Jean Sibelius (/sɪˈbeɪliəs/;Finland Swedish:[ˈʃɑːnsiˈbeːliʉs]ⓘ; bornJohan Julius Christian Sibelius;[1] 8 December 1865 – 20 September 1957) was a Finnish composer of the lateRomantic andearly modern periods. He is widely regarded as his country's greatest composer, and his music is often credited with having helpedFinland develop a strongernational identity when the country was struggling from severalattempts at Russification in the late 19th century.[2]
Sibelius composed prolifically until the mid-1920s, but after completing hisSeventh Symphony (1924), theincidental music forThe Tempest (1926), and thetone poemTapiola (1926), he stopped producing major works in his last 30 years—a retirement commonly referred to[by whom?] as the "silence ofJärvenpää" (the location of his home). Although he is reputed to have stopped composing, he attempted to continue writing, including abortive efforts on aneighth symphony. In later life, he wroteMasonic music and re-edited some earlier works, while retaining an active but not always favourable interest in new developments in music. Although his early retirement has perplexed scholars, Sibelius was clear about its cause — he simply felt he had written enough.
The Finnish 100mark note featured his image until 2002, when theeuro was adopted.[4] Since 2011, Finland has celebrated aflag flying day on 8 December, the composer's birthday, also known as the Day of Finnish Music.[5] In 2015, in celebration of the 150th anniversary of Sibelius's birth, a number of special concerts and events were held, especially inHelsinki, the Finnish capital.[6]
Sibelius was born on 8 December 1865 inHämeenlinna (Swedish:Tavastehus) in theGrand Duchy of Finland, an autonomous state within theRussian Empire. He was the son of theSwedish-speaking medical doctor Christian Gustaf Sibelius and Maria Charlotta Sibelius (née Borg). The family name stems from theSibbe estate inEastern Uusimaa, which his paternal great-grandfather owned.[7] Sibelius's father died oftyphoid in July 1868, leaving substantial debts. As a result, his mother—who was again pregnant—had to sell their property and move the family into the home of Katarina Borg, her widowed mother, who also lived in Hämeenlinna.[8] Sibelius was therefore brought up in a decidedly female environment, the only male influence coming from his uncle, Pehr Ferdinand Sibelius, who was interested in music, especially the violin. Pehr Ferdinand gave the boy a violin when he was ten years old and later encouraged him to maintain his interest in composition.[9][10] For Sibelius, Uncle Pehr not only took the place of a father but acted as a musical adviser.[11]
11-year-old Sibelius in 1876
From an early age, Sibelius showed a strong interest in nature, frequently walking around the countryside when the family moved toLoviisa on the coast for the summer months. In his own words: "For me, Loviisa represented sun and happiness. Hämeenlinna was where I went to school; Loviisa was freedom." In Hämeenlinna, when he was seven, Sibelius's aunt Julia was brought in to give him piano lessons on the family's upright instrument, rapping him on the knuckles whenever he played a wrong note. He progressed by improvising on his own, but still learned to read music.[12] He later turned to the violin, which he preferred. He participated in trios with his elder sister Linda on piano, and his younger brother Christian on the cello. (Christian Sibelius was to become apsychiatrist, still remembered for his contributions to modern psychiatry in Finland.)[13] Sibelius soon began playing in quartets with neighbouring families, furthering his experience performing chamber music. Fragments survive of his early compositions of the period, a trio, a piano quartet and aSuite in D Minor for violin and piano.[14] Around 1881, he transcribed a shortpizzicato pieceVattendroppar (Water Drops) for violin, possibly as anetude or musical exercise.[11][15] The first reference he made to himself composing is in a letter from August 1883 in which he writes that he composed a trio and was working on another: "They are rather poor, but it is nice to have something to do on rainy days."[16] In 1881, he began violin lessons with the local bandmaster, Gustaf Levander, immediately developing a particularly strong interest in the instrument.[17] Setting his heart on a career as a great violin virtuoso, he soon became an accomplished player, performingDavid's Concerto in E minor in 1886 and, the following year, the last two movements ofMendelssohn's Violin Concerto in Helsinki. Despite such success as an instrumentalist, he ultimately chose to become a composer.[18][19]
In 1874, Sibelius attended Lucina Hagman's Finnish-speaking preparatory school as a native Swedish speaker. In 1876, he continued his education at the Finnish-languageHämeenlinna Normal Lyceum where he was a rather absent-minded pupil, though did quite well in mathematics and botany.[16] Despite having to repeat a year, he passed the school's final examination in 1885, which allowed him to enter a university.[20] As a boy he was known asJanne, a colloquial form of Johan. However, during his student years, he adopted the French formJean, inspired by the business card of his deceased seafaring uncle. Thereafter he became known as Jean Sibelius.[21]
After graduating from high school in 1885, Sibelius began to study law at theImperial Alexander University in Finland but, showing far more interest in music, soon moved to the Helsinki Music Institute (now theSibelius Academy) where he studied from 1885 to 1889.
One of his teachers was its founder, Martin Wegelius, who did much to support the development of education in Finland. Wegelius gave the self-taught Sibelius his first formal lessons in composition.[22] Another important influence was his teacherFerruccio Busoni, a pianist-composer with whom he enjoyed a lifelong friendship.[23] His close circle of friends included the pianist and writerAdolf Paul and the conductor-to-beArmas Järnefelt (who introduced him to his influential family, including his sisterAino who Sibelius would marry in 1892).[11] The most remarkable of his works during this period was the Violin Sonata in F, rather reminiscent ofGrieg.[24]
Sibelius continued his studies inBerlin (from 1889 to 1890) withAlbert Becker, and inVienna (from 1890 to 1891) withRobert Fuchs and Hungarian-Jewish composerKarl Goldmark. In Berlin, he had the opportunity to widen his musical experience by going to a variety of concerts and operas, including the premiere ofRichard Strauss'sDon Juan. He also heard the Finnish composerRobert Kajanus conducting theBerlin Philharmonic in a program that included his symphonic poemAino, a patriotic piece that may have inspired Sibelius's later interest in using the epic poemKalevala as a basis for his own compositions.[23][25] While in Vienna, he became particularly interested in the music ofAnton Bruckner whom he regarded as "the greatest living composer" for a time, although also showing interest in the established works ofBeethoven andWagner. He enjoyed his year in Vienna, frequently partying and gambling with his new friends. It was also in Vienna that he turned to orchestral composition, composing an Overture in E major and aScène de Ballet. While embarking onKullervo, an orchestral work with chorus and soloists inspired by theKalevala, he fell ill but was restored to good health after gallstone-excision surgery.[26] Shortly after returning to Helsinki, Sibelius conducted his Overture and theScène de Ballet at a popular concert.[27] He was also able to continue working onKullervo, now that he was increasingly developing an interest in all things Finnish. Premiered in Helsinki on 28 April 1892, the work was an enormous success.[11]
Sibelius in 1891, when he studied in Vienna
It was around this time that Sibelius finally abandoned his cherished aspirations as a violinist:
My tragedy was that I wanted to be a celebrated violinist at any price. Since the age of 15 I played my violin practically from morning to night. I hated pen and ink—unfortunately I preferred an elegant violin bow. My love for the violin lasted quite long and it was a very painful awakening when I had to admit that I had begun my training for the exacting career of a virtuoso too late.[28]
In addition to the long periods he spent studying in Vienna and Berlin, in 1900 he travelled to Italy, where he spent a year with his family. He composed, conducted and socialized actively in the Scandinavian countries, Britain, France and Germany and later travelled to the United States.[29]
