Symphony No. 3 (Sibelius)

The third symphony by Jean Sibelius in C major op 52 from the years 1904 to 1907, in contrast to the first two only three sets and lasts about 28 minutes. She stands stylistically between the romantic intensity of the first two symphonies and the harsh complexity of the later works. The premiere took place on 25 September 1907, the Symphony Orchestra Helsinki during the composer conducting. The first recording session concerned - as with the earlier symphonies - the then famous Finnish conductor Robert Kajanus with the London Symphony Orchestra in 1934.

Barry Millington wrote in 1991 in the booklet to the recording of the complete symphonies with the Birmingham Symphony Orchestra under Simon Rattle 1984-88: " The orchestra is not very different from the apparatus of the Second; however, the symphony does not achieve the effect of rugged, romantic monumentality, but supple classical clarity. "

Composition

The Third Symphony is a turning point in Sibelius ' symphonic works. The first two symphonies were romantic and patriotic ' works. The third shows the resolute, almost classic to be named will, most of the musical material to be concentrated in only a few melodic figures and harmonies. This musical economy is particularly evident in the first sentence.

Sets

The symphony begins with a rhythmic and clearly contoured melody in the cellos and double basses. Then come also added the horns and the remaining strings. The CF - ♯ tritone, which is also in the following Symphony plays a crucial role here and is clearly worked out and from bar 15 particularly emphasized by a rinforzando mark. A lilting, almost folksy sounding solo flute announces a triumphant horn-call at more than excited strings at the first of three musical highlights of the first set. After this stormy part of the measured detachment of the beginning comes back - again supported by the cellos - but this time broken in a sostenuto - way in B minor.

From now on, the music is much quieter. Then repeat the woodwinds, the second cello melody over soft strings movements which take up the opening of the symphony. The tension mounts and finally explodes into the opening theme, accompanied by the timpani, and strings find their way through a vibrant choral -like sound carpet of brass and woodwinds and cellos in pizzicato. The flute theme returns and the second cello theme is taken up by the whole orchestra. Then the music calmed down. But this time, a triumphant flute and horn chorale leads to a summary of the past issues that have the last word before this set includes in a simple, yet brilliant form.

The second movement begins with a Nocturne, is characterized by extreme clarity and a bitter, romantic and catchy mood. The first part seems almost like a waltz at who wishes to market the previous darkness, but this trend does not follow. The music criticism is split on what exact shape and structure of this sentence at all. Anyway, this reminds fourfold appearance of the main theme of a rondo. After the extensive introduction of the sentence is a brief moment of brightness clear view for the strings, which now apply the theme, with woodwind and brass accompany careful. The music is the end propelled by constant pizzicato passages in the cellos. Finally, the second sentence ends in several strings eruptