Jean Sibelius

This article is about the Finnish composer. For otheruses, see Sibelius (disambiguation).Jean Sibelius (/sbelis, -beljs/;[1] Swedish pro-

Sibelius in 1913

nunciation ; born Johan Julius Christian Sibelius; 8December 1865 20 September 1957) was a Finnishcomposer of the late Romantic period. His music playedan important role in the formation of the Finnish nationalidentity.The core of Sibelius oeuvre is his set of sevensymphonies. Like Beethoven, Sibelius used each succes-sive work to further develop his own personal compo-sitional style. His works continue to be performed fre-quently in the concert hall and are often recorded.In addition to the symphonies, Sibelius best-known com-positions include Finlandia, the Karelia Suite, Valse triste,the Violin Concerto in D minor, Kullervo, and TheSwan of Tuonela (one of the four movements of theLemminkinen Suite). Other works include pieces in-spired by the Finnish national epic, the Kalevala; over 100songs for voice and piano; incidental music for 13 plays;the opera Jungfrun i tornet (The Maiden in the Tower);chamber music; piano music; Masonic ritual music;[2]

and 21 separate publications of choral music.Sibelius composed prolically until the mid-1920s.However, after completing his Seventh Symphony(1924), the incidental music to The Tempest (1926), andthe tone poem Tapiola (1926), he produced no large scaleworks for the remaining thirty years of his life. Althoughhe is reputed to have stopped composing, he in fact at-tempted to continue writing, including abortive eorts tocompose an eighth symphony. He wrote some Masonicmusic and re-edited some earlier works during this lastperiod of his life, and retained an active interest in newdevelopments in music, although he did not always viewmodern music favorably.The Finnish 100 mark bill featured his image until itwas taken out of circulation in 2002 when the euro wasadopted as a cash currency.[3] Since 2011, Finland hascelebrated a Flag Day on 8 December, the composersbirthday, also known as the 'Day of Finnish Music'.[4]

1 Early lifeSibelius was born in Hmeenlinna in Grand Duchy ofFinland in the Russian Empire, the son of Swedish-speaking doctor Christian Gustaf Sibelius and MariaCharlotta Sibelius ne Borg. As a boy he was nicknamedJanne, as is common in Finland. However, during hisstudent years, he began preferring the French form Jean,inspired by the business card of his seafaring uncle.[5] Hetherefore became known as Jean Sibelius.Sibelius younger brother Christian Sibelius (18691922), MD, university professor and head of LapinlahtiAsylum, was a psychiatrist and founder of modern psy-chiatry in Finland.The rapid rise of Romantic Nationalism in Europe wasinspired by the philosophy of Hegel and had a profoundeect on educational systems in Europe. The gradualdemise of Latin was accompanied by opportunities tostudy more native languages. In Finland this meant ei-ther Finnish or Swedish, which became part of the syl-labus, from elementary school up to university. YoungJanne Sibelius went to the Finnish-speakingHmeenlinnaNormal-Lycee secondary school which he attended from1876 to 1885, but his rst language was Swedish. Ro-mantic Nationalism was to become a crucial element inSibelius artistic output and his political leanings. Fromaround the age of 15, he set his heart on becoming a greatviolin virtuoso, and he did become quite an accomplished

1

2 3 MARRIAGE AND FAMILY

11-year-old Sibelius in 1876

player of the instrument, even publicly performing the lasttwo movements of the Mendelssohns Violin Concerto inHelsinki.

2 StudiesAfter Sibelius graduated from high school in 1885, he be-gan to study law at the Imperial Alexander University inFinland (from 1919 the University of Helsinki). How-ever, he was more interested in music than in law, andhe soon quit his studies. From 1885 to 1889 Sibeliusstudied music in the Helsinki Music Institute (now theSibelius Academy). One of his teachers there was thefounder Martin Wegelius. Sibelius continued studying inBerlin (from 1889 to 1890 with Albert Becker) and inVienna (from 1890 to 1891 with Karl Goldmark). It wasaround this time that he nally abandoned his cherishedviolin playing aspirations: It was a very painful awaken-

Sibelius in 1889

ing when I had to admit that I had begun my training forthe exacting career of a virtuoso too late.According to Sibelius biographer Erik Tawaststjerna, hewas an enthusiastic Wagnerian at the beginning of the1890s but then began to feel disgust for his music, callingit pompous and vulgar.

3 Marriage and family

On 10 June 1892, Jean Sibelius married Aino Jrnefelt(18711969) at Maxmo. Their home, called Ainola, wascompleted at Lake Tuusula, Jrvenp, in 1903. Theyhad six daughters: Eva, Ruth, Kirsti (who died at avery young age from typhoid),[6] Katarina, Margareta andHeidi. Eva married an industrial heir Arvi Paloheimo andlater herself became the CEO of the Paloheimo Corpo-ration. Ruth Snellman was a prominent actress, KatarinaIlves the wife of a banker, and Heidi Blomstedt a de-signer, her husband Aulis Blomstedt being an architect.Margareta married the conductor Jussi Jalas, previouslyBlomstedt, Aulis Blomstedts brother.In 1907, Sibelius underwent a serious operation for sus-pected throat cancer. The impact of this brush with deathhas been said to have inspired works that he composed inthe following years, including Luonnotar and the FourthSymphony.[7]

3Sibelius in 1891

4 Life abroad and travels

Blue plaque, 15 Gloucester Walk, Kensington, London, his homein 1909

Sibelius spent long periods abroad studying in Vienna andBerlin 18891891 and 19001901 with family in Italy.He composed, conducted and socialized actively in Scan-dinavian countries, the UK, France and Germany. In1914 he was the composer of the year at the NorfolkMusic Festival in Connecticut, USA, premiering his sym-

phonic poem The Oceanides commissioned by the mil-lionaire Carl Stoeckel.[8]

5 Activity in Freemasonry

Sibelius in 1923

When freemasonry was revived in Finland, having beenforbidden during the Russian sovereignty, Sibelius wasone of the founding members of Suomi Lodge Nr 1 in1922 and later the Grand Organist of the Grand Lodge ofFinland. He composed the ritual music used in Finland(op 113) in 1927 and added two new pieces composed1946. The new revision of the ritual music of 1948 isone of his last works.[9]

6 NatureSibelius loved nature, and the Finnish landscape oftenserved as material for his music. He once said of hisSixth Symphony, "[It] always reminds me of the scent ofthe rst snow. The forests surrounding Ainola are oftensaid to have inspired his composition of Tapiola. On thesubject of Sibelius ties to nature, one biographer of thecomposer, Erik W. Tawaststjerna, wrote the following:

"Even by Nordic standards, Sibelius re-sponded with exceptional intensity to the moodsof nature and the changes in the seasons: hescanned the skies with his binoculars for the

4 8 LAST YEARS

geese ying over the lake ice, listened to thescreech of the cranes, and heard the cries ofthe curlew echo over the marshy grounds justbelow Ainola. He savoured the spring blossomsevery bit as much as he did autumnal scents andcolours".[10]

7 Later works

The year 1926 saw a sharp and lasting decline in Sibeliusoutput: after his Seventh Symphony he only produced afew major works in the rest of his life. Arguably the twomost signicant were incidental music for ShakespearesThe Tempest and the tone poem Tapiola.[11] For most ofthe last thirty years of his life, Sibelius even avoided talk-ing about his music publicly.There is substantial evidence that Sibelius worked on aneighth symphony. He promised the premiere of this sym-phony to Serge Koussevitzky in 1931 and 1932, and aLondon performance in 1933 under Basil Cameron waseven advertised to the public. However, the only con-crete evidence for the symphonys existence on paperare a 1933 bill for a fair copy of the rst movementand short draft fragments rst published and played in2011.[12][13][14][15] Sibelius had always been quite self-critical; he remarked to his close friends, If I cannotwrite a better symphony than my Seventh, then it shallbe my last. Since no manuscript survives, sources con-sider it likely that Sibelius destroyed most traces of thescore, probably in 1945, during which year he certainlyconsigned a great many papers to the ames.[16] His wifeAino recalled,

In the 1940s there was a great auto da fat Ainola. My husband collected a number ofthe manuscripts in a laundry basket and burnedthem on the open re in the dining room. Partsof the Karelia Suite were destroyed I latersaw remains of the pages which had been tornout and many other things. I did not havethe strength to be present and left the room. Itherefore do not know what he threw on to there. But after this my husband became calmerand gradually lighter in mood.[17]

On 1 January 1939, Sibelius participated in an interna-tional radio broadcast which included the composer con-ducting his Andante Festivo. The performance was pre-served on transcription discs and later issued on CD. Thisis probably the only surviving example of Sibelius inter-preting his own music.[18]

Sibelius in 1939

8 Last yearsSince 1903 Sibelius had lived in the countryside, butfrom 19391944 Jean and Aino again held a residencein Helsinki. After the war he came to the city only a cou-ple of times. The so-called Silence of Ainola appearsa myth, knowing that in addition to countless ocial vis-itors and visiting colleagues also his grandchildren andgreat grandchildren spent their holidays in Ainola.Sibelius avoided public statements about other com-posers, but Erik W. Tawaststjerna and Sibelius secretarySanteri Levas have documented his private conversationsin which he considered Bartk and Shostakovich the mosttalented composers of the younger generations. In the1950s he actively promoted the young Finnish composerEinojuhani Rautavaara.His 90th birthday, in 1955, was widely celebrated andboth the Philadelphia Orchestra under Eugene Ormandyand the Royal Philharmonic Orchestra under Sir ThomasBeecham gave special performances of his music in Fin-land. The orchestras and their conductors also metthe composer at his home; a series of memorable pho-tographs were taken to commemorate the occasions.Both Columbia Records and EMI released some of thepictures with albums of Sibelius music. Beecham washonored by the Finnish government for his eorts to pro-mote Sibelius both in the United Kingdom and in theUnited States.ErikW. Tawaststjerna also related an endearing anecdoteregarding Sibelius death:

[He] was returning from his customarymorning walk. Exhilarated, he told his wifeAino that he had seen a ock of cranes ap-proaching. There they come, the birds of my

5youth, he exclaimed. Suddenly, one of thebirds broke away from the formation and cir-cled once above Ainola. It then rejoined theock to continue its journey.

