Pedagogical conditions for studying creativity Yana Sibelius. Biography Yang Sibelius Cycle Trees Creating History

North is not only the magic of the White Nights of the Polar Light, not only the beauty of the shine in the distance of mountain peaks, but this is also the fascinating music of sea waves. North - this is the courage, the struggle, it is always a work, and therefore the traditional Saga of the North is not verbal and the Surov. Even if it narrates the sounds of music. We will remember this by opening our excursion to the music of Suomi, which we used to call Finland.

Jan Sibelius The founder of the Finnish National Music School and its largest representative. The art of Sibelius is inextricably linked with the past and the real Finnish people, with the nature of Finland, with its songs and legends. In Sibelius's Music, we feel the beat of his native country's pulse. In his work, I found my reflection and the harsh nature of Finland, the countries of "thousands of lakes", granite rocks and age-old forests. To feel happy, the composer has always needed the sun, the light, the singing of birds; But from the young age he loved the other appearance of the native land: frosted, pastel paints of the snow-covered north landscape, the mysterious twilight of long polar nights, whirlwinds and howls of snow storms.

Yang (Yuhan) Julius Christian Sibelius was born on December 8, 1865 in the small Finnish town of Hemeenlinna in the family of a regimental doctor. In Hemerenin, there were amateur choirs and musical circles, artists from Rossi, Helsinki and Turku were often arrived. It is clear that among such an environment, the interest of Yanne to music increased.

From five years he began to train the piano game, but the gamma and exercises were abolished for a long time from the boy a hunt for musical classes. However, with all its outstanding musical abilities, the little Sibelius did not impress Vunderkind at all. It was an ordinary, cheerful child, who loving porching and frolic with his comrades. The only thing that distinguished him is an extraordinary love of nature. After graduating from high school, inferior to the innovation of mother and grandmothers, which, although they encouraged her homework to Janne with music, but did not want to hear about the musician profession, the young man entered the Faculty of Faculty of Helsinki University. At the same time he was engaged in the music institute for the classes of violin and the theory of music. Soon the musical life of the capital is so fascinated by the young Sibelius that he forgot about the jurisprudence. At the Music Institute Sibelius took the lessons of playing the violin and the theory of the composition. At first, Jan more fond of violin, but gradually rearranged the composition. Thesis compositions of Sibelius - String Trio, String Quartet - were publicly executed in 1889 in Helsinki and had a great success. The institute has ensued the friendship of Sibelius with a famous pianist and composer Ferruccio Buzoni, who in 1888 - 1889 was a foreway teacher. In the autumn of 1889, Sibelius went to complete education in Berlin. A biennial stay in Germany, Austria brought many interesting impressions. In Berlin, he took lessons at the famous theorist of Albrecht Becker. New acquaintances have come there: with young musicians with German and Finnish, with their music; He listened to Don Juan Richard Strauss and Aino Symphony.

The stay of Sibelius in his homeland in 1890 was marked by an important event in his life - he woke up from Aino Yarnefelt. In this happy period of his life, the young composer becomes one of the central figures of the artistic life of Finland. He communicates with her the largest figures, meets the famous playwright Main Cant, continues to meet with his patron and the advisor R. Kajanus, Pianist - Composer O. MericoTo and others - Callel. Friends spent whole hours in lively conversations on the burning artwork somewhere in a cafe or restaurant Helsinki. All of them were hot adherents of the national destination in art, the inexpressive source of their inspiration was the images of "Kalevaly".

Many interesting impressions made Sibelius from a trip to Italy. Having visited Rome, Venice and other cities, he was, on his own recognition, "highly captive by nature, striking historical sights and population of the country." Thanks to the friendly assistance of Kajanus, Sibelius was able to improve self-education to improve his orchestral skills.

Almost all of its works of this period are directly related to the images of their native country, its history, folk poetry, especially "Kalevlava". Sibelius remains an adherent of music related to poetic text, vocal and software. In a letter to the poet Y. X Erkko, he says: "I believe that the music itself is, so to speak - absolute music cannot satisfy. She causes certain sensations, emotions, but at the same time some kind of dissatisfaction ... Music can fully show its impact only when it gives the direction of any poetic plot, in other words, when the sphere, the creation of music, clarifies, and words, as if beautiful, they themselves are even more important. " . Soon he left again for further improvement, this time in Vienna. The Austrian capital, which was the largest music center, possessed a huge attractive force for all involved in art.

When a 26-year-old composer returned home in 1891, he was convinced that some of his writings were eagerly executed and enjoy recognition. Soon Sibelius spoke with a large work, in which his revealed revealed was widely revealed, - a symphonic poem "Coollervo" for two soloists, male choir and orchestra. The first sketches were made back during the stay abroad.

K. Flodin wrote: "... He sought to create a Finnish music from beginning to end. In a peculiar nature of the mouths of runes, in the rhythms of folk dance, in the melodies of the shepherd horns, he found his moods close to him. In the skewers used by them, in the use of five-dololine size, he fully followed Old runes .... " The appearance of the work of such a sweep and meaning after the purely school experiments and the few published or fulfilled publicly chamber compositions and orchestral plays, after low-voltage "years of wanderings" abroad, represents a riddle for the biographer.

From the autumn of 1892, Sibelius begins to teach at the Music Institute in Helsinki. He leads the class of composition in parallel take part in the work of the institute string quartet, by performing a second violin party. At this time, an orchestral school opened at Helsinki at the initiative of Kayanus. Sibelius was invited and there as a teacher of the composition.

"And it was not the only proof of the active interest of Kayanus in me," said the composer. "It was a great importance for me that he completely set his orchestra to serve my art, providing him with my location when I wanted to try the effect of some timbre combinations. Or hear the real sound of my score. The encouragement of Kayanus in a very large degree contributed to my development as an orchestral composer over the past decade of the nineteenth century. I'm in front of him for all that he did for me not only during my youth, but later For art, it was very small. "

Despite the fact that the Institute and School took away from Sibelius to thirty hours a week, he managed to compose a lot. .

The summer months of 1893 gave life to other creations of Sibelius. Apparently, in the spring, the student society of Vyborg appealed to him with a request to write musical accompaniment to a series of "living paintings" telling about some moments of historical past Karelia. The composer willingly responded to this proposal. The coming years are held in tireless and fruitful works. Sibelius completes Suit "Lemminkäinen", composes his only one-act opera "Girl in the Tower".

Last years, until the end of the century, it turned out to be a time of great creative lift for Sibelius. Still the composer works in different genres.

Winter in 1903/04 was the last, conducted by Sibelius in Helsinki. Life in the capital began to be more and more. There was a number of reasons - and personal and public. The aggravated political situation in the country, the national oppression, especially felt in the cities, caused a composer - patriot heavy moral suffering. Physical ailment was mixed up for this: the user disease began in 1901 in 1901 and caused serious anxiety. In addition, life in Helsinki constantly interfered with all mental strength on creativity, in which Sibelius saw his vocation, and the fulfillment of public debt.

Creative activity of the composer gradually approached the end. His statements about music are full of deep meaning. They see a big and wise artist, wide and boldly thoughtful, never walking about the fashion trends. "Having live such a long life as mine," Sibelius told, "and watching how one direction was born after another, bloomed and dying, already less strongly occupy a position. You try to find good where you are looking for. Come often that almost Each musical "school" in one point has something good in itself. If I had become young again, but with such an experience, as it now, then I think, for example, that would be more tolerant to Vagneru than when That. My attitude to the Vagneur is to a large extent, I think it depended on the fact that all my friends succumbed to the influence, and the old one. And yet I still put Verda above Wagner ... "

At the request of Yana Sibelius E. Gileels played two preludes and fugues of Shostakovich. "Sibelius listened to half-closed, concentrately, in full motionlessness. When the sounds of the piano froze, he paused for a while and then said, making a wide hand gesture:" Here is the music, listening to which the walls of this room spread and the ceiling has become higher ... "

Until the end of the life of Sibelius (September 20, 1957, at the ninety-year-old year of life), he retained a bright, insightful mind, a wonderful sense of humor, physical fortress and vigor, an extraordinary tightness.

The Finnish people guarded her great songwoman.

In 1985, the International Yana Sibelius Award was established.

The beginning of the composer's activities of Sibelius coincided with the emergence of the countries of Europe of National Music Schools.

Universal recognition conquers a new Russian school, which has gone to the world of such ingenious artists - realists, like Mussorgsky, Borodin, Roman - Korsakov, Tchaikovsky. In the Czech Republic, the wonderful composers of sour cream and disgusting are put forward. In Norway - Grieg.

The art of Sibelius was also imbued with the National Spirit, but it expressed him differently than his predecessors in Finland.