While Sibelius was studying music in Helsinki in the autumn of 1888, Armas Järnefelt, a friend from the Music Institute, invited him to the family home. There he met and immediately fell in love withAino, the 17-year-old daughter of GeneralAlexander Järnefelt, the governor ofVaasa, andElisabeth Clodt von Jürgensburg, a Baltic aristocrat.[19] The wedding was held on 10 June 1892 atMaxmo. They spent their honeymoon inKarelia, the home of theKalevala. It served as an inspiration for Sibelius's tone poemEn saga, the Lemminkäinen legends and theKarelia Suite.[11]Their home,Ainola, was completed nearLake Tuusula, Järvenpää, in 1904. During the years at Ainola, they had six daughters: Eva, Ruth, Kirsti (who died aged one fromtyphoid),[30] Katarina, Margareta and Heidi.[31] Eva married an industrial heir, Arvi Paloheimo, and later became the CEO of the Paloheimo Corporation. Ruth Snellman(fi) was a prominent actress, Katarina Ilves married a banker andHeidi Blomstedt was a designer, wife of architectAulis Blomstedt. Margareta married conductorJussi Jalas, Aulis Blomstedt's brother.[32]
In 1892,Kullervo inaugurated Sibelius's focus on orchestral music. It was described by the composerAksel Törnudd [fi] as "a volcanic eruption" while Juho Ranta who sang in the choir stated, "It wasFinnish music."[33] At the end of that year the composer's grandmother, Katarina Borg died. Sibelius went to her funeral, visiting his Hämeenlinna home one last time before the house was sold. On 16 February 1893, the first (extended) version ofEn saga was presented in Helsinki although it was not too well received, the critics suggesting that superfluous sections should be eliminated (as they were in Sibelius's 1902 version). Even less successful were three more performances ofKullervo in March, which one critic found incomprehensible and lacking in vitality. Following the birth of Sibelius's first child Eva, in April the premiere of his choral workVäinämöinen's Boat Ride was a considerable success, receiving the support of the press.[34]
On 13 November 1893, the full version ofKarelia was premiered at a student association gala at the Seurahuone inViipuri with the collaboration of the artistAxel Gallén and the sculptorEmil Wikström who had been brought in to design the stage sets. While the first performance was difficult to appreciate over the background noise of the talkative audience, a second performance on 18 November was more successful. Furthermore, on the 19th and 23rd Sibelius presented an extended suite of the work in Helsinki, conducting the orchestra of the Philharmonic Society.[35] Sibelius's music was increasingly presented in Helsinki's concert halls. In the 1894–95 season, works such asEn saga,Karelia andVårsång (composed in 1894) were included in at least 16 concerts in the capital, not to mention those inTurku.[36] When performed in a revised version on 17 April 1895, the composerOskar Merikanto welcomedVårsång (Spring Song) as "the fairest flower among Sibelius's orchestral pieces".[37]
For a considerable period, Sibelius worked on an opera,Veneen luominen (The Building of the Boat), again based on theKalevala. To some extent, he had come under the influence of Wagner, but subsequently turned toLiszt's tone poems as a source of compositional inspiration. Adapted from material for the opera, which he never completed, hisLemminkäinen Suite consisted of four legends in the form of tone poems.[11] They were premiered in Helsinki on 13 April 1896 to a full house. In contrast to Merikanto's enthusiasm for the Finnish quality of the work, the critic Karl Flodin found the cor anglais solo inThe Swan of Tuonela "stupendously long and boring",[38][34] although he considered the first legend,Lemminkäinen and the Maidens of the Island, as representing the peak of Sibelius's achievement to date.[39]
To pay his way, from 1892 Sibelius had taken on teaching assignments at the Music Institute and at Kajanus's conducting school but this left him insufficient time for composing.[40] The situation improved considerably when in 1898 he was awarded a substantial annual grant, initially for ten years and later extended for life. He was able to completethe music for Adolf Paul's playKing Christian II. Performed on 24 February 1898, its catchy tunes appealed to the public. The scores of four popular pieces from the play were published in Germany and sold well in Finland. When the orchestral suite was successfully performed in Helsinki in November 1898, Sibelius commented: "The music sounded excellent and the tempi seem to be right. I think this is the first time that I have managed to make something complete." The work was also performed in Stockholm and Leipzig.[41]
In January 1899, Sibelius embarked on hisFirst Symphony at a time when his patriotic feelings were being enhanced by the Russian emperorNicholas II's attempt torestrict the powers of the Grand Duchy of Finland.[42] The symphony was well received when it was premiered in Helsinki on 26 April 1899. But the program also premiered the even more compelling, blatantly patrioticSong of the Athenians for boys' and men's choirs. The song immediately brought Sibelius the status of a national hero.[41][42] Another patriotic work followed on 4 November in the form of eight tableaux depicting episodes from Finnish history known as thePress Celebration Music (sometimes"Days of the Press"; subsequently reworked asScènes historiques I).[43] It had been written in support of the staff of thePäivälehti newspaper, which had been suspended for a period after editorially criticizing Russian rule.[44] The last tableau,Finland Awakens, was particularly popular; after minor revisions, it became the well-knownFinlandia.[45]
In February 1900, Sibelius's youngest daughter, Kirsti, died. Nevertheless, in the summer Sibelius went on an international tour with Kajanus and his orchestra, presenting his recent works (including a revised version of his First Symphony) in thirteen cities including Stockholm, Copenhagen, Hamburg, Berlin and Paris. The critics were highly favorable, bringing the composer international recognition with their enthusiastic reports in theBerliner Börsen-Courier, theBerliner Fremdenblatt and theBerliner Lokal Anzeiger.[46][47]
During a trip with his family toRapallo, Italy, in 1901, Sibelius began to write hisSecond Symphony, partly inspired by the fate of Don Juan in Mozart'sDon Giovanni. It was completed in early 1902 with its premiere in Helsinki on 8 March. The work was received with tremendous enthusiasm by the Finns. Merikanto felt it exceeded "even the boldest expectations," while Evert Katila qualified it as "an absolute masterpiece".[46] Flodin, too, wrote of a symphonic composition "the likes of which we have never had occasion to listen to before".[48]
Sibelius spent the summer in Tvärminne nearHanko, where he worked on the songVar det en dröm (Was it a Dream) as well as on a new version ofEn saga. When it was performed in Berlin with the Berlin Philharmonic in November 1902, it served to firmly establish the composer's reputation in Germany, leading shortly afterwards to the publication of his First Symphony.[46]
In 1903, Sibelius spent much of his time in Helsinki where he indulged excessively in wining and dining, running up considerable bills in the restaurants. But he continued to compose, one of his major successes beingValse triste, one of six pieces of incidental music he composed for his brother-in-lawArvid Järnefelt's playKuolema (Death). Short of money, he sold the piece at a low price but it quickly gained considerable popularity not only in Finland but internationally. During his long stays in Helsinki, Sibelius's wife Aino frequently wrote to him, imploring him to return home but to no avail. Even after their fourth daughter, Katarina, was born, he continued to work away from home. Early in 1904, he finished hisViolin Concerto but its first public performance on 8 February was not a success. It led to a revised, condensed version that was performed in Berlin the following year.[49]
Jean Sibelius and his wife Aino reading in the dining room at Ainola
In November 1903, Sibelius began to build his new homeAinola (Aino's Place) nearLake Tuusula some 45 km (30 miles) north of Helsinki. To cover the construction costs, he gave concerts in Helsinki, Turku and Vaasa in early 1904 as well as in Tallinn, Estonia, and in Latvia during the summer. The family were finally able to move into the new property on 24 September 1904, making friends with the local artistic community, including the paintersEero Järnefelt andPekka Halonen and the novelistJuhani Aho.[49]