Two days afterwards Sibelius died of abrain hemorrhage, at age 91 (on 20 September1957), in Ainola, where he is buried in the gar-den. Another well-known Finnish composer,Heino Kaski, died that same day. Aino livedthere for the next twelve years until she died on8 June 1969; she is buried with her husband.

9 HeritageIn 1972, Sibelius surviving daughters sold Ainola to theState of Finland. The Ministry of Education and theSibelius Society of Finland opened it as a museum in1974.

10 Musical styleLike many of his contemporaries, Sibelius was initiallyenamored of the music of Wagner. A performance ofParsifal at the Bayreuth Festival had a strong eect onhim, inspiring him to write to his wife shortly thereafter,Nothing in the world has made such an impression onme, it moves the very strings of my heart. He studied thescores of Wagners operas Tannhuser, Lohengrin, andDie Walkre intently. With this music in mind, Sibeliusbegan work on an opera of his own, entitled Veneen lu-ominen (The Building of the Boat). However, his ap-preciation for Wagner waned and Sibelius ultimately re-jected Wagners Leitmotif compositional technique, con-sidering it to be too deliberate and calculated. Departingfrom opera, he later used the musical material from theincomplete Veneen luominen in his Lemminkinen Suite(1893). He did, however, compose a considerable num-ber of songs for voice and piano, whose early interpretersincluded Aino Ackt and particularly Ida Ekman.More lasting inuences included Ferruccio Bu-soni, Anton Bruckner and Tchaikovsky. Hints ofTchaikovskys music are particularly evident in workssuch as Sibelius First Symphony (1899) and his ViolinConcerto (1905).[19] Similarities to Bruckner are moststrongly felt in the 'unmixed' timbral palette and sombrebrass chorales of Sibelius orchestration, a fondness forpedal points, and in the underlying slow pace of themusic.Sibelius progressively stripped away formal markers ofsonata form in his work and, instead of contrasting multi-ple themes, he focused on the idea of continuously evolv-ing cells and fragments culminating in a grand statement.His later works are remarkable for their sense of unbro-ken development, progressing by means of thematic per-

mutations and derivations. The completeness and organicfeel of this synthesis has prompted some to suggest thatSibelius began his works with a nished statement andworked backwards, although analyses showing these pre-dominantly three- and four-note cells and melodic frag-ments as they are developed and expanded into the largerthemes eectively prove the opposite.[20]

Portrait of Sibelius from 1894 by his brother-in-law Eero Jrne-felt

This self-contained structure stood in stark contrast tothe symphonic style of Gustav Mahler, Sibelius primaryrival[11] in symphonic composition. While thematic vari-ation played a major role in the works of both composers,Mahlers style made use of disjunct, abruptly changingand contrasting themes, while Sibelius sought to slowlytransform thematic elements. In November 1907 Mahlerundertook a conducting tour of Finland, and the two com-posers had occasion to go have a lengthy bath together.Sibelius later reported that during the bath:

I said that I admired [the symphonys]severity of style and the profound logic that cre-ated an inner connection between all the mo-tifs... Mahlers opinion was just the reverse.'No, a symphony must be like the world. Itmust embrace everything.'[21]

However, the two rivals did nd common ground in theirmusic. Like Mahler, Sibelius made frequent use bothof folk music and of literature in the composition ofhis works. The Second Symphony's slow movement wassketched from the motif of Il Commendatore in Don Gio-vanni, while the stark Fourth Symphony combined workfor a planned Mountain symphony with a tone poembased on Edgar Allan Poe's "The Raven". Sibelius alsowrote several tone poems based on Finnish poetry, be-

6 11 RECEPTION

ginning with the early En Saga and culminating in the lateTapiola (1926), his last major composition.Over time, he sought to use new chord patterns, includ-ing naked tritones (for example in the Fourth Symphony),and bare melodic structures to build long movements ofmusic, in a manner similar to Joseph Haydn's use of built-in dissonances. Sibelius would often alternate melodicsections with noble brass chords that would swell and fadeaway, or he would underpin his music with repeating g-ures which push against the melody and counter-melody.Sibelius melodies often feature powerful modal impli-cations: for example much of the Sixth Symphony is inthe (modern) Dorian mode. Sibelius studied Renaissancepolyphony, as did his contemporary, the Danish com-poser Carl Nielsen, and Sibelius music often reects theinuence of this early music. He often varied his move-ments in a piece by changing the note values of melodies,rather than the conventional change of tempi. He wouldoften draw out one melody over a number of notes, whileplaying a dierent melody in shorter rhythm. For ex-ample, his Seventh Symphony comprises four originallysketched movements fused into telescopical and partlyparallel functions without pause, where every importanttheme is in C major or C minor; the variation comesfrom the time and rhythm. His harmonic language wasoften restrained, even iconoclastic, compared to many ofhis contemporaries who were already experimenting withmusical Modernism. As reported by Neville Cardus inthe Manchester Guardian newspaper in 1958:

Sibelius justied the austerity of his oldage by saying that while other composers wereengaged in manufacturing cocktails he oeredthe public pure cold water.[22]