A peculiar northern flavor of the Finnish People's Song always inspired Sibelius. But, as we have already said, in our works the composer did not quote the folk melodies, sowing them to catch their character, using separate melodic and harmonic intonations, rhythmic features.

The history of the songs of the Finnish people goes deep into the ages. In the eastern part of Finland, wonderful songs arose - Runes. Runes are a stanical songs, with a predominance of ferretic size (alternation of one long and one short syllable), with a rich, diverse melody, with a certain clear rhythm. Most often, 5/4 and 7/4 sizes. The art of runes has survived. And today, in more remote areas of Finland, you can meet the singers, who remember the many of these jerseys, complementing them all new improvisations. The runes that are included in the collection "Kalevala" are genuine folk creativity.

The whole Pleiad of Talented Finnish composers was grouped at the end of the 20th century around Martin Vegelius, director of the Helsinki Music Institute, the author of symphonic, piano and vocal music, the compiler of a number of theoretical works. These were - Jan Sibelius, Armas Yernefelt, Erkki Melevitt and others.

The development of the national identity of Sibelius also contributed to the environment in which he rotated in young years. Friends of the composer, young poets and writers prompted Sibelius to work in the field of vocal lyrics and theatrical music. It is by this period that the creation of "cocery - symphony" in five parts for the large orchestra, choir and soloists; The plot for her was served by some episodes of Kalevaly.

On the advice of his friend, R. Kayanus, Sibelius writes a symphonic poem in 1892 for a large orchestra.

In 1893, in one of his summer stays in Kuopio, in the north of Finland, Sibelius, inspired by the episode of "Kalevaly" decided to write a opera. He went to work with hobby, created a large orchestral suite "Lamminkäinen".

The first poem is the legend - "Lyamminkyainen and Girls on the island of Saari." The software content of the second legend is "Lamminanienne in Tionel" is dedicated to the three fets of the hero, which he performs to achieve the hand of his beloved girl.

We see that almost from the very beginning the work of Sibelius won wide public recognition. This recognition of the merit of Sibelius before the national culture was expressed, by the way, and in the fact that the decision of the Finnish Senate In 1897, Sibelius was appointed annual scholarship, which gave him the opportunity to significantly reduce his pedagogical activities.

Sibelius began to create his "first" symphony at the age of 34.

Dramatic music has always attracted a composer. But no work of Sibelius had such widespread, as a "sad waltz" from music to the Drama Arvid Yernefelt "Death", written in 1903.

Numerous Sybelius solo songs valuable contribution to the romance lyrics - painted mostly to the Swedish texts, since the 19th century poets of Finland.

Runberg, Rudbeg, Tophetius - wrote in Swedish.

The closest Sibelius chamber tool is a violin. The major violin essays of Sibelius include his concert for violin orchestra.

The Russian music community deeply honors the work of the wonderful Finnish composer. His music constantly sounds in concert halls of cities and on the radio. In our country, the significant dates of the life of Sibelius are always observed.

Jan Sibelius is a Finnish composer, whose works belong to the category of the most precious treasures of classical music. Many of his works are revered by musicians, critics and music lovers around the world. His music belongs to the style of early romanticism and school.

Biography

Jan Sibelius, whose biography is presented in this article, was born in 1865, in Finland. Father of the composer was a military doctor. When I was 3 years old, the head of the family died from raised the boy mother. Gustav had debts, besides, the funeral cost very expensive. The widow could not contain a house. The manor and most of the property were given to lenders in the account of debts. The widow and three children of the doctors moved to live in the house of her grandmother.

The future composer Jan Sibelius since childhood had a very live imagination. He constantly invented stories about the fad. Mother I. Sibelius played on the piano and joined the music of children. They visited concerts in the whole family. From an early age, children in the Sibelius family trained music. Sister Yana learned to play piano. Brother - Cello. Yang himself first studied to play the piano, but then he expressed the desire to change the tool and moved to the violin. The boy was unreasonable, and to make him diligently engage, the first teacher beat him on the hands of knitting needles. Y. Sibelius wrote his first work at 10 years. His interest in music over time increased, and he began to engage in the spirit of the orchestra. In the school Yang was very scattered. In the fields of their notebooks, he constantly recorded music. But, at the same time received good marks on botany and mathematics. Another boy's passion was reading.

In 1885, Jan Sibelius entered the University of Faculty of Faculty. But she soon threw his studies, she was not interested in him. He entered the music institute. His teacher was Martin Vegelius. Janu really liked to learn. He was the best student at his teacher. Works that I. Sibelius wrote in student years, performed teachers and students of the institute. In 1889, the young man studied the composition and the theory of music in Berlin. Aven a year later - in Vienna.

Creative way

After graduating and returning to Finland, Jan Sibelius officially debuted as a composer. The first publicly fulfilled by his work was the symphonic poem "Kullervo", which was based on Finnish People's Epos. Yang immediately became popular, he was declared a musical hope of the country. The very first symphony composer wrote in 1899. Premiere it took place in Helsinki. It is thanks to his symphony, the composer received international fame.

Y. Sibelius actually completed his creative activity in 1926. In the next thirty years of life, the world was waiting for his new essays, but he wrote only minor plays, which do not have much importance for cultural heritage. Although there are evidence that he composed, but most of their manuscripts destroyed that period. Maybe among them there were significant works, but for some reason the author did not complete them. In the 40s of the 20th century, the interest in the music of the composer in the world was very low. But in Finland, it is appreciated to this day as a symbol of the grandeur of the country.

List of works

Those who are just starting to get acquainted with the work of this Finnish composer, the question arises: "Jan Sibelius wrote how much symphony wrote?" In total, he composed a lot of works. And the symphony was seven.

Symphony Jan Sibelius:

• No. 1, E-Moll.
• № 2, D-DUR.
• № 3, C-DUR.
• No. 4, a-Moll.
• No. 5, ES-DUR.
• № 6, D-Moll.
• № 7, C-DUR

Symphony poems:

• "Saga".
• "Finland".
• "Night jump and sunrise."
• "Bard".
• "Oceanids".
• "Tapiol".
• "Forest Nymph".
• "The daughter of fighters."
• "Dryad".

Suits Yana Sibelius:

• "Karelia".
• "Suite for violin and piano."
• "Beloved".
• "Little Suite."
• "For violin, viola and cello."
• "Genre Suite."
• "Rural".

Music for plays and drama:

• "Lizard".
• "Storm".
• "War Valtasar".
• "King Christians II."
• Skaramush.
• "White Swan".
• "Death".
• "Everyone".
• Pelleas and Melizanda.

And he also wrote an overture, plays, melodics, concerts, marches, scenes, instrumental serenades, romances for orchestra, legends, humorings, dancing, quartets, impromptu, sonata, works for choirs, cantata, ballads, hymns, songs for voice accompanied , Arioso, variations, opera, and so on.

Masonry

Yang Sibelius for many years was in the Masonic Order and was one of his prominent figures. He is one of the founders of the lodge in Helsinki. Over time, he became the main organist of Finnish Masons. In 1927, I. Sibelius wrote nine works, which were combined by the composer himself in a separate collection. He wore the name "Masonic music for rites." For the first time, the collection was published in 1936. The works were intended for distribution among Masons. In 1950, the collection was corrected, supplemented with new compositions and issued again. The famous symphonic poem "Finland" and the famous symphonic poem "Finland", which during rites was accompanied by special text.

House composer

Jan Sibelius settled in Järvennaya in 1904, next to Tusulu Lake, along with his family. The composer wrote his latest works here. I. Sibelius loved his house very much. Here the creative people often gathered, with whom the composer was friendly. Yang Sibelius died on September 20, 1957 in his favorite house. His spouse continued to live there after his death before the early 1970s. In 1972, the descendants of the composer sold the house to the state. Now there is a museum. He was discovered for visits was in 1974.

Museum I. Sibelius

This is the only music museum in Finland. It was created during the life of the composer. The museum was opened thanks to the efforts of the professor of musicology Otto Anderssson. He presented his collection of his collection of musical instruments. In the 30s of the 20th century, the museum became the owner of the manuscripts of the composer I. Sibelius, as well as detailed data on the biographies and the work of the composer. All this handed over the friend Yana - Adolf Pume. Initially, the museum was called "Music and Historical Assembly Abo Academy". In 1949, he was renamed in honor of the composer who personally gave this consent. In the museum you can get acquainted with the creativity of Ya. Sibelius, see the collection of 350 musical instruments, as well as visit concerts and exhibitions.

