In terms of the nature mysticism present in the works of Sibelius' final period, one commentator finds that the finale suggests “a kind of elemental archetype: a natural cycle rising to a peak. Sibelius himself once remarked that it "always reminds me of the scent of the first snow". Allegro molto (in Dorian mode on D-ends in Aeolian mode on D)Īfter the premiere, the symphony was described in the press as "a poem within the framework of a symphony". Allegretto moderato (in Dorian mode on G).Allegro molto moderato (in Dorian mode on D).Performed by the Berlin Philharmonic under Herbert von Karajan The work is scored for 2 flutes, 2 oboes, 2 clarinets, bass clarinet, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, harp, timpani and strings. The symphony was dedicated to his Swedish musical advocate, the composer and conductor Wilhelm Stenhammar. He conducted the premiere on 19 February of that year. By January 1923 his diary notes the final completion of the first three movements of the Sixth. The last three symphonies by Sibelius abandon traditional development and are more a matter of structured emotional urges in the words of a 1912 diary entry, "I intend to let the musical thoughts and their development determine their own form in my soul." This was echoed in his interview in the Svenska Dagbladet after a performance of the Sixth in Stockholm in March 1923: "I do not think of a symphony only as music in this or that number of bars, but rather as an expression of a spiritual creed, a phase in one's inner life." Although the symphony was completed only in 1923, musical ideas incorporated into it were being developed in his notebooks from 1914 onward, at the same time as he was also working on his Fifth Symphony by 1918 it was taking more definite form, when he was working on the Seventh as well.
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