11 ReceptionSibelius exerted considerable inuence on symphoniccomposers and musical life, at least in English-speakingand Nordic countries. The Finnish symphonist LeeviMadetoja was a pupil of Sibelius. In Britain, VaughanWilliams and Arnold Bax both dedicated their fth sym-phonies to Sibelius. Furthermore, Tapiola is prominentlyechoed in both Baxs Sixth Symphony and MoeransSymphony in GMinor. The inuence of Sibelius compo-sitional procedures is also strongly felt in the First Sym-phony of William Walton.[23] When these and severalother major British symphonic essays were being writtenin and around the 1930s, Sibelius music was very muchin vogue, with conductors like Beecham and Barbirollichampioning its cause both in the concert hall and onrecord. Waltons composer friend Constant Lambert evenclaimed that Sibelius was the rst great composer sinceBeethoven whose mind thinks naturally in terms of sym-phonic form.[24] Earlier, Granville Bantock had cham-pioned Sibelius (the esteem was mutual: Sibelius dedi-

cated his Third Symphony to the English composer, andin 1946 he became the rst President of the BantockSociety). More recently, Sibelius was also one of thecomposers championed by Robert Simpson. MalcolmArnold acknowledged his inuence, and Arthur Butter-worth also saw Sibelius music as a source of inspirationin his work.[25]

Eugene Ormandy and to a lesser extent, his predeces-sor Leopold Stokowski, were instrumental in bringingSibelius music to American audiences by programminghis works often; the former developed a friendly relation-ship with Sibelius throughout his life. Later in life he waschampioned by critic Olin Downes, who wrote a biogra-phy of the composer.[26]

In 1938 Theodor Adorno wrote a critical essay about thecomposer, notoriously charging that If Sibelius is good,this invalidates the standards of musical quality that havepersisted from Bach to Schoenberg: the richness of inter-connectedness, articulation, unity in diversity, the 'multi-faceted' in 'the one'.[27] Adorno sent his essay to VirgilThomson, then music critic of the New York Herald Tri-bune, who was also critical of Sibelius; Thomson, whileagreeing with the essays sentiment, declared to Adornothat the tone of it [was]more apt to create antagonism to-ward [Adorno] than toward Sibelius.[17] Later, the com-poser, theorist and conductor Ren Leibowitz went sofar as to describe Sibelius as the worst composer in theworld in the title of a 1955 pamphlet.[28]

Perhaps one reason Sibelius has attracted both the praiseand the ire of critics is that in each of his seven sym-phonies he approached the basic problems of form, tonal-ity, and architecture in unique, individual ways. On theone hand, his symphonic (and tonal) creativity was novel,but others thought that music should be taking a dier-ent route. Sibelius response to criticism was dismissive:Pay no attention to what critics say. No statue has everbeen put up to a critic.

Sibelius birthplace in Hmeenlinna

In the latter decades of the twentieth century, Sibeliusbegan to be re-assessed more favourably: Milan Kunderadubbed the composers approach to be that of antimod-

12.1 Orchestral works 7

ern modernism, standing outside the perpetual progres-sion of the status quo.[17] In 1990, the composer TheaMusgrave was commissioned by the Helsinki Philhar-monic Orchestra to write a piece in honour of the 125thanniversary of Sibelius birth: Song of the Enchanter waspremiered on 14 February 1991.[29] In 1984, Americanavant-garde composer Morton Feldman gave a lecture inDarmstadt, Germany, wherein he stated that the peo-ple you think are radicals might really be conservatives the people you think are conservatives might reallybe radical, whereupon he began to hum Sibelius FifthSymphony.[17]

Sibelius has fallen in and out of fashion, but remains oneof themost popular 20th century symphonists, both in theconcert hall and on record. Sibelius had spent much timeproducing protable chamber music for home use, salonmusic, occasional works for the stage and other incidentalmusic, all of which has now been systematically recordedon BIS Records' complete Sibelius Edition. This majoreditorial project to record every note Sibelius left us alsoencompasses surviving sketches and early versions of themajor works.Jean Sibelius celebrates 150th Anniversary in 2015. TheHelsinki Music Centre produces an illustrated and nar-rated Sibelius Finland Experience show every day dur-ing summer 2015. The production runs also in 2016 and2017 at least.

12 Selected worksMain article: List of compositions by Jean Sibelius

These are ordered chronologically; the date is the date ofcomposition rather than publication or rst performance.