Jan Sibelius (08.12.1865 - 09/20/1957) - Finnish composer. The composition studied at the Helsinki Conservatory at M. Vegelius - Pioneer of Finnish National Music. He continued the classes in 1889-1891 in Berlin at A. Becker and in Vienna at R. Fuks and K. Goldmark. Upon returning to the Motherland, the classes of the theory of composition and violin in the conservatory were led, then thanks to a permanent state scholarship was able to devote himself exclusively to creativity. From 1904 he lived and worked in the town of Järvennaya, near Helsinki.

Do not pay attention to critics reviews; No one criticized a monument yet.

Sibelius Jan.

In 1892, the first author's concert of Sibelius took place in Helsinki, at which the first of his symphony poems "Coollervo", which marked the origin of the Finnish national romantic musical style. In the following decades, until the 1st World War, Sibelius's music conquers full recognition in his homeland and beyond its limits, especially symphonic poems on the plots from Finnish Popial Poetry, History, Mythology and Epos ("Tionel Swan", "Finland"), and Also symphonies, a violin concert, "sad waltz" (from the music to the spectral "KOLEMA" of YARNEFELT). The music of Sibelius attracts a peculiar northern flavor, courageous and restrained pathos, the immediacy of feeling, colorful, melodiousness.

After the end of the war, as a result of the growth of anti-grantic and modernist trends, the symbelus music is somewhat losing their importance in Europe, being at the turn of two eras. The uncertainty of his position as a musician is reflected on the creative activity of Sibelius. The last major essays - the 6th and 7th symphony and the symphonic poem "Tapiol" are among the early 20s. After 1929, Sibelius almost did not compose. Over time, his music again has gained great popularity.

The meaning of Sibelius music for his homeland is to create the first outstanding essays in the national style.

Symphonic poems on Finnish national topics, written by the hand of a talented master, were enthusiasticly adopted by his compatriots and caused a living interest in Finnish culture in the rest of the world. For the creative personality of Sibelius, it is characteristic that the composer, drawing inspiration in folk legends, almost did not use folklore quotes. The elements of the Finnish folk song are in his music in creatively developed form.

Outside Finland, Russian musicians were among the first to appreciate Sibelius. The spiritual proximity of ideals was the basis of the friendship of Sibelius with Roman-Korsakov, glazunov and other outstanding representatives of the Russian musical culture.

Jan Sibelius (Swede. Jean Sibelius., Swede. JOHAN CHRISTIAN JULIUS SIBELIUS; December 8, 1865, Hämeenlinna, Grand Principality Finland, Russian Empire - September 20, 1957, Järvennia, Finland) - Finnish composer of Swedish origin.

Biography

Jan Sibelius Born on December 8, 1865 in Tavastgus in the Grand Duch of Finland. Was the second of the three children of Dr. Christian Gustava Sibelius And Mary Charlotte Borg. He was early lost his father, spent his childhood with her mother, brother and sister in her grandmother's house in his hometown.

The family spoke Swedish and supported Swedish cultural traditions. However, parents gave Yana to the Finnoad high school. From 1876 to 1885, he studied in the normal lyceum of Hämeenlinna.

Following the family tradition, children trained the game on musical instruments. Linda's sister was engaged in the piano, Brother Christian - on Cello, Jan.- First on the piano, but after chose the violin.

Already ten years Jan. I composed a small play.

Subsequently, his attraction to music increased and he began systematic classes under the leadership of the leader of the local brandy orchestra Levander.

The practical and theoretical knowledge obtained allowed you to write a few chamber instrumental essays.

In 1885 he entered the law faculty of the Imperial University in Helsinki, but he was not attracted by the profession of a lawyer, and soon he moved to the music institute, where he became the most brilliant student Martin Vegelius. Many of his early essays for chamber ensembles were performed by students and teachers of the institute.

In 1889. Sibelius He received a state scholarship for learning the composition and theory of music among Albert Becker in Berlin. Next year she took lessons from Karl Goldmarka and Robert Fuchs in Vienna.

Upon return Sibelius In Finland, his official debut was held as a composer: a symphonic poem "Coollervo" was performed (Kullervo), OR. 7, for soloists, male choir and orchestra - one of the tears of the Finnish folk epos of Kalevala. These were the years of unprecedented patriotic lifting, and Sibelius Immediately proclaimed the musical hope of the nation. Soon he married Aino Yarnefelt, the father of which was the famous lieutenant-general and governor who participated in the national movement - August Alexander Yarnefelt.

The symphonic poem "Tale" was followed for the coulack (EN SAGA), OR. 9 (1892); Suite "Karelia" (Karelia), op. 10 and 11 (1893); "Spring Song", OR. 16 (1894) and Suite Lemminkyainen (Lemminkissarja), OR. 22 (1895). In 1897. Sibelius He participated in the competition for the position of music teacher at the university, but failed, after which friends convinced the Senate to establish an annual scholarship of 3,000 Finnish brands for him.

Noticeable effect on early creativity Sibelius Two Finnish musicians were given: Robert Kayanus, conductor and founder of the Association of Helsinki Orchestras, and the mentor in the field of symphonic music, was taught the art of orchestra, and Music Karl Flodine was a mentor. Premiere of the first symphony Sibeliusheld in Helsinki (1899). In this genre, the composer wrote another 6 writings - the latter was the seventh symphony (one-piece Fantasia Sinfonica), OR. 105, first fulfilled in 1924 in Stockholm. International fame Sibelius Acquired precisely thanks to the symphony, but its violin concert, and numerous symphonic poems, such as the "daughter of grains", are also popular (Fin. Pohjolan Tytär), "Night jump and sunrise" (Swede Nattlig Ritt Och Soluppgang), "Tionelsky Swan "(Tuonelan Joutsen) and Tapiol (Tapiola).

Most writings Sibelius For the dramatic theater (all of them sixteen) - Certificate of its special tendency to theatrical music: In particular, this is the symphonic poem "Finland" (Finlandia) (1899) and "Sad Waltz" (Valse Triste) from the music to the play Shurin of the composer Arvid Yarnefelt " Death "(kuolema); The play was first put in Helsinki in 1903. Many songs and choral works Sibelius It often sounds in his homeland, but it is almost unknown outside it: obviously, their spread is hampered by the language barrier, and in addition, they are deprived of the characteristic advantages of his symphony and symphony poems. Hundreds of piano and violin plays and a few suite for the orchestra are also inferior to the best composer essays.

A special position in Finnish national culture is occupied by the symphonic poem Finland, which is a musical illustration of the history of the people and having an anti-Russian orientation. The melody was successful and became a national anthem. Its execution, including the urinary melody in public places, punishable by the Russian authorities.

Creative activity Sibelius In fact, ended in 1926 a symphonic poem of Tapiol, OR. 112. For more than 30 years, the musical world was waiting for the composer of new works - especially his eighth symphonies, which was so much said (in 1933 her premiere was not even announced); However, the expectations did not come true. During these years Sibelius He wrote only small plays, including Masonic music and songs, who did not encine his heritage. However, there are evidence that in 1945 the composer destroyed a large number of papers and manuscripts - perhaps among them were not even reached the final embodiment.

His work is recognized mainly in the Anglo-Saxon countries. In 1903-1921, he came to England five times to England, and in 1914 visited the United States, where the premiere of the Symphonic Poem of Oceanids (Aallottaret) was held under his control within the framework of the Music Festival in Connecticut. Popularity Sibelius In England and the United States reached its peak by the mid-1930s. Such large English writers like Rosa Newmarch, Cecil Gray, Ernest Newman and Constant Lambert, admired them as an outstanding composer of their time worthy of the successor to Beethoven. Among the most ardent adherents Sibelius In the United States were O. Downs, the musical critic "New York Times", and S. Kusiewitsky, the conductor of the Boston Symphony Orchestra; in 1935 when music Sibelius He sounded on the radio performed by the New York Philharmonic Orchestra, the listeners elected the composer with their "favorite symphony".

Since the 1940s, the interest in Sibelius's music falls noticeably: there are voices that doubt its innovation in the field of form. Sibelius did not create his school and did not directly influence the next generation composers. Nowadays, it is usually put in one row with such representatives of the late romanticism, like R. Strauss and E. Elgar. At the same time, in Finland, he was given and dismissed a much more important role: here he was recognized as a great national composer, a symbol of the country's grandeur.

Still at lifetime Sibeliushe was honored with the honors, which were rewarded only by little artists. Enough to mention numerous streets SibeliusParks Sibelius, Annual Music Festival "Week Sibelius" In 1939 Alma Mater, the composer, the music institute, received the name of the Academy of Name Sibelius.

Sibelius in Freemasonry

He was Mason for many years, and was rightfully one of the outstanding figures of Finnish Freemasonry. Sibelius It was one of the founders of Suomi's lodges No. 1 in Helsinki. In the future, he was the main organist of the Great Lodge of Finland. In 1927. Sibeliusposted by nine vocal and instrumental compositions collected by him under the general title "Masonic music for rites". The first edition of the scores intended for distribution among the Masons saw the light in 1936. The second edition was published in 1950, a revised and supplemented by the author at the expense of new compositions, including the well-known symphonic poem "Finland", accompanied during Masonian execution by special text.

