Jean Sibelius' Symphony Number 7 - Essay Example

Sibelius Symphony No.7 History of Jean Sibelius Symphony No. 7 was a final publication of Jean Sibelius in the year 1924. The man Jean Sibelius takes credit for his contribution in the formation of the Finnish national identity. Like the famous Beethoven, Sibelius used other works to develop his own style of composition. The distinctive form of his style is his set of seven symphonies, which is still popular in the music world. His developed works continue to gain recognition for recording and performance in concerts all over the world. His other best performance on top of the symphony No. 7 includes Finlandia, Valse triste, and The Swan of Tuonela. Additionally other works inspired by the Finnish culture include over 100 songs for piano and Voice. Some of the works include the opera music, Masonic ritual music, piano music and chamber music (Rahkonen, 2011). Sibelius composed up to the middle of 1920s, but since his production of the Seventh symphony in the year 1924, in the year 1926 when he produced "tone poem Tapiola" and "music to The Tempest" and he went quite since then. Sibelius has not produced other significant works. He is reputed to have stopped producing, but there have been some efforts to compose the eighth symphony. During the last periods of his life, he edited and wrote music for the Masonic. Although the man had an interest in developing new music, he was not much enthusiastic about modern music (Rahkonen, 2011). The Finnish nation mark a flag day on the 8 December to celebrate the composers birthday, and his image featured in the 100-mark bill until the year 2002 when it went out of circulation. Sibelius was born in Finland in the Russian Grand Duchy. He was the son of a Swedish doctor Gustaf Sibelius and Maria Sibelius. His real Swedish and Finnish name was "Janne" but he is known universally by the name Jean a French version that he adopted during his schooling years after being inspired by name in a business card of his uncle. His first language was Swedish, but he got a chance to go to Finnish speaking school from 1876 to 1885. From the age of 15, Jean has set out to be a Violin player; and he did accomplish his passion by performing the two last movements in Helsinki. After graduating from high school education, Jean Sibelius proceeded to study law at the prestigious imperial Alexander University of Finland. However, he eventually left his studies to concentrate in performing music (Costabile-Heming, 2004). From the year 1885 to 1889, Jean studied music in the Sibelius academy (formerly known as the Helsiki School of music). He further studied in Berlin, but it was also during this period that he abandoned his passion of playing Violin due to his own personal assertions. He viewed his music as vulgar and pompous. In the year 1892, Jean Sibelius married the love of his life and named their home Ainola. They lived together with his wife and had six daughters. In the 1908, Jean underwent an operation suspected to be throat cancer and this incident inspired him to compose luonnotar and the Fourth Symphony in the following years. He spent a lot of his life studying in Berlin and Vienna while his family stayed in Italy. He travelled over the world performing until the year 1930 when he became a figure of Finnish music welcoming dignitaries and creating music (Koivunen, 2003). Freemasonry was illegal in Finland during the Russian sovereign, and it was during Sibelius time that it gained acceptance. Sibelius is a founding member of the Suomi Lodge in the year 1992 (now the Grand Organist of the Grand Lodge). He composed ritualistic movement for the Masonic lodge in 1927 and further made a revision to ritual music in the year 1948 the last of his works. Composition Origin, History Jean Sibelius Sibelius reached a single movement of the symphony after long practice. His symphony contained three movements a fourth movement fused with the third movement while he uses the same idea to reach at the fifth symphony. The source of material for the seventh symphony traces back to 1914 the time he was working on the fifth. The last movement of the symphony is Hellenic Rondo. Information show that the composer worked on four movements. The essential key for this form is G minor, and the second movement is an adagio C minor. Sibelius seems to have used multiple movements as materials provide it in the year 1923. Along with his sixth and the fifth symphony, Sibelius seventh was his final. A never completed form, "symphonic poem" meaning moon spiritess helped shape the performance of the seventh symphony. This form is a collaboration of the sixth and the fifth symphony (Szabo, 2005). The seventh symphony of Jean Sibelius exists in D major embryonic form. The style eventually attains a key of C major. Sibelius only attained C major according to the British composer Ralph Williams. The composer further states that Sibelius made the C major sound fresh. After finishing the seventh, Sibelius lived for 33 years, and his important orchestral work is "Tapiola" a poem. However, according to evidence Sibelius created an eighth, which he burnt. His works not only provide unique skill but also exploits the use of color. The trombone plays an important role, and it starts with a tap in G from the timpani. Notes of the scale play from an ascending then followed by double bases (Steyn & Maré, 2008). The symphony starts with an introduction as if lava forces its way to the earths crust. In the next step the motif from strings, undergo developments. This stage is the adagio phase where it culminates with two themes. First of the themes is broad hymn in strings. This hymn develops further until excitement. After this stage, the buildup move to a trombone theme similar to that heard in the first step. When one listens to Symphony 7 of Sibelius, everything seems to be connected. The