12.1 Orchestral works Kullervo, Symphonic Poem for soprano, baritone,chorus and orchestra, Op. 7 (1892)

En Saga, Tone Poem for orchestra, Op. 9(1892/1902)

Karelia Overture for orchestra, Op. 10 (1893) Karelia Suite for orchestra, Op. 11 (1893) Rakastava (The Lover) for male voices and stringsor strings and percussion, Op. 14 (1893/1911)

Lemminkinen Suite (Four Legends from theKalevala) for orchestra, Op. 22 (1893) theselegends, which include The Swan of Tuonela, areoften performed separately

Skogsret (The Wood Nymph), Tone Poem for or-chestra, Op. 15 (1894)

Vrsng (The Spring Song) for orchestra, Op. 16(1894)

Kung Kristian II (King Christian II), Suite from theincidental music for orchestra, Op. 27 (1898)

Sandels, Improvisation for chorus and orchestra, Op.28 (1898)

Finlandia for orchestra and optional chorus, Op. 26(1899)

Snfrid (The Beloved Beauty) for reciter, chorus andorchestra, Op. 29 (1899)

Tulen Synty (The Origin of Fire), Op. 32 (1902) Symphony No. 1 in E minor for orchestra, Op. 39(1899/1900)

Symphony No. 2 in D major for orchestra, Op. 43(1902)

Violin Concerto in D minor, Op. 47 (1903/1905) Kuolema (The Death) (Valse triste and Scene with

Cranes) for orchestra, Op. 44 (1904/06)

Dance Intermezzo for orchestra, Op. 45/2 (1904/07) Pellas et Mlisande, Incidental music/Suite for or-chestra, Op. 46 (1905)

Pohjolan tytr (Pohjolas Daughter), Tone Poem fororchestra, Op. 49 (1906)

Symphony No. 3 in C major for orchestra, Op. 52(1907)

Svanevit (Swan-white), Suite from the incidentalmusic for orchestra, Op. 54 (1908)

Nightride and Sunrise, Tone Poem for orchestra, Op.55 (1909)

Dryadi (The Dryad) for orchestra, Op. 45/1 (1910) Two Pieces from Kuolema for orchestra, Op. 62(1911)

Symphony No. 4 in A minor for orchestra, Op. 63(1911)

Scnes Historiques, Suite No. 2, Op. 66 (1912) Two Serenades for violin and orchestra, Op. 69(1912)

Barden (The Bard), Tone Poem for orchestra andharp, Op. 64 (1913/14)

Luonnotar (Spirit of Nature, Mother Earth), TonePoem for soprano and orchestra, Op. 70 (1913)

Aallottaret (The Oceanides), Tone Poem for orches-tra, Op. 73 (1914)

8 14 REFERENCES

Impromptu, Op. 78 (1915)

Symphony No. 5 in E-at major for orchestra, Op.82 (1915, revised 1916 and 1919)

OmaMaa (My Own Land) for chorus and orchestra,Op. 92 (1918)

Jordens sng (Song of the Earth) for chorus and or-chestra, Op. 93 (1919)

Valse Lyrique, Op. 96 (1920)

Symphony No. 6 in D minor for orchestra, Op. 104(1923)

Symphony No. 7 in C major for orchestra, Op. 105(1924)

The Tempest, Incidental music for soloists, chorusand orchestra, Op. 109 (1925)

Vinn virsi (Vin's Hymn) for chorus and orches-tra, Op. 110 (1926)

Tapiola, Tone Poem for orchestra, Op. 112 (1926)

Andante Festivo (for string quartet 1922; string or-chestra and timpani 1938)

Suite for violin and strings, Op 117

12.2 Other works

Viisi joululaulua, (Five Christmas Songs) Op. 1, solosongs (18971913)

Seven Songs, Op. 17, with lyrics by J. L. Runeberg,K. A. Tavaststjerna, Oscar Levertin, A.V. Forsman(Koskimies, Finnish surname), and Ilmari Calam-nius (Kianto, Finnish surname). Composed between1891 and 1904.

Incidental music to Hjalmar Procop's playBelshazzars Feast, Op. 51 (1906)

Voces intimae, Op. 56, string quartet (1909)

Jger March (Jkrimarssi), for male chorus andsymphony orchestra, Op. 91a (1915)

13 See also

International Jean Sibelius Violin Competition

Sibelius Monument

14 References[1] Sibelius. Random House Websters Unabridged Dictio-

nary.

[2] Brother Sibelius. Retrieved 16 October 2011.

[3] Setelit.com. Setelit.com. Retrieved 30 January 2012.

[4] Ministry of Interior-Days the Finnish ag is own.

[5] Ekman 1972, p. 11.

[6] Classical Destinations: An Armchair Guide to ClassicalMusic. Amadeus Press. 2006. p. 87. ISBN 1-57467-158-8.

[7] All Music Guide to Classical Music: The DenitiveGuide to Classical Music. Backbeat Books. 2005. pp.12791282. ISBN 0-87930-865-6.

[8] Jean Sibelius and His World. Princeton University Press.2011. p. 162. ISBN 978-0-691-15280-6.

[9] Music for Freemasonry

[10] Tawaststjerna, volume II, p. 21.

[11] Leon Botstein (14 August 2011). The TransformativeParadoxes of Jean Sibelius. The Chronicle of Higher Ed-ucation. Retrieved 21 January 2014.

[12] Kari Kilpelinen. Sibelius Eight. What happened to it?".Finnish Music Quarterly 4/1995.

[13] Vesa Sirn, Is this the sound of Sibelius lost Eighth Sym-phony?" Helsingin Sanomat, October 2011.

[14] Vesa Sirn (2011-10-30). Soiko HS.:n videollaSibeliuksen kadonnut sinfonia?". Helsingin Sanomat. Re-trieved 2015-01-11.

[15] David Patrick Stearns (2012-01-03). One last Sibeliussymphony after all?". Philadelphia Inquirer. Retrieved2015-01-11.