Main works

Symphony

• "Coollervo", Symphony for soloists, choir and orchestra, Op.7 (1899)
• Symphony number 1 E-Moll, Op.39 (1899)
• Symphony number 2 D-DUR, OP.43 (1902)
• Symphony number 3 C-DUR, Op.52 (1907)
• Symphony number 4 A-Moll, Op.63 (1911)
• Symphony number 5 ES-DUR, Op.82 (1915)
• Symphony number 6 D-Moll, Op.104 (1923)
• Symphony number 7 C-DUR, Op.105 (1924)

Symphony poems

• Saga, OP.9 (1892, Second Editors 1901)
• "Forest Nymph", Op. 15 (1894)
• Spring Song, Op. 16 (1894)
• Finland, OP.26 (1899)
• "Daughter of wakes", op.49 (1906)
• "Night jump and sunrise", OP.55 (1907)
• DRIADA, OP.45 (1910)
• "Lonnotar" for soprano with orchestra, op. 70 (1913)
• Bard, Op.64 (1914)
• Oceanids, OP.73 (1914)
• Tapiol, or.112 (1926)
• "Tionel swan"

Symphony suite

• Lemminkäinen (four symphonic legends: "Lemminkyainen and girls on the island of Saari", "Lemminkyainen in Tionel", "Tionelle Swan", "Return Lemminkäinena"; 1893-1895)
• Karelia, Suite, Op. 11 (1893)
• Pelleas and Melizanda (1905, from music to the play Maurice Meterlinka)
• "Historical scenes" I, Op. 25 (1. Overture 2. Scene 3. Festival) (1899)
• "Love Suite" for Strings, Litavr and Triangle (Rakastava), Op. 14 (1911)
• "Historical scenes" II, Op. 66 (1. Hunting 2. Love song 3. At the lifting bridge) (1912)
• "Three plays for the orchestra, Op. 96. (1. Lyrical waltz, 2. Pastoral), 3. Knight's Waltz) (1920)
• "Little Suite" for 2 flutes and string orchestra, op. 98A (1921)
• "Rural Suite" for String Orchestra, Op. 98B (1921)
• "SUITE CARACTERISTIQUE), OP. 100 (1922)

Concert works

• Concerto for violin with orchestra D-Moll, Op.47 (1903)
• Two serenades for violin with orchestra, op. 69 (1912)
• Two solemn melodies for violin or cello with orchestra, op. 77 (1914, 1915)
• Six people for violin with orchestra, op. 87 and 89 (1917)
• Suite for Violin and String Orchestra (1929)

Theater works

• "Creation of a boat", Opera (1894, not finished; On the material of the Overture is written by a play "Tionel swan")
• "Virgo in the Tower", Opera in one action (1896)
• King Christian II, music for play by A. Paula (1898)
• Pelleas and Melizanda, music to the play M. Meterlinka (1905)
• "Death", music to Drama A. Yarnefelt, Op. 44 (including the famous "sad waltz") (1903)
• Skaramush, ballet pantomime on the play P. Knudsen, OR. 71 (1913)
• "War Valtasar", music to the drama of Yalmar Proccop (1906) op. 51.
• "White, like swan", music to the drama of August Strindberg (1908) op. 54.
• "Lizard", music to the play Mikael Libek (1909) op. eight
• "Name", music to the play Hugo Background Hoffmanstal (1916) Op. 83.
• "Storm", music to the play of William Shakespeare, op. 109 (1925)

Other works

• Karelia - Overture, Op.10 1893
• Pan and Echo, Op.53a 1906

Chamber writings

• Two Pieces (Romance and Epilogue) for Violin and Piano (1888) Op. 2.
• String Quartet B-DUR (1889) Op. four.
• "Melancholy" for Cello and Piano (1901) Op. twenty.
• "VOCES Intimae" ("Inverted Votes"), String Quartet D-Moll (1909) Op. 56.
• Four pieces for violin (or cello) and piano (1915) op. 78.
• Six Pieces for Violin and Piano (1915) Op. 79.
• Sonatina E-DUR for violin and piano (1915) op. 80.
• Five pieces for violin and piano (1915) op. 81.
• Violin and Piano (1923) OP Memelty. 102.
• "Rustic dances", five pieces for violin and piano (1925) op. 106.
• Four Pieces for Violin and Piano (1929) Op. 115.
• Three Pieces for Violin and Piano (1929) Op. 116.

For piano

• Six expathers OP. five.
• Sonata F-DUR (1893) Op. 12.
• Ten Pieces (1894-1903) op. 24.
• Ten Buggers (1914-1916) Op. 34.
• Pensees Lyriques, 10 Plays (1912-1914) op. 40.
• "Coolkki", three lyrical plays (1904) op. 41.
• Ten plays (1909) op. 58.
• Three Sonatins (1912) Op. 67.
• Two little Rondo (1912) op. 68.
• Four lyrical plays (1914) op. 74.
• Five plays (1914) op. 75.
• Thirteen Pieces (1914) Op. 76.
• Five plays (1916) op. 85.
• Six plays (1919) Op. 94.
• Six Buggers (1920) Op. 97.
• Eight short plays (1922) op. 99.
• Five romantic plays (1923) op. 101.
• Five characteristic impressions (1924) op. 103.
• Five sketches (1929) Op. 114.

For organ

• Two plays Op. 111.
• 1. Intrada (1925)
• 2. Mourning music (1931)

For choir

• Six men's choirs a cappella on the texts "Kalevaly", "Kanttelear" and on the words of Kiwi (1893-1901) Op. eighteen.
• Imprompt for the female choir and orchestra for the words of Ridberg (1902) op. nineteen.
• "Natus in Curas". The anthem for the male choir A Cappella (ed. 1899) op. 21.
• "University Cantata of 1897" for Mixed Choir A Cappella (1897) Op. 23.
• "Sandels", improvisation for the male choir and orchestra on the words of Runeberg (1898) op. 28.
• "The Origin of Fire" for Bariton, Male Choir and Orchestra (1902) Op. 32.
• "Captive Queen", ballad for choir and orchestra (1906) Op. 48.
• Two songs for mixed choir A Cappella (1911-1912) Op. 65.
• Five men's choirs A Cappella (1915) Op. 84.
• "The edge of a native", Cantata for the choir and orchestra, the words of Callio (1918) Op. 92.
• "Earth's song", Cantata for choir and orchestra on the text of the Yemmer Yarma - to commemorate the opening of the University in Turku (1919) Op. 93.
• "The Hymn of the Earth", Cantata for the choir and orchestra on the text Eino Leino (1920) op. 95.
• "Hymn" for choir and organ (1925) Op.107.
• Two men's choir A Cappella (1925) Op.108.
• "Hymn Veches" ("Kalevala") for choir and orchestra (1926) Op.110.
• "Masonic ceremonial music", a cycle of places for soloists, male choir and organ (1926-1948) Op.113.

For voice accompanied

Five Christmas Songs for Voice and Piano (1895-1913) Op.1
Arioso on the words of Runeberg for voice and string orchestra (1911) Op.3.
Seven songs on the words of Runeberg with the escort of the piano (1891-1892) Op.13.
Seven songs on the words of Runeberg, Tavatran and others for voice and piano (1894-1899) Op.17.
"Carrier's Bride" for Bariton or Mezzo-Soprano and Orchestra (1897) Op.33.
Two songs for voice and piano (1907) Op.35.
Six songs for voice and piano (1899), among them - "March snow" (No. 5), "Diamonds in the snow" (No. 6) (the second author's edition - for voice and orchestra) Op.36.
Five songs for voice and piano (1898-1902), among them - "The girl returned from the date" (No. 5) on the words of Runeberg Op. 37.
Five Songs for Voice and Piano (1904) Op. 38.
Six songs for voice and piano (1906), among them - the "quiet city" (No. 5) on the words of Demmel Op.50.
Eight songs for voice and piano on the words of Izexton (1909) Op.57.
Two songs for voice and piano (or guitars) on the texts from the "Twelfth Night" Shakespeare (1909) Op.60.
Eight songs for voice and piano on Tavatranna, Runeberg, etc. (1910) Op.61.
"Lonnotar", the poem for soprano and orchestra (1913) Op.70.

Six songs for voice and piano on the words of Hopelus, Ridberg, etc. (1914-1915) Op.72.
Six songs for voice and piano (1916) Op.86.
Six songs for voice and piano on the words Francen and Runeberg (1917) Op.88.
Six songs for voice and piano on the words of Runeberg (1917) Op.90.

