Sibelius ELA analysis of the work. Jan Sibelius Biography

Sibelius ELA analysis of the work. Jan Sibelius Biography
Sibelius ELA analysis of the work. Jan Sibelius Biography
01.07.2020

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

Sibelius is the most famous and respected Finnish composer, one of the most prominent authors of symphony and symphonic poems of the 20th century., And the entire history of music.


During his lifetime, he was honored at the homeland of such honors, as probably no musician in the world. This is told about the numerous Sibelius streets, the annual music festival "Sibelius Week".

In 1939 Alma Mater, the composer, the music institute, received the name of the Sibelius Academy.

Not far from Helsinki, on December 8, 1865, a son was born in the family of Christian-Gustava Sibelius. He was called Yogan-Julius Christians, afterwards he became known in the short name Yang.

Little Yang, early lost father, grew in a female environment. There was no musicians in the family of Sibelius, but all the children were taught music. Jan chose a piano violin.

By the age of 15, he began to engage regularly, under the head of the head of the local brass orchestra. The nature of Sibelius perceived as poetic, mysterious force was of great importance for Yana. In proximity to nature, there was a path of the future composer.

When it was time to choose a profession, Jan who dreamed of a violinist's career, entered the Faculty of Faculty of University in Helsinki.

As the eldest son, he had to become a support of the family. However, along with the lawsuits of jurisprudence, Sibelius visited lessons at the music institute, and soon everyone surrounded it became clear that his real vocation is music.

University textbooks were covered with dust, and in the fall of the next year already and speech did not go about the continuation of study at the university.

The director of the M. Vegelius Music Institute reacted to Janu with exceptional warmth and understanding.


Discarding the brilliant talent of a novice composer, Veghelius tried not to constant a richly manifested fantasy by the framework of strict rules.

In the spring of 1889, Sibelius graduated from the music institute and received a state scholarship for improving abroad. A biennial stay abroad brought many interesting impressions. However, in terms of studying musical and theoretical disciplines, there was no big movement.

Infinite exercises, by themselves, without a doubt, useful, did not bring large fruits. Yang stubbornly resisted the infused traditional standards and sought to remain original.

Despite the fact that the creative achievements of this period were small, returning to their homeland, Jan saw that his works would be eagerly executed.

Soon Sibelius spoke with a large product - a symphonic poem "Coollervo" for two soloists, male choir and orchestra. This day is considered the birthday of Finnish professional music.

"Coollervo" was born when the composer was influenced by the ardent, invalid Finnish mood. The poem not only nominated him in the first rows of Finnish culture, but also played a role in his personal life. The fact is that his parents named, Aino Yarisfelt, refused to give her daughter to marry an unknown musician with an unsecured public situation.


Now all their doubts were dissipated, and soon Sibelius married Ayno, who became an indispensable assistant and subline about the vitality.

To provide a family, until the turn of the century, Sibelius was forced to teach the game on the violin and theoretical disciplines in the music school and in orchestral school.

In this lucky period of your life, in the early 1890s, the young composer becomes one of the central figures of the artistic life of Finland.

Music seemed to be a fresh breath of the North, which felt in a spicy exquisite atmosphere of civilization of the late XIX century. Works and works that bring them to the author to the fame of the Tribune of the National Liberation Movement of Finland are also born.

Contemporaries said that Sibelius's plays more contributed to the liberation struggle of the people than thousands of speeches and pamphlets.

The following works are the symphonic poems "Saga", "Tionel swan" made the name of the composer known abroad. The Finnish government went to the unprecedented step and prescribed a state scholarship composer, which allowed him to devote himself entirely to creativity.

In 1904, Sibelius, together with his family, moved from Helsinki into a small estate "Ainol", which means in Finnish "Aino Residence", named after his wife. Here the composer lived more than half a century and created his most mature works, including five symphony.


Its glory every wider spread over the countries of the world. Sibelius finally moved into the ranks of the largest composers. In 1914, a tour was held in the United States, accompanied by honors, reflecting the popularity of his work.

Russian composers highly appreciated his music. With Roman Corsakov and Glazunov, it will connect strong friendship for many years. The override World War violated some plans for Sibelius, but did not prevent his five-stage with a scope.

Penetrated by light, colorful images, the fifth symphony sounded under the control of the author at a solemn concert. The celebration of the anniversary of the "greatest son of Finland" resulted in a nationwide celebration.


 Jean Sibelius.

By the mid-1920s, the creative activity of Sibelius is gradually reduced. The activities of Sibelius actually ended in 1926 the symphonic poem of Tapiol, but the contacts with the musical world did not stop, the flow of visitors to Ainol did not dry.