important fact about his performance is the rotation of D-C-B-C appearance in strings but the last moment rises to a long waited C (Pike, 2001). The essential sense of a symphony is for instruments to play together in order to produce a unique style of music. The term "sound together begin to appear in tittles of composers during the 16- 17 century. In the 17th century, composers in a range of compositions extensively use the term symphony. These compositions include instruments used in Operas, Concertos and sonatas. By 18th century symphony compositions, structure had the following contrasting movements: the movements were either fast, dance like or slow. Perhaps some of the best examples illustrating symphony during this period was the "ripieno concerto" representing Continuo and Concerto for instruments. The most distinctive fact is that these examples did not feature solo instruments. The ealiest "ripieno concerto" to be published during this period was Giuseppe Torellis in the year 1968; the publication was a set of 6.op 5 (Howell, 2006). Technical Considerations for the Conductor The seventh form of symphony should be strongly original. The symphony unified by a constant tempo that obtains a variety of contrasting themes. To attain this tempo a conductor need to consider particular keys. Essentially the seventh symphony existed in a form of D major it eventually attained a C major home key. Sibelius during his time turned the scheme on its head thus unifying the C of key. Unification of this key provides the tempo and a variety of the same. The conductors on the other hand, need to consider the form of instrumentation when performing. The instruments to consider are two flutes, s oboes, two clarinets, two bassoons, three trumpets, trombones, strings, timpani and horns. The symphony starts with a roll on the timpani, which needs to be soft followed by an ascending C major scale, which leads to an unexpected chord in of the remote key of A minor (Paul, 2002). As the climax of the symphony reaches, the orchestra adds intensity and volume. At the point of the climax, the first trombone makes an announcement for the main tune. With all the above, there are some technical considerations that for every conductor to concentrate. Conductors need to have aural skills to help deal with complex problems associated with intonation, color and balance, skills on sight-reading and transposition is another asset, which is applicable in the developing of scores of performance in an orchestral. The conductor needs to be knowledgeable on various instruments and have exceptional skills on operating functional keyboard (Paul, 2002). The conductors need to have practical experience in the composition so that there is awareness in the creation and in conducting procedures in an orchestra. The conductor should be able to demonstrate musical skill in a variety of musical styles and should be aware and able to discern effects of personality, place and time. This means that the conductor should be able to understand the operation of instruments to obtain the intended effects. Finally, on the technical consideration of a musical conductor, advanced skills in the analysis of music, harmony, composition, orchestration and knowledge on musical structures is necessary. Stylistic Consideration of Conductors Conducting is an art of directing performance by way of gestures. The function of a symphony conductor is to unify performance and performers. The process is assisting in executing clear beats, preparations and in setting the tempo. Concert bands, musical ensembles, choir and orchestras often use the services of conductors. Conducting therefore, is an artistic skill for directing performance. There are many rules relating to the conduction of symphony music; some of this rules are subjective while other objective. There is a variety of conducting style depending on the level of training and sophistication of the conductor. However, one need to understand that the main responsibilities of a conductor is to unify performers, execute clear beats and execute clear preparation. Nevertheless, conductor face a lot of challenges when performing their duties some of this challenges relate to the level of training of the performers and on the qualities of the conductor. Some of the challenges in conducting a symphony relate to the pacing and interpretation of music. Lack of a clear verbal communication channels during performance can greatly affect the quality of music. Another challenge to the functions of a conductor relates to rehearsal. Rehearsal has a high impact in the performance of the music and lack of proper rehearsals automatically affects performance. Therefore conducting requires understanding of elements of music expression. Some of these elements are dynamics, tempo and articulation of the musical style. The ability to communicate through expressions is beneficial for any conductor. Conducting gestures need preparation beforehand while studying the score. Another challenge in conducting an orchestra is the interpretation of music. The conductor might know how to slow the music but might not be able to know to what extend because this depends on ones judgment. Leadership skills are a challenge in conduction an orchestra. A conductor might not be able to influence the performance of performers (Stilwell, 2000). Other challenges include financial problems, health problems and recognition from audiences. . Forms and Structure of Sibelius Symphony No 7 The seventh form of Sibelius symphony is original. A constant tempo is essential in a variety of themes depending on the types of keys. Sebelius turned the head of the scheme. Its unification is on the C key, which is a passage in C major and minor. The variety of this theme is evident with a constant change on the tempo. There is contrast with the tempo texture and articulation in