Telecommunication

• DRIADA (Words of Rydberg), accompanied by piano, two horn and string orchestra (1894) Op.15.
• "Snow rest" (Rydberg's words), accompanied by choir and orchestra (1900) Op.29.
• "Iceshop on the Oulu River" (Topelus's words), accompanied by a male choir and orchestra (1899) Op.30.

Essays without reference

• Trio A-Moll (1881-1882)
• Piano quartet E-Moll (1881-1882)
• Suite for Violin and Piano (1883)
• Andantino for Cello and Piano (1884)
• String Quartet ES-DUR (1885)
• Sonata for Violin and Piano F-DUR (1886)
• Piano Trio (1887)
• "Tranaden" ("Wishing"), melodiclamation for the words of Stagnelius, accompanied by piano (1887)
• "Night of jealousy", melodiclamation on the words of Runeberg, accompanied by the piano trio (1888)
• Serenade for voice and piano on the words of Runeberg (1888)
• "Water Spirit", two songs with a piano trio accompanied by Vernnerberg's play (1888)
• Theme with variations for string quartet (1888)
• Suite for Violin, Viola and Cello A-DUR (1889)
• A-Moll String Quartet (1889)
• Piano Quintet G-Moll (1889)
• Overture A-Moll (1890-1891)
• Estrah E-DUR (1890-1891)
• Piano Quartet C-DUR (1891)
• Ocet for flute, clarinet and stringed (1891), later used in "Saga"
• Ballet scene for orchestra (1891)
• "Tiera", play for the brass orchestra (1894)
• DRIADA, Symphonic Poem (1894)
• "University Cantata of 1894", for choir and orchestra (1894)
• "MIN RASTAS", for the male choir A Cappella (1894)
• Rondo for Viola and Piano (1895)
• "Endless day" (words of Erkko), for children's votes A Cappella (1896)
• "Unified Force" (words of the Cayander), for the male choir A Cappella (1898)
• "Swimming", for voice and piano (1899)
• "Hymn to Tais", for the words of Borgstrem, for voice and piano (1900)
• "County", for orchestra (1901)
• "Portraits", for string orchestra (1901)
• "Rider", for piano (1901)
• Six Finnish Folk Songs for Piano (1903)
• "Do not complaints" (for the words of Runeberg), for mixed choir A Cappella (1905)
• "Carminalia" for the choir of boys (1905)
• "Birds language", music to the play of Adolf Paulla (1911)
• "DROMMARNA", for mixed choir (1912)
• "Uusimaa", for mixed choir (1912)
• "JUHLAMARSSI", for mixed choir (1912)
• SPAGNUOLO, PIA PIA (1913)
• "Dream" (for the words of Runeberg), for two soprano and piano (1915)
• "Mandolinata", for piano (1917)
• "Fredolina's Recklessness" (for the words of Carlfeldt), for the male choir A Cappella (1917)
• "Narcissus" (for the words of Gripenberg), for voice and piano (1918)
• "Sails" for voice and piano (1918)
• "Girls" (for the words puncture), for voice and piano (1918)
• "Ugasy", for voice and piano (1918)
• Two songs for male choir A Cappella (1918)
• "Brotherhood" (for Words of Aho), for the male choir A Cappella (1920)
• "Similarity" (for the words of Runeberg), for the male choir A Cappella (1920)
• "JUGAN Journey" (for Freuding Words), for Men's Choir A Cappella (1920)
• "Romantic Piece", for Piano (1920)
• "Passion desire" for piano (1920)
• "Solemn march of the singing fraternity in Vyborg" I, for the male choir (1920)
• "Andante Festivo" for string quartet (1922). There is an author's processing for string orchestra and Litavre Ad Libitum, made in 1938.
• "Andante Lirico", for string orchestra (1924)
• Blue Duck, for Voice and Piano (ed. 1925)
• "Lone Ski Trail", melodiclamation (for the words of Gripenberg), accompanied by piano (1925). There is an author's processing for the reader, harp and the recession, made in 1948.
• Two Psalms for Mixed Choir A Cappella (1925-1927)
• "Guardies on the bridge" for the male choir A Cappella (1929)
• "Solemn march of the singing brotherhood in Vyborg", for the male choir A Cappella (1929)
• "Fate of Karelia", for male choir and piano (1930)

Music execution Sibelius

Among the conduits who carried out the records of all Sibelius symphonies (including or excluding "Coollervo"), - Vladimir Ashkenazi (twice), John Barbiroll, Paavo Berglund (three times), Leonard Bernstein (twice), Osmo Vyanskaya, Alexander Gibson, Sir Colin Davis (three times ), Kurt Zanderling, Lorin Maazel, Gennady Christmas, Simon Rattle, Petri Sakari, Yucca Pekka Saraste, Leif Segerstam (twice), neme Yarvi (twice).

Important records of some Sibelius symphonies were also carried out by Karel Anryryl (No. 1), Thomas Beach (No. 4, 7), Herbert Von Karaians (No. 1, 2, 4-7), Robert Kayanus (No. 1-3, 5), Kirill Kondrashin (№ 2, 3, 5), Sergey Kosvitsky (№ 2, 5, 7), James Levine, Evgeny Mravinsky (No. 3, 7), Eugene Ormandi (No. 1, 2, 4, 5, 7), Evgeny Svetlanov ( No. 1), Georg Tintner (No. 7), Sergiu Chelibidak (No. 2, 5), Georg ShneewgT (No. 6), Paavo Yarvi ("Coollervo"). Other orchestral works of Sibelius were also recorded by Cerizers Hans Rosbood, Wilhelm Furtvengler.

Records of the violin concert carried out the violel Kamilla Vix, Ida Handel, Gidon Kremer, Anna-Sophie Mutter, David Ostrakh, Itzhak Perlman, Isaac Stern, Yasha Heifets, Herrik Shering.

Sibelius wrote more than 150 piano works, about 115 of which were published. A significant part of them still serves as a vulnerable target for critics. Sibelius himself aggregately said that he writes, little things for piano in free moments, as resting from large orchestral things, and in fact, the piano is not particularly interested in it. Nevertheless, already on the slope of the years, he was jokingly predicted: " I know that my piano plays awaits a safe future, despite the fact that they completely fell into oblivion - one day they will become the same popular as the plays of Shuman". And indeed, many pianists, among whom Glenn Guld took care of learning the piano music of Sibelius, recognizing its originality and fitness for the instrument. Guld, emphasizing the mastery of the composer, said that" in the piano works of Sibelius - all the music, everything sings ..a, the main thing is a significant addition to the late romanticism too limited to the piano repertoire. "A set of records of the piano music of Sibelius appeared in a digital era. Finnish pianist Eric Tavastscherna (P.1951), whose father was also a pianist (student of Nigause, Court and Sibelius's creativity researcher) recorded in the early 80s the most thorough of them. According to him " Many of the piano stones of Sibelius are very remarkable as in their shape, so in the sense of musical material and style, which is well suited to the nature of the instrument. In his writings there are significant technical difficulties, interesting for the artist, the texture in general is melodic and colorful, which is interesting to the listener ..."

A few periods can be distinguished in the composer's stylist. The first one relates to the young years of Sibelius (1881-1891), when he learned the ads of classical and romantic style. In the second, "national romantic" period (1891-1902), the music of Sibelius became more chromatic and the composer created an interesting synthesis of the melodics of the countries of Central Europe and Finnish elements. During his third, neoclassical period (1908), Sibelius, while under the strong influence of Kaleval romanticism and symbolism actively used classic idioms. On the fourth period of the so-called "modern classicism" (1908-1919), he wrote neoclassical sonatins, and at the same time he was largely affected by impressionism. The fifth and last active creative period (1919-1929) was the time of the "universal synthetic style", which combined the foundations of the classical tradition, radical elements of modernism, mysticism, pantheism, tonal meditations.

IN Six expression, op. 5 (1890-93)- Early, but quite significant in the content of the piano leak of a young composer, we find along with the influences of Russian music echo impressions about Sibelius travel to Karelia, where he collected traditional Finnish runes. The topic of the first impromptu. Island is considered as a "musical symbol of Finland." 2nd play - the dance of the quarrel with a quick middle part, 3D - fabulous, in the spirit of Migra, 4th - melancholic, is based on alternating and repetition of two motifs, 5th play - sparkling arpeggio, written as if for lute, harp or Kantele, the last 6th grate - Elegant waltz.

