I. Andante ma non troppo; allegro energico
II. Andante ma non troppo lento
III. Allegro
IV. Finale (quasi una fantasia): andante; allegro molto
There is a marked difference between the mood and the orchestral
expression of this First symphony and those of the composer’s Fifth and
Seventh. Sibelius was not young in years when he wrote the First—he was
thirty-four—but this symphony was the work of one musically young. It is
seldom that a first symphony rests on firm foundations architectonically
planned, logically continuous in flow of musical thought, as is the
First symphony of Brahms, who had written much chamber music before he
ventured into the symphonic field.
The musical thoughts of a symphonic composer meditating his first work
of long breath are many; they are often yeasty in their exuberance.
There is not yet in the joy of composing the ability to eliminate. There
is so much to say; all of it is thought important, essential.
Yet this exuberance when it expresses itself in a fantastical manner is
not displeasing. Better wild irregularity, barbaric force than the smug
aping of orthodox and approved predecessors. In the first symphony he
did not escape the influence of Tchaikovsky, an influence shown
particularly in the second movement. But the voice of Sibelius himself
speaks in no uncertain tones: a virile voice that has new things to say;
is not ashamed of screaming outbursts, sudden contrasts; not a whining
egoist, not a despairing pessimist; a strong soul not disturbed by the
sensuous charm of woman.
And so this symphony is more than conventionally interesting. It is
dramatic, as if Sibelius had had a drama in his mind, perhaps one of his
own life. The music is free, outspoken. It is without fear of the
learned professor at the conservatory. One might say of the symphony,
one hears this music and is in the mighty presence of a man.
* * *
The First symphony was composed in 1899 and published in 1902. The first
performance was at Helsingfors on April 26, 1899. The symphony was
played in Berlin at a concert of Finnish music, led by Robert Kajanus,
in July, 1900.
I. Introduction: _andante ma non troppo_, E minor, 2-2. Over a drum roll
that rises and falls in intensity a clarinet sings a mournful melody,
which is of much importance in the _finale_ of the symphony.
The first violins, after the short introduction, give out the first
theme with imitative passages for violas and violoncellos, _allegro
energico_, E minor, 6-4. There are two subsidiary motives: one for wind
instruments, and one, derived from this last, for strings. A _crescendo_
leads to a climax, with the proclamation of the first chief theme by
full orchestra with a furious drum roll. The second and contrasting
chief motive is given to the flutes, _piano ma marcato_, against
tremulous violins and violas and delicate harp chords. The conclusion of
this theme is developed and given to the flutes with syncopated rhythm
for the strings. The pace is quickened, and there is a _crescendo_,
which ends in B minor. The free fantasia is of a passionate nature with
passages that suggest mystery; heavy chords for wind instruments are
bound together with chromatic figures for the strings; wood-wind
instruments shriek out cries with the interval of a fourth; cries that
are taken from one in the introduction; the final section of the second
theme is sung by two violins with strange figures for the strings,
_pianissimo_, and with rhythms taken from the second chief theme. These
rhythms in the course of a powerful _crescendo_ dominate at last. The
first chief theme endeavors to assert itself, but it is lost in
descending chromatic figures. Again there is a _crescendo_, and the
strings have the second subsidiary theme, which is developed until the
wild entrance of the first chief motive. The orchestra rages until,
after a great outburst and with clash of cymbals, a diminuendo leads to
gentle echoes of the conclusion of the second theme. Now the second
theme tries to enter, but without the harp chords that first accompanied
it. Rhythms that are derived from it lead to defiant blasts of the brass
instruments. The movement ends in this mood.