At the end of the life of Sibelius, generally accepted the number of the greatest composers of their time. His music was performed everywhere, festivals were arranged in his honor, and when the composer turned 90 years old, Sir Winston Churchill sent Sibelius the box of his favorite Havanque cigars.

Jan Sibelius was born on December 8, 1865 in Hämeenlinna in the Grand Duch of Finland. He was the second of the three children of Dr. Christian Gustav 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. Sister Linda was engaged in the piano, Brother Christian - on Cello, Yang - at the beginning on the piano, but after chose the violin. Already at ten Yang composes a small play. Subsequently, his attraction to music increases and he begins systematic classes under the leadership of the leader of the local dismander of Gustav 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 received a state scholarship to teach the composition and theory of music from Albert Becker in Berlin. Next year she took lessons from Karl Goldmarka and Robert Fuchs in Vienna.

Upon returning Sibelius to 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 Kaleval. These were the years of unprecedented patriotic lifting, and Sibelius immediately proclaimed the nation's musical hope. Soon he married Aino Yarnefelt, whose father 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 participated in the competition to fill the post of music teacher at the university, but failed, after which friends convinced the Senate to establish an annual scholarship for him in 3000 Finnish brands.

Two Finnish musicians had a noticeable effect on the early creativity of Sibelius: Robert Kayanus, conductor and founder of the Association of Helsinki orchestras, and the mentor in the field of symphonic music was a musical critic of Karl Flodin. The premiere of the first symphony of Sibelius took place 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. The international fame of Sibelius acquired precisely thanks to the symphonies, but his violin concert, and numerous symphonic poems, such as the "daughter of grains" (Fin. Pohjolan TYT, "Night Jumping and Sunrise" (Swede Nattlig Ritt Och Soluppgang), "Tuonel Joutsen" and Tapiola (Tapiola).

Most of the writings of Sibelius for the dramatic theater (all of them sixteen) - Certificate of its special tendency to theater music: In particular, this is the symphonic poem "Finland" (Finlandia) (1899) and "Sad Waltz" (Valse Triste) from music to the play Shurin Composer Arvida Yarnefelt "Death" (Kuolema); The play was first put in Helsinki in 1903. Many songs and choral works of Sibelius often sound in his homeland, but it is almost unknown outside of its borders: 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 of Sibelius was actually ended in 1926 a symphonic poem "Tapiol", OR. 112. For more than 30 years, the musical world was waiting for the composer of new works - especially his eighth symphony, which was so much said (in 1933 her premiere was even announced); However, the expectations did not come true. In these years, Sibelius 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. The popularity of 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 of Sibelius in the United States were O. Downs, the musical critic "New York Times", and S. Kosvitsky, conductor of the Boston Symphony Orchestra; In 1935, when the music of Sibelius sounded on the radio performed by the New York Philharmonic Orchestra, the listeners elected the composer with their "favorite symphony".

From 1940, the interest in Sibelius music falls noticeably: there are voices that doubt its innovation in the form of form. Sibelius did not create his school and did not directly affect 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.

In the life of Sibelius, the honors were honored, which only a few artists were redeemed. It is enough to mention the numerous Sibelius streets, Sibelius Parks, the Annual Music Festival "Sibelius Week". In 1939 Alma Mater, the composer, the music institute, was called the Sibelius Academy.

Sibelius in Freemasonry

For many years he was Mason, and was rightfully one of the outstanding figures of Finnish Freemasonry. Sibelius 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, Sibelius wrote nine vocal and instrumental compositions collected by him under the general name "Masonic music for rites." The first edition of the partitions 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 fusi", 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)

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)

Theater works

  • "Creation of a boat", Opera (1894, not finished; on the material of Overture 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)
  • 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 for men's voices, piano or organ (1926-1948) Op.113.
  • 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 and 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 Litavr 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 puff, 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 fulfilled the records of all Sibelius symphony (including or excluding "Coollervo") - Vladimir Ashkenazi, John Barbierlli, Paavo Berglund, Leonard Bernstein, Osmo Vyanskaya, Alexander Gibson, Sir Colin Davis, Kurt Zadderling, Lorin Maazel, Gennady Christmas, Simon Rattle , Petri Sakari, Yucca Pekka Sarasta, Leif Segerstam, Neeme Yarvi.

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

Viypical concert records carried out violinist Ida Handel, Gyuton Kremer, Anna Sophie Mutter, David Ostrakh, Itzhak Perlman, Isaac Stern, Yasha Heifets, Henrik Shering.

