The Oceanides - Knowledge (XXG)

1185: 1147: 1632:, Nils-Eric Ringbom warns that the comparison with Debussy should not be taken too far. Whereas in Debussy's works "there is seldom anything that grows thematically or undergoes development" (instead, Debussy marvels the listener with "his mastery in rendering dreamy, passive moods and fleeting, restrained emotions"), Sibelius places "too much weight on the logical development of his musical ideas to let ... them flicker out in the empty nothingness of thematic instability"; in other words, he insists that "atmospheric background swallow neither action nor structure". Sibelius's impressionism is thus "far more ... active" than Debussy's. 868:. Believing himself duty-bound to premiere a "major work" in Sweden, such as a symphony, Sibelius—to Stenhammar's chagrin—delayed each scheduled trip. He withdrew from planned concerts for March 1914, writing to Stenhammar, "My conscience forces me to this. But when I have some new works ready next year, as I hope, it would give me great joy to perform them in Gothenburg". New arrangements were made for February 1915, but these, too, Sibelius canceled in December 1914. In the end, the indefatigable Stenhammar prevailed and new concerts were set for March 1915 ("I see yet again your great sympathy for my music. I shall come".). 1564: 1640:

romanticism", the impressionistic character of its texture, harmonic vocabulary, and rhythmic patterns notwithstanding. Hurwitz has likewise criticized the "roaring cataract of nonsense in the Sibelius literature" about the influence of the French impressionists on the composer. "Similar musical problems often produce similar solutions", Hurwitz notes. "In this case, any symphonic portrait of the ocean is bound to rely more on texture and color than on vocal melody, for the simple reason that the ocean is not a person and does not sing ... nor does it lend itself to ...

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and probably the calmest man in the whole hall was the composer himself; he bowed repeatedly with that distinction of manner which was so typical of him ... As calm as Sibelius had appeared on the stage, after his part was over he came up stairs and sank into a chair in one of the dressing rooms and was very much overcome. Some people declared that he wept. Personally I do not think that he did, but there were tears in his eyes as he shook our hands and thanked us for what he was pleased to call the "honor we had done him".

493: 1378: 809: 1508:. Tawaststjerna notes Sibelius's success at characterizing the sea: the "playful flutes" that bring the oceanides to life but which feel "alien" in the landscape's vastness; the "powerful swell" of wind and water conveyed by oboe and clarinet over undulating strings and harp glissandi; the sustained wind chord symbolizing the "limitless expanse of the sea"; and, the "mighty climax" of the storm, the final wave crash which "always exceeds one's expectations". The Finnish composer 591: 692: 53: 1402:, the American music critic and Sibelius devotee, described the new work as "the finest evocation of the sea which has ever been produced in music", praising the composer for his "extraordinarily developed feeling for form, proportion and continuity". Downes furthermore assessed Sibelius's Norfolk concert as just the third time since 1900 that he had "felt himself in the presence of a genius of world class" (the other two being 6089: 1540: 527:(this intermediate version of the tone poem is commonly referred to as the "Yale" version). On 12 and 20 April 1914, Parker wrote on behalf of Stoeckel, expanding upon the initial agreement: Sibelius's American patron now wished him to travel to and conduct a program of his music at the Norfolk festival; as compensation, Sibelius would receive $ 1,200, as well as an 254:, said to represent the playful activity of the nymphs and the majesty of the ocean, respectively. Sibelius gradually develops this material over three informal stages: first, a placid ocean; second, a gathering storm; and third, a thunderous wave-crash climax. As the tempest subsides, a final chord sounds, symbolizing the mighty power and limitless expanse of the sea. 532:

Although Sibelius was prone to revising his compositions, such effort was usually undertaken when preparing a piece for publication or after having heard it first performed in concert. With respect to the Yale version, it is possible the invitation to attend the music festival in person prompted Sibelius to "reassess" the tone poem with a more critical eye.

6113: 1614:"strikingly different" from anything else in Sibelius's oeuvre, stresses that the work is far from "derivative". Rather, he argues that Sibelius builds upon and revolutionizes the French impressionist technique, making it "entirely his own, and not merely a reflection or distortion of Debussy". Gray continues: 1424:

Extremists will probably deplore the fact that the composer is still a respecter of form, still a devotee of beauty, still a believer in the potency of melody; but this is rather a matter for congratulation than regret ... Mr. Sibelius is a fine musical constructionist, an eloquent harmonist and

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Everyone who was fortunate enough to be in the audience agreed that it was the musical event of their lives, and after the performance of the last number there was an ovation to the composer which I have never seen equalled anywhere, the entire audience rose to their feet and shouted with enthusiasm,

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is either an example of impressionism or somehow stylistically indebted to Debussy. Tawaststjerna, for example, believes that the piece's "anchorage in the major-minor harmony and the relatively sparing use of modal and whole-tone formulae" indicates that the tone poem "belongs to the world of late

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The French masters of the method and their imitators in other countries confined their attention for the most part to an exploitation of the possibilities afforded by the upper reaches of the orchestral register, and to the attainment, principally, of effects of brilliance and luminosity. Debussy's

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symphonies were in the process of simultaneous gestation at this time). His response was to retreat into near solitude: he abstained from attending and giving concerts and neglected his circle of friends, and he imagined himself "forgotten and ignored, a lonely beacon of light in a deepening winter

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and even during rehearsals in Norfolk, but these last-minute changes, Andrew Barnett argues, must have been relatively "minor", as the orchestral parts had been copied before his departure from Finland. Sibelius was delighted with the new piece, writing to Aino, "It's as though I have found myself,

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of music from Yale University. Although he already had sent the manuscript to Norfolk, Sibelius was not satisfied with the score and immediately began to revise the piece, eventually opting for a complete overhaul ("Isn't it just like me to rework the tone poem—at the moment I am ablaze with it.").

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In early September, another letter from Parker arrived saying that Stockel wished to provide the copyist's fee for writing out the orchestral parts in Finland. As 1913 drew to a close, Sibelius had not made much progress on the American commission, having spent the entire autumn on other pieces and

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Guy Rickards describes the tone poem as an "extraordinary score", magnificent yet subtle in its depiction of the sea's various moods, but nonetheless "music suffused by light", while Robert Layton sees the piece as "far more ambitious and highly organized in design" than its immediate predecessor,

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is not yet complete. Terrible haste ... the score is only half-ready. The copyist, Mr. Kauppi, is staying with us and writing night and day ... It is only because of Janne's energy that we are making progress ... We lit a lamp in the dining room, a chandelier in the living room, it

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The differences between the first and final versions of the tone poem are substantial; not only did Sibelius again transpose the piece, into D major, but he also added the wave-crash climax. Despite these changes, the orchestration is more or less the same, with the addition of one trumpet. As the

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was unlike anything the musicians had previously encountered. "I think they did not understand it all at first from what they said", Stoeckel recalled. "The next morning, after having run it through three times, they were thoroughly delighted with it and remarked that the beauty of the music grew

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The tone poem premiered on 4 June 1914 at "The Shed" concert hall of the Norfolk Music Festival, Sibelius himself conducting at a podium decorated in the American and Finnish national colors. The orchestra, which Sibelius praised as "wonderful ... surpasses anything we have in Europe",

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after the birthday celebration performances of 1915, wrote approvingly of Sibelius's "refined mastery" of technique. "Not a single note is wasted on brash effects", Wasenius continued. "Yet mighty things are still achieved. Sibelius gives us the expanse and magnitude of the ocean, its powerful

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Sibelius gradually expands and deepens the two subjects, building up to an enormous (almost onomatopoeic) wave-crash climax that Daniel Grimley has characterized as a "point of textural, dynamic and chromatic saturation". Formally stated by Tawaststjerna, the tone poem structurally proceeds as

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patron of the arts, Carl Stoeckel (1858–1925), and his wife, Ellen Stoeckel née Battell (1851–1939), had authorized $ 1,000 for the commission of a new symphonic poem from Sibelius, per Parker's recommendation. The piece, not to exceed fifteen minutes in length, was to be played at the 1914

1490:) as yet another indicator that he was among the most forward-looking modernists: "Sibelius is, I believe, a man of the future ... constantly ahead of his time. Now he stands at the heights where the horizon stretches out over fields which the rest of us cannot yet see". 875:. For Sibelius, it was an opportunity to once again be an "artist on tour", feeding off the energy and "rapturous ovations" of an audience (it had been nine months since the Norfolk concerts, which now seemed a distant memory). The first concert, on March 22, featured the 844:, Finns were viewed as being "less than loyal subjects of the Tsar". In any case, many of Sibelius's works had been printed by German publishing houses, a detail that harmed Sibelius's reputation not only in Russia, but also Britain and the United States. According to 577:

was the start. But in this piece there is so much more. There are passages in it that drive me crazy. Such poetry". Neither the suite nor the Yale version of the tone poem was performed in Sibelius's lifetime, receiving their world premieres by Osmo Vänskä and the

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in July 1914 that Sibelius, rather than "repeat endlessly" the style of his previous works, had yet again shown his penchant for "renewing himself musically ... always forward, striving for new aims". The Finnish critic Karl Wasenius (aka BIS), writing in

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writing for the lower instruments, and for the double-bases in particular, is as a general rule timid and conventional in comparison with his treatment of the higher instruments, as a result, doubtless, of his exaggerated fear of thickness of texture. In

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suite. Although it is likely the opening number was either misplaced or destroyed by the composer, Barnett argues that four pieces of "circumstantial evidence" indicate the movement has survived—albeit in different form—as the tone poem

1648:, dismissing any serious debt to Debussy. "Its growth from the opening bars onward is profoundly organic", Layton writes. "And its apparent independence from the rest of Sibelius's work is manifest only at a superficial level". 410:

subsequently was discarded. His stay in Berlin was not productive, and in mid-February he returned to Helsinki ("Uneasy because of the America thing . Presumably have to go home to my cell in order to be able to concentrate".)

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Upon his departure from America in June, Sibelius left this version of the tone poem with Stoeckel, as a token of his gratitude for his host's generosity; upon Stoeckel's death, the manuscript eventually was deposited at Yale

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Sibelius has explored the lower depths of the orchestra more thoroughly than any one had previously done, and applied the impressionist method of scoring to the bass instruments, thereby achieving effects of sonority hitherto

928:, calling its performance "wonderful". He goes on to note in his diary that, "After the final number there was a deafening torrent of applause, stamps, cries of bravo, a standing ovation and fanfares from the orchestra". 1524:

major is veiled, somehow mysterious and impressionistic. Compared with it D major sounds clearer, but also more matter-of-fact". The conductor Osmo Vänskä also has noted the difference between the two keys, comparing the

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was a festive moment. I didn't dare say a word. I just checked that the environment was in order. Then I went to bed and Janne stayed up. All night long I could hear his footsteps, alternating with music played quietly.

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Sibelius was "deeply moved" by the orchestra's playing of the Finnish national anthem, telling Stoeckel, "Finland thanks you and your wife. I regard the singing of this anthem as an honor not to me but to my native

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in Connecticut, which the Stoeckels annually hosted (and financed) at their estate in a wooden performance hall dubbed "The Music Shed". Despite his ongoing struggles with another commission, incidental music to

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Aallottaret : eine Tondichtung für großes Orchester (Early version) ; Die Okeaniden - Aallottaret : eine Tondichtung für großes Orchester op. 73; Tapiola : Tondichtung für großes Orchester op.

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major that Sibelius likely had begun in 1913; today, only No. 2 (Tempo moderato) and No. 3 (Allegro) survive. Andrew Barnett has speculated as to the whereabouts of the lost first movement from the

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suite are missing; assuming the first page would have been reserved for the title, this means that the missing first movement likely consisted of 25 pages. Importantly, the fair copy of the final version of

4002:. Complete Works (JSW) edited by the National Library of Finland and the Sibelius Society of Finland Series I (Orchestral works) Vol. 16: The Oceanides Op. 73 / Tapiola Op. 112 edited by Kari Kilpeläinen. 956:

was the soloist) and, most importantly, the world premiere of the Fifth Symphony, at that time still in four movements. The birthday program was well received, and Sibelius twice repeated it, once at the

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sounded like the first movement of a suite rather than a stand-alone concert piece. Sibelius vacillated back and forth, at first agreeing to recast the piece as a "fantasy in two parts, or an

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on 10 September and 24 October 2002, respectively. A typical performance of the final version lasts about 10 minutes, some 3 minutes longer than its Yale predecessor.

626:. On 29 April he wrote to Parker in favor of the original title ("Herr Doctor, now you must forgive me for performing the new tone poem in its final version with the original title 5409: 4795: 4780: 402:

revisions. A trip to Berlin in January 1914 followed, and Sibelius's diary and correspondence indicate the Stoeckel commission was at the forefront of his mind; an initial plan to set

1945: 269:

favored by Impressionists, and his prioritization of action and structure over ephemeral, atmospheric background distinguish the piece from quintessential examples, such as

891:. According to Sibelius's diary, the performance was a "great success", with Stenhammar "captivated" particularly by the final number. The 24 March program retained 4158: 1700:

and the suite's surviving second and third movements are "virtually identical" to each other, employing a small orchestra "noticeably less extravagant" than either the D

4132:, Op. 22 (early versions), edited by Tuija Wickland. Jean Sibelius Works I/12s (Wiesbaden, Leipzig, Paris: Breitkopf & Härtel, 2013), xxii + 313pp. € 199,50". 2207: 1494:, moreover, calls the piece "daring" and applauds the score's "exceptional complexity and refinement", challenging critics who see Sibelius as a "primitive artist". 246:

in Connecticut with Sibelius conducting. Praised upon its premiere as "the finest evocation of the sea ... ever ... produced in music", the tone poem, in

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on 12 December and then again at the University of Helsinki on 18 December. The celebrations continued into the new year, with Sibelius conducting

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with each rehearsal". The festival public sounded a similarly positive note about the new piece, which concluded a concert of Sibelius's music that included

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poem of the same name (toward the end of his life, Sibelius denied any Runeberg connection), in the first volume of the poet's "Collected Works" the title

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and harp glissandi, "bear more than a superficial resemblance" to Debussy's style (he further suggests that Sibelius may have feared his original title,

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as one of Sibelius's most overhauled works. The suite and Yale version, never performed in the composer's lifetime, received their world premieres by

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major Yale version, feeling as though the piece loses "something essential" in terms of orchestral color in D major: "The orchestral tone in D

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Grimley interprets the piece as progressing through "a series of three generative, wave-like cycles", perhaps best described as placid ocean (

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Today, three versions of the work survive. Initially in 1913, Sibelius conceived of the commission as a three-movement suite for orchestra in

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at a concert in Finland's Folketshus on 9 January 1916. The tone poem was also taken up in the spring by Sibelius's brother-in-law,

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Sibelius continued to make changes to the final version of the tone poem as he sailed across the Atlantic Ocean aboard the steamship

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that I sent to you can stay with Mr. Stoeckel".). This position, too, proved fleeting. By the end of May, Sibelius had settled on

5128: 5119: 5110: 4713: 2300: 1433:, always a thorn in Sibelius's side and whom the composer had once mocked as "his lordship", required some three encounters with 1287:(final chord demonstrates "the immutability and vastness of the ocean waters into which the oceanides themselves do not venture") 299:, that dates to 1913 (movement No. 1 lost); and the second, the initial single-movement "Yale" version of the tone poem, in 4319: 4278: 6145: 2697: 2438: 945: 2003: 1142:), first introduced by the flutes at the beginning of the piece, can be said to represent the playful activity of the nymphs: 5318: 5263: 5251: 4013: 2082: 1398:

has been overwhelmingly positive, and today the piece is counted among Sibelius's masterpieces. Following the 1914 premiere,

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of Russia, Finland was officially aligned against Germany, although Sibelius personally looked favorably upon Germany and

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occurred on the occasion of Sibelius's fiftieth birthday celebration on 8 December 1915 at the Great Hall of the

1811:, a performance that is noticeably quicker than average. The first recordings of the Yale version (7:25) and the pre- 2067: 6140: 5233: 5183: 4482: 2856: 2656: 2516: 2423: 1176:), which brings to mind the ocean's depth and expansiveness and perhaps, at least according to Tawaststjerna, "the 953: 334: 5940: 5149: 4458: 4452: 4446: 4436: 4430: 4424: 4418: 4408: 3902:

Grimley, Daniel (2004). "The Tone Poems: Genre, Landscape and Structural Perspective". In Grimley, Daniel (ed.).

2643: 2627: 2572: 2481: 2346: 2054: 876: 849: 718: 574: 338: 2313: 651:, and the tone poem appeared under this title, albeit misspelled, on the 4 June Norfolk Festival program: " 5608: 4664: 2894: 2549: 2501: 2397: 958: 579: 346: 6030: 5042: 4314: 1714: 660: 492: 115: 1848: 5613: 4672: 3880: 2839:

The remainder of Sibelius's American visit included a trip to New York City (where he met ex-U.S. President

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Sibelius appears to have vacillated over a name for the new tone poem. By 3 April 1914 he had dropped

6117: 6092: 6020: 5525: 5519: 5006: 4962: 4761: 4745: 4544: 4343: 2877: 2411: 2118: 1960: 1897: 1845: 1808: 1581: 941: 389: 309:, which Sibelius dispatched to America in advance of his journey but revised prior to the music festival. 262: 6060: 5935: 6076: 5986: 5964: 5746: 5176: 4986: 4979: 4729: 4601: 4230: 4190: 4080: 3989: 3868: 2918: 2489: 2454: 2279: 2090: 2030: 1753: 1593:. Harold Johnson, for example, writes that the themes and orchestration of the piece, with muted string 1491: 1377: 1018: 845: 710: 598: 457: 381: 5974: 5715: 5585: 4593: 4564: 728: 327: 5923: 5549: 5892: 5751: 5591: 5362: 5346: 5291: 4909: 4897: 4721: 4625: 4609: 4498: 2852: 1446: 568: 146: 5947: 5710: 5644: 5506: 2851:, and a banquet in his honor, which was attended by some of America's leading composers, among them 440:, very much a "work in progress", into a single-movement symphonic poem; the musical content of the 5887: 5857: 5809: 5784: 5687: 5469: 5219: 4973: 4889: 4753: 4617: 4576: 4400: 2840: 2647: 2377: 2294: 2195: 1676: 1504: 1261: 970: 808: 740: 265:. Others have countered that Sibelius's active development of the two subjects, his sparing use of 2743:

Parker was acquainted with Sibelius's work; earlier in the year, he had hired Sibelius to compose

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approach ...". Layton detects the presence of "normal Sibelian procedures and techniques" in

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languished. Wartime politics being what they were, Sibelius's music was seldom played outside the

393:, Sibelius accepted the Stoeckel offer, writing in his diary, "A symphonic poem, ready by April". 5862: 5799: 5734: 5488: 5375: 4802: 4688: 4645: 4167: 4007: 2860: 2705: 2343: 2160: 1905: 1856: 1795: 1736:

The thematic material of the suite's second movement (which is not found in the final version of

1191: 1153: 1002: 857: 813: 714: 5722: 5537: 5531: 5034: 2607: 2591: 2381: 2131: 1824: 1420:) found the new work "fresh and vital, full of imagination and strong in climax". He continues: 966: 476:; in addition, he also introduced new musical ideas, such as the rocking wave-like motif in the 2458: 2243: 691: 6050: 5928: 5907: 5902: 5677: 5554: 5543: 5356: 4838: 4814: 4261: 4107: 4088: 4066: 4043: 4026: 3981: 3977: 3952: 3933: 3911: 3888: 3854: 3842: 3828: 2768:

At a later date, Sibelius annotated "Fragments from a Suite for Orchestra 1914/Predecessor of

2543: 1473: 590: 342: 239: 2534: 6035: 6025: 5682: 5649: 4141: 2864: 2321: 2172: 1641: 1589: 1569: 1412: 1407: 994: 833: 481: 286: 274: 216: 5979: 2717: 2446: 848:, the war plunged Sibelius into a state of melancholy and creative struggle (the Fifth and 503:(c. 1880), which depicts a stormy sea reminiscent of the one Sibelius creates musically in 6055: 6012: 5774: 5578: 5494: 5482: 5395: 5226: 5088: 4504: 4303: 2881: 2678: 2635: 2576: 2530: 2465: 2419: 2388: 2335: 2286: 2250: 2168: 2138: 2007: 1913: 1403: 659:—Tone Poem (Nymphs of the Ocean)". In preparation for the publication of the tone poem by 528: 363: 251: 235: 52: 5328: 4156:

Stoeckel, Carl (1971). "Some Recollections of the Visit of Sibelius to America in 1914".

2682: 2048: 1387: 1321:). David Hurwitz views the structure of the piece similarly to Tawaststjerna, albeit as 1260:(modulating and ending on the pedal A, which becomes the dominant of D major; serves as 19:

This article is about the tone poem by Sibelius. For Greek mythological sea nymphs, see

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Andrew Clements labeled the record the best of 2003, noting that the early versions of

1585: 1544: 1461: 1417: 1006: 974: 841: 781: 683:). The piece was published as Op. 73 and dedicated to Mr. and Mrs. Carl Stoeckel. 477: 403: 367: 270: 2906:

Over the years, Peterson-Berger had savaged the Fourth Symphony, the Violin Concerto,

924:, and the Fourth Symphony. Sibelius was very pleased with the orchestra's handling of 6129: 6070: 6040: 5952: 5779: 5763: 5672: 5618: 5511: 5463: 5432: 4942: 4492: 4366: 4059: 2844: 2557: 1852: 1466: 1054: 1040: 998: 837: 537: 266: 227: 43: 4210: 1840:

permitted the listener to see "the mechanics of musical genius laid bare". In 2015,

1830:); both were recorded in January 2003. The album premiered to considerable acclaim. 1449:", he wrote. "In this beautiful poem one really heard something of the sound of the 864:, wrote to Sibelius repeatedly to persuade him to conduct a concert of his works in 436:. At some point in 1913–14, Sibelius decided to rework the thematic material of the 5882: 5872: 5692: 5474: 5244: 4998: 4696: 2713: 2497: 2203: 2181: 2098: 2015: 2000: 1981: 1890: 1841: 1832: 1804: 1539: 1173: 1087: 816:(c. 1916), a friend of Sibelius's who was key in securing the European premiere of 467: 415: 300: 290: 2802:; Sibelius appears to have borrowed the term from the Finnish national epic, the 2510: 1823:, 4:35) are by Osmo Vänskä and the Lahti Symphony Orchestra under the BIS label ( 5959: 5867: 5837: 5700: 5634: 5500: 4822: 2620: 2565: 2474: 2239: 1399: 1350: 1139: 1105: 1060: 1026: 825: 511: 371: 212: 82: 5739: 5794: 5667: 4881: 4145: 2670: 2585: 1509: 1450: 865: 536:

trip to America approached, Sibelius raced to complete the revisions in time.

500: 5727: 3985: 1281:(intermediate D major; the storm ends and the theme of the oceanides returns) 695:

Postcard of the Music Shed (c. 1920s), the venue at which Sibelius premiered

5705: 4950: 4585: 1272:; "the oceanides are swamped" by the storm and the swell of the sea's waves) 1165: 746: 709:

comprised musicians drawn from three of America's best music societies: the

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has received fewer recordings than more famous Sibelius tone poems such as

1610:, was "too close to Debussy"). Gray, who calls the orchestral technique in 856:

Sibelius was not easily stirred from his exile; friend and fellow composer

456:), JS 202. In making the transition from suite to tone poem, Sibelius 362:

In August 1913, Sibelius received a message from the American composer and

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opened, also included the two Serenades for violin and orchestra (Op. 69,

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Aside from the definitive D major tone poem, two intermediate versions of

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wave-song but without boastful gestures. He is too noble for that". In

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traces back to sketches for a three-movement suite for orchestra in E

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major version to a "large lake" and the D major to a "mighty ocean".

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under Sibelius in 1923, Peterson-Berger at last embraced the piece. "

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Jean Sibelius: Thematisch-bibliographisches Verzeichnis seiner Werke

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is a single-movement tone poem that consists of two main subjects,

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in June 1913, before deciding sometime around July or August that

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The first 26 (numbered) pages of the manuscript paper for the pre-

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Upon conclusion of the second half of the program (which featured

690: 589: 491: 4106:. (Robert Layton, English translation). London: Faber and Faber. 4087:. (Robert Layton, English translation). London: Faber and Faber. 1365:", due to the continued reappearance of the opening flute theme ( 871:

Stenhammar's efforts were rewarded with the European premiere of

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was totally and completely different from three years ago under

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The original version of the piece called for one fewer trumpet.

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Other commentators have cautioned against the conclusion that

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is scored for the following instruments, organized by family (

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in June 1915, Sibelius included alongside the Finnish title,

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on 19 September and 24 October 2002, respectively.

