Sibelius : Finlandia

Finlandia

Jean Sibelius (1865-1957)

Whle Finland has known a number of fine composers and remarkable performers since the mid-1920s, Jean Sibelius remains the supreme figure in the music of that country. The reference to the 1920s points to the curious fact that during the last three decades of his long life Sibelius kept silent as a composer. Long before then he had become the musical symbol of Finland, indeed, probably the most famous figure in any field produced by that nation, before or since. (This was recognised by the Finnish nation, which fairly early in his career awarded the composer a lifetime stipend.) And, as a symbol of the “nation,” his most popular work, Finlandia, occupies a unique position. Until well into the 20^th century 1920 Finland existed as a province of the Russian empire, in a position rather akin to that of Poland, with which it shared a burning desire for independence, which would only come in 1920. An interesting musical echo of the old imperial days can be heard in some of Sibelius’ early compositions, especially the first two symphonies, which are strongly influenced by the work of Tchaikovsky. It is in the works written after 1900 that composer’s craggy, individual musical style takes on its fullest expression, one which the world regards as reflecting the character of Finland itself.

Finlandia was composed a century ago, in 1899, when he was asked to contribute music to introduce and link a series of “tableaux vivants” (dramatic scenes) depicting important events in Finnish history. The final one, “Finland Awakes” was separated from the other sections, taking the form of an independent symphonic poem, renamed “Finlandia.” Written during a time of increasing political oppression of the Finns by the Russian authorities, this work was greeted with storms of applause, immediately becoming an icon of the Finnish national spirit.

Finlandia is a compact composition lasting barely eight minutes, comprising an introduction, followed by three distinct sections, each growing out of the last, moving forward with single-minded sweep and drama.

The introduction opens with a defiant, almost snarling figure in the brass, with a reply in the winds, darkening and becoming mournful in heavy string textures. This leads to the first section (C Minor) which is based on the introductory brass theme, now in a quickening tempo, punctuated by chattering, repeated brass chords. This flows on into the second section, with a new, strikingly confident theme in A-flat major, assertive and martial in tone, the chattering brass chords still in attendance, joined by a dramatic upward-sweeping figures in the strings. Remaining in A-flat, the work gains its ultimate goal in the third section, in which a hymn-like theme of great warmth and fervour is unfolded by the winds---certainly Sibelius’ best-known melody. (In a later version of Finlandia this melody is heard sung by a full chorus.) This is soon taken over by the strings, taking on an increasingly yearning character, rising to the rich sonority of the full orchestra. In a grandiose coda the “big tune” is thundered out in full-throated triumph.

GPYO concert