Films about Sibelius

  • In 2003, the Finnish director Timo Koyvusalo was filmed by the film "Sibelius" about the life of the composer. The role of Sibelius played the actor Martti suuzor.

Sibelius loved the nature very much, she inspired him to create wonderful works. The images of the Finnish nature are transformed by Sibelius in the fourth symphony, the symphonic poem "Caga", "Spring", "Driada", "Oceanids". In these works, impressionism is felt. Sibelius's move with a family in the spring of 1904 from Helsinki into a small estate in the village of Järvennaya, in a picturesque corner near Lake Tusulu, had a great influence on the creative work of the composer. In the estate located in the garden and surrounded by the forest, the composer created the most mature works, including "3" and "4" symphonies in 1907 and 1911, which were perceived as a new word in the work of the composer. These symphonies marked the transition of Sibelius on the path of lyrical simphonism and caused the search for new means of expressiveness and new forms. A lyrical deepening in his inner world Sibelius handed over in his piano creativity.

Sibelius wrote more than 150 piano works, about 115 of which were published. The composer himself aggregately said that he writes trifles for piano in free moments as resting from large orchestral things. In the period C1911 to 1919, piano cycles appear: the lyrical plays of OP 40, four lyrical plays. 1914-1919) and OR 85 "Flowers" (1916-1917). These cycles belong to one of the best samples of the piano heritage of the composer. Five Pieces OR 85 Wear a subtitle "Flowers". Each play is dedicated to a specific flower.

№1 "Margaritka"

№2 "Carnation"

№4 "AKVILIA"

№5 "Belling" - a bright, magnificent sparkling finale.

Each play is marked by seriousness and poetry. Let us dwell on the plays No. 2 and No. 4.

No. 2 "Carnation" (Ogelet) - a play written in a three-part form, sounds in the AS-DUR tonality, with the lade contrast as-moll of the middle part. I am glad to look at the play, in particular on its invoice, and not knowing who I composed, you can safely answer Felix Mendelson "Song without words". Cantile character's play in a romantic style, with a beautiful melody, augged polyphonic middle voice, saturates us with sounds like a flower flavors. So I want to enjoy and drown in the beauty of pedal overtones, so I want to spin in a three-column waltz rhythm, wealth and beauty of harmonic revolutions resembling flower petals. But suddenly, the brave rhythmic course of quarters with an emphasis and the transition to chord invoices leads us to the atmosphere of sorrow. (note example of the middle part).

The abundance of bemoley (7) gives us a short mood change, and the melodic move of As-Moll gamma and the same accented course of quarters returns us to the initial state of pleasure and bliss, sensuality and beauty. And only a small culmination of unexpectedly returned quarters and chord invoice makes us excited, but only for a moment, soothing the tender tonic of the Barol of the major chord. (a tight example of the last line of the work).


No. 4 "Akvilia" This play also attracts attention to its romantic theme, underlined by the Barol major tonality, which sounds fresh even more fragrant. The play is three-part with the topic of entry. Sibelius was used at first glance at first glance, not quite comfortable cross movement when the topic sounds in a low register, and the accompaniment in the top. Having played the introduction several times quickly get used to crossed movement and execution becomes very convenient (note example of entry).


In general, the play is extremely convenient texture for execution.

The main theme is a song, gentle. Sibelius uses parallel tonalities in the sound. AS-DUR - F-MOLL ending with unexpected to major arpeggio, which smoothly goes into the sound of a melodic ascending sequence built on a downward motive - sigh: leading to us to chopped turnover D7 - 4 level. (a tight example of three clock last lines).


Then the main topic is repeated in the upper case, as if the composer translates our view up and we are conceding with the upper flower petals - gentle and beautiful, surprise natural magic. In the middle of the mood changes, agitated motifs appear, repetitions in the left hand, a slight deviation in the des-dur, an alarming short arpeggio left hand again leads us to a major arpeggio. Finally, the reprise sounds. In the sound of the main topic, an amazing chromatic course appears in the opposite movement, which finally allows the main theme in tonic. The final section sounds where the arch of the entry is built in the audience. And only the fermat makes us think about - what miracles do nature give birth! The last four tacts sound like a monologue of the author: "Here is this unusual flower" (a tight example of the last four clocks).


Five Pieces OR 75 (1914-1919) - "Trees" - one of the best samples of the sensitive perception of the composer, who confessed that the trees say with him, and each tree has their own thoughts, feelings, history.

№ 1 "When rowan flowers" - an excited-lyrical joining in a cycle in the spirit of P.Ch. Tchaikovsky.

No. 2 "single 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.