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before warming to the new symphonic poem: after hearing the

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Jean Sibelius: A Thematic Bibliographic Index of His Works

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Songs for Mixed Chorus from the 1897 Promotional Cantata

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Cantata for the University Graduation Ceremonies of 1897

4781:

Cantata for the University Graduation Ceremonies of 1894

3053: 3051: 3049: 3047: 3034: 3032: 2962: 2960: 2958: 1164:

Shortly after, solo oboe and clarinet—supported by harp

790:), the orchestra performed the Finnish national anthem, 2897:, was abandoned as a result of concerns over acoustics. 1551:

is sometimes used as a reference point for analysis of

1486:

interpreted Sibelius's latest compositions (among them

3853:] (in German). Wiesbaden: Breitkopf & Härtel. 1740:) is closely related to a piece for solo piano called 6101: 3163: 3161: 2755:, for mixed choir a cappella; and, No. 3: 1425:

a fine colorist despite his fondness for dark tints.

860:, then Artistic Director and chief conductor of the 5995: 5916: 5820: 5660: 5627: 5566: 5450: 5388: 5284: 5193: 5141: 5103: 5053: 4920: 4857: 4772: 4656: 4524: 4475: 4393: 1216:(modulating, ending in the area of D minor–F major) 161: 153: 142: 127: 122: 111: 91: 81: 69: 30: 4128:Santos Rutschman, Kirsten (2014). "Jean Sibelius, 4065:. Norman, Oklahoma: University of Oklahoma Press. 4058: 1680:, written in 1913 and revised the following year: 1464:further praised the score upon review, writing in 514:and parts to the United States, calling the piece 226:written from 1913 to 1914 by the Finnish composer 3930:Sibelius: The Orchestral Works, an Owner's Manual 3152: 1576:Stylistically, many commentators have described 1497:Later commentators also found much to praise in 257:Stylistically, many commentators have described 1229:returns, but "the winds begin to gather force") 756:. Stoeckel recounts the events of 4 June: 6003:International Jean Sibelius Violin Competition 3191: 2884:, having known them as a student in the 1890s. 2794:is usually translated to English variously as 540:, the composer's wife, recounts the scenes at 4351: 3932:. Pompton Plains, New Jersey: Amadeus Press. 3778: 3766: 3708: 3657: 3568: 3556: 3544: 3532: 3520: 3461: 3432: 3420: 3408: 3396: 3381: 3366: 3354: 3342: 3318: 3267: 3255: 3243: 3081: 3069: 3023: 2814: 2804: 1783: 917: 909: 792: 665: 652: 645: 620: 446: 325: 315: 180: 73: 8: 2751:, for soprano, alto, and piano; No. 2: 1733:should remain as an independent composition. 1628:While conceding the impressionistic feel of 1604: 1599: 673: 633: 628: 612: 607: 555: 550: 521: 516: 201: 196: 3604: 3592: 3580: 3231: 2999: 4358: 4344: 4336: 4166:(1). University of Illinois Press: 53–88. 4140:(2). Cambridge University Press: 389–393. 1865: 51: 27: 4874:The Breaking of the Ice on the Oulu River 4788:Cantata for the Coronation of Nicholas II 4331:International Music Score Library Project 3444: 3179: 2949: 1584:, in particular drawing comparisons with 1460:The composer (and former Sibelius pupil) 433: 3885:The Penguin Companion to Classical Music 3802: 3633: 3330: 3303: 3291: 3279: 3214: 2922:but had praised the Second Symphony and 1764:, supporting the idea of a link between 444:would find its way into the piano piece 6108: 3790: 3754: 3723: 3696: 3684: 3669: 3493: 3478: 3137: 3125: 3110: 3098: 3057: 3038: 3011: 2966: 2937: 2736: 671:, an "explanatory" German translation, 242:, premiered on 4 June 1914 at the 4023:Sibelius: The Masters Musicians Series 4005: 3910:. London: Cambridge University Press. 3735: 3645: 3505: 2772:" in pencil on the suite's title page. 2404:Royal Stockholm Philharmonic Orchestra 1855:; this recording is available through 1254:returns and "brings the storm nearer") 4515:Suite for Violin and String Orchestra 4229:Hepokoski, James; Dahlström, Fabian. 3202: 3167: 2188:City of Birmingham Symphony Orchestra 1168:and strings—introduce the "majestic" 977:later followed with a performance of 285:survive: the first, a three-movement 7: 5350: 5093: 4061:Jean Sibelius: A Master and His Work 3827:. New Haven: Yale University Press. 3621: 2759:, for unison male voices and piano). 1693:is about the same length (26 pages). 1410:in 1910). An unsigned review in the 1394:Critical opinion as to the merit of 1383:The Oceanids (The Naiads of the Sea) 548:The trip to America is approaching. 5370:Giv mig ej glans, ej guld, ej prakt 4858:Other voice(s) & orchestra 3904:The Cambridge Companion to Sibelius 1416:(almost certainly penned by critic 597:(c. 1909), by Finnish painter 510:In April 1914, Sibelius mailed the 3875:. London: Oxford University Press. 484:, and expanded the orchestration. 14: 4574: 1897, 1900, 1939; includes 2153:Royal Scottish National Orchestra 1988:Bavarian Radio Symphony Orchestra 397:Initial and intermediate versions 230:. The piece, which refers to the 6111: 6088: 6087: 5426: 5414: 5238: 4967: 4955: 2745:Three Songs for American Schools 2301:Finnish Radio Symphony Orchestra 1264:by utilizing material from both 5402: 5011: 4991: 4902: 4807: 4638: 4571: 4549: 4537: 4508: 4486: 4440: 4412: 4134:Nineteenth-Century Music Review 2698:BBC National Orchestra of Wales 2439:Helsinki Philharmonic Orchestra 1777:Despite its "haunting beauty", 1429:The influential Swedish critic 946:Helsinki Philharmonic Orchestra 944:, with Sibelius conducting the 186:; literal English translation: 166:Orchestra of the Music Festival 104: 5073:String Quartet in B-flat major 5067:String Quartet in A minor 5061:String Quartet in E-flat major 4384:Discography of symphony cycles 4209:Crawford, John Martin (1888). 2727:Notes, references, and sources 2083:Bournemouth Symphony Orchestra 1567:The 1905 edition of Debussy's 1543:French impressionist composer 1361:"something ... of a free 1: 5661:Colleagues & friends 5154: 4507: (1917–1918, No. 1 4462: 4104:Sibelius: Volume 3, 1914–1957 4085:Sibelius: Volume 2, 1904–1914 3951:. New York: Alfred A. Knopf. 3908:Cambridge Companions to Music 2663:Bergen Philharmonic Orchestra 2362:Gothenburg Symphony Orchestra 2328:Moscow Philharmonic Orchestra 2224:Gothenburg Symphony Orchestra 2023:London Philharmonic Orchestra 2001:Deutsche Grammophon (4775484) 1752:was inspired by Finnish poet 1706:major or D major versions of 862:Gothenburg Symphony Orchestra 58: 5368: (1897–1913; includes " 5327: (1903–1904; includes " 4668: (1893–1894, abandoned) 4102:Tawaststjerna, Erik (1997). 4025:. New York: Schirmer Books. 2753:The Sun upon the Lake is Low 2280:EMI Classics (0724347695155) 1933:Royal Philharmonic Orchestra 1760:appears a page or two after 1512:has argued in favor of the D 1353:without development", while 1187: 1149: 715:Metropolitan Opera Orchestra 424:, of which only No. 2 ( 6136:Tone poems by Jean Sibelius 6066:Sibelius Society of Finland 5347:"Kom nu hit, död", Op. 60/1 5079:String Quartet in D minor, 4057:Ringbom, Nils-Eric (1954). 3971:. In Sibelius, Jean (ed.). 2747:, JS 199 (No. 1: 2267:Helsinki Symphony Orchestra 2068:EMI Classics (724358578522) 1851:of the tone poem (9:44) at 116:Breitkopf & Härtel 6162: 5234:The Bells of Kallio Church 5019:Scènes historiques II 4012:: CS1 maint: postscript ( 3964:Kilpeläinen, Kari (2012). 2517:Iceland Symphony Orchestra 2314:RCA Red Seal (74321886852) 1313:), and wave-crash climax ( 932:Other notable performances 836:and the United States: in 194:; original working title: 18: 16:Tone poem by Jean Sibelius 6085: 4963:Scènes historiques I 4866:The Rapids-Rider's Brides 4738:The Language of the Birds 4373: 4189:Clements, Andrew (2003). 4146:10.1017/S1479409814000482 3980: 979-0-004-80322-6. 3192:Hepokoski & Dahlström 2628:London Symphony Orchestra 2482:London Symphony Orchestra 2055:London Symphony Orchestra 1974:Pristine Audio (PASC 205) 1883: 1880: 1877: 1874: 1871: 1868: 1849:recorded the Yale version 1799:. The first recording of 1559:Relation to Impressionism 1439:Stockholm Concert Society 971:Stockholm Opera Orchestra 883:, and two movements from 719:Boston Symphony Orchestra 50: 37: 6031:Sibelius Academy Quartet 5574:Helsinki Music Institute 4974:Overture in A minor 4928:Overture in E major 4665:The Building of the Boat 4657:Opera & theatre 4191:"Anyone Need a Tune-up?" 3947:Johnson, Harold (1959). 3823:Barnett, Andrew (2007). 3014:, pp. 233–234, 236. 