[16] The war and the destruction of the eighth symphony19391945. Sibelius..

[17] Ross, Alex (2009) [2007]. 5. The Rest Is Noise: Listen-ing to the Twentieth Century (3rd ed.). Harper Perennial.ISBN 978-1-84115-476-3.

[18] INKPOT CLASSICAL MUSIC REVIEWS: SIBELIUSKarelia Suite. Luonnotar. Andante Festivo. TheOceanides. King Christian II Suite. Finlandia. Gothen-burg SO/Jrvi (DG)". Inkpot.com. Retrieved 30 January2012.

[19] Tawaststjerna, volume I, p. 209.

[20] Pike

[21] Burnett-James, p. 41.

[22] Burnett-James, p. 94.

[23] Freed, William (1995). William Walton, Symphony No.1 in B-at minor [1968 version], Program note. Retrieved29 June 2011.

9[24] In: Lambert, Constant (1934). Music Ho!. Retrieved 26June 2011.

[25] Walker, Lynne (2008). King Arthur. Classical Mu-sic/MusicWeb International. Retrieved 1 July 2011.

[26] Glenda Dawn Goss. Jean Sibelius and Olin Downes: Mu-sic, friendship, criticism.

[27] Adorno, Theodor (1938). Trne, B. de, Sibelius; AClose Up. Zeitschrift fr Sozialforschung 7: 460463.Later reprinted as Glosse ber Sibelius. Cited and trans-lated in Jackson, Timothy L. (2001). Preface. In Jack-son, Timothy L.; Murtomki, Veijo. Sibelius Studies.Cambridge University Press. xviii. ISBN 0-521-62416-9.

[28] Leibowitz, Ren (1955). Sibelius, le plus mauvais com-positeur du monde. Lige, Belgium: ditions Dynamo.OCLC 28594116.

[29] Song of the Enchanter, Thea Musgrave.

15 Sources Burnett-James, David (1989). Sibelius. OmnibusPress. ISBN 0-7119-1683-7.

Ekman, Karl (1972). Jean Sibelius, his Life and Per-sonality. Greenwood Press. ISBN 0-8371-6027-8.

Pike, Lionel (1978). Beethoven, Sibelius and 'theProfound Logic': Studies in Symphonic Analysis.Athlone Press. ISBN 0-485-11178-0.

Tawaststjerna, Erik (1976). Sibelius. VolumeI. University of California Press. ISBN 978-0520030145. Volume II. University of CaliforniaPress. ISBN 978-0520058699.

16 Further reading Ekman, Karl. Jean Sibelius, His Life and Person-ality. New York, Tudor Publishing Co., 1945.

Levas, Santeri. Sibelius: a personal portrait. Lon-don, Dent, 1972. ISBN 0-460-03978-4.

de Gorog, Lisa (with the collaboration of Ralph deGorog) From Sibelius to Sallinen: Finnish Nation-alism and theMusic of Finland. New York, Green-wood Press, 1989.

Layton, Robert. Sibelius. New York: SchirmerBooks, 1993. Master Musicians Series. ISBN 0-02-871322-2.

Rickards, Guy. Jean Sibelius. London and NewYork, Phaidon Press, 1997. ISBN 978-0-7148-4776-4.

Goss, Glenda Jean Sibelius: Guide to Research. NewYork: Garland Press, 1998. ISBN 0-8153-1171-0

Goss, Glenda Dawn Sibelius: A Composers Life andthe Awakening of Finland. Chicago: University ofChicago Press, 2009. ISBN 978-0-226-30477-9

Tomi Mkel: Poesie in der Luft. Jean Sibelius,Studien zu Leben undWerk. Wiesbaden, Breitkopf& Hrtel, 2007. 978-3-7651-0363-6

Barnett, Andrew. Sibelius. New Haven and Lon-don: Yale University Press, 2007. ISBN 978-0-300-11159-0

Tomi Mkel: Jean Sibelius. Woodbridge andRochester, Boydell, 2011* Minnesota Orchestrasshowcase concert magazine, 6 May, page 44

Morgan, Robert P. (1991) [1990]. Other EuropeanCurrents. The Norton Introduction to Music His-tory: Twentieth-Century Music (1st ed.). New York:W. W. Norton & Company. pp. 121123. ISBN0-393-95272-X.

Goss, Glenda Sibelius: A Composers Life and theAwakening of Finland. Chicago and London: TheUniversity of Chicago Press, 2009. ISBN 0-226-30477-9

Antonin Servire, Jean Sibelius Le style dansl'oeuvre symphonique, Editions Delatour France,2011, 324 p., ISBN 978-2752100924

17 External links Jean Sibelius the website (English) The Sibelius Society of Finland Fennica Gehrmans Sibelius page (publisher) Films on Jean Sibelius by director Christopher Nu-pen

Jean Sibelius Museum Finlandia by Jean Sibelius, thisisFINLAND Ainola The home of Aino and Jean Sibelius Sibelius material in the BBC Radio 3 archives Jean Sibelius link collection Free scores by Jean Sibelius at the International Mu-sic Score Library Project

Works by or about Jean Sibelius in libraries(WorldCat catalog)

Jean Sibelius discography at MusicBrainz Eugene Ormandy Jean Sibelius: A Reminiscence Musical Finland in Brussels

10 17 EXTERNAL LINKS

Free scores by Jean Sibelius in the Choral PublicDomain Library (ChoralWiki)

Veijo Murtomki, Sibelius, Jean (18651957). Na-tional Biography of Finland, online collection.16.9.1997. Finnish Literature Society.