Wonderful Sonata Fa Major, op. 12 (1893) - combines signs of the orchest and virtuoso piano letter. The first part opens with powerful almost "Brooknenian" sounds with echoes "Coollervo", "Sagi" and Music "Karelia". Tremolo and Austinato play a significant role here. In the 2nd part of the sonata - lyrical and sad, Sibelius used the melody of an unfinished song for a male choir, twice interrupted calm dance. The drill dizzying finale is based on alternating two motifs - again the Trepak and the lyrical theme pursued in a deafening forte. The unusual "Karelian style" Sibelius Sonata does not have an obvious model in a modern composer to academic music, although, perhaps there is something from Grieg and Tchaikovsky.

Ten plays for piano op. 24 (1895-1903) - Pretty popular and often executable Sibelius opus. Here, the composer develops mostly traditional romantic traditions, and not a kind of national Karelian style, although undoubtedly folklore finds put the imprint and on this essay. The opening cycle No. 1 - the expression imposes thoughts about Schubert, some moments resemble the future motives of the "sad Waltz". No. 2 - Romance, Dramatic Love Scene with orchestral Klimming in the style of Wagner. №3 Capris - a virtuoso play with violin attractions clearly overheard from Paganini. No. 4 - Again, a dramatic love romance, No. 5 - Waltz Mi-B Flat Major in the Spirit of Chopin, No. 6 - Idyll, which reminds Ballad of Chopin Fa Major (in the middle of the play Impresses an excerpt depicting a storm of feelings and imitation of a soling violin). № 7 - Through Melodic Andantino, No. 8 - Nocturne with a cello melody, No. 9 - very beloved by Finnish pianists Romance in the spirit of sheet, No. 10 - Bararoll.

Six Finnish Folk Songs for Piano (1902-1903) - A very interesting pattern of processing folklore melodies. It is hardly the only Opus, where Sibelius, who throughout his life openly recognized the influence of the melody and modality of the folk song and runes on his thumbnail, used genuine folk melodies. The composer harmonizes the melodies in such a way as to move away from a romantic style. It avoids dominant and traditional tonal functions, emphasizing the originality of the melody.

"Cooliki", three lyrical plays. 41 (1904)- Software opus based on Kalevala, a kind of addition to the orchestral "Lemminkäinenu". Music "Culiki" combines Caleval romanticism of Sibelius and classic Beethoven tendencies. The first play is a somewhat militant, filled with drama - the history of the abduction of the Finnish beauty of Cul Millikki Lemminkäinen. The hunter kidnapped her, and thoroughly threatened: if Saari's girls tell, who would take away Coolikki, then he will have a war and destroy all their husbands and guys. Coolikki first resisted, but then agreed to become his wife Lemminäinen and took an oath from him that he would never go war on her native land. Lemminkäinen swore and took a retaliatory oath from Coolikka that she would never go to her village to dance with girls. Lemminkäinen happily lived with his wife. Somehow the hunter went fishing and stayed, and in the meantime, without waiting for her husband, Kulikki went into the village. The second pensive play just talks about living - to be a Coolikki with Lemminkyainen, and the final in the rhythm of polka - her departure from him.

Ten small plays, op. 58 (1909) - A somewhat experimental essay written during the active creative searches of the composer. The traditional vocabulary of romanticism is complemented here with modern polyphonic adoptions and harmonies, even dissonances. No. 1 "Dream" - the French title of work and pace unequivocally point to the Impressionism and expressionist flavor (Debussy, Scriabin). No. 2 - Cheerful Schercino. The composer saw in him the image of Benvenuto Chellin, bearing in mind, perhaps the living character and the capriciousness of a witty artist of the Renaissance. No. 3 Aria - Funny Tonal Adventures based on the Baha Site. No. 4 "Shepherd" - a fast play in the spirit of the French Baroque of the 18th century, reminiscent of Paspier from Bergamas Suite Debussy. No. 5 "in the evening" was written in the spirit of Shuman. The apparent simplicity of the play hides unpredictable changes in key moments, No. 6 "- Dialogue", No. 7 "At the pace of Menuet" - Polon According to the composer of nostalgic dreams and "Melancholia in the style of the long-lasting days." No. 8 "Fisherman's song", in which the Italian melodic material is combined with the figures of the harp-arpeggio. No. 9 - Serenad with violin trials. No. 10 "Summer Song" with a choral type melody - filled with a solemn or even religious atmosphere.

Three Sonatins, Op. 67 (1912) - Retrospective works that demonstrate the interest of Sibelius to classicism, which was quite in the spirit of time (remember the releger, Buzoni, the stylization of the French). It would be difficult to find in the music of that time more compressed and noble themes than in Sonatine number 1 Fa Diez Minor with a beautiful first part, slow choral Largo and sparkling finals. A sample for Sonatina No. 2 Mi-Barol Major served music Bach. But sonatine images are far from cubist adaptations (Bach with incorrect bass lines, capricious leaks and TP), they are classic in the literal sense of the word - healthy polyphony, clear diatonic melodies, full of light and pure joy. In a two-party Sonatina №3 Si-Bell Minor Sibelius gives tribute to Late Beethoven. This is an interesting form in the field of form: a sample of the virtuoso transformation and the merger of themes, the use of the techniques of arpeggio, ornament, the game registers.

Two little Rondo, Op. 68 (1912) Close in style to Sonatinam, also written in the neoclassical key, but in a more free manner. In the first Rondo, the wonderful probes resemble the waltzes of the sheet, the second is based on the cheerful polka rhythm and contains a few sharp dissonances in the spirit of Poilka and Prokofiev.

10 baggage, op. 34 (1913-16)and Lyrical plays, op. 40 (1912-16) Together make up something like an album for youth. These are salon plays, pretty simple, very melodious and pleasant to rumor, give tribute to Pianismu Chopin, Shumana, Sheet and Tchaikovsky. Op.34 Interested in No. 2 - Charming Styling Gavota, Original Piece No. 8 "Arfitka" in the spirit of the poem "Bard" - Thin work with Arpeggio, No. 9 "Recognition" - Styling in the spirit of Shuman. In lyric plays Interesting number 4 - Dance in the Spirit Rococo, No. 5 Lullaby - Melodic Pearls Cycle, No. 7 Rondetto - Vienna Polka in moderate Tempe, No. 10 - solemn and festive polonais.

Four lyrical plays. 74 (1914) - Collection of beautiful software poetic plates marked with the influence of French impressionism. 1st - "Eclog" draws its inspiration from the classical antiquity and clean innocence of classicism. Piece No. 2 - "Gentle Western Wind" reminds of the mood of the writings of Debussy and Ravel. 3D - "On Dance", 4th - "in the old house."

Five pieces, op. 75 (1914-19) "Trees" - One of the best samples of the sensitive pantheistic perception of the composer, which confessed that "trees speak with him." № 1 - "When Rowan is blooming" an agitated lyrical joining in the spirit of Tchaikovsky. No. 2 "Lonely Pines" creates an impression of absolute resistance as a symbol of finnish resistance against ice wind from the east. № 3 "Osina" breathes the mysteriousness of impressionism. № 4. "Bereza" - Favorite tree of Finns, original play in Mixolidian Lada. No. 5. "El" is one of the undisputed Sibelius hits, a slow waltz comparable to beauty with a sad waltz. Fast arpeggio really sound amazing.

Five pieces, op. 85 (1916-17) Wears the "Flowers" subtitle.Each play of the cycle, marked seriousness and poeticity is devoted to a certain flower: No. 1 "Margarita", No. 2 - "Carnation", No. 3 - "Iris", No. 4 - "Water-Qoam" (Akvilia), No. 5 - "Bell" - Bright , sparkling finale.

13 Pieces, Op. 76 (1911-19)- Again, a collection of simple miniatures, some of them are very popular among pianists (№2 - Etude, No. 9 - Arabesca, No. 11 - Linnei (flower), No. 12 - Capricitytto, No. 13 - Harlekinda).

Six plays, op. 94 (1914-1919), six buggers, Op. 97 (1920) and eight short plays, op. 99 (1922) - Interesting cycles in which Sibelius is approaching the French aesthetics of stylization, showing relationship with Sati and Polenkom, partly with Prokofiev with his perky gavot and marchs. The plays written under the influence of French ballet and neoclassicism resemble the cabin belongs to Beethoven, Shumanan, Brahms, Griga, and others. Classics.

The last piano works of Sibelius are marked fine and exquisite texture, motifs of adolescence in front of Finnish nature, orchestral sonicity, related to the latest symphony.

Five romantic plays, op. 101 (1923-1924):No. 1 - Romance, the harmony of which is bolder than in the ranks of the work. No. 2 - "Evening Song" and No. 3 - "Lyrical Scenes" - musical paintings in the melodic key of the sixth symphony. No. 4 - Humorreska in the Rhythm of Mazurki, No. 5 - "Romantic Scenes" Reminds the piano diplomas.