2895:Finnish National Theatre 2893:The original venue, the 2550:Lahti Symphony Orchestra 959:Finnish National Theatre 936:The Finnish premiere of 580:Lahti Symphony Orchestra 347:Lahti Symphony Orchestra 5213:Ten Pieces, Op. 24 5164:Pieces for brass septet 5129:Piano Trio in C major, 5120:Piano Trio in D major, 5111:Piano Trio in A minor, 4980:Romance in C major 4913: (1910, abandoned) 4893: (1905, abandoned) 4673:The Maiden in the Tower 4247:(subscription required) 4177:(subscription required) 4151:(subscription required) 4021:Layton, Robert (1965). 2370:Gothenburg Concert Hall 2232:Gothenburg Concert Hall 1713:Sibelius's publishers, 1431:Wilhelm Peterson-Berger 1192:download the audio file 1154:download the audio file 989:The revised version of 905:King Christian II Suite 887:before concluding with 735:King Christian II Suite 601:, the composer's friend 6146:Music with dedications 6021:Sibelius (scorewriter) 5559: (brother-in-law) 5546: (brother-in-law) 5540: (brother-in-law) 5534: (brother-in-law) 4315:Breitkopf & Härtel 4283:clevelandclassical.com 4038:Rickards, Guy (1997). 2847:, the Yale University 2815: 2805: 2412:Stockholm Concert Hall 2119:Philadelphia Orchestra 1961:Philadelphia Orchestra 1898:BBC Symphony Orchestra 1846:BBC Symphony Orchestra 1809:BBC Symphony Orchestra 1803:was made in 1936 with 1784: 1715:Breitkopf & Härtel 1626: 1605: 1600: 1573: 1555: 1427: 1391: 942:University of Helsinki 918: 910: 828:on 28 July 1914, 821: 793: 780:, and the overture to 763: 700: 674: 666: 661:Breitkopf & Härtel 653: 646: 634: 629: 621: 613: 608: 602: 573:and more besides. The 564: 556: 551: 522: 517: 507: 447: 377:Norfolk Music Festival 326: 316: 313:thus stands alongside 244:Norfolk Music Festival 215: 73, is a single- 202: 197: 181: 74: 6077:Wihuri Sibelius Prize 6008:Jean Sibelius Quartet 5987:Erik W. Tawaststjerna 5747:Akseli Gallen-Kallela 5605:Post-graduate studies 5581:(theory, composition) 5528: (mother-in-law) 5522: (father-in-law) 5433:Six Partsongs, Op. 18 5043:Suite caractéristique 4602:Nightride and Sunrise 3153:Santos Rutschman 2014 2919:Nightride and Sunrise 2490:Walthamstow Town Hall 2091:Southampton Guildhall 2031:Walthamstow Town Hall 1859:as of November 2019 ( 1696:The orchestration of 1616: 1566: 1542: 1422: 1380: 948:. The program, which 895:, but paired it with 881:Scènes historiques II 824:With the outbreak of 811: 758: 711:New York Philharmonic 694: 599:Akseli Gallen-Kallela 593: 546: 495: 131:4 June 1914 5364:Five Christmas Songs 5293:Seven Runeberg Songs 4706:Pelléas et Mélisande 4499:Two Serious Melodies 4379:List of compositions 4277:Telin, Mike (2015). 4252:Sirén, Vesa (2005). 4159:Scandinavian Studies 2909:Pelléas et Mélisande 2820:, or 'wave-goddess'. 2800:Spirits of the Waves 2147:Sir Alexander Gibson 2132:RCA Red Seal (38124) 1946:EMI Classics (09693) 1748:, JS 202). Assuming 1299:), gathering storm ( 897:Scènes historiques I 569:SS Kaiser Wilhelm II 408:Fantasos and Sulamit 192:Spirits of the Waves 147:Norfolk, Connecticut 6061:Sibelius Piano Trio 5888:Jukka-Pekka Saraste 5858:Herbert von Karajan 5821:Select interpreters 5526:Elisabeth Järnefelt 5520:Alexander Järnefelt 5319:Seven Songs, Op. 17 4577:The Swan of Tuonela 4459:Symphony No. 8 4081:Tawaststjerna, Erik 4042:. London: Phaidon. 3757:, pp. 234–235. 3726:, p. 148, 150. 3711:, pp. 265–267. 3672:, pp. 161–162. 3660:, pp. 265–269. 3648:, pp. 110–111. 3624:, pp. 107–109. 3523:, pp. 275–276. 3496:, pp. 113–114. 3464:, pp. 267–269. 3333:, pp. 123–124. 3321:, pp. 282–283. 3270:, p. 270, 274. 3113:, pp. 239–241. 3072:, pp. 264–265. 3026:, pp. 258–260. 2843:), an excursion to 2841:William Howard Taft 2796:Nymphs of the Waves 2378:Deutsche Grammophon 2295:Jukka-Pekka Saraste 2196:Warwick Arts Centre 1819:, 2:42; No. 3 1791:The Swan of Tuonela 1723:Intrada and Allegro 1386:(c. 1860), by 1349:), which he terms " 1096:(I & II), 741:The Swan of Tuonela 460:the material from E 188:Nymphs of the Waves 5917:Select biographers 5863:Serge Koussevitzky 5828:Sir Thomas Beecham 5800:Wilhelm Stenhammar 5516: (son-in-law) 5503: (son-in-law) 5497: (son-in-law) 5489:Christian Sibelius 5381: (1917) 5377:Six Runeberg Songs 5325:Five Songs, Op. 38 5313:Five Songs, Op. 37 4847:Väinämöinen's Song 4803:The Origin of Fire 4714:Belshazzar's Feast 4594:Pohjola's Daughter 4565:Lemminkäinen Suite 4235:Grove Music Online 3779:Tawaststjerna 1986 3767:Tawaststjerna 1986 3709:Tawaststjerna 1986 3658:Tawaststjerna 1986 3569:Tawaststjerna 1997 3557:Tawaststjerna 1997 3547:, p. 54, 264. 3545:Tawaststjerna 1986 3533:Tawaststjerna 1997 3521:Tawaststjerna 1986 3462:Tawaststjerna 1986 3433:Tawaststjerna 1986 3423:, pp. 99–100. 3421:Tawaststjerna 1997 3409:Tawaststjerna 1997 3397:Tawaststjerna 1997 3382:Tawaststjerna 1997 3367:Tawaststjerna 1997 3355:Tawaststjerna 1997 3343:Tawaststjerna 1997 3319:Tawaststjerna 1986 3268:Tawaststjerna 1986 3256:Tawaststjerna 1986 3244:Tawaststjerna 1997 3082:Tawaststjerna 1986 3070:Tawaststjerna 1986 3024:Tawaststjerna 1986 2924:Pohjola's Daughter 2861:Frederick Converse 2706:BBC Hoddinott Hall 2575:2022-08-14 at the 2464:2020-06-10 at the 2387:2020-06-28 at the 2344:Brilliant Classics 2285:2020-06-24 at the 2249:2020-06-26 at the 2161:Glasgow City Halls 2137:2020-06-26 at the 2006:2016-08-18 at the 1927:Sir Thomas Beecham 1906:Abbey Road Studios 1857:BBC Music Magazine 1827:Rondo of the Waves 1815:suite (No. 2 1574: 1556: 1392: 1082:(2 players), 981:in February 1917. 907:, a movement from 858:Wilhelm Stenhammar 822: 814:Wilhelm Stenhammar 812:Swedish composer, 774:Coleridge-Taylor's 729:Pohjola's Daughter 701: 603: 529:honorary doctorate 508: 497:Großes Marinestück 428:) and No. 3 ( 328:Lemminkäinen Suite 250:, consists of two 238:who inhabited the 209:Rondo of the Waves 6141:1914 compositions 6099: 6098: 6051:Sibelius Monument 5975:Nils-Eric Ringbom 5903:Leopold Stokowski 5893:Georg Schnéevoigt 5766: (secretary) 5678:Granville Bantock 5586:Mitrofan Vasiliev 5435: (1893–1901) 5341:Two Songs, Op. 35 5335:Six Songs, Op. 50 5321: (1891–1904) 5315: (1900–1902) 5309: (1899–1900) 5307:Six Songs, Op. 36 5303: (1894–1895) 5301:"Serenad", JS 168 5297: (1891–1892) 5215: (1895–1903) 5166: (1889–1899) 4839:Hymn of the Earth 4831:Song of the Earth 4815:The Captive Queen 4681:King Christian II 4501: (1914–1915) 4495: (1912–1913) 4461: (mid 1920s– 4443: 1916, 1919) 3887:. Penguin Books. 3843:Dahlström, Fabian 3559:, p. 37, 50. 3411:, p. 74, 84. 3357:, pp. 37–38. 3294:, pp. 68–69. 2724: 2723: 2692:Thomas Søndergård 1725:", and then as a 1547:(c. 1905), whose 1480:Tidning för musik 1474:Hufvudstadsbladet 1196: 1158: 804:European premiere 704:American premiere 261:as an example of 240:Mediterranean Sea 171: 170: 6153: 6116: 6115: 6114: 6107: 6091: 6090: 6073: (asteroid) 6036:Sibelius Glacier 6026:Sibelius Academy 5983: 5960:Glenda Dawn Goss 5956: 5944: 5932: 5924:Fabian Dahlström 5883:Sir Simon Rattle 5813: 5785:Abraham Ojanperä 5760: 5743: 5731: 5719: 5696: 5683:Ferruccio Busoni 5653: 5600: 5582: 5558: 5550:Kasper Järnefelt 5515: 5485: (daughter) 5479: (daughter) 5478: 5429: 1938–1940) 5428: 5416: 5404: 5352: 5271: 5259: 5240: 5159: 5158: 1875–1881 5156: 5095: 5013: 4993: 4969: 4957: 4921:Other orchestral 4904: 4809: 4640: 4573: 4551: 4539: 4510: 4488: 4467: 4464: 4442: 4414: 4360: 4353: 4346: 4337: 4329:: Scores at the 4293: 4291: 4289: 4273: 4271: 4269: 4264:on June 24, 2015 4260:. Archived from 4248: 4245: 4243: 4241: 4231:"Sibelius, Jean" 4225: 4223: 4221: 4215:sacred-texts.com 4205: 4203: 4201: 4178: 4175: 4152: 4149: 4122:Journal articles 4117: 4098: 4076: 4064: 4053: 4034: 4017: 4011: 4003: 4001: 4000: 3994: 3988:. Archived from 3970: 3960: 3943: 3921: 3898: 3876: 3864: 3838: 3806: 3800: 3794: 3788: 3782: 3776: 3770: 3764: 3758: 3752: 3739: 3733: 3727: 3721: 3712: 3706: 3700: 3694: 3688: 3682: 3673: 3667: 3661: 3655: 3649: 3643: 3637: 3631: 3625: 3619: 3608: 3605:Kilpeläinen 2012 3602: 3596: 3595:, pp. x–xi. 3593:Kilpeläinen 2012 3590: 3584: 3581:Kilpeläinen 2012 3578: 3572: 3566: 3560: 3554: 3548: 3542: 3536: 3530: 3524: 3518: 3509: 3503: 3497: 3491: 3482: 3476: 3465: 3459: 3448: 3442: 3436: 3430: 3424: 3418: 3412: 3406: 3400: 3394: 3385: 3379: 3370: 3364: 3358: 3352: 3346: 3345:, pp. 5, 9. 