In January 1905, Sibelius returned to Berlin where he conducted his Second Symphony. While the concert itself was successful, it received mixed reviews, some very positive while those in theAllgemeine Zeitung and theBerliner Tageblatt were less enthusiastic. Back in Finland, he rewrote the increasingly popularPelléas and Mélisande as an orchestral suite. In November, visiting Britain for the first time, he went toLiverpool where he metHenry Wood. On 2 December, he conducted the First Symphony andFinlandia, writing to Aino that the concert had been a great success and widely acclaimed.[50]
In 1906, after a short, rather uneventful stay in Paris at the beginning of the year, Sibelius spent several months composing at Ainola, his major work of the period beingPohjola's Daughter, yet another piece based on theKalevala. Later in the year he composed incidental music forBelshazzar's Feast, also adapting it as an orchestral suite. He ended the year conducting a series of concerts, the most successful being the first public performance ofPohjola's Daughter at theMariinsky Theatre in St Petersburg.[50]
From the beginning of 1907, Sibelius again indulged in excessive wining and dining in Helsinki, spending exorbitant amounts on champagne and lobster. His lifestyle had a disastrous effect on the health of Aino who was driven to retire to a sanatorium, suffering from exhaustion. While she was away, Sibelius resolved to give updrinking, concentrating instead on composing hisThird Symphony. He completed the work for a performance in Helsinki on 25 September.[51] Although its more classical approach surprised the audience, Flodin commented that it was "internally new and revolutionary".[50]
Shortly afterwards Sibelius met Austro-Bohemian composerGustav Mahler who was in Helsinki. The two agreed that with each new symphony, they lost those who had been attracted to their earlier works. This was demonstrated above all in St Petersburg where the Third Symphony was performed in November 1907 to dismissive reviews. Its reception in Moscow was rather more positive.[50]
Blue plaque, 15 Gloucester Walk,Kensington, London, his home in 1909
In 1907, Sibelius underwent a serious operation for suspected throat cancer. Early in 1908, he had to spend a spell in hospital. His smoking and drinking had now become life-threatening. Although he cancelled concerts in Rome, Warsaw and Berlin, he maintained an engagement in London but there too his Third Symphony failed to attract the critics. In May 1908, Sibelius's health deteriorated further. He travelled with his wife to Berlin to have a tumour removed from his throat. After the operation, he vowed to give up smoking and drinking once and for all.[50] The impact of this brush with death has been said to have inspired works that he composed in the following years, includingLuonnotar and theFourth Symphony.[52]
In 1909, the successful throat operation resulted in renewed happiness between Sibelius and Aino in the family home. In Britain too, his condition was well received as he conductedEn saga,Finlandia,Valse Triste andSpring Song to enthusiastic audiences. A meeting withClaude Debussy produced further support. After another uneventful trip to Paris, he went to Berlin where he was relieved to learn that his throat operation had been entirely successful.[53]
Sibelius started work on his Fourth Symphony in early 1910 but his dwindling funds also required him to write a number of smaller pieces and songs. In October, he conducted concerts inKristiania (now Oslo) whereThe Dryad andIn Memoriam were first performed. HisValse triste and Second Symphony were particularly well received. He then travelled to Berlin to continue work on his Fourth Symphony, writing the finale after returning to Järvenpää.[53]
Sibelius conducted his first concerts in Sweden in early 1911 when even his Third Symphony was welcomed by the critics. He completed the Fourth Symphony in April but, as he expected, with its introspective style it was not very warmly received when first performed in Helsinki with mixed reviews. Apart from a trip to Paris where he enjoyed a performance of Richard Strauss'sSalome, the rest of the year was fairly uneventful. In 1912, he completed his short orchestral workScènes historiques II. It was first performed in March together with the Fourth Symphony. The concert was repeated twice to enthusiastic audiences and critics including Robert Kajanus. The Fourth Symphony was also well received inBirmingham in September. In March 1913, it was performed in New York but a large section of the audience left the hall between the movements while in October, after a concert conducted byCarl Muck, theBoston American labelled it "a sad failure".[53]
Sibelius received an honorary doctorate from Yale university. His popularity in America was so high that when the New York Philharmonic surveyed the favourite composer of music listeners around the United States, Sibelius came first among all of them, living or dead.[54]
Sibelius's first significant composition of 1913 was the tone poemThe Bard, which he conducted in March to a respectful audience in Helsinki. He went on to composeLuonnotar (Daughter of Nature) for soprano and orchestra. With a text from theKalevala, it was first performed in Finnish in September 1913 byAino Ackté (to whom it had been dedicated) at themusic festival inGloucester, England.[53][55] In early 1914, Sibelius spent a month in Berlin where he was particularly drawn toArnold Schoenberg. Back in Finland, he began work onThe Oceanides, which the American millionaire Carl Stoeckel had commissioned for theNorfolk Music Festival. After first composing the work in D-flat major, Sibelius undertook substantive revisions, presenting a D major version in Norfolk, which was well received, as wereFinlandia and theValse triste.Henry Krehbiel consideredThe Oceanides one of the most beautiful pieces of sea music ever composed, whileThe New York Times commented that Sibelius's music was the most notable contribution to the music festival. While in America, Sibelius received an honorary doctorate fromYale University and, almost simultaneously, one from the University of Helsinki where he was represented by Aino.[53]
While travelling back from the United States, Sibelius heard about the events inSarajevo that led to the beginning of theFirst World War. Although he was far away from the fighting, his royalties from abroad were interrupted. To make ends meet, he composed smaller works for publication in Finland. In March 1915, he was able to travel to Gothenburg in Sweden, where his workThe Oceanides was widely appreciated. While working on hisFifth Symphony in April, he saw 16swans flying by, inspiring him to write the finale. "One of the great experiences of my life!" he commented. Although there was little progress on the symphony during the summer, he was able to complete it by his 50th birthday on 8 December.[56]
On the evening of his birthday, Sibelius conducted the premiere of the Fifth Symphony in the hall of theHelsinki Stock Exchange. Despite high praise from Kajanus, the composer was not satisfied with his work and soon began to revise it. Around this time, Sibelius was running ever deeper into debt. The grand piano he had received as a present was about to be confiscated by the bailiffs when the singerIda Ekman paid off a large proportion of his debt after a successful fund-raising campaign.[56]
A year later, on 8 December 1916, Sibelius presented the revised version of his Fifth Symphony in Turku, combining the first two movements and simplifying the finale. When it was performed a week later in Helsinki, Katila was very favourable but Wasenius frowned on the changes, leading the composer to rewrite it once again.[56]
From the beginning of 1917, Sibelius started drinking again, triggering arguments with Aino. Their relationship improved with the excitement resulting from the start of theRussian Revolution. By the end of the year, Sibelius had composed hisJäger March. The piece proved particularly popular after the Finnish parliament accepted the Senate's declaration of independence from Russia in December 1917. TheJäger March, first played on 19 January 1918, delighted the Helsinki elite for a short time until the start of theFinnish Civil War on 27 January.[56] Sibelius naturally supported theWhites, but as aTolstoyan, Aino Sibelius had some sympathies for theReds too.[57]
In February, his house (Ainola) was searched twice by the local Red Guard looking for weapons. During the first weeks of the war, some of his acquaintances were killed in the violence, and his brother, the psychiatrist Christian Sibelius, was arrested because he refused to reserve beds for the Red soldiers who had suffered shell shock at the front. Sibelius's friends in Helsinki were now worried about his safety. The composer Robert Kajanus negotiated with the Red Guard commander-in-chiefEero Haapalainen, who guaranteed Sibelius a safe journey from Ainola to the capital. On 20 February, a group of Red Guard fighters escorted the family to Helsinki. Finally, from 12 to 13 April, the German troopsoccupied the city and the Red period was over. A week later, theHelsinki Philharmonic Orchestra gave a concert in homage to the German commanderRüdiger von der Goltz. Sibelius finished off the event by conducting theJäger March.[57]