Five characteristic impressions, Op. 103 (1924) - Sample of powerful orchestral sibelius pianism, close by its breadth of the seventh symphony. Piece № 1. "Rustic Church" is based on Andante Festivo Sibelius for String Quartet (1922). Composite machinery shows the resemblance to Debussy's Preludes, especially in the section Arpeggio. № 2. "Skripach" - stylization of the muscitization of folk musicians. № 3 "Rowing" - a diatonic play in the spirit of the 7th Symphony, No. 4 "Storm" may be associated with the music to the "Bure" of Shakespeare, which Sibelius wrote later. No. 5 "In the sorrowful mood" - the funeral march in miniature.

Five sketches, Op. 114 (1929) - The last essay of Sibelius for piano is a farewell workshop with a tool. The composer here was able to find new aspects, a new kind of pianistic sound close to its orchestral works. Five pantheistic impressions of nature show the style of late Sibelius in its pure form and contain interesting tonal and harmonic innovations. The opus was first published only in 1973. No. 1. Landscape - fragile delicacy here is created by simple melodic elements. # 2. "Winter Place" is an alternation of the Ionian and Eolianic Lady, a combination of sweet and sour, joyful and sad. No. 3 "Forest Pond" is based on modal improvisation in Dorian Lada. No. 4 "Song in the Forest" - an infinite song about the eternity of the forest. Here Sibelius demonstrates modern and fascinating tonal techniques. № 5. "Vision in the spring" - the fleeting image, again the combination of Mixolidian Lada and Ionic-Eoli harmonic features, Sibelius technique here is impressive with amazing plasticity.

The first-class knowledge of the Sibelius tool is manifested in numerous piano transcriptionsorchestral works that the composer did - among them "Karelia", "Finland", the famous sad waltz, symphonic poems and suits, theater music, arrangements of songs, including the "Bell Melody of the Kallio Church", which every resident of Helsinki knows.

Original Writings for Piano:
Six expression, OP. 5 (1890-93)
Sonata Fa Major, Op. 12 (1893)
Ten plays, op. 24 (1894-1903)
Six Finnish folk songs (1902-1903)
Coolikki, three lyrical plays, op. 41 (1904)
Ten plays, op. 58 (1909)
Three Sonatins, Op. 67 (1912)
Two little Rondo, Op. 68 (1912)
Ten baggage, op. 34 (1913-1916)
Lyrical plays, 10 plays, op. 40 (1912-1916)
Four lyrical plays (1914) op. 74.
Five pieces, Op. 75 "Trees" (1914-1919)
Five pieces, Op. 85 "Flowers" (1916-1917)
Thirteen Pieces (1911-1919) op. 76.
Six plays, op. 94 (1914-1919)
Six Buggers, Op. 97 (1920)
Eight short plays, op. 99 (1922)
Five romantic plays, op. 101 (1923-1924)
Five characteristic impressions, OP. 103 (1924)
Five sketches, Op. 114 (1929)

Piano transcription of orchestral essays:
Karelia, Suite, Op. 11 (1893)
Forest Nymph, Op. 15 (1894)
Finland, OP.26 (1899)
King Christian II, from music to A. Puela's play (1898)
Two songs, Op. 31 (№№ 2.3) (1899-1904)
Sad Waltz, from music to Drama A. Yarnefelt, Op. 44 (1903)
Pelleas and Melizanda, from music to the play M.Terlinka (1905)
Fear of Wallalasar, from music to the drama I.Prokop, Op. 51 (1906)
DRIADA, OP.45, No. 1 (1910)
Dance Intermezzo, Op. 45, No. 2 (1910)
Bell tune melody Callio, Op. 65B (1912)
Skaramush, from music to ballet-pantomime, op. 71 (1913)
Finnish march, op. 91A (1918)
Scottish march, op. 91b (1918)
Three plays, Op. 96 (1920)
Little suite, op. 98A (1921)
Rural Suite, Op. 98B (1921)
Genre Suite, Op. 100 (1922)
Storm, from music to the play of W. Waxpiera, Op. 109 (1930)

Jan Sibelius (1865-1957)

Complete Original Piano Music

Erik Tawaststjerna, Piano

Vol. one

Kyllikki,Three Lyric Pieces, Op. 41.
1. I. Largamente. Allegro.
2. II. Andantino.
3. III. Commodo.
6 IMPROMPTUS, OP. five
4. I. Moderato.
5. II. Lento - Vivace.
6. III. Moderato (Alla Marcia)
7. IV. Andantino.
8. V. Vivace.
9. VI. Commodo.
Piano Sonata in F Major, Op. 12
10. I. Allegro Molto
11. II. Andantino.
12. III. Vivacissimo.
6 FINNISH FOLKSONGS.
13. I. MINUN KULTANI
14. II. Sydamestani Rakastan.
15. III. ILTA TULEE, Ehtoo Joutuu
16. IV. Tuopa Tytto, Kaunis Tytto Kanteletta Soittaa
17. V. Velisurmaaja.
18. VI. Haamuistelma.

Vol. 2.

10 Piano Pieces, Op. 24.
1. I. IMPROMPTU.
2. II. Romance in a Major
3. III. Caprice.
4. IV. Romance in D Minor
5. V. WALTZ.
6. VI. Idylle
7. VII. Andantino.
8. VIII. Nocturne.
9. IX. Romance in D Flat Major
10. X. Barcarole
10 Bagatelles, Op. 34.
11. I. Valse.
12. II. Air de Danse
13. III. Mazurka.
14. IV. Couplet.
15. V. Boutade
16. VI. Reverie
17. VII. Danse Pastorale.
18. VIII. Joueur de Harpe.
19. IX. Reconnaissance
20. X. Souvenir

Vol. 3.

10 Pieces, Op. 58.
1. I. REVERIE
2. II. Scherzino.
3. III. Air Varie.
4. IV. Le Berger
5. V. LE SOIR
6. VI. Dialogue.
7. VII. Tempo di Menuetto.
8. VIII. CHANT DU PECHEUR.
9. IX. Serenade
10. X. CHANT D "ETE
10 Pensees Lyriques, Op. 40.
11. I. ValSette
12. II. CHANT SANS PAROLES.
13. III. Humoresque
14. IV. Menuetto.
15. V. Berceuse
16. VI. Pensee Melodique.
17. VII. Rondoletto.
18. VIII. Scherzando.
19. IX. Petite Serenade
20. X. POLONAIS

Vol. four

Piano Sonatina F Sharp Minor, Op. 67, № 1
1. I. Allegro.
2. II. Largo.
3. III. Allegro Moderato.
Piano Sonatina E Major, Op. 67, № 2
4. I. Allegro.
5. II. Andantino.
6. III. Allegro.
Piano Sonatina b Minor, Op. 67, № 3
7. I. Andante. Allegro Moderato.
8. II. Andante - Allegro.
2 Rondinos, Op. 68.
9. I. Rondino in G Sharp Minor
10. II. Rondino in C Sharp Minor
4 Lyric Pieces, Op. 74.
11. I. Ekloge.
12. II. Sanfter Westwind.
13. III. AUF DEM TANZVERGNUGEN.
14. IV. IM Alten Heim
13 Pieces, Op. 76.
15. I. Esquisse.
16. II. Etude.
17. III. Carillon.
18. IV. Humoresque
19. V. CONSOTION
20. VI. RomanZetta.
21. VII. Affetuoso.
22. VIII. Piece Enfantine.
23. IX. Arabesque
24. X. Elegiaco.
25. XI. Linnaea.
26. XII. CapricCietto.
27. XIII. Harlequinade

Vol. five

5 Pieces, Op. 75, "The Trees"
1. I. WHEN THE ROWAN BLOSSOMS
2. II. The Solitary Pine
3. III. The Aspen.
4. IV. The Birch.
5. V. THE SPRUCE
5 Pieces, Op. 85, "The Flowers"
6. I. Bellis
7. II. Oeillet.
8. III. Iris.
9. IV. Aquileja.
10. V. Campanula
11. Mandolinato, Wort Op., 1917
12. TILL TRANADEN (To year), WITHOT OP., 1913
13. SPAGNUOLO, WITHOUT OP., 1917
6 Pieces, Op. 94.
14. I. DANCE
15. II. Novellette
16. III. Sonnet.
17. IV. BERGER ET BERGERETTE.
18. V. Melody
19. VI. Gavotte
6 Bagatelles, Op. 97.
20. 1. Humoresque I
21. 2. Lied.
22. 3. Kleiner Walzer
23. 4. Humoristischer Marsch
24. 5. IMPROMPTU.
25. 6. Humoresque II

Vol. 6.

