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Symphony No.7 in C major - Jean Sibelius
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Minnesota Symphony Orchestra conducted by Osmo Vänskä.
I - Adagio - Un pochettino meno adagio - Poco a poco affrettando il tempo I - Vivacissimo - Adagio - Allegro molto moderato - Allegro moderato - Vivace - Presto - Poco a poco rallentando al adagio - Largamente - Affettuoso - Tempo I: 0:00
Sibelius' Symphony No.7 was composed between 1918-24, while he was revising the fifth and working on the sixth. It was originally conceived as a three-movement piece, but following the integrative current observed in his last works, he condensed it in a single movement. It was premiered on March 24 of 1924, performed by the Stockholm Concert Society conducted by the composer. It was presented under the title of "Fantasia Sinfonica", before being finally labelled as his seventh symphony.
The piece was modestly received initially, but with the time it has grown to be appreciated by critics and public alike, now being firmly anchored into the classical repertoire. It was one of Sibelius' final masterpieces. Many composers found in Sibelius' structural innovations a blank canvas to infuse new life into the genre of the symphony; one-movement symphonies by Dmitri Shostakovich, Einar Englund, Roy Harris, Havergal Brian, Roberto Gerhard, to just name a few, are indebted to Sibelius one way or another.
The symphony can be divided into five sections; an adagio, a scherzo, a rondo and a return to the opening adagio. It begins with timpani blows, followed by a rising C major scale on strings, bringing with it tinges of both the doom-laden and the ecstatic. A key motif is also announced quietly on the flute and repeated on the clarinet. Violas and cellos then present a lyrical main theme in form of a chorale, which grows more expressive and noble, culminating in an expansive climax. A majestic trombone theme will reappear through the work as a unifying element, labelled "Aino" in sketches, after the composer's wife. The tempo gradually increases in a long sequential passage exploring several tonalities, leading us to the scherzo section.
The scherzo-like section begins almost seamlessly, evolving subtly out of the Adagio's closing material. Soon the tempo is ratcheted up to vivacissimo, with fast staccato chords traded between the strings and woodwind. The music turns stormy in mood with ominous ascending and descending scales on the strings, while the "Aino" theme is heard again in the brass. The rondo section begins with a pastoral, Apollonian dance, which can without warning break out with Dionysian fury and passion. The rhythmic figure from the vivacissimo returns, spitting and flaring, leading us on to the vivace section, a brief recapitulation of the vivacissimo Scherzo. The "Aino" theme majestically reappears, leading us to the recapitulation of the opening adagio. Echoes of the previous themes and motives dominate the final coda, ending with a hymn-like C major chord.
Picture: Photograph of Jean Sibelius taken in 1949.
I - Adagio - Un pochettino meno adagio - Poco a poco affrettando il tempo I - Vivacissimo - Adagio - Allegro molto moderato - Allegro moderato - Vivace - Presto - Poco a poco rallentando al adagio - Largamente - Affettuoso - Tempo I: 0:00
Sibelius' Symphony No.7 was composed between 1918-24, while he was revising the fifth and working on the sixth. It was originally conceived as a three-movement piece, but following the integrative current observed in his last works, he condensed it in a single movement. It was premiered on March 24 of 1924, performed by the Stockholm Concert Society conducted by the composer. It was presented under the title of "Fantasia Sinfonica", before being finally labelled as his seventh symphony.
The piece was modestly received initially, but with the time it has grown to be appreciated by critics and public alike, now being firmly anchored into the classical repertoire. It was one of Sibelius' final masterpieces. Many composers found in Sibelius' structural innovations a blank canvas to infuse new life into the genre of the symphony; one-movement symphonies by Dmitri Shostakovich, Einar Englund, Roy Harris, Havergal Brian, Roberto Gerhard, to just name a few, are indebted to Sibelius one way or another.
The symphony can be divided into five sections; an adagio, a scherzo, a rondo and a return to the opening adagio. It begins with timpani blows, followed by a rising C major scale on strings, bringing with it tinges of both the doom-laden and the ecstatic. A key motif is also announced quietly on the flute and repeated on the clarinet. Violas and cellos then present a lyrical main theme in form of a chorale, which grows more expressive and noble, culminating in an expansive climax. A majestic trombone theme will reappear through the work as a unifying element, labelled "Aino" in sketches, after the composer's wife. The tempo gradually increases in a long sequential passage exploring several tonalities, leading us to the scherzo section.
The scherzo-like section begins almost seamlessly, evolving subtly out of the Adagio's closing material. Soon the tempo is ratcheted up to vivacissimo, with fast staccato chords traded between the strings and woodwind. The music turns stormy in mood with ominous ascending and descending scales on the strings, while the "Aino" theme is heard again in the brass. The rondo section begins with a pastoral, Apollonian dance, which can without warning break out with Dionysian fury and passion. The rhythmic figure from the vivacissimo returns, spitting and flaring, leading us on to the vivace section, a brief recapitulation of the vivacissimo Scherzo. The "Aino" theme majestically reappears, leading us to the recapitulation of the opening adagio. Echoes of the previous themes and motives dominate the final coda, ending with a hymn-like C major chord.
Picture: Photograph of Jean Sibelius taken in 1949.
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