3340: 3334: 3328: 3322: 3316: 3307: 3301: 3295: 3289: 3283: 3277: 3271: 3265: 3259: 3253: 3247: 3241: 3235: 3232:Kilpeläinen 2012 3229: 3218: 3212: 3206: 3200: 3194: 3189: 3183: 3177: 3171: 3165: 3156: 3150: 3141: 3135: 3129: 3123: 3114: 3108: 3102: 3096: 3085: 3079: 3073: 3067: 3061: 3055: 3042: 3036: 3027: 3021: 3015: 3009: 3003: 3000:Kilpeläinen 2012 2997: 2970: 2964: 2953: 2947: 2927: 2904: 2898: 2891: 2885: 2874: 2868: 2865:Charles Loeffler 2837: 2831: 2827: 2821: 2818: 2810: 2789: 2783: 2779: 2773: 2766: 2760: 2741: 2694: 2659: 2624: 2588: 2546: 2513: 2478: 2435: 2400: 2398:Sir Andrew Davis 2358: 2324: 2322:Vassily Sinaisky 2297: 2263: 2220: 2184: 2182:Sir Simon Rattle 2149: 2115: 2079: 2051: 2019: 2016:Sir Adrian Boult 1984: 1957: 1929: 1894: 1891:Sir Adrian Boult 1866: 1805:Sir Adrian Boult 1787: 1754:J. L. Runeberg's 1705: 1704: 1667: 1666: 1608: 1603: 1530: 1529: 1523: 1522: 1517: 1516: 1413:New-York Tribune 1408:Arturo Toscanini 1249: 1248: 1243: 1242: 1072: 1071: 1048: 1047: 1038: 1037: 921: 913: 834:Nordic countries 798: 778:From the Prairie 677: 669: 656: 649: 637: 632: 624: 616: 611: 586:Naming the piece 559: 554: 525: 520: 473: 472: 465: 464: 450: 421: 420: 386:ballet-pantomime 331: 321: 306: 305: 296: 295: 287:orchestral suite 205: 200: 184: 138: 136: 106: 102: 100: 77: 63: 60: 55: 46: 28: 6161: 6160: 6156: 6155: 6154: 6152: 6151: 6150: 6126: 6125: 6122: 6118:Classical music 6112: 6110: 6102: 6100: 6095: 6081: 6056:Sibelius Museum 5991: 5977: 5950: 5938: 5926: 5912: 5838:Sir Colin Davis 5816: 5807: 5775:Oskar Merikanto 5754: 5752:Heikki Klemetti 5737: 5725: 5713: 5690: 5656: 5647: 5623: 5594: 5592:Hermann Csillag 5579:Martin Wegelius 5577: 5562: 5552: 5538:Arvid Järnefelt 5532:Armas Järnefelt 5509: 5495:Aulis Blomstedt 5491: (brother) 5483:Heidi Blomstedt 5472: 5446: 5384: 5357:"Arioso", Op. 3 5280: 5262: 5250: 5227:Three Sonatinas 5189: 5184:Violin Sonatina 5157: 5137: 5099: 5089:Andante festivo 5054:String quartets 5049: 5035:Suite champêtre 4916: 4853: 4768: 4694:1903; includes 4652: 4520: 4505:Six Humoresques 4483:Violin Concerto 4471: 4465: 4389: 4388: 4369: 4364: 4300: 4287: 4285: 4276: 4267: 4265: 4254:"The Oceanides" 4251: 4246: 4239: 4237: 4228: 4219: 4217: 4208: 4199: 4197: 4195:theguardian.com 4188: 4185: 4176: 4155: 4150: 4127: 4124: 4114: 4101: 4095: 4079: 4073: 4056: 4050: 4037: 4020: 4004: 3998: 3996: 3992: 3968: 3963: 3946: 3940: 3924: 3918: 3901: 3895: 3881:Griffiths, Paul 3879: 3867: 3861: 3841: 3835: 3822: 3819: 3814: 3809: 3801: 3797: 3789: 3785: 3777: 3773: 3765: 3761: 3753: 3742: 3734: 3730: 3722: 3715: 3707: 3703: 3695: 3691: 3683: 3676: 3668: 3664: 3656: 3652: 3644: 3640: 3632: 3628: 3620: 3611: 3603: 3599: 3591: 3587: 3579: 3575: 3567: 3563: 3555: 3551: 3543: 3539: 3531: 3527: 3519: 3512: 3504: 3500: 3492: 3485: 3477: 3468: 3460: 3451: 3443: 3439: 3431: 3427: 3419: 3415: 3407: 3403: 3395: 3388: 3380: 3373: 3365: 3361: 3353: 3349: 3341: 3337: 3329: 3325: 3317: 3310: 3302: 3298: 3290: 3286: 3278: 3274: 3266: 3262: 3254: 3250: 3242: 3238: 3230: 3221: 3213: 3209: 3201: 3197: 3190: 3186: 3178: 3174: 3166: 3159: 3151: 3144: 3136: 3132: 3124: 3117: 3109: 3105: 3097: 3088: 3080: 3076: 3068: 3064: 3056: 3045: 3037: 3030: 3022: 3018: 3010: 3006: 3002:, p. viii. 2998: 2973: 2965: 2956: 2948: 2939: 2935: 2930: 2905: 2901: 2892: 2888: 2875: 2871: 2857:George Chadwick 2838: 2834: 2828: 2824: 2790: 2786: 2780: 2776: 2767: 2763: 2757:A Cavalry Catch 2742: 2738: 2734: 2729: 2690: 2655: 2636:Barbican Centre 2621:Sir Colin Davis 2619: 2592:Hallé Orchestra 2584: 2577:Wayback Machine 2542: 2509: 2475:Sir Colin Davis 2473: 2466:Wayback Machine 2431: 2396: 2389:Wayback Machine 2353: 2336:Mosfilm Studios 2320: 2293: 2287:Wayback Machine 2258: 2251:Wayback Machine 2215: 2180: 2145: 2139:Wayback Machine 2110: 2074: 2047: 2014: 2008:Wayback Machine 1980: 1952: 1925: 1914:Dutton Vocalion 1889: 1807:conducting the 1775: 1702: 1701: 1664: 1663: 1657: 1642:anthropomorphic 1582:impressionistic 1561: 1537: 1527: 1526: 1520: 1519: 1514: 1513: 1404:Richard Strauss 1375: 1311: 1304: 1279: 1246: 1245: 1240: 1239: 1236: 1223: 1198: 1197: 1195: 1160: 1159: 1157: 1134:. The "lively" 1121: 1069: 1068: 1063:(in F), 3 1045: 1044: 1035: 1034: 987: 985:Instrumentation 967:Armas Järnefelt 934: 877:Second Symphony 806: 706: 689: 588: 575:Fourth Symphony 490: 470: 469: 462: 461: 418: 417: 399: 364:Yale University 360: 355: 335:Violin Concerto 303: 302: 293: 292: 236:Greek mythology 134: 132: 98: 96: 65: 61: 42: 24: 17: 12: 11: 5: 6159: 6157: 6149: 6148: 6143: 6138: 6128: 6127: 6121: 6120: 6097: 6096: 6086: 6083: 6082: 6080: 6079: 6074: 6068: 6063: 6058: 6053: 6048: 6046:Sibelius Medal 6043: 6038: 6033: 6028: 6023: 6018: 6010: 6005: 5999: 5997: 5993: 5992: 5990: 5989: 5984: 5972: 5967: 5962: 5957: 5948:Erik Furuhjelm 5945: 5933: 5920: 5918: 5914: 5913: 5911: 5910: 5905: 5900: 5898:Leif Segerstam 5895: 5890: 5885: 5880: 5878:Eugene Ormandy 5875: 5870: 5865: 5860: 5855: 5853:Robert Kajanus 5850: 5845: 5840: 5835: 5833:Paavo Berglund 5830: 5824: 5822: 5818: 5817: 5815: 5814: 5802: 5797: 5792: 5790:Selim Palmgren 5787: 5782: 5777: 5772: 5770:Erkki Melartin 5767: 5761: 5749: 5744: 5732: 5720: 5711:Richard Faltin 5708: 5703: 5698: 5697: (patron) 5685: 5680: 5675: 5670: 5664: 5662: 5658: 5657: 5655: 5654: 5645:Bengt de Törne 5642: 5640:Leevi Madetoja 5637: 5631: 5629: 5625: 5624: 5622: 5621: 5616: 5611: 5606: 5602: 5601: (violin) 5589: 5588: (violin) 5583: 5575: 5570: 5568: 5564: 5563: 5561: 5560: 5547: 5544:Eero Järnefelt 5541: 5535: 5529: 5523: 5517: 5507:Jussi Snellman 5504: 5498: 5492: 5486: 5480: 5467: 5461: 5454: 5452: 5448: 5447: 5445: 5444: 5436: 5430: 5422:Finlandia Hymn 5418: 5406: 5392: 5390: 5386: 5385: 5383: 5382: 5373: 5360: 5354: 5344: 5338: 5332: 5322: 5316: 5310: 5304: 5298: 5288: 5286: 5282: 5281: 5279: 5278: 5275:Five Esquisses 5272: 5260: 5248: 5242: 5230: 5224: 5216: 5210: 5204: 5201:Six Impromptus 5197: 5195: 5191: 5190: 5188: 5187: 5181: 5173: 5167: 5161: 5150:Water Droplets 5145: 5143: 5139: 5138: 5136: 5135: 5126: 5117: 5107: 5105: 5101: 5100: 5098: 5097: 5085: 5076: 5070: 5064: 5057: 5055: 5051: 5050: 5048: 5047: 5039: 5031: 5027:Suite mignonne 5023: 5015: 5003: 4995: 4983: 4977: 4971: 4959: 4947: 4939: 4931: 4924: 4922: 4918: 4917: 4915: 4914: 4906: 4894: 4886: 4878: 4870: 4861: 4859: 4855: 4854: 4852: 4851: 4843: 4835: 4827: 4819: 4811: 4799: 4792: 4784: 4776: 4774: 4770: 4769: 4767: 4766: 4758: 4750: 4742: 4734: 4726: 4718: 4710: 4702: 4701: 4700: 4685: 4677: 4669: 4660: 4658: 4654: 4653: 4651: 4650: 4642: 4630: 4622: 4614: 4606: 4598: 4590: 4582: 4581: 4580: 4561: 4557:The Wood Nymph 4553: 4541: 4528: 4526: 4522: 4521: 4519: 4518: 4512: 4502: 4496: 4490: 4479: 4477: 4473: 4472: 4470: 4469: 4456: 4453:Symphony No. 7 4450: 4447:Symphony No. 6 4444: 4437:Symphony No. 5 4434: 4431:Symphony No. 4 4428: 4425:Symphony No. 3 4422: 4419:Symphony No. 2 4416: 4409:Symphony No. 1 4406: 4397: 4395: 4391: 4390: 4387: 4386: 4381: 4375: 4374: 4371: 4370: 4365: 4363: 4362: 4355: 4348: 4340: 4334: 4333: 4327:), Op. 73 4317: 4311:), Op. 73 4299: 4298:External links 4296: 4295: 4294: 4274: 4249: 4226: 4211:"The Kalevala" 4206: 4184: 4181: 4180: 4179: 4153: 4123: 4120: 4119: 4118: 4112: 4099: 4093: 4077: 4071: 4054: 4048: 4035: 4018: 3966:"Introduction" 3961: 3944: 3938: 3926:Hurwitz, David 3922: 3916: 3899: 3893: 3877: 3865: 3859: 3839: 3833: 3818: 3815: 3813: 3810: 3808: 3807: 3795: 3793:, p. 162. 3783: 3781:, p. 247. 3771: 3769:, p. 242. 3759: 3740: 3738:, p. 111. 3728: 3713: 3701: 3699:, p. 118. 3689: 3687:, p. 126. 3674: 3662: 3650: 3638: 3636:, p. 118. 3626: 3609: 3597: 3585: 3573: 3571:, p. 229. 3561: 3549: 3537: 3525: 3510: 3508:, p. 110. 3498: 3483: 3481:, p. 150. 3466: 3449: 3447:, p. 321. 3445:Dahlström 2003 3437: 3435:, p. 192. 3425: 3413: 3401: 3386: 3371: 3359: 3347: 3335: 3323: 3308: 3296: 3284: 3272: 3260: 3258:, p. 274. 3248: 3236: 3219: 3207: 3195: 3184: 3182:, p. 558. 3180:Griffiths 2005 3172: 3157: 3155:, p. 389. 3142: 3140:, p. 160. 3130: 3128:, p. 240. 3115: 3103: 3101:, p. 241. 3086: 3084:, p. 265. 3074: 3062: 3060:, p. 239. 3043: 3041:, p. 234. 3028: 3016: 3004: 2971: 2969:, p. 232. 2954: 2952:, p. 322. 2950:Dahlström 2003 2936: 2934: 2931: 2929: 2928: 2899: 2886: 2869: 2832: 2822: 2784: 2774: 2761: 2735: 2733: 2730: 2728: 2725: 2722: 2721: 2711: 2708: 2703: 2700: 2695: 2687: 2686: 2676: 2673: 2668: 2665: 2660: 2657:Edward Gardner 2652: 2651: 2641: 2638: 2633: 2630: 2625: 2616: 2615: 2605: 2602: 2597: 2594: 2589: 2586:Sir Mark Elder 2581: 2580: 2563: 2560: 2555: 2552: 2547: 2539: 2538: 2528: 2525: 2522: 2519: 2514: 2506: 2505: 2495: 2492: 2487: 2484: 2479: 2470: 2469: 2452: 2449: 2444: 2441: 2436: 2433:Leif Segerstam 2428: 2427: 2417: 2414: 2409: 2406: 2401: 2393: 2392: 2375: 2372: 2367: 2364: 2359: 2350: 2349: 2341: 2338: 2333: 2330: 2325: 2317: 2316: 2311: 2308: 2306: 2303: 2298: 2290: 2289: 2277: 2274: 2272: 2269: 2264: 2260:Paavo Berglund 2255: 2254: 2237: 2234: 2229: 2226: 2221: 2212: 2211: 2201: 2198: 2193: 2190: 2185: 2177: 2176: 2166: 2163: 2158: 2155: 2150: 2142: 2141: 2129: 2126: 2124: 2121: 2116: 2112:Eugene Ormandy 2107: 2106: 2096: 2093: 2088: 2085: 2080: 2076:Paavo Berglund 2071: 2070: 2065: 2062: 2060: 2057: 2052: 2044: 2043: 2038:SOMM Records ( 2036: 2033: 2028: 2025: 2020: 2011: 2010: 1998: 1995: 1993: 1990: 1985: 1977: 1976: 1971: 1968: 1966: 1963: 1958: 1954:Eugene Ormandy 1949: 1948: 1943: 1940: 1938: 1935: 1930: 1922: 1921: 1911: 1908: 1903: 1900: 1895: 1886: 1885: 1882: 1879: 1876: 1873: 1870: 1833:The Guardian's 1817:Tempo moderato 1774: 1771: 1770: 1769: 1768:and the suite. 