8 Piano Pieces, Op. 99.
1. I. PIECE HUMORISTIQUE
2. II. Esquisse.
3. III. Souvenir
4. IV. Impromptu.
5. V. Couplet
6. VI. Animoso.
7. VII. Moment de Valse
8. VIII. Petite Marche.
5 Piano Pieces, Op. 101.
9. I. Romance.
10. II. CHANT DE SOIR
11. III. Scene Lyrique.
12. IV. Humoresque
13. V. SCENE ROMANTIQUE
5 Piano Pieces, Op. 103.
14. I. The Village Church
15. II. The Fiddler.
16. III. The Oarsman.
17. IV. The Storm
18. V. IN MOURNFUL MOOD
19. Morceau Romantique Sur Un Motif de M. Jacob de Julin, 1929
20. Kavaljeren, Wort Op., 1909
5 Esquisses, Op. 114.
21. I. LANDSCAPE.
22. II. Winter Scene.
23. III. Forest Lake
24. IV. Song in the Forest
25. V. Spring Vision

vol. one

Karelia Suite, Op. 11 (ARR. FOR PIANO)
1. I. Intermezzo.
2. II. Balde.
3. Wood Nymph, Op. 15 (ARR. FOR PIANO)
4. Finlandia, Op. 26 (ARR. FOR PIANO)
King Kristian II, Op. 27 (Arr.For Piano)
5. I. ELEGY.
6. II. Minuet.
7. III. Musette.
8. HAR DU MOD (Have You Courage), Op. 31, No. 2 (Arr.For Piano)
9. Atenarnes Sang (Song of the Athenians), Op. 31, No. 3 (ARR. FOR PIANO)
10. Valse Triste, Op. 44 (ARR. FOR PIANO)
11. The Dryad, Op. 45, No. 1 (ARR. FOR PIANO)
12. Dance-Intermezzo, Op. 45, No. 2 (ARR. FOR PIANO)
Pelleas and Melisande, Op. 46 (ARR. FOR PIANO)
13. No. 1: Prelude to Act I Scene 1, at the Castle - Gate
14. No. 2: Prelude to Act I Scene 2, Melisande
15. No. 3: Prelude to Act II SCENE 1, A Spring In The Park
16. No. 4: Song in Act III Scene 2, The 3 Blind Sisters
17. No. 5: Melodrama in Act III SCENE 4, PASTORALE
18. No. 6: Prelude to Act III Scene 1, Melisande AT The Spinning Wheel
19. No. 7: Prelude to Act IV SCENE 1, ENTR "ACTE
20. No. 8: Prelude to Act V Scene 2, The Death Of Melisande

vol. 2.

BelShazzars Feast, Op. 51 (ARR. FOR PIANO)
1. I. ORIENTAL PROCESSION
2. II. Solitude
3. III. Nocturne.
4. IV. Khadra "S Dance
5. Bell Melody of Berghall Church, Op. 65B (ARR. FOR PIANO)
SCARAMOUCHE, OP. 71 (ARR. FOR PIANO)
6. I. DANSE ELEGIAQUE
7. II. SCENE D "Amour
8. FINNISH JAGER MARCH, OP. 91A (ARR. FOR PIANO)
9. Scout March, Op. 91B (Arr. For Piano)
3 Pieces, Op. 96 (ARR. FOR PIANO)
10. I. VALSE LYRIQUE
11. II. Autrefois
12. III. Valse Chevaleresque
Suite Mignonne, Op. 98A (ARR. FOR PIANO)
13. I. Petite Scene
14. II. Polka.
15. III. Epilogue.
Suite Champetre, Op. 98B (Arr. For Piano)
16. I. PIECE CARACTERISTIQUE
17. II. Melodie Elegiaque.
18. III. Danse
Suite Caracteristique, Op. 100 (ARR. FOR PIANO)
19. I. vivo
20. II. Lento.
21. III. Commodo.
The Tempest, Op. 109 (ARR. FOR PIANO)
22. I. Episode.
23. II. SCENA.
24. III. DANCE OF THE NYMPHS

Covers
http://files.mail.ru/fmgpd9.

Added

Junior Works for Piano

Youth Production for Solo Piano, Vol.1

1. SCHERZO IN E MAJOR WITH TRIO IN E MINOR, JS 134K1A 2"34
2. CON MOTO, SEMPRE UNA CORDA IN D FLAT MAJOR (1885), JS 52 3"34
Three Pieces (1885)
3. Andante in E Flat Major, JS 74 3 "00
4. MENUETTO IN A MINOR, JS 5 1 "16
5. TEMPO DI VALSE IN A MAJOR, JS 2 0 "55
6. Scherzo in E Major WITH TRIO IN A MINOR, JS 134K1B 2 "04
11 Variations on a Harmonic Formula in D Major (1886)
7. INDEX 1 - 11 10 "12
A Catalogue of Themes, 50 Short Pieces (1887)
8. index 1 - 10 1 "26
9. INDEX 11 - 20 1 "39
10. INDEX 21 - 30 2 "10
11. INDEX 31 - 40 4 "18
12. INDEX 41 - 50 5 "52
Tranaden (SUCKARNAS MYSTER) (Yearning - The Mystery of The Sighs)
13. Poem: Tvenne Lagar Styra Menniskolifvet ... - Piano: Largo - Andante 5 "13
14. POEM: SER DU HAFVET? ... - Piano: Andantino 4 "19
15. POEM: HOR DU VINDEN? ... - Piano: Molto Allegro - Andante - Adagio Cantabile 4 "08
16. POEM: HVAD AR VAREN? ... - Piano: Allegro - Andantino - Moderato 2 "44
17. POEM: MENSKA, VILL DU LIFVETS VISHET LARA ... - PIANO: LARGO 3 "03
18. ANDANTE IN E FLAT MAJOR (1887), JS 30A 4 "02
19. Aubade in a Flat Major (1887), JS 46 2 "48
20. Au Crepuscule (at twilight) in F Sharp minor (1887), JS 47 1 "52
Five Short Pieces (1888)
21. TEMPO DI MENUETTO IN F SHARP MINOR 0 "24
22. ALLEGRO IN E MAJOR 0 "27
23. Moderato in F MINOR 0 "57
24. Vivace in E Flat Major 0 "16
25. ANDANTINO IN C MAJOR 1 "17
Three Short Pieces (1888)
26. ANDANTINO IN B MAJOR, JS 44 1 "22
27. ALLEGRETTO IN B FLAT MINOR, JS 18 1 "02
28. ALLEGRO IN F MINOR 0 "43

Youth Production for Solo Piano, Vol.2

Three Walzes (1888)
1. Waltz in E Major 1 "03
2. PIU LENTO - TEMPO DI VALSE IN E FLAT MAJOR, JS 150 3 "19
3. WALTZ, FRAGMENT IN F MINOR 0 "31
Two Pieces (1888)
4. ANDANTINO IN E MAJOR, JS 41 1 "59
5. Two Sketches, Presto in A Minor, JS 6 1 "00 00
2 Pieces (1888)
6. ALLEGRETTO IN G MINOR, JS 24 0 "49
7. Moderato - Presto in D MINOR, JS 133 1 "30
8. ALLEGRO, FRAGMENT IN E MAJOR (1888) 0 "18
Three Sonata Movements (1888)
9. Largo in a Major, JS 117 4 "07
10. VIVACE IN D MINOR, JS 221 2 "36
11. Adagio in D Major, JS 11 4 "04
12. Three Fugue Expositions in D Minor (1888-89) 1 "35
13. Polka in E Flat Major, JS 75 (1888-89) 1 "08
Florestan. Suite for Piano, JS 82 (1889)
14. I. Moderato 1 "33
15. II. Molto Moderato 2 "23
16. III. Andante 4 "06
17. IV. TEMPO I 2 "04
18. ALLEGRETTO IN E MAJOR, JS 21 (1889) 1 "33
19. Valse. A BETSY LERCHE IN A FLAT MAJOR, JS 1 (1889) 3 "48
20. Sonata Allegro Exposition and Development SECTION IN D MINOR (1889) 6 "51
Sonata Fragments for Becker 1889 J.S.
21. Two Sonata Sketches 0 "47
22. Eleven Sonata Sketches 2 "17
23. Sonata Allegro Exposition in F MINOR, JS 179A 4 "04
24. Sonata Allegro Exposition in C Major, JS 179B 1 "29
25. Sonata Allegro in E Major, JS 179C 5 "00
26. Sonata Allegro Exposition in C MINOR, JS 179D 3 "38
27. Polka, Fragment In E Minor (1890-92) 0 "21
28. Mazurka, Sketch in D MINOR (1891-94) 0 "23
29. Scherzo in F Sharp Minor, JS 164 (1891) 1 "44

Folke Grasbeck, Piano

http://files.mail.ru/h4nqr0.
aPE + CUE / 2CD with bookletomy