List of compositions at AllMusic Jean Sibelius at the Notable Names Database Jean Sibelius at Find a Grave

11

18 Text and image sources, contributors, and licenses18.1 Text Jean Sibelius Source: http://en.wikipedia.org/wiki/Jean%20Sibelius?oldid=660050817 Contributors: Kpjas, Mav, Deb, SteveDay, Si-

monP, Heron, Camembert, D, Paul Barlow, Alan Peakall, Llywrch, Menchi, Mic, Timberline, TUF-KAT, Den fjttrade ankan~enwiki,, Cimon Avaro, Ruhrjung, Johan Magnus, Conti, Norwikian, Nedward, Bemoeial, Magnus.de, Will, Gestumblindi, Hyacinth,Tuomas, Dmetric, JonathanDP81, Opus33, Raul654, Dazissimo, UninvitedCompany, PuzzletChung, Robbot, Pigsonthewing, Altenmann,Timrollpickering, Hadal, JackofOz, Bbx, MikeCapone, Thule, Stirling Newberry, DocWatson42, Shleep, Huopa, Bnn, Curps, Quadell,Antandrus, Enzino, Marcus2, Fanghong~enwiki, Kate, D6, Apalsola, Discospinster, Bo Lindbergh, Mwng, RJHall, Bill Thayer, Bobo192,Wipe, Viriditas, Schissel, Chino, Guaca, Ed Halter, Velella, Max rspct, SidP, Suruena, Grenavitar, Vuo, Deadworm222, Alai, Drbreznjev,HGB, Smedley Hirkum, Tom.k, Roland2~enwiki, Philthecow, Sterio, Mikko H., TarmoK, Youngamerican, Graham87, Kbdank71, JIP, , Missmarple, BlueMoonlet, TBHecht, FlaBot, RobertG, CalJW, KFP, Malhonen, Gareth E Kegg, King of Hearts,Chobot, Sbrools, Flcelloguy, Melodia, YurikBot, CodeGeneratR, RobotE, Jhbeck23, Mhare40, God of Goalkeepers, DE, Gaius Cornelius,Gillis, Ches88, Cleared as led, Mysid, Bota47, Iconoclastodon, Zargulon, Contaldo80, Andrewski, Jonathan.s.kt, SmackBot, Stephensulee-man, Antidote, Gilliam, Jdfoote, Macdu, Mirokado, JCSantos, Tomi Ahti, Timneu22, Ehelling, Scwlong, Can't sleep, clown will eat me,Denisamadeus, Writtenright, MDCollins, Kingoftonga86, Grover cleveland, Hoof Hearted, StN, Ohconfucius, Snowgrouse, SashatoBot,Serein (renamed because of SUL), SecretTheatre, Murph78, Axem Titanium, Euchiasmus, Zapptastic, JHunterJ, Gwenlloyd, Neddysea-goon, Arctic-Editor, Dontworry, Jetman, Wspencer11, CmdrObot, Zarex, Pmyteh, Erik Kennedy, Metzenberg, Neelix, Keithh, Cydebot,Pinoy Pride, Languagehat, Firehurtsrealbad112, Bryan P. C. C., Thijs!bot, Epbr123, Biruitorul, Opheicus, Theniemi, Edwardx, John254,Basun, Folantin, K. Lastochka, Dr. Friendly, OrenBochman, Northumbrian, Escarbot, A.G. Pinkwater, Kmblacksquare, Dr. Blofeld,Geheimdienst, JAnDbot, Dsp13, Avaya1, Matthew Fennell, BK, Midnightdreary, Bahar, Rothorpe, 1g, Johnwoods, Avicennasis, Cgin-gold, Eldumpo, Mokgamen, Mschel, Kostisl, CommonsDelinker, PapalAuthoritah, Lontano, Numbo3, Oradej, Uncle Dick, MistyMorn,Kurkikohtaus, Century0, Sallyrob, DJRafe, DadaNeem, Robertgreer, Prhartcom, KylieTastic, STBotD, Idioma-bot, Sparklism, Hsalmela,Aletucker, AlnoktaBOT, Sjones23, Martinevans123, TXiKiBoT, A4bot, Rei-bot, Nrswanson, Clarince63, Dwhdwh, Tomaxer, Spin-ningspark, Dick Shane, Movedgood, Cosprings, SieBot, Cymi, Dlslider, Nedeme, Avnjay, Android Mouse Bot 3, Alex.muller, OKBot,Maelgwnbot, Addaick, Budhen, Nikuda, ClueBot, All Hallows Wraith, Muddyb, Parkjunwung, Auntof6, Nickforster, LisaFin, Destern,Sun Creator, BOTarate, MelonBot, Stoljaro1987, J Hazard, Addbot, Some jerk on the Internet, Fyrael, Htm, Axilera, Mentisock, LinkFA-Bot, Wholetone, F Notebook, Lightbot, Luckas-bot, Yobot, Backfromquadrangle, Gongshow, MinorProphet, AnomieBOT, Sonia, Vi-vacissimamente, Citation bot, Bob Burkhardt, Cliftonian, Xqbot, , Karljoos, Almabot, GrouchoBot, Omnipaedista, Amaury,FrescoBot, Nepomuk 3, D'ohBot, Rigaudon, OgreBot, Citation bot 1, Unohtunutosoite, Jonesey95, Gwafton, Jauhienij, TobeBot, Ptj tsub-asa, Lotje, Mishae, Sirkablaam, Biograakeskus, SKS, DARTH SIDIOUS 2, Jfmantis, Ripchip Bot, WikitanvirBot, Qdiderot, Immunize,J8thompson, BrieCeleste, 4meter4, MURIEL43, Poulie, Midas02, L0ngpar1sh, , Donner60, Grashazk, New york art editor, WillBeback Auto, ClueBot NG, Frietjes, Braincricket, Shrekn, Helpful Pixie Bot, BG19bot, Joe Kaniini, Rconmaster, Maxellus, Ballardleslie, ROFI44WIK, Yekshemesh, Pancho1331, Le Lapin Vert, Remaldi, SD5bot, Im2sick, SLONGLOVER, Jiikele, Dexbot, CorinneSD,FredericParis, Lekoren, ListMyCDs, BethNaught, Sgvrfjs, SoSivr, Producer Vesa Ruotonen and Anonymous: 248