No. 4 "Bereza" is a favorite tree of Finns.

No. 5 "EL" one of the undisputed "hits" of Sibelius.

Read more Consider the plays No. 4, №3, №5

No. 4 "Birch" is written in two privately, the first part of the ES-DUR, the second part of the des-dur.

Original tonality in Mixolidian Lada. The first part is the chordistic texture, the size of two quarters, alternation of chords in the left hand emphasizes and reminded us to shaking birch. The main topic in soprano - the register resembles a folk song melody - a sonorous, rhythmic, active, at the expense of Staccato's stroke with accents, underlined by the fourth duration sounds twice and draws a trunk of a tree in the imagination:


Arpeggio prepares the transition to the second part of the play des - dur, change the tonality enriched by the timbre and the change of texture on the broken arpeggio eighth, as if she transfers our imagination into the tree crown with its abundant foliage and squeezing earrings.


The ringtone of the second part is taken into the eighth texture, resembles a folk melody.

The active start of the play with the dynamics of MF leads in the second part to PP alleviating the sound, takes our eyes to swell, far, as if we, together with the foliage swaying in the wind, we run away from the ground and become the same weightless and lungs.

№ 3 "Osina" - a vivid example of sound resistance and pictoriality.

In the play, the composer used a large technique - the rich harmonious formations of arpeggio in the left hand are connected by the octave melody in the right. The size of chords emphasizes the half durations "P".

The unexpected change of measured rhythm triols and a short melodic course of the sixteenth disturbs calm and leads to "rattling" leaves:

No. 5 spruce is the final play of the cycle. Decent, strong, monumental and just gorgeous. Sibelius chose a Waltz genre to create a play. This waltz is comparable to beauty with a "sad waltz". The small entry of Arpeggio Stretto leads us to the main topic - a rich, luxurious, free, independent sound. The play in the form of shaped in one tonality H - Moll is associated with some restraint, the severness of the paints and the color of the natural edge of Finland.

The topic first sounds tight in the lower case, as if drawing a strong tree trunk. The structure of the melody differs from other plays of the cycle with its rigor, classical in building phrases and suggestions:

Then the transition of the melody up to the second octave tolerates our view on the top of the tree. Further - the dance - the waltz turns us around, enjoying the fresh smell of the needles, stopping our rumor on a moment. In the right hand of the SI BIMOL, La Diez in the left hand, adding fermatat:

The middle part is Risoluto - a decisive and stormy flow of feelings of thirty second, enriched with chromatic harmonious combinations of a short arpeggio and underlined bass makes us worry and empathize to the author. But ... the storm quickly subsides and calms us. Again, the first topic is returned - strong, persistent, but very short. It turns out and allows our perception, soothing, in tonic SI minor arpeggio. After listening to the play, you can imagine the image of the composer itself, understand its durability, courage, patriotism, greatness, talent, pride, beauty and love!

On the slope of this year, Sibelius predicted: "I know that my piano plays are waiting for a safe future, despite the fact that they completely fell into oblivion - one day they will become the same popular as Schuman's plays." And indeed, many pianists studied the piano works of Sibelius, recognizing its originality and fitness for the tool. Including Glenn Guld emphasizing the mastery of the composer, said that "in the piano works of Sibelius - all the music, everything sings ... And, the main thing is a significant addition to the late romanticism, too limited to the piano repertoire. A lot of records of the assembly of piano music Sibelius appeared in a digital era. Finnish pianist Eric Tavastsherna (1951), whose father was also a pianist (student of Negauz, Court and researcher of Sibelius's creativity) recorded the most thorough of them in the early 80s. According to him, "many of the piano things of Sibelius are 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 its writings there are significant technical difficulties, interesting for the artist, the texture in general is melodic and colorful, then Interesting to the listener ... "

Indicative lesson

Music lesson in grade 6 (fragment)

Topic: "Images of Nature in the piano creativity Yana Sibelius"

The purpose of the lesson:Acquaintance with the piano creativity of the Finnish composer Jan Sibelius.

Artistic - Pedagogical Idea: "Many of the piano things of Sibelius are very remarkable in both their own form and in the sense of musical material ... in its writings ... the texture is generally melodic and colorful, which is interesting to the listener. "

(Glenn Guld.)

Music material:

1. I. Sibelius - "Sad Waltz".

2. Y. Sibelius - "Spruce."

3. Y. Sibelius - "Akvilia".

Equipment:

1. Presentation on the work of Yana Sibelius.

2. Portrait of a composer

3. Illustrations for plays "El", "Akvilia", "Bereza", "Carnation", "Aspen".

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.