Jean Sibelius: Perbedaan antara revisi

 

 

 

 

 

== Family and personal life==

 

Jean Sibelius married [[Aino Sibelius|Aino Järnefelt]] (1871-1969) at [[Maxmo]] on [[June 10]], [[1892]]. Jean and Aino Sibelius's home [[Ainola]] was completed at [[Lake Tuusula]], [[Järvenpää]] in [[1903]], where they lived for the rest of their long lives. They had six daughters: Eva, Ruth, Kirsti (who died at a very young age), Katarine, Margaret and Heidi.

In [[1972]] Sibelius's surviving daughters sold Ainola to the State of [[Finland]]. The [[Government of Finland#Ministry of Education|Ministry of Education]] and the [[Sibelius Society]] opened it as a museum in [[1974]].

 

 

 

Sibelius was part of a wave of composers who accepted the norms of late [[19th century]] composition. Like many of his contemporaries, he did appreciate [[Richard Wagner|Wagner]], but only for a time, ultimately choosing a different musical path. Thinking that opera would be the bulk of his career, Sibelius began by studying the scores of Wagner's operas ''[[Tannhäuser (opera)|Tannhäuser]]'', ''[[Lohengrin (opera)|Lohengrin]]'', and ''[[Die Walküre]]''. He then departed for the [[Bayreuth Festival]], where he additionally heard ''[[Parsifal]]'', which had quite an effect on him. He wrote to his wife shortly thereafter, "Nothing in the world has made such an impression on me, it moves the very strings of my heart." Sibelius then began work on an opera entitled ''[[Veneen luominen]]'' (''The Building of the Boat'').

This was in stark contrast to the symphonic style of [[Gustav Mahler|Mahler]]. While both appreciated the economy of variation, Mahler's style was much more disjunct, contrasting themes abruptly instead of shaping them slowly into something different. Sibelius related one account of a conversation with him: "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 a world. It must embrace everything.'" However, he did garner Mahler's respect, and they did share some common musical ground.

 

 

Like Mahler, Sibelius made frequent use of national or folk music and literature to inform his compositions. The [[Symphony No. 2 (Sibelius)|Second symphony]]'s slow movement was sketched from the motive of the statue in ''[[Don Giovanni]]'' sneaking by moonlight, while the stark [[Symphony No. 4 (Sibelius)|Fourth symphony]] combines work for a planned "Mountain" symphony with a tone poem based on [[Edgar Allan Poe]]'s ''[[The Raven (Edgar Allen Poe)|The Raven]]''. He also wrote several tone poems based on Finnish poetry, beginning with the early ''[[En Saga]]'' and culminating in the late tone poem ''[[Tapiola (Sibelius)|Tapiola]]'' ([[1926]]), his last major composition.

Yet Sibelius's melodies often have very powerful [[Musical mode|modal]] implications. Like his contemporary, the Danish composer [[Carl Nielsen]], he studied Renaissance [[polyphony]]. Also, he made use of the inherent qualities in Fenno-Karelian folk melodies. This accounts for much of the melodic and harmonic "feel" of his music. He often varied his movements in a piece by changing the note values of melodies, rather than the conventional change of [[Tempo|tempi]]. He would often draw out one melody over a number of notes, while playing a different melody in shorter rhythm. For example, his [[Symphony No. 7 (Sibelius)|Seventh symphony]] is comprised of four movements without pause, where every important theme is in C major or C minor; the variation comes from the time and rhythm. His harmonic language was often restrained, even iconoclastic, compared to many of his contemporaries who were already experimenting with musical Modernism. As reported in the ''[[Manchester Guardian]]'' newspaper in [[1958]], Sibelius summed up the style of his later works by saying that while many other composers were engaged in the manufacture of [[cocktail]]s for the audience and public, he offered them pure cold water.

 

 

Over time, he sought to use new [[Chord (music)|chord]] patterns, including naked [[tritone]]s (for example in the [[Symphony No. 4 (Sibelius)|Fourth symphony]]), and bare melodic structures to build long movements of music, in a manner similar to [[Joseph Haydn]]'s use of built-in [[Consonance and dissonance|dissonance]]s. Sibelius would often alternate melodic sections with blaring [[Brass instrument|brass]] chords that would swell and fade away, or he would underpin his music with repeating figures which push against the melody and counter-melody.

 

==Trivia==

 

*The [[Sibelius notation program]] was apparently named after Sibelius because the inventors' surname was "Finn", though they claim they cannot remember the reason.

 

 

== Karya-karya terpilih ==

 

=== Karya-karya untuk orkestra ===

* ''[[Kullervo (Sibelius)|Kullervo]]'', Simfoni untuk soprano, bariton, paduan suara dan orkestra Op.7 (1892)

* ''[[En Saga]]'', Puisi Nada untuk orkestra Op.9 (1892)

* ''[[Finlandia (puisi simfoni)|Finlandia]]'' untuk orkestra dan paduan suara (opsional) Op.26 (1899)

* ''Snöfrid'' untuk resitasi, paduan suara dan orkestra Op.29 (1899)

* [[Simfoni No. 1 (Sibelius)|Simfoni no. 1 dalam E minor]] untuk orkestra Op.39 (1899/1900)

* [[Simfoni No. 2 (Sibelius)|Simfoni no. 2 dalam D mayor]] untuk orkestra Op.43 (1902)

 

=== Karya-karya lain ===

* [[Viisi joululaulua (Sibelius)|''Viisi joululaulua'', Op. 1]], lima lagu [[Natal]] (1895–1913)

* ''[[Voces intimae]]'', Op.56, [[kuartet petik]] ([[1909]])

 

== Pranala luar ==

* [http://www.helsinki.fi/kasv/nokol/sibelius.html Sibelius link collection]

* [http://www.abo.fi/fak/hf/musik/Sibelius/EN/ Sibelius biography]

* [http://www.sibelius.fi/ Sibelius page]

 

* [http://www.fimic.fi/fimic/fimic.nsf/mainframe?readform&1DDBA19BB49FE11E42256BD000351FCD ''Contemporary Music''] on the Finnish Music Information Centre

* Minnesota Orkestra's showcase concert magazine, May 06, page 44

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