18.2 Images File:Commons-logo.svg Source: http://upload.wikimedia.org/wikipedia/en/4/4a/Commons-logo.svg License: ? Contributors: ? Original

artist: ? File:Hameenlinna_Sibelius_House_1.jpg Source: http://upload.wikimedia.org/wikipedia/commons/0/03/Hameenlinna_Sibelius_

House_1.jpg License: CC BY 2.5 Contributors: Self-published work by Balcer Original artist: Balcer File:Jean_Sibelius_15_Gloucester_Walk_blue_plaque.jpg Source: http://upload.wikimedia.org/wikipedia/commons/7/76/Jean_

Sibelius_15_Gloucester_Walk_blue_plaque.jpg License: CC BY-SA 4.0 Contributors: Own work Original artist: Edwardx File:Jean_Sibelius_1923.gif Source: http://upload.wikimedia.org/wikipedia/commons/d/d6/Jean_Sibelius_1923.gif License: Public do-

main Contributors: The last masterpieces 1920-1927 Original artist: Unknown File:Jean_Sibelius_1939.jpg Source: http://upload.wikimedia.org/wikipedia/commons/0/0d/Jean_Sibelius_1939.jpg License: Public

domain Contributors: Transferred from en.wikipedia to Commons. Original artist: The original uploader was -Majestic- at EnglishWikipedia

File:Jean_sibelius.jpg Source: http://upload.wikimedia.org/wikipedia/commons/a/aa/Jean_sibelius.jpg License: Public domain Contrib-utors: What We Hear in Music, Anne S. Faulkner, Victor Talking Machine Co., 1913. Original artist: ?

File:Loudspeaker.svg Source: http://upload.wikimedia.org/wikipedia/commons/8/8a/Loudspeaker.svg License: Public domain Contrib-utors: New version of Image:Loudspeaker.png, by AzaToth and compressed by Hautala Original artist: Nethac DIU, waves corrected byZoid

File:Sibelius_1891.jpg Source: http://upload.wikimedia.org/wikipedia/commons/2/22/Sibelius_1891.jpg License: Public domain Con-tributors: Studies in Vienna 1890-1891 Original artist: Unknown

File:Sibelius_portrait_1892_by_Eero_Jaernefelt.jpg Source: http://upload.wikimedia.org/wikipedia/commons/6/6a/Sibelius_portrait_1892_by_Eero_Jaernefelt.jpg License: Public domain Contributors: Original uploader was Flcelloguy at en.wikipedia - no sourcegiven there Original artist: Eero Jrnefelt

File:Siblius_1889-90.gif Source: http://upload.wikimedia.org/wikipedia/commons/1/1a/Sib%C3%A9lius_1889-90.gif License: Publicdomain Contributors: ? Original artist: ?

File:Siblius_as_a_schoolboy.jpg Source: http://upload.wikimedia.org/wikipedia/commons/9/9c/Sib%C3%A9lius_as_a_schoolboy.jpg License: Public domain Contributors: http://www.sibelius.fi/svenska/elamankaari/index.htmlhttp://www.sibelius.fi/kuvituskuvat/080803/janne_147_senttia.jpg Original artist: Unknown

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12 18 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

18.3 Content license Creative Commons Attribution-Share Alike 3.0

Early lifeStudiesMarriage and familyLife abroad and travelsActivity in FreemasonryNatureLater worksLast yearsHeritageMusical styleReceptionSelected worksOrchestral worksOther works

See alsoReferencesSourcesFurther readingExternal linksText and image sources, contributors, and licensesTextImagesContent license