In early 1919, Sibelius enthusiastically decided to change his image, shaving off what remained of his thinning hair. In June, together with Aino, he visited Copenhagen on his first trip outside Finland since 1915, successfully presenting his Second Symphony. In November he conducted the final version of his Fifth Symphony, receiving repeated ovations from the audience. By the end of the year, he was already working on the Sixth.[56]
In 1920, despite a growing tremor in his hands, Sibelius composed theHymn of the Earth to a text by the poetEino Leino for the Suomen Laulu Choir and orchestrated hisValse lyrique, helped along by drinking wine. On his birthday in December 1920, Sibelius received a donation of 63,000 marks, a substantial sum the tenorWäinö Sola [fi] had raised from Finnish businesses. Although he used some of the money to reduce his debts, he also spent a week celebrating to excess in Helsinki.[58]
At this time, Sibelius held detailed negotiations withGeorge Eastman, inventor of the Kodak camera and founder of theEastman School of Music in Rochester, New York. Eastman offered $20,000 salary to teach for a single year,[59] and before Sibelius declined, negotiations were so firm that theNew York Times published Sibelius's arrival as fact.[60]
Sibelius enjoyed a highly successful trip to Britain in early 1921—conducting several concerts around the country, including the Fourth and Fifth symphonies,The Oceanides, the ever-popularFinlandia, andValse triste. Immediately afterwards, he conducted the Second Symphony andValse triste in Norway. He was beginning to suffer from exhaustion, but the critics remained positive. On his return to Finland in April, he presentedLemminkäinen's Return and the Fifth Symphony at the Nordic Music Days.[58]
Early in 1922, after suffering from headaches Sibelius decided to acquire spectacles although he never wore them for photographs. In July, he was saddened by the death of his brother Christian. In August, he joined the Finnish Freemasons and composed ritual music for them. In February 1923, he premiered hisSixth Symphony. Evert Katila highly praised it as "pure idyll." Before the year ended he had also conducted concerts in Stockholm and Rome, the first to considerable acclaim, the second to mixed reviews. He then proceeded to Gothenburg where he enjoyed an ecstatic reception despite arriving at the concert hall suffering from over-indulgence in food and drink. Despite continuing to drink, to Aino's dismay, Sibelius managed to complete his Seventh Symphony in March 1924. Under the title ofFantasia sinfonica it received its first public performance in Stockholm where it was a success. It was even more highly appreciated at a series of concerts in Copenhagen in late September. Sibelius was honoured with the Knight Commander's Cross of theOrder of the Dannebrog.[58]
He spent most of the rest of the year resting as his recent spate of activity was straining his heart and nerves. Composing a few small pieces, he relied increasingly on alcohol. In May 1925, his Danish publisherWilhelm Hansen and theRoyal Danish Theatre invited him to compose incidental music for a production ofShakespeare'sThe Tempest. He completed the work well in advance of its premiere in March 1926.[58] It was well received in Copenhagen although Sibelius was not there himself.[61]
The music journalist Vesa Sirén has found evidence that Sibelius perhaps suffered fromessential tremor since a young age and that he reduced the symptoms by drinking alcohol. This self-medication is common and effective but discouraged by doctors due to the risks outweighing the benefits. Sirén's research is supported by several medical experts. The tremor presumably prevented writing and impaired his social life.[62]
The year 1926 saw a sharp and lasting decline in Sibelius's output: after his Seventh Symphony, he produced only a few major works during the rest of his life. Arguably the two most significant of these were the incidental music forThe Tempest and the tone poemTapiola.[63] For most of the last thirty years of his life, Sibelius even avoided talking publicly about his music.[64]
There is substantial evidence that Sibelius worked on an eighth symphony. He promised the premiere of this symphony toSerge Koussevitzky in 1931 and 1932, and a London performance in 1933 underBasil Cameron was even advertised to the public. The only concrete evidence of the symphony's existence on paper is a 1933 bill for a fair copy of the first movement and short draft fragments first published and played in 2011.[65][66][67][68] Sibelius had always been quite self-critical; he remarked to his close friends, "If I cannot write a better symphony than my Seventh, then it shall be my last." Since no manuscript survives, sources consider it likely that Sibelius destroyed most traces of the score, probably in 1945, during which year he certainly consigned a great many papers to the flames.[69] His wife Aino recalled,
In the 1940s there was a greatauto da fé at Ainola. My husband collected a number of the manuscripts in a laundry basket and burned them on the open fire in the dining room. Parts of theKarelia Suite were destroyed – I later saw remains of the pages which had been torn out – and many other things. I did not have the strength to be present and left the room. I therefore do not know what he threw on to the fire. But after this my husband became calmer and gradually lighter in mood.[70]
Despite his withdrawing from the public eye, Sibelius's work gained substantial attention in the late 1920s and throughout the 1930s thanks to the newly established Finnish broadcasterYLE. Broadcasting onAM wavebands, YLE's signals brought Sibelius's music to listeners beyond Finland's borders, too.[71] In 1933, YLE and theHelsinki City Orchestra with soloistAnja Ignatius originated a broadcast of Sibelius compositions to 14 countries in coordination with theInternational Broadcasting Union. The program included the tone poemThe Oceanides, followed by hisFifth Symphony, and the Violin Concerto.[72] In 1935 The New York Philharmonic surveyed the preferences of music listeners around the United States. When asked who their favourite composer was, Sibelius came first among all of them, living or dead. This degree of recognition during his own lifetime was unequalled in Western music.[54]
On Sibelius's 70th birthday (8 December 1935), the German Nazi regime awarded him the Goethe-Medal with a certificate signed byAdolf Hitler. After the attempted Soviet invasion of Finland in late 1939 to 1940 (theWinter War) which, though initially repelled, forced Finland to cede territory to the Soviet Union after the later defeat of the Finnish military, the Sibelius family returned for good to Ainola in the summer of 1941, after a long absence. Anxious about Bolshevism, Sibelius advocated that Finnish soldiers march alongside German forces after Germany's invasion of the Soviet Union on 22 June 1941. Sibelius did not make any utterances about the genocide of the Jews, although, in a diary entry in 1943, he wondered why he had signed the Aryan certificate.[73][further explanation needed]
On 1 January 1939, Sibelius had participated in an international radio broadcast during which he conducted hisAndante Festivo. The performance was preserved on transcription discs and later issued on CD. This is probably the only surviving example of Sibelius interpreting his own music.[74]
From 1903 and for many years thereafter Sibelius lived in the countryside. From 1939 he and Aino again had a home in Helsinki, but they moved back to Ainola in 1941, only occasionally visiting the city.[75] After the war he returned to Helsinki only a couple of times. The so-called "silence of Järvenpää" became something of a myth, as in addition to countless official visitors and colleagues, his grandchildren and great-grandchildren also spent their holidays there.[76]
Tawaststjerna recounts an anecdote from September 1957 in connection with Sibelius's death:[82]
[He] was returning from his customary morning walk. Exhilarated, he told his wife Aino that he had seen a flock of cranes approaching. "There they come, the birds of my youth," he exclaimed. Suddenly, one of the birds broke away from the formation and circled once above Ainola. It then rejoined the flock to continue its journey.