1734: 1711: 1694: 1656: 1650: 1560: 1557: 1545:Claude Debussy 1536: 1533: 1499:The Oceanides. 1484:Otto Anderssen 1462:Leevi Madetoja 1418:Henry Krehbiel 1374: 1371: 1309: 1302: 1289: 1288: 1282: 1277: 1273: 1255: 1234: 1230: 1221: 1217: 1211: 1200: 1199: 1189: 1186: 1184: 1178:God of the Sea 1162: 1161: 1151: 1148: 1146: 1120: 1117: 1113: 1112: 1091: 1090:("stahlstäbe") 1077: 1073:), and 3 1057: 986: 983: 975:Robert Kajanus 969:, who led the 954:Richard Burgin 933: 930: 919:Lemminkäinen's 820:for Gothenburg 805: 802: 770:Ninth Symphony 705: 702: 688: 685: 639:. The version 587: 584: 489: 486: 442:Tempo moderato 426:Tempo moderato 398: 395: 382:Poul Knudsen's 368:Horatio Parker 359: 356: 354: 351: 339:Fifth Symphony 207:; in English: 169: 168: 163: 159: 158: 155: 151: 150: 144: 140: 139: 129: 125: 124: 120: 119: 113: 109: 108: 93: 89: 88: 85: 79: 78: 71: 67: 66: 57:The composer ( 56: 48: 47: 35: 34: 15: 13: 10: 9: 6: 4: 3: 2: 6158: 6147: 6144: 6142: 6139: 6137: 6134: 6133: 6131: 6124: 6119: 6109: 6105: 6094: 6084: 6078: 6075: 6072: 6071:1405 Sibelius 6069: 6067: 6064: 6062: 6059: 6057: 6054: 6052: 6049: 6047: 6044: 6042: 6041:Sibelius Hall 6039: 6037: 6034: 6032: 6029: 6027: 6024: 6022: 6019: 6017: 6015: 6011: 6009: 6006: 6004: 6001: 6000: 5998: 5994: 5988: 5985: 5981: 5976: 5973: 5971: 5970:Robert Layton 5968: 5966: 5963: 5961: 5958: 5954: 5949: 5946: 5942: 5937: 5934: 5930: 5925: 5922: 5921: 5919: 5915: 5909: 5906: 5904: 5901: 5899: 5896: 5894: 5891: 5889: 5886: 5884: 5881: 5879: 5876: 5874: 5871: 5869: 5866: 5864: 5861: 5859: 5856: 5854: 5851: 5849: 5846: 5844: 5841: 5839: 5836: 5834: 5831: 5829: 5826: 5825: 5823: 5819: 5811: 5806: 5805:Karl Wasenius 5803: 5801: 5798: 5796: 5793: 5791: 5788: 5786: 5783: 5781: 5780:Rosa Newmarch 5778: 5776: 5773: 5771: 5768: 5765: 5764:Santeri Levas 5762: 5758: 5753: 5750: 5748: 5745: 5741: 5736: 5733: 5729: 5724: 5721: 5717: 5712: 5709: 5707: 5704: 5702: 5699: 5694: 5689: 5688:Axel Carpelan 5686: 5684: 5681: 5679: 5676: 5674: 5671: 5669: 5666: 5665: 5663: 5659: 5651: 5646: 5643: 5641: 5638: 5636: 5633: 5632: 5630: 5626: 5620: 5619:Karl Goldmark 5617: 5615: 5612: 5610: 5609:Albert Becker 5604: 5603: 5598: 5593: 5590: 5587: 5584: 5580: 5573: 5572: 5571: 5569: 5565: 5556: 5551: 5548: 5545: 5542: 5539: 5536: 5533: 5530: 5527: 5524: 5521: 5518: 5513: 5508: 5505: 5502: 5499: 5496: 5493: 5490: 5487: 5484: 5481: 5476: 5471: 5470:Ruth Snellman 5468: 5465: 5464:Aino Sibelius 5462: 5459: 5456: 5455: 5453: 5449: 5442: 5441: 5437: 5434: 5431: 5424: 5423: 5419: 5412: 5411: 5407: 5401: (1896, 5400: 5398: 5394: 5393: 5391: 5387: 5380: 5378: 5374: 5371: 5367: 5365: 5361: 5358: 5355: 5349: (1909, 5348: 5345: 5342: 5339: 5336: 5333: 5330: 5326: 5323: 5320: 5317: 5314: 5311: 5308: 5305: 5302: 5299: 5296: 5294: 5290: 5289: 5287: 5283: 5276: 5273: 5269: 5267: 5264:Five Pieces, 5261: 5257: 5255: 5252:Five Pieces, 5249: 5246: 5243: 5237: (1912, 5236: 5235: 5231: 5228: 5225: 5222: 5221: 5217: 5214: 5211: 5208: 5205: 5202: 5199: 5198: 5196: 5192: 5185: 5182: 5179: 5178: 5174: 5171: 5170:Piano Quintet 5168: 5165: 5162: 5152: 5151: 5147: 5146: 5144: 5142:Other chamber 5140: 5133: 5132: 5127: 5124: 5123: 5118: 5115: 5114: 5109: 5108: 5106: 5102: 5092: (1922, 5091: 5090: 5086: 5083: 5082: 5081:Voces intimae 5077: 5074: 5071: 5068: 5065: 5062: 5059: 5058: 5056: 5052: 5045: 5044: 5040: 5037: 5036: 5032: 5029: 5028: 5024: 5021: 5020: 5016: 5010: (1909, 5009: 5008: 5004: 5001: 5000: 4996: 4990: (1904, 4989: 4988: 4984: 4981: 4978: 4975: 4972: 4966: (1899, 4965: 4964: 4960: 4954: (1894, 4953: 4952: 4948: 4945: 4944: 4943:Karelia Suite 4940: 4937: 4936: 4932: 4929: 4926: 4925: 4923: 4919: 4912: 4911: 4907: 4901: (1902, 4900: 4899: 4895: 4892: 4891: 4887: 4884: 4883: 4879: 4876: 4875: 4871: 4868: 4867: 4863: 4862: 4860: 4856: 4849: 4848: 4844: 4841: 4840: 4836: 4833: 4832: 4828: 4825: 4824: 4820: 4817: 4816: 4812: 4806: (1902, 4805: 4804: 4800: 4798: 4797: 4793: 4790: 4789: 4785: 4783: 4782: 4778: 4777: 4775: 4771: 4764: 4763: 4759: 4756: 4755: 4751: 4748: 4747: 4743: 4740: 4739: 4735: 4732: 4731: 4727: 4724: 4723: 4719: 4716: 4715: 4711: 4708: 4707: 4703: 4699: 4698: 4693: 4692: 4691: 4690: 4686: 4683: 4682: 4678: 4675: 4674: 4670: 4667: 4666: 4662: 4661: 4659: 4655: 4648: 4647: 4643: 4637: (1914, 4636: 4635: 4634:The Oceanides 4631: 4628: 4627: 4623: 4620: 4619: 4615: 4612: 4611: 4607: 4604: 4603: 4599: 4596: 4595: 4591: 4588: 4587: 4583: 4579: 4578: 4569: 4568: 4567: 4566: 4562: 4559: 4558: 4554: 4548: (1894, 4547: 4546: 4542: 4536: (1892, 4535: 4534: 4530: 4529: 4527: 4523: 4516: 4513: 4506: 4503: 4500: 4497: 4494: 4493:Two Serenades 4491: 4485: (1904, 4484: 4481: 4480: 4478: 4474: 4460: 4457: 4454: 4451: 4448: 4445: 4439: (1915, 4438: 4435: 4432: 4429: 4426: 4423: 4420: 4417: 4411: (1899, 4410: 4407: 4404: 4403: 4399: 4398: 4396: 4392: 4385: 4382: 4380: 4377: 4376: 4372: 4368: 4367:Jean Sibelius 4361: 4356: 4354: 4349: 4347: 4342: 4341: 4338: 4332: 4328: 4326: 4322: 4321:The Oceanides 4318: 4316: 4312: 4310: 4306: 4305:The Oceanides 4302: 4301: 4297: 4284: 4280: 4275: 4263: 4259: 4255: 4250: 4236: 4232: 4227: 4216: 4212: 4207: 4196: 4192: 4187: 4186: 4182: 4173: 4169: 4165: 4161: 4160: 4154: 4147: 4143: 4139: 4135: 4131: 4126: 4125: 4121: 4115: 4113:9780571247745 4109: 4105: 4100: 4096: 4094:9780571247738 4090: 4086: 4082: 4078: 4074: 4072:9780806103075 4068: 4063: 4062: 4055: 4051: 4049:9780714835815 4045: 4041: 4040:Jean Sibelius 4036: 4032: 4028: 4024: 4019: 4015: 4009: 3995:on 2015-06-20 3991: 3987: 3983: 3979: 3975: 3967: 3962: 3958: 3954: 3950: 3949:Jean Sibelius 3945: 3941: 3939:9781574671490 3935: 3931: 3927: 3923: 3919: 3917:9780521894609 3913: 3909: 3905: 3900: 3896: 3894:9780140515596 3890: 3886: 3882: 3878: 3874: 3870: 3866: 3862: 3860:3-7651-0333-0 3856: 3852: 3848: 3844: 3840: 3836: 3834:9780300111590 3830: 3826: 3821: 3820: 3816: 3811: 3804: 3803:Clements 2003 3799: 3796: 3792: 3787: 3784: 3780: 3775: 3772: 3768: 3763: 3760: 3756: 3751: 3749: 3747: 3745: 3741: 3737: 3732: 3729: 3725: 3720: 3718: 3714: 3710: 3705: 3702: 3698: 3693: 3690: 3686: 3681: 3679: 3675: 3671: 3666: 3663: 3659: 3654: 3651: 3647: 3642: 3639: 3635: 3634:Rickards 1997 3630: 3627: 3623: 3618: 3616: 3614: 3610: 3607:, p. xi. 3606: 3601: 3598: 3594: 3589: 3586: 3582: 3577: 3574: 3570: 3565: 3562: 3558: 3553: 3550: 3546: 3541: 3538: 3535:, p. 77. 3534: 3529: 3526: 3522: 3517: 3515: 3511: 3507: 3502: 3499: 3495: 3490: 3488: 3484: 3480: 3475: 3473: 3471: 3467: 3463: 3458: 3456: 3454: 3450: 3446: 3441: 3438: 3434: 3429: 3426: 3422: 3417: 3414: 3410: 3405: 3402: 3399:, p. 68. 3398: 3393: 3391: 3387: 3384:, p. 39. 3383: 3378: 3376: 3372: 3369:, p. 38. 3368: 3363: 3360: 3356: 3351: 3348: 3344: 3339: 3336: 3332: 3331:Rickards 1997 3327: 3324: 3320: 3315: 3313: 3309: 3306:, p. 69. 3305: 3304:Stoeckel 1971 3300: 3297: 3293: 3292:Stoeckel 1971 3288: 3285: 3282:, p. 60. 3281: 3280:Stoeckel 1971 3276: 3273: 3269: 3264: 3261: 3257: 3252: 3249: 3246:, p. 61. 