the seventh symphony. Sibelius work in the seventh symphony is similar to the sixth symphony (Grimley, 2002). Sibelius combines the elements of standard symphony first movement but with a much faster scherzo. In addition, the seven symphonies have a variety of themes within one movement. The following is some of the forms of symphonies present in Sibelius symphony; the Sonata form and Sonata-Allegro. Sonata form relate to when there is a large scale of instruments in use. Most of this works were present in the 18th and the 19th centuries. It is a first movement for other multiple movements. Since its establishment, Sonata movement has become the first movement as well as other classic movements that include the concerto, symphony and other movements. There is a lot of information that distinguishes as well as unifies the Sonata movement. It is an observation that even works do not adhere to standard Sonata movement. The movement is present in a lot of genres and varieties of music types. Although Sonata is applicable to four or three movements, the form refers to a single movement (Christensen, 2002). On the other hand, Sonata-allegro is a movement divided into sections. Each section performs a specific function in the musical movement. It may act as an introduction, which is essentially slower than the central movement. Additionally in terms of its structure, the introduction phase is an upbeat before the musical argument. Exposition is first required in section. Exposition presents thematic material for movement. These can be as one theme, two themes a group of themes. The exposition ends with the closing theme. Exposition is following the development of harmonic as well as textural possibilities allowing exploration of thematic material. Sonata form is however, misleading as scholars have observed it. Now the form is a model for the analysis of music rather than for composing. There are other variations to the Sonata form; which include a monothematic exposition, an extended coda section that pursues developmental aspects rather than conclusion. Over period distortions to the form has emerged and the form is popular in concerti. The movement is often fast, lively and dancelike. The song form with a contrasting middle section also called trio provides for a return to the original section. The usual tempo terms Andate meaning slow. Adagio much slower and lento the slowest form. Sonata form may be in a variety of forms. These forms may be Sonata-Allegro or the Variation and Theme. The Theme and Variation form consist of 5 to 15 variations. Changing with differing instrumentations, sometimes it is hard to recognize its original form (Hepokoski & Darcy, 2006). The final point is often hurried they include very fast mode (Allegro molto) or even faster (Presto). The form may be in the following forms Sonata-Allegro or Rondo. The final point ends with a tailpiece or Coda. Another important form is the Sonata-Allegro the form use is in the first movement. The form is unique since one is able to tell where one form ends, and another begins. The movement is stately and slow than all other movements. The introductory phase is optional, for example, Beethovens 4 has a long introductory phase but in his third it only accounts to two cords, and his 5 there is no introduction. At the exposition, the first theme is grand and memorable; the second is slower than the first but lyrical. Other themes and materials appear in between and after themes (Horton, 2005). The closing of this form is Codetta. Its development may be played by a variety of instruments made either faster or slower softer or louder. Its play is in different forms of keys and thrown around the orchestra. It is a continuous repetition with the same motive. The themes can be played upside down or backwards since an average listener does not recognize them. Its development is normally dramatic and tense. The form maximizes on the repeat of expositions, but with some changes meaning that later symphonies can be different as compared to old ones. Coda is the last phase that is optional, but it is usually present. This phase may not mean the end but can take the form of second development (Horton, 2005). References Costabile-Heming, C. A. (2004). Berlin - the symphony continues: Orchestrating architectural, social and artistic change in Germanys new capital. Berlin: de Gruyter. Rahkonen, C. (2011). Sibelius: A Composers Life and the Awakening of Finland (review). Notes, 67(3), 543-546. Koivunen, N. (2003). Leadership in symphony orchestras. Discursive and aesthetic practices. Tampere Finland: University Press. Howell, T. (2006). After Sibelius: studies in Finnish music. Burlington: Ashgate Publishing Paul, B.S. (2002). David Maslanka’s Symphony No. 4: A conductor’s analysis with performance considerations. Austin: University of Texas Pollack, H. (2000). Samuel Barber, Jean Sibelius, and the making of an American romantic. The Musical Quarterly, 84(2), 175-205. Stilwell, R. J. (2000). Sense & Sensibility. Form, Genre, and Function in the Film Score. Acta Musicologica, 72(2), 219-240. Horton, J. (2005). Bruckners Symphonies and Sonata Deformation Theory. Journal of the Society for Musicology in Ireland, 1, 5-17. Christensen, T. (Ed.). (2002). The Cambridge history of Western music theory. New York: Cambridge University Press. Hepokoski, J., & Darcy, W. (2006). Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata. Oxford: Oxford University Press, USA. Grimley, D. M. (2002). Modernism and Closure: Nielsens Fifth Symphony. The Musical Quarterly, 86(1), 149-173. Steyn, C., & Maré, E. A. (2008). Jean Sibelius and his “monument” by. Journal of Art History, 23, 46. Szabo, M. (2005). Avenues of entry into the world of Western art music. Music Educators Journal, 92(1), 38-43. Pike, L. (2001). Tonality and Modality in Sibeliuss Sixth Symphony. Tempo, 216 (216), 6-16. Read More