Two days later, on the evening of 20 September 1957, Sibelius died of abrain haemorrhage at Ainola, at the age of 91. At the time of his death, his Fifth Symphony, conducted by SirMalcolm Sargent, was being broadcast by radio from Helsinki. At the same time, theUnited Nations General Assembly was in session, and the then President of the Assembly, SirLeslie Munro of New Zealand, called for amoment of silence and delivered a eulogy: "Sibelius belonged to the whole world. He enriched the life of the entire human race with his music".[83] Another well-known Finnish composer,Heino Kaski, died one day earlier, but his death was overshadowed by that of Sibelius. Sibelius was honoured with astate funeral and is buried in the garden at Ainola.[84]
Aino Sibelius continued to live at Ainola for nearly 12 years, until her death on 8 June 1969 at the age of 97. She is buried beside her husband.[85]
Sibelius is widely known for his symphonies and his tone poems, especiallyFinlandia and theKarelia suite. His reputation in Finland grew in the 1890s with the choral symphonyKullervo, which like many subsequent pieces drew on the epic poemKalevala. His First Symphony was first performed to an enthusiastic audience in 1899 at a time when Finnish nationalism was evolving. In addition to six more symphonies, he gained popularity at home and abroad with incidental music and more tone poems, especiallyEn saga,The Swan of Tuonela andValse triste.[86] Sibelius also composed a series of works for violin and orchestra including a Violin Concerto, the operaJungfrun i tornet, many shorter orchestral pieces, chamber music, works for piano and violin, choral works and numerous songs.[87]
In the mid-1920s, after his Sixth and Seventh Symphonies, he composed the symphonic poemTapiola and incidental music forThe Tempest. Thereafter, although he lived until 1957, he did not publish any further works of note. For several years, he worked on an Eighth Symphony, which he later burned.[88]
As for his musical style, hints ofTchaikovsky's music are particularly evident in early works such as his First Symphony and his Violin Concerto.[89] For a period, he was nevertheless overwhelmed by Wagner, particularly while composing his opera. More lasting influences included Ferruccio Busoni and Anton Bruckner. But for his tone poems, he was above all inspired byLiszt.[34][90] The similarities to Bruckner can be seen in the brass contributions to his orchestral works and the generally slow tempo of his music.[91][92]
Sibelius progressively stripped away formal markers ofsonata form in his work and, instead of contrasting multiple themes, focused on the idea of continuously evolving cells and fragments culminating in a grand statement. His later works are remarkable for their sense of unbroken development, progressing by means of thematic permutations and derivations. The completeness and organic feel of this synthesis has prompted some to suggest that Sibelius began his works with a finished statement and worked backwards, although analyses showing these predominantly three- and four-note cells and melodic fragments as they are developed and expanded into the larger "themes" effectively prove the opposite.[93]
Portrait of Sibelius from 1892 by his brother-in-lawEero Järnefelt
This self-contained structure stood in stark contrast to the symphonic style of Gustav Mahler, Sibelius's primary rival in symphonic composition.[63] While thematic variation played a major role in the works of both composers, Mahler's style made use of disjunct, abruptly changing and contrasting themes, while Sibelius sought to slowly transform thematic elements. In November 1907 Mahler undertook a conducting tour of Finland, and the two composers were able to take a lengthy walk together, leading Sibelius to comment:
I said that I admired [the symphony's] severity of style and the profound logic that created an inner connection between all the motifs ... Mahler's opinion was just the reverse. "No, a symphony must be like the world. It must embrace everything."[94]
Sibelius started work on hisSymphony No. 1 in E minor, Op. 39, in 1898 and completed it in early 1899, when he was 33. The work was first performed on 26 April 1899 by the Helsinki Philharmonic Orchestra, conducted by the composer, in an original, well received version that has not survived. After the premiere, Sibelius made some revisions, resulting in the version performed today. The revision was completed in the spring and summer of 1900, and was first performed in Berlin by the Helsinki Philharmonic, conducted by Robert Kajanus on 18 July 1900.[95] The symphony begins with a highly original, rather forlorn clarinet solo backed by subdued timpani.[96]
HisSecond Symphony, the most popular and most frequently recorded of his symphonies, was first performed by the Helsinki Philharmonic Society on 8 March 1902, with the composer conducting. The opening chords with their rising progression provide a motif for the whole work. The heroic theme of the finale with the three-tone motif is interpreted by the trumpets rather than the original woodwinds. During a period of Russian oppression, it consolidated Sibelius's reputation as a national hero. After the first performance, Sibelius made some changes, leading to a revised version first performed by Armas Järnefelt on 10 November 1903 in Stockholm.[97]
TheThird Symphony is a good-natured, triumphal, and deceptively simple-sounding piece. The symphony's first performance was given by the Helsinki Philharmonic Society, conducted by the composer, on 25 September 1907. There are themes from Finnish folk music in the work's early chords. Composed just after his move to Ainola, it contrasts sharply with the first two symphonies, with its clear mode of expression developing into the marching tones of the finale.[86][98]
HisFourth Symphony was premiered in Helsinki on 3 April 1911 by the Philharmonia Society, with Sibelius conducting. It was written while Sibelius was undergoing a series of operations to remove a tumour from his throat. Its grimness can perhaps be explained as a reaction from his (temporary) decision to give up drinking. The opening bars, with cellos, basses and bassoons, convey a new approach to timing. It then develops into melancholic sketches based on the composer's setting of Poe'sThe Raven. The waning finale is perhaps a premonition of the silence Sibelius would experience twenty years later. In contrast to the usual assertive finales of the times, the work ends simply with a "leaden thud".[86]
TheSymphony No. 5 was premiered in Helsinki to great acclaim by Sibelius himself on 8 December 1915, his 50th birthday. The version most commonly performed today is the final revision, consisting of three movements, presented in 1919. The Fifth is Sibelius's only symphony in a major key throughout. From its soft opening played by the horns, the work develops into rotational repetitions of its various themes with considerable transformations, building up to the trumpeted swan hymn in the final movement.[86][99]