3245: 3240: 3237: 3234:, p. ix. 3233: 3228: 3226: 3224: 3220: 3216: 3215:Crawford 1888 3211: 3208: 3204: 3199: 3196: 3193: 3188: 3185: 3181: 3176: 3173: 3169: 3164: 3162: 3158: 3154: 3149: 3147: 3143: 3139: 3134: 3131: 3127: 3122: 3120: 3116: 3112: 3107: 3104: 3100: 3095: 3093: 3091: 3087: 3083: 3078: 3075: 3071: 3066: 3063: 3059: 3054: 3052: 3050: 3048: 3044: 3040: 3035: 3033: 3029: 3025: 3020: 3017: 3013: 3008: 3005: 3001: 2996: 2994: 2992: 2990: 2988: 2986: 2984: 2982: 2980: 2978: 2976: 2972: 2968: 2963: 2961: 2959: 2955: 2951: 2946: 2944: 2942: 2938: 2932: 2925: 2921: 2920: 2915: 2911: 2910: 2903: 2900: 2896: 2890: 2887: 2883: 2879: 2873: 2870: 2866: 2862: 2858: 2854: 2850: 2846: 2845:Niagara Falls 2842: 2836: 2833: 2826: 2823: 2819: 2817: 2811: 2809: 2808: 2801: 2797: 2793: 2788: 2785: 2778: 2775: 2771: 2770:The Oceanides 2765: 2762: 2758: 2754: 2750: 2746: 2740: 2737: 2731: 2726: 2719: 2715: 2712: 2709: 2707: 2704: 2701: 2699: 2696: 2693: 2689: 2688: 2684: 2680: 2677: 2674: 2672: 2669: 2666: 2664: 2661: 2658: 2654: 2653: 2649: 2645: 2642: 2639: 2637: 2634: 2631: 2629: 2626: 2622: 2618: 2617: 2613: 2609: 2606: 2603: 2601: 2598: 2595: 2593: 2590: 2587: 2583: 2582: 2578: 2574: 2571: 2567: 2564: 2561: 2559: 2558:Sibelius Hall 2556: 2553: 2551: 2548: 2545: 2541: 2540: 2536: 2532: 2529: 2526: 2523: 2520: 2518: 2515: 2512: 2508: 2507: 2503: 2502:82876-55706-2 2499: 2496: 2493: 2491: 2488: 2485: 2483: 2480: 2476: 2472: 2471: 2467: 2463: 2460: 2456: 2453: 2450: 2448: 2447:Hyvinkaa Hall 2445: 2442: 2440: 2437: 2434: 2430: 2429: 2425: 2421: 2418: 2415: 2413: 2410: 2407: 2405: 2402: 2399: 2395: 2394: 2390: 2386: 2383: 2379: 2376: 2373: 2371: 2368: 2365: 2363: 2360: 2356: 2352: 2351: 2348: 2345: 2342: 2339: 2337: 2334: 2331: 2329: 2326: 2323: 2319: 2318: 2315: 2312: 2309: 2307: 2304: 2302: 2299: 2296: 2292: 2291: 2288: 2284: 2281: 2278: 2275: 2273: 2270: 2268: 2265: 2261: 2257: 2256: 2252: 2248: 2245: 2241: 2238: 2235: 2233: 2230: 2227: 2225: 2222: 2218: 2214: 2213: 2209: 2208:CDM 7 64119 2 2205: 2202: 2199: 2197: 2194: 2191: 2189: 2186: 2183: 2179: 2178: 2174: 2170: 2167: 2164: 2162: 2159: 2156: 2154: 2151: 2148: 2144: 2143: 2140: 2136: 2133: 2130: 2127: 2125: 2122: 2120: 2117: 2113: 2109: 2108: 2104: 2103:5099921767425 2100: 2097: 2094: 2092: 2089: 2086: 2084: 2081: 2077: 2073: 2072: 2069: 2066: 2063: 2061: 2058: 2056: 2053: 2050: 2046: 2045: 2041: 2037: 2034: 2032: 2029: 2026: 2024: 2021: 2017: 2013: 2012: 2009: 2005: 2002: 1999: 1996: 1994: 1991: 1989: 1986: 1983: 1979: 1978: 1975: 1972: 1969: 1967: 1964: 1962: 1959: 1955: 1951: 1950: 1947: 1944: 1941: 1939: 1936: 1934: 1931: 1928: 1924: 1923: 1919: 1915: 1912: 1909: 1907: 1904: 1901: 1899: 1896: 1892: 1888: 1887: 1884:Available on 1867: 1864: 1862: 1858: 1854: 1853:Barbican Hall 1850: 1847: 1843: 1839: 1838:The Oceanides 1835: 1834: 1829: 1828: 1825:BIS-CD-1445, 1822: 1818: 1814: 1810: 1806: 1802: 1801:The Oceanides 1798: 1797: 1792: 1788: 1786: 1780: 1779:The Oceanides 1772: 1767: 1763: 1759: 1758:Till trånaden 1755: 1751: 1747: 1743: 1742:Till trånaden 1739: 1738:The Oceanides 1735: 1732: 1728: 1724: 1720: 1716: 1712: 1709: 1708:The Oceanides 1699: 1695: 1692: 1687: 1683: 1682: 1681: 1679: 1678: 1672: 1661: 1660:The Oceanides 1655: 1651: 1649: 1647: 1646:The Oceanides 1643: 1638: 1637:The Oceanides 1633: 1631: 1630:The Oceanides 1625: 1622: 1621:The Oceanides 1615: 1613: 1612:The Oceanides 1609: 1607: 1602: 1596: 1592: 1591: 1587: 1583: 1579: 1578:The Oceanides 1572: 1571: 1565: 1558: 1554: 1553:The Oceanides 1550: 1546: 1541: 1534: 1532: 1511: 1507: 1506: 1500: 1495: 1493: 1489: 1488:The Oceanides 1485: 1481: 1476: 1475: 1469: 1468: 1467:Uusi Suometar 1463: 1458: 1456: 1452: 1448: 1444: 1443:The Oceanides 1440: 1436: 1435:The Oceanides 1432: 1426: 1421: 1419: 1415: 1414: 1409: 1405: 1401: 1397: 1396:The Oceanides 1389: 1385: 1384: 1379: 1372: 1370: 1368: 1364: 1360: 1359:The Oceanides 1356: 1355:Robert Layton 1352: 1348: 1344: 1340: 1336: 1332: 1328: 1324: 1320: 1316: 1312: 1305: 1298: 1294: 1286: 1283: 1280: 1274: 1271: 1267: 1263: 1259: 1256: 1253: 1237: 1231: 1228: 1224: 1218: 1215: 1212: 1209: 1206: 1205: 1204: 1193: 1183: 1182: 1181: 1179: 1175: 1171: 1167: 1155: 1145: 1144: 1143: 1141: 1137: 1133: 1129: 1125: 1124:The Oceanides 1118: 1116: 1111: 1108:, and 2 1107: 1106:double basses 1103: 1099: 1095: 1092: 1089: 1085: 1081: 1078: 1076: 1066: 1062: 1058: 1056: 1055:contrabassoon 1052: 1042: 1041:bass clarinet 1032: 1028: 1024: 1020: 1016: 1012: 1011: 1010: 1008: 1004: 1000: 996: 992: 991:The Oceanides 984: 982: 980: 979:The Oceanides 976: 972: 968: 964: 963:The Oceanides 960: 955: 951: 950:The Oceanides 947: 943: 939: 938:The Oceanides 931: 929: 927: 926:The Oceanides 923: 920: 914: 912: 906: 902: 898: 894: 893:The Oceanides 890: 889:The Oceanides 886: 882: 878: 874: 873:The Oceanides 869: 867: 863: 859: 854: 851: 847: 846:Tawaststjerna 843: 839: 835: 831: 830:The Oceanides 827: 819: 818:The Oceanides 815: 810: 803: 801: 799: 797: 796: 789: 788: 783: 779: 775: 771: 768: 762: 757: 755: 754: 749: 748: 743: 742: 737: 736: 731: 730: 724: 723:The Oceanides 720: 716: 712: 703: 698: 697:The Oceanides 693: 686: 684: 682: 681:The Oceanides 679:(in English: 678: 676: 675:Die Okeaniden 670: 668: 662: 658: 655: 650: 648: 642: 638: 636: 631: 625: 623: 617: 615: 610: 600: 596: 592: 585: 583: 581: 576: 571: 570: 563: 560: 558: 553: 545: 543: 539: 538:Aino Sibelius 533: 530: 526: 524: 519: 513: 506: 505:The Oceanides 502: 498: 494: 488:Final version 487: 485: 483: 479: 475: 459: 455: 451: 449: 448:Till trånaden 443: 439: 435: 431: 427: 423: 412: 409: 405: 396: 394: 392: 391: 387: 383: 378: 373: 369: 365: 357: 352: 350: 348: 344: 340: 336: 332: 330: 329: 322: 320: 319: 312: 311:The Oceanides 308: 298: 288: 284: 283:The Oceanides 279: 277: 276: 272: 268: 264: 263:Impressionism 260: 259:The Oceanides 255: 253: 249: 245: 241: 237: 233: 229: 228:Jean Sibelius 225: 221: 218: 214: 210: 206: 204: 199: 193: 189: 185: 183: 178:(in Finnish: 177: 176: 175:The Oceanides 167: 164: 160: 157:Jean Sibelius 156: 152: 148: 145: 141: 130: 126: 121: 117: 114: 110: 94: 90: 86: 84: 80: 76: 72: 68: 54: 49: 45: 44:Jean Sibelius 40: 36: 33: 32:The Oceanides 29: 26: 22: 6123: 6013: 5873:Sakari Oramo 5614:Robert Fuchs 5466: (wife) 5460: (home) 5443: (1917) 5438: 5420: 5408: 5396: 5389:Choral works 5376: 5363: 5359: (1911) 5343: (1908) 5337: (1906) 5292: 5277: (1929) 5265: 5253: 5247: (1912) 5245:Two Rondinos 5232: 5229: (1912) 5223: (1904) 5218: 5209: (1893) 5207:Piano Sonata 5203: (1893) 5186: (1915) 5180: (1900) 5175: 5172: (1890) 5148: 5134: (1888) 5130: 5125: (1887) 5121: 5116: (1886) 5112: 5087: 5084: (1909) 5080: 5075: (1890) 5069: (1889) 5063: (1885) 5046: (1922) 5041: 5038: (1922) 5033: 5030: (1921) 5025: 5022: (1912) 5017: 5005: 5002: (1906) 4999:Pan and Echo 4997: 4985: 4982: (1904) 4976: (1902) 4961: 4949: 4946: (1893) 4941: 4938: (1891) 4935:Ballet Scene 4933: 4930: (1891) 4908: 4896: 4888: 4885: (1900) 4880: 4877: (1899) 4872: 4869: (1897) 4864: 4850: (1926) 4845: 4842: (1920) 4837: 4834: (1919) 4829: 4826: (1918) 4821: 4818: (1906) 4813: 4801: 4794: 4791: (1896) 4786: 4779: 4765: (1925) 4760: 4757: (1916) 4752: 4749: (1913) 4744: 4741: (1911) 4736: 4733: (1909) 4728: 4725: (1908) 4720: 4717: (1906) 4712: 4709: (1905) 4704: 4697:Valse triste 4695: 4687: 4684: (1898) 4679: 4676: (1896) 4671: 4663: 4649: (1926) 4644: 4633: 4632: 4629: (1913) 4624: 4621: (1913) 4616: 4613: (1910) 4608: 4605: (1909) 4600: 4597: (1906) 4592: 4589: (1899) 4584: 4575: 4563: 4560: (1895) 4555: 4543: 4531: 4517: (1929) 4468:, abandoned) 4455: (1924) 4449: (1923) 4433: (1911) 4427: (1907) 4421: (1902) 4405: (1892) 4401: 4324: 4320: 4308: 4304: 4286:. Retrieved 4282: 4266:. Retrieved 4262:the original 4257: 4240:December 26, 4238:. Retrieved 4234: 4218:. Retrieved 4214: 4198:. Retrieved 4194: 4163: 4157: 4137: 4133: 4130:Lemminkäinen 4129: 4103: 4084: 4060: 4039: 4022: 3997:. Retrieved 3990:the original 3972: 3948: 3929: 3903: 3884: 3872: 3850: 3846: 3824: 3798: 3791:Johnson 1959 3786: 3774: 3762: 3755:Barnett 2007 3731: 3724:Hurwitz 2007 3704: 3697:Ringbom 1954 3692: 3685:Ringbom 1954 3670:Johnson 1959 3665: 3653: 3641: 3629: 3600: 3588: 3583:, p. x. 3576: 3564: 3552: 3540: 3528: 3501: 3494:Grimley 2004 3479:Hurwitz 2007 3440: 3428: 3416: 3404: 3362: 3350: 3338: 3326: 3299: 3287: 3275: 3263: 3251: 3239: 3210: 3198: 3187: 3175: 3138:Johnson 1959 3133: 3126:Barnett 2007 3111:Barnett 2007 3106: 3099:Barnett 2007 3077: 3065: 3058:Barnett 2007 3039:Barnett 2007 3019: 3012:Barnett 2007 3007: 2967:Barnett 2007 2923: 2917: 2913: 2907: 2902: 2889: 2872: 2853:Henry Hadley 2835: 2825: 2813: 2812:, root word 2803: 2799: 2795: 2791: 2787: 2777: 2769: 2764: 2756: 2752: 2748: 2744: 2739: 2600:BBC Studio 7 2511:Petri Sakari 2498:RCA Red Seal 2204:EMI Classics 2099:EMI Classics 2049:Antal Doráti 1982:Eugen Jochum 1842:Sakari Oramo 1837: 1831: 1826: 1820: 1816: 1812: 1800: 1794: 1790: 1782: 1778: 1776: 1765: 1761: 1757: 1749: 1745: 1741: 1737: 1730: 1722: 1718: 1707: 1697: 1690: 1685: 1675: 1670: 1659: 1658: 1653: 1652:Relation to 1645: 1636: 1634: 1629: 1627: 1620: 1617: 1611: 1598: 1588: 1577: 1575: 1568: 1552: 1548: 1503: 1498: 1496: 1487: 1479: 1472: 1465: 1459: 1442: 1434: 1428: 1423: 1411: 1406:in 1904 and 1395: 1393: 1388:Gustave Doré 1381: 1366: 1358: 1346: 1342: 1338: 1334: 1330: 1326: 1322: 1318: 1314: 1307: 1300: 1296: 1292: 1290: 1284: 1275: 1269: 1265: 1257: 1251: 1238:(ending in E 1232: 1226: 1219: 1213: 1207: 1201: 1174:triple meter 1172:section (in 1169: 1163: 1138:section (in 1135: 1131: 1127: 1123: 1122: 1114: 1088:glockenspiel 990: 988: 978: 962: 949: 937: 935: 925: 916: 908: 904: 900: 896: 892: 888: 884: 880: 872: 870: 855: 829: 823: 817: 791: 785: 777: 764: 759: 753:Valse triste 751: 745: 739: 733: 727: 722: 707: 696: 687:Performances 680: 672: 664: 657: 644: 640: 627: 619: 618:in favor of 606: 604: 594: 567: 565: 549: 547: 534: 515: 509: 504: 496: 453: 445: 441: 437: 429: 425: 413: 407: 400: 388: 361: 324: 314: 310: 282: 280: 273: 258: 256: 248:D major 208: 195: 191: 187: 179: 174: 173: 172: 31: 25: 6016:(2003 film) 5978: [ 5951: [ 5939: [ 5927: [ 5908:Osmo Vänskä 5868:Hannu Lintu 5848:Paavo Järvi 5843:Neeme Järvi 5808: [ 5755: [ 5738: [ 5735:Karl Flodin 5726: [ 5714: [ 5701:Olin Downes 5691: [ 5648: [ 5635:Toivo Kuula 5595: [ 5553: [ 5510: [ 5501:Jussi Jalas 5473: [ 5440:Jäger March 5417: 1898) 5405: 1898) 5353: 1957) 5270:(1916–1917) 5266:The Flowers 5241: 1912) 5104:Piano trios 5096: 1938) 5014: 1910) 5007:In memoriam 4994: 1905) 4970: 1911) 4958: 1912) 4905: 1910) 4823:My Own Land 4810: 1910) 4762:The Tempest 4746:Scaramouche 4641: 1914) 4552: 1895) 4545:Spring Song 4540: 1902) 4511: 1940) 4489: 1905) 4476:Concertante 4466: 1938 4415: 1900) 4325:Aallottaret 4309:Aallottaret 4258:Sibelius.fi 3869:Gray, Cecil 3736:Layton 1965 3646:Layton 1965 3506:Layton 1965 2792:Aallottaret 2782:University. 2749:Autumn Song 2570:BIS-CD-1225 2544:Osmo Vänskä 2524:Háskólabíó 2424:09274 06202 2355:Neeme Järvi 2217:Neeme Järvi 1773:Discography 1580:as broadly 1447:Schnéevoigt 1400:Olin Downes 1351:sonata form 1262:development 1140:duple meter 1027:cor anglais 853:darkness". 826:World War I 667:Aallottaret 647:Aallottaret 641:Aallottaret 622:Aallottaret 595:Aallottaret 390:Scaramouche 372:New England 358:Composition 343:Osmo Vänskä 182:Aallottaret 75:Aallottaret 70:Native name 62: 1915 6130:Categories 5965:Cecil Gray 5936:Karl Ekman 5795:Adolf Paul 5723:Ida Flodin 5673:Aino Ackté 5668:Juhani Aho 5177:Malinconia 4987:Cassazione 4730:The Lizard 4525:Tone poems 4394:Symphonies 4031:B0000CMRUD 3999:2015-06-19 3203:Telin 2015 3168:Sirén 2005 2933:References 2671:Grieg Hall 2244:BIS-CD-263 1872:Orchestra 1869:Conductor 1746:To Longing 1717:, thought 1606:der Wellen 1510:Kalevi Aho 1492:Cecil Gray 1451:Aegean Sea 1357:considers 1225:(F major; 1180:himself": 1049:), 2 1039:), 1 1003:percussion 866:Gothenburg 717:, and the 654:Aalottaret 635:der Wellen 614:der Wellen 557:der Wellen 523:der Wellen 501:Max Jensen 458:transposed 454:To Longing 366:professor 337:, and the 203:der Wellen 162:Performers 135:1914-06-04 107: 1914 5996:Namesakes 5706:Ida Ekman 5329:Höstkväll 5254:The Trees 4951:Rakastava 4910:The Raven 4898:Impromptu 4722:Swanwhite 4626:Luonnotar 4610:The Dryad 4586:Finlandia 4008:cite book 3986:833823092 3622:Gray 1931 2914:The Dryad 2623: (2) 2612:CDHLL7516 2477: (1) 2382:000459702 2357: (2) 2262: (2) 2219: (1) 2114: (2) 2078: (1) 2040:SOMMCD093 2018: (2) 1956: (1) 1918:CDBP 9771 1893: (1) 1881:Duration 1875:Recorded 1813:Oceanides 1686:Oceanides 1671:Oceanides 1586:Debussy's 1373:Reception 1210:(D major) 1203:follows: 1166:glissandi 1119:Structure 1075:trombones 1031:clarinets 1029:, 2 1021:, 2 1017:, 2 995:woodwinds 911:Rakastava 903:from the 885:Swanwhite 795:Vårt Land 776:rhapsody 747:Finlandia 482:woodwinds 404:Rydberg's 271:Debussy's 224:orchestra 220:tone poem 154:Conductor 112:Publisher 39:Tone poem 6093:Category 6014:Sibelius 5567:Teachers 5399:, Op. 21 5379:, Op. 90 5295:, Op. 13 5268:, Op. 85 5256:, Op. 75 5220:Kyllikki 5113:Hafträsk 4890:Marjatta 4773:Cantatas 4754:Everyman 4618:The Bard 4402:Kullervo 4288:July 16, 4220:July 15, 4200:July 15, 4183:Websites 4172:40917124 4083:(1986). 3928:(2007). 3883:(2005). 3873:Sibelius 3871:(1931). 3845:(2003). 3825:Sibelius 2849:Encaenia 2816:aallotar 2807:Kalevala 2683:CHSA5178 2644:LSO Live 2573:Archived 2535:8.555299 2462:Archived 2459:ODE914-2 2385:Archived 2347:(BC9212) 2283:Archived 2247:Archived 2173:CHAN8395 2135:Archived 2004:Archived 1861:BBCMM441 1844:and the 1766:The Bard 1762:The Bard 1750:The Bard 1731:The Bard 1727:triptych 1719:The Bard 1703:♭ 1698:The Bard 1691:The Bard 1677:The Bard 1665:♭ 1654:The Bard 1624:unknown. 1595:tremolos 1535:Analysis 1528:♭ 1521:♭ 1515:♭ 1505:The Bard 1247:♭ 1241:♭ 1084:triangle 1070:♭ 1065:trumpets 1051:bassoons 1046:♭ 1036:♭ 901:Nocturne 787:Die Feen 782:Wagner's 767:Dvořák's 471:♭ 463:♭ 419:♭ 345:and the 304:♭ 294:♭ 252:subjects 217:movement 143:Location 123:Premiere 92:Composed 5425:(1899, 5366:, Op. 1 4882:Snöfrid 4689:Kuolema 4646:Tapiola 4533:En saga 4268:June 7, 3812:Sources 2882:Austria 2718:CKD 566 2679:Chandos 2648:LSO0675 2169:Chandos 1821:Allegro 1796:Tapiola 1785:En saga 1601:Rondeau 1453:and of 1250:major; 1244:major–G 1094:Violins 1080:Timpani 1059:4 1019:flutess 1015:piccolo 1013:1 1007:strings 838:Germany 699:in 1914 630:Rondeau 609:Rondeau 552:Rondeau 518:Rondeau 478:strings 438:Allegro 430:Allegro 384:tragic 353:History 318:En saga 198:Rondeau 133: ( 103:–1914, 97: ( 21:Oceanid 6104:Portal 5628:Pupils 5458:Ainola 5451:Family 5258:(1914) 5131:Lovisa 4570:1895, 4170: 4110: 4091: 4069: 4046: 4029: 3984: 3957:603128 3955: 3936: 3914: 3891: 3857: 3831: 2916:, and 2863:, and 2830:land". 2675:10:03 2640:11:58 2604:10:23 2562:10:03 2527:10:18 2494:10:57 2455:Ondine 2451:11:15 2374:10:23 2236:10:15 2200:10:31 2165:10:40 2128:10:29 2095:10:55 2064:10:11 1942:10:20 1878:Venue 1793:, and 1590:La mer 1570:La mer 1549:La mer 1102:cellos 1098:violas 1086:, and 1053:, and 1005:, and 922:Return 899:, the 842:Russia 784:opera 750:, and 732:, the 713:, the 542:Ainola 434:extant 432:) are 333:, the 323:, the 275:La mer 267:scales 232:nymphs 118:(1915) 5982:] 5955:] 5943:] 5931:] 5812:] 5759:] 5742:] 5730:] 5718:] 5695:] 5652:] 5599:] 5557:] 5514:] 5477:] 5351:orch. 5285:Songs 5194:Piano 5122:Korpo 5094:orch. 4168:JSTOR 3993:(PDF) 3969:(PDF) 3849:[ 3817:Books 2878:duchy 2876:As a 2732:Notes 2710:9:47 2702:2017 2667:2016 2632:2008 2608:Hallé 2596:2006 2554:2000 2531:Naxos 2521:2000 2486:1998 2443:1998 2416:8:55 2408:1996 2366:1995 2340:9:04 2332:1991 2310:9:49 2305:1987 2276:8:28 2271:1986 2228:1984 2192:1984 2157:1977 2123:1976 2087:1972 2059:1969 2035:9:08 2027:1956 1997:8:51 1992:1955 1970:8:24 1965:1955 1937:1955 1910:7:54 1902:1936 1455:Homer 1363:rondo 1110:harps 1067:(in B 1061:horns 1043:(in B 1033:(in B 1023:oboes 999:brass 850:Sixth 512:score 474:major 422:major 406:poem 307:major 297:major 289:, in 5427:arr. 5415:arr. 5403:rev. 5397:Hymn 5239:arr. 5012:rev. 4992:rev. 4968:arr. 4956:arr. 4903:rev. 4808:rev. 4639:rev. 4572:rev. 4550:rev. 4538:rev. 4509:rev. 4487:rev. 4441:rev. 4413:rev. 4290:2015 4270:2015 4242:2015 4222:2015 4202:2015 4108:ISBN 4089:ISBN 4067:ISBN 4044:ISBN 4027:ASIN 4014:link 3982:OCLC 3978:ISMN 3953:OCLC 3934:ISBN 3912:ISBN 3889:ISBN 3855:ISBN 3829:ISBN 2714:Linn 2420:Apex 1669:pre- 1339:Coda 1285:Coda 1268:and 1130:and 480:and 370:: a 222:for 149:, US 128:Date 105:rev. 99:1913 95:1913 83:Opus 4142:doi 3974:112 2798:or 2566:BIS 2240:BIS 1863:). 1457:". 1369:). 1009:): 499:by 466:to 234:in 213:Op. 211:), 190:or 41:by 6132:: 5980:fi 5953:fi 5941:fi 5929:fi 5810:fi 5757:fi 5740:fi 5728:fi 5716:fi 5693:fi 5650:fi 5607:: 5597:de 5576:: 5555:fi 5512:fi 5475:fi 5372:") 5331:") 5155:c. 4463:c. 4313:, 4281:. 4256:. 4233:. 4213:. 4193:. 4164:43 4162:. 4138:11 4136:. 4010:}} 4006:{{ 3976:. 3906:. 3743:^ 3716:^ 3677:^ 3612:^ 3513:^ 3486:^ 3469:^ 3452:^ 3389:^ 3374:^ 3311:^ 3222:^ 3160:^ 3145:^ 3118:^ 3089:^ 3046:^ 3031:^ 2974:^ 2957:^ 2940:^ 2912:, 2859:, 2855:, 2720:) 2685:) 2650:) 2614:) 2579:) 2537:) 2504:) 2468:) 2426:) 2391:) 2253:) 2210:) 2175:) 2105:) 2042:) 1920:) 1789:, 1482:, 1104:, 1100:, 1025:, 1001:, 997:, 973:. 915:, 879:, 800:. 772:, 744:, 738:, 721:. 544:: 278:. 87:73 59:c. 6106:: 5413:( 5160:) 5153:( 4359:e 4352:t 4345:v 4323:( 4307:( 4292:. 4272:. 4244:. 4224:. 4204:. 4174:. 4148:. 4144:: 4116:. 4097:. 4075:. 4052:. 4033:. 4016:) 3959:. 3942:. 3920:. 3897:. 3863:. 3837:. 3805:. 3217:. 3205:. 3170:. 2926:. 2867:. 2716:( 2681:( 2646:( 2610:( 2568:( 2533:( 2500:( 2457:( 2422:( 2380:( 2242:( 2206:( 2171:( 2101:( 1916:( 1744:( 1710:. 1525:D 1367:A 1347:A 1345:– 1343:B 1341:( 1337:– 1335:B 1333:– 1331:A 1329:– 1327:B 1325:– 1323:A 1319:A 1317:– 1315:C 1310:1 1308:B 1306:– 1303:1 1301:A 1297:B 1295:– 1293:A 1278:2 1276:A 1270:B 1266:A 1258:C 1252:B 1235:1 1233:B 1227:A 1222:1 1220:A 1214:B 1208:A 1194:. 1170:B 1156:. 1136:A 1132:B 1128:A 468:D 452:( 416:E 301:D 291:E 137:) 101:) 64:) 23:.

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