality
(particularly
by Milhaud) the development the techniques
as well as of
Hindemith Bartok. include
And these
associated with and same years also
(entire)
the Sibelius.
orchestral compositions of
Jean Sibelius born in 1865 died in 1957: his first
was and
(published) (i.
' Kullere in 1892 the
orchestral woe, o' was written e. year
,
before Dvorak the 'New World' Symphony Verdi 'Falstaff',
wrote and wrote
his last
two before Debussy the 'Prelude I) while
years wrote
to 'The Tempest'
the incidental
significant orchestral composition, music
(one Bartoks 3rd
in 1926 before the of
was written year composition
String the birth Boulez).
and of
"ýuartet -
But Sibelius largely by the ideas techniques
and
remained untouched
to 'school'
of composers; yet
mentioned above, and his work gave rise no
Sibelius
in the years 1930 50 there has been described as a
grew up what
-
'cult', during this time the of
and understanding and appreciation
Sibelius's music was encouraged by the appearance of his biograp. y
1
(in
12man later Grp-y2.
this by the studies of
and country) critical
14
Ihrahan ' Since then the has disappeared., though a further
and cult
(re)assessment
Sibelius's by 'second
of has been undertaken a
compositions
Sibeliazi Harold E. Jobrson4.
generation' of scholars the of
while research
3ý
1. Karl Licnm: Jean Sibelius, Tudor Riol. Co.,
his life
and per onality;
.
Tudor
1946.
edition
2. Cecil Gray: c; ibelius i:
Symphonies; 'I1usical Filgri&
series,
_e
o. U.:.
1935.
3. Gerald -brt: iic:. (i, )
d.
; I : Sibelius sy7Doosiu: o. U. Y. 1952.
a;
4. Harold JoijLisoý::
Sibelius;
Faber ieber, 1; '60.
and
2
has detailed biographical factual background
provided a and against
(as
the Sibelius be Op. 22)
which compositions of may seen, and which with
directly to tine itself.
relates music
Baut though the Sibelius's
even reassessuent of orchestral
has been detailed there is for doubt
compositions and careful still room
6th
thus Constant Lambert the
and questioning: although writing of
(as
Symphony 1934) that "future
early as suggested commentators may
1.
find its intimate indicative the true Sibelius" the
quality more of
demonstration its Sibelisn
actual analysis and of peculiarly qualities
'been
has far,
not, so very convincing.
The for the 'failure' this demonstration important
reasons of are
they the and analyses
since question validity of previous assessments
(-
the
have drawn
more so since several writers particular attention
(i) (ii) 'formel
to the : Sibelius's large-scale designs, his
strength of and
innovations'); the is 'academic' since the symphonic
and point not merely
the 7th Symphony has been 'Tapiola'
character of while
questioned,
(a
tone has been 'a in but Indeed
poem) called s. -mphony all name'.
(of
Robert Si,. the he the 7th Symphony)
pson sums up situation when writes
that "failure to Sibelius had been hitherto
understand consistently
what
developing is the only reason for failure to grasp the design of the Seventh
Symphony". Sirapson's argument rests on the importance of a tonal evolution,
and he points out that "Cecil Gray like so many writers..... let himself
.....
be by the themes. These
side-tracked obviousness d irmediacy of may
an
often be the first thing one notices in but they should not be the
-jusic,
2.
last".
(the
Thus two
already very considerable concerning
questions
Sibelius's
of) first, just
appraisal orchestra
cormositions arise:
had been 'consistently
what developing' i. is the of
essence
e. wnat
-
a
Constant Lambert.
I.
Ho! 236.
Pe1icý books 1948,
-tsic ; p.
'
2. i. Sir:
obert : JýUtý '"`;
pson: etius and li. c A Centenary LssP, y; ""! "1965s ý'.
.
33.
p.