While the Fifth had already started to veer away from the sonata form, theSixth, conducted by the composer at its premiere in February 1923, is even further removed from the traditional norms. Tawaststjerna comments that "the [finale's] structure follows no familiar pattern".[100] Composed in theDorian mode, it draws on some of the themes developed while Sibelius was working on the Fifth as well as from material intended for a lyrical violin concerto. Now taking a purified approach, Sibelius sought to offer "spring water" rather than cocktails, making use of lighter flutes and strings rather than the heavy brass of the Fifth.[101]
TheSymphony No. 7 in C major was his last published symphony. Completed in 1924, it is notable for having only one movement. It has been described as "completely original in form, subtle in its handling oftempi, individual in its treatment ofkey and wholly organic in growth".[102] It has also been called "Sibelius's most remarkable compositional achievement".[103] Initially titledFantasia sinfonica, it was first performed in Stockholm in March 1924, conducted by Sibelius. It was based on an adagio movement he had sketched almost ten years earlier. While the strings dominate, there is also a distinctive trombone theme.[104]
After the seven symphonies and the violin concerto, Sibelius's thirteen symphonic poems are his most important works for orchestra and, along with the tone poems of Richard Strauss, represent some of the most important contributions to the genre since Franz Liszt. As a group, the symphonic poems span the entirety of Sibelius's artistic career (the first was composed in 1892, while the last appeared in 1926), display the composer's fascination with nature and Finnish mythology (particularly theKalevala), and provide a comprehensive portrait of his stylistic maturation over time.[105]
Sibelius at his home, Ainola, playing the piano (1930)
En saga (meaning "A Fairy Tale" in Swedish) was first presented in February 1893 with Sibelius conducting. The single-movement tone poem was possibly inspired by the Icelandic mythological workEdda although Sibelius simply described it as "an expression of [his] state of mind". Beginning with a dreamy theme from the strings, it evolves into the tones of the woodwinds, then the horns and the violas, demonstrating Sibelius's ability to handle an orchestra.[106] The composer's first significant orchestral piece, it was revised in 1902 when Ferruccio Busoni invited Sibelius to conduct his work in Berlin. Its successful reception encouraged him to write to Aino: "I have been acknowledged as an accomplished 'artist'".[107]
The Wood Nymph, a single-movement tone poem for orchestra, was written in 1894. Premiered in April 1895 in Helsinki with Sibelius conducting, it is inspired by the Swedish poetViktor Rydberg's work of the same name. Organizationally, it consists of four informal sections, each corresponding to one of the poem's four stanzas and evoking the mood of a particular episode: first, heroic vigour; second, frenetic activity; third, sensual love; and fourth, inconsolable grief. Despite the music's beauty, many critics have faulted Sibelius for his "over-reliance" on the source material's narrative structure.[108][109]
TheLemminkäinen Suite was composed in the early 1890s. Originally conceived as a mythological opera,Veneen luominen (The Building of the Boat), on a scale matching those byRichard Wagner, Sibelius later changed his musical goals and the work became an orchestral piece in four movements. The suite is based on the character Lemminkäinen from the Finnish national epic, theKalevala. It can also be considered a collection ofsymphonic poems. The second/third section,The Swan of Tuonela, is often heard separately.[110]
Finlandia, probably the best known of all Sibelius's works, is a highly patriotic piece first performed in November 1899 as one of the tableaux for the Finnish Press Celebrations. It had its public premiere in revised form in July 1900.[45] The current title only emerged later, first for the piano version, then in 1901 when Kajanus conducted the orchestral version under the nameFinlandia. Although Sibelius insisted it was primarily an orchestral piece, it became a world favourite for choirs too, especially for the hymn episode. Finally the composer consented and in 1937 and 1940 agreed to words for the hymn, first for the Freemasons and later for more general use.[111]
The Oceanides is a single-movement tone poem for orchestra written in 1913–14. The piece, which refers to thenymphs inGreek mythology who inhabited theMediterranean Sea, premiered on 4 June 1914 at the Norfolk Music Festival in Connecticut with Sibelius himself conducting. The work (inD major), praised upon its premiere as "the finest evocation of the sea ever produced in music",[112] consists of two subjects Sibelius gradually develops in three informal stages: first, a placid ocean; second, a gathering storm; and third, a thunderous wave-crash climax. As the tempest subsides, a final chord sounds, symbolizing the mighty power and limitless expanse of the sea.[113]
Tapiola, Sibelius's last major orchestral work, was commissioned byWalter Damrosch for theNew York Philharmonic Society where it was premiered on 26 December 1926. It is inspired byTapio, a forest spirit from theKalevala. To quote the American criticAlex Ross, it "turned out to be Sibelius's most severe and concentrated musical statement."[86] Even more emphatically, the composer and biographerCecil Gray asserts: "Even if Sibelius had written nothing else, this one work would entitle him to a place among the greatest masters of all time."[114]
TheKarelia Music, one of the composer's earlier works, written for the Vyborg Students' Association, was first performed on 13 November 1893 to a noisy audience. The "Suite" emerged from a concert on 23 November consisting of the overture and the three movements, which were published as theKarelia Overture, Op. 10, and theKarelia Suite, Op. 11. It remains one of Sibelius's most popular pieces.[115]
Valse triste is a short orchestral work that was originally part of the incidental music Sibelius composed for his brother-in-law Arvid Järnefelt's 1903 playKuolema (Death). It is now far better known as a separate concert piece. Sibelius wrote six pieces for the 2 December 1903 production ofKuolema. The waltz accompanied a sequence in which a woman rises from her deathbed to dance with ghosts. In 1904, Sibelius revised the piece for a performance in Helsinki on 25 April where it was presented asValse triste. An instant success, it took on a life of its own, and remains one of Sibelius's signature pieces.[49][116]
TheViolin Concerto in D minor was first performed on 8 February 1904 with Victor Nováček as soloist. As Sibelius had barely completed the piece in time for the premiere, Nováček had insufficient time to prepare, with the result that the performance was a disaster. After substantial revisions, a new version was premiered on 19 October 1905 with Richard Strauss conducting theBerlin Court Orchestra. WithKarel Halíř, the orchestra's leader, as soloist it was a tremendous success.[117] The piece has become increasingly popular and is now the most frequently recorded of all the violin concertos composed in the 20th century.[118]
Kullervo, one of Sibelius's early works, is sometimes referred to as a choral symphony but is better described as a suite of five symphonic movements resembling tone poems.[119] Based on the characterKullervo from theKalevala, it was premiered on 28 April 1892 withEmmy Achté andAbraham Ojanperä as soloists and Sibelius conducting the chorus and orchestra of the recently founded Helsinki Orchestra Society. Although the work was only performed five times during the composer's lifetime, since the 1990s it has become increasingly popular both for live performances and recordings.[120]
WhenFreemasonry in Finland was revived, having been forbidden under the Russian reign, Sibelius was one of the founding members of Suomi Lodge No. 1 in 1922 and later became the Grand Organist of the Grand Lodge of Finland. He composed the ritual music used in Finland (Op. 113) in 1927 and added two new pieces composed in 1946. The new revision of the ritual music of 1948 is one of his last works.[121]Sibelius loved nature, and the Finnish landscape often served as material for his music. He once said of his Sixth Symphony, "[It] always reminds me of the scent of the first snow." The forests surrounding Ainola are often said to have inspired his composition ofTapiola. On the subject of Sibelius's ties to nature, his biographer, Tawaststjerna, wrote:
Even by Nordic standards, Sibelius responded with exceptional intensity to the moods of nature and the changes in the seasons: he scanned the skies with his binoculars for the geese flying over the lake ice, listened to the screech of the cranes, and heard the cries of the curlew echo over the marshy grounds just below Ainola. He savoured the spring blossoms every bit as much as he did autumnal scents and colours.[122]
Leevi Madetoja, Sibelius's most notable pupil and, as a critic, a defender of his works
The composer and academicElliott Schwartz wrote (1964), "It may be said with truth thatVaughan Williams, Sibelius andProkofieff are the symphonists of this century".[123] Indeed, Sibelius exerted considerable influence on symphonic composers and musical life. His impact is perhaps the greatest in English-speaking and Nordic countries. The Finnish symphonistLeevi Madetoja was a pupil of Sibelius (for more on their relationship, seeRelationship with Sibelius). In Britain,Ralph Vaughan Williams andArnold Bax both dedicated their fifth symphonies to Sibelius. Vaughan Williams said of him "You have lit a candle in the world of music that will never go out."[124] Furthermore,Tapiola is prominently echoed in both Bax'sSixth Symphony andErnest John Moeran'sSymphony in G minor.[125][126] The influence of Sibelius's compositional procedures is also strongly felt in theFirst Symphony ofWilliam Walton.[127] When these and several other major British symphonic essays were being written in and around the 1930s, Sibelius's music was very much in vogue, with conductors Thomas Beecham andJohn Barbirolli championing its cause both in the concert hall and on record. Walton's composer friendConstant Lambert even asserted that Sibelius was "the first great composer since Beethoven whose mind thinks naturally in terms of symphonic form".[128] Earlier,Granville Bantock had championed Sibelius. The esteem was mutual: Sibelius dedicated his Third Symphony to the English composer, and in 1946 he became the first President of the Bantock Society. More recently, Sibelius was also one of the composers championed byRobert Simpson.Malcolm Arnold acknowledged his influence, andArthur Butterworth also saw Sibelius's music as a source of inspiration in his work.Third Symphony ofPeter Maxwell Davies[129] was heavily influenced by Sibelius[130] andThomas Adès even named his 2022 orchestral workAir – Homage to Sibelius. New Zealand's most accomplished 20th century composer,Douglas Lilburn, has written of the inspiration he derived from Sibelius's work, particularly from his earlier compositions.[131]
Some of Sibelius's musical ideas have been seen as foreshadowingminimalism. This is perhaps best exemplified by some of histone poems, such as the repetitive rhythmic patterns and gradual development of musical ideas inNightride and Sunrise,[132]The Bard andLuonnotar.[133] The British conductor Thomas Kemp has suggested that Sibelius might be, in fact, viewed as a proto-minimalist.[133] Among contemporary minimalists composers his influence can be heard, among others, inArvo Pärt,[133]John Adams[134] andPhilip Glass. Adams in particular has a strong affinity towards Sibelius, citing him as a substantial influence on his compositional style. Notably, Sibelius's Seventh Symphony provided a model for the ultimate form of Adams'sDoctor Atomic Symphony.[135] Among Glass's compositions, his operaThe Voyage has been described as having a particularly Sibelian quality.[136]
Eugene Ormandy and his predecessor at the Philadelphia OrchestraLeopold Stokowski, were instrumental in bringing Sibelius's music to American audiences by frequently programming his works; the former developed a friendly relationship with Sibelius throughout his life. Later in life, Sibelius was championed by the American criticOlin Downes, who wrote a biography of the composer.[137]
In 1938Theodor Adorno wrote a critical essay, notoriously charging that "If Sibelius is good, this invalidates the standards of musical quality that have persisted fromBach toSchoenberg: the richness of inter-connectedness, articulation, unity in diversity, the 'multi-faceted' in 'the one'."[138] Adorno sent his essay toVirgil Thomson, then music critic of theNew York Herald Tribune, who was also critical of Sibelius. Thomson, while agreeing with the essay's sentiment, declared to Adorno that "the tone of it [was] more apt to create antagonism toward [Adorno] than toward Sibelius".[70] Later, the composer, theorist and conductorRené Leibowitz went so far as to describe Sibelius as "the worst composer in the world" in the title of a 1955 pamphlet.[139]
Perhaps one reason why Sibelius has attracted both praise and ire from critics is that, in each of his seven symphonies, he approached the challenges of form, tonality, and architecture in unique, individual ways. On the one hand, his symphonic (and tonal) creativity was novel, while others thought that music should be taking a different route.[140] Sibelius's response to criticism was dismissive: "Pay no attention to what critics say. No statue has ever been put up to a critic."[86]
Star on theMusik Meile (Music Mile) in Vienna
In the later decades of the twentieth century, Sibelius came to be seen more favourably. Many influential 20th and 21st-century composers, includingMorton Feldman,Gerard Grisey, andMagnus Lindberg, have expressed high regard for his compositions. The American composer Jonathan Blumhofer has said: "The visionary aspects of Sibelius’ music, particularly the tight unity of musical elements and his singular way with large-scale forms, have helped ensure him that rarest of gifts given popular composers: a measure of academic respectability."[132]Milan Kundera said the composer's approach was that of "antimodern modernism", standing outside “the status quo of perpetual progress”.[70] Similarly, the philosopherSlavoj Žižek contrasts Sibelius to the "modernist" approach ofSchoenberg and the "post-modernist" one ofStravinsky; for Žižek, Sibelius represents the alternative of "persistent traditionalism", of continuing in the inherited tradition but with artistic integrity, not as a "phony conservative".[141] In 1990, the composerThea Musgrave was commissioned by the Helsinki Philharmonic Orchestra to write a piece in honour of the 125th anniversary of Sibelius's birth:Song of the Enchanter premiered on 14 February 1991.[142] In 1984, the American avant-garde composerMorton Feldman gave a lecture inDarmstadt, Germany, wherein he stated that "the people you think are radicals might really be conservatives – the people you think are conservatives might really be radical", whereupon he began to hum Sibelius's Fifth Symphony.[70]
Writing in 1996, thePulitzer Prize-winning music criticTim Page stated, "There are two things to be said straightaway about Sibelius. First, he is terribly uneven (much of his chamber music, a lot of his songs and most of his piano music might have been churned out by a second-rate salon composer from the 19th century on an off afternoon). Second, at his very best, he is often weird."[143] PianistLeif Ove Andsnes offers a counterweight to Page's assessment of Sibelius's piano music. Acknowledging that this body of work is uneven in quality, Andsnes believes that the common critical dismissal is unwarranted. In performing selected piano works, Andsnes finds that audiences were "astonished that there could be a major composer out there with such beautiful, accessible music that people don't know".[144]
For the 150th anniversary of Sibelius's birth, the Helsinki Music Centre planned a daily illustrated and narrated "Sibelius Finland Experience Show" during the summer of 2015, also planned to extend into 2016 and 2017.[145] On 8 December, the Helsinki Philharmonic Orchestra conducted byJohn Storgårds planned a commemorative concert featuringEn Saga,Luonnotar and the Seventh Symphony.[146]
The Sibelius Park (Sibeliuksenpuisto) inKotka, Finland
In 1972, Sibelius's surviving daughters soldAinola to the Finnish state. TheMinistry of Education and theSibelius Society of Finland opened it as a museum in 1974.[75] Sibelius has been memorialized by art, stamps, and currency; the Finnish 100mark bill featured his image until 2002 when the euro was adopted.[4] Since 2011, Finland has celebrated a flag flying day on 8 December, the composer's birthday, also known as the "Day of Finnish Music".[5] The year 2015, the 150th anniversary of the composer's birth, featured a number of special concerts and events, especially in the city of Helsinki.[6]
Sibelius kept a diary from 1909 to 1944, and his family allowed it to be published, unabridged, in 2005. The diary was edited byFabian Dahlström [fi;sv] and published in the Swedish language in 2005.[149] To celebrate the 150th anniversary of the composer, the entire diary was also published in the Finnish language in 2015.[150] Several volumes of Sibelius's correspondence have also been edited and published in Swedish, Finnish and English.
The legacy of Sibelius is celebrated through an array of statues, monuments, parks, and similar honours. Among the most well known is theSibelius Monument, a renowned piece of sculpture in its own right, located in the capital of Finland, Helsinki. It is surrounded by the eponymous park, which is among the most visited sites by sightseers visiting the city.
The scorewriter programSibelius is named after him.[151]
Parts of the literary estate of Sibelius—correspondence and manuscripts—are preserved at theNational Archives of Finland andNational Library of Finland, but several items are in foreign private collections, even as investments, only partially accessible for scholars.
In 1970, a lot of 50 music manuscript items was acquired by the National Library with aid from the government of Finland, banks and foundations.[152] Sibelius's personal music archive was donated to the National Library in 1982 by the heirs of the composer.[153]
Another lot of 50 items was procured in 1997, with aid from theMinistry of Education.[154] In 2018, the Italian-Finnish collector and benefactor Rolando Pieraccini donated a collection of Sibelius's letters and other materials to theNational Museum of Finland.[155] On the other hand, in 2016 the manuscript ofPohjola's Daughter was sold to an anonymous buyer for 290,000 euros, and it is no longer available to scholars.[154]
In early 2020, the current owner of theRobert Lienau collection offered for sale 1,200 pages of manuscripts, including the scores ofVoces intimae,Joutsikki, andPelléas and Mélisande, and the material was not available to scholars during negotiations. The original price tag was said to be over one million euros for the lot as a whole.[156] At the end of the year, the National Library was able to acquire this collection with aid from foundations and donors. The final price was "considerably below one million euros."[157]
Nowadays, it is not legally possible to export Sibelius's manuscripts from Finland without permission, and, according toHufvudstadsbladet, such permission would probably not be given.[154]
^Tawaststjerna (1997, p. 15): only in the 1990s was it discovered that Sibelius's original first names (at christening) wereJohan Christian Julius; he himself used the orderJohan Julius Christian, and that is present in most sources.
^"Sibelius, Jean (1865–1957)".kansallisbiografia.fi. Retrieved31 December 2023.In the First as well as in the Second Symphony (1902), some people have admittedly been quick to point out indications of the national independence struggle as well. During the period of oppressive russification, Sibelius and his music quite naturally became a symbol of national ferment. Sibelius had nothing against this, and in 1899 he composed both the Atenarnes sång ('Song of the Athenians') and the programme piece later christened Finlandia.
^Lenti, Vincent A. (2004).For the Enrichment of Community Life : George Eastman and the Founding of the Eastman School of Music. Rochester, New York: Meliora Press. p. 53.ISBN9781580461993.
^Sibelius, Jean (2005). Fabian Dahlström (ed.).Dagbok 1909–1944 (in Swedish). Helsingfors: Svenska litteratursällskapet i Finland.ISBN978-951-583-125-5.
^Sibelius, Jean (2015). Fabian Dahlström (ed.).Päiväkirja 1909–1944 (in Finnish). Helsinki: Svenska litteratursällskapet i Finland.ISBN978-951-583-288-7.
^Rothman, Philip (23 June 2015)."An interview with Ben Finn, co-founder of Sibelius [Part 1 of 2]". scoringnotes.com. Archived fromthe original on 9 November 2018. Retrieved31 January 2020.We decided to call it "Sibelius" for reasons we can no longer remember, but it was almost certainly because [composer Jean] Sibelius was a "Finn"—a play on our surname
Adorno, Theodor (1938). "Törne, B. de, Sibelius; A Close Up".Zeitschrift für Sozialforschung.7:460–463.doi:10.5840/zfs19387336. Later reprinted as "Glosse über Sibelius". Cited and translated inJackson 2001, p. xviii
Sadie, Julie Anne (2005).Calling on the Composer: A Guide to European Composer Houses and Museums. New Haven: Yale University Press.ISBN978-0-300-10750-0.
Schaarwächter, Jürgen[in German] (2015).Two Centuries of British Symphonism: From the beginnings to 1945. A preliminary survey. Vol. 1. With a foreword by Lewis Foreman. Georg Olms Verlag.ISBN978-3-487-15227-1.
Sirén, Vesa (October 2011a). "Is this the sound of Sibelius' lost Eighth Symphony?".Helsingin Sanomat.
Woodstra, Chris (2005).All Music Guide to Classical Music: The Definitive Guide to Classical Music.Backbeat Books. pp. 1279–1282.ISBN978-0-87930-865-0.
de Gorog, Lisa (1989).From Sibelius to Sallinen: Finnish Nationalism and the Music of Finland. With the collaboration of Ralph de Gorog. New York: Greenwood Press.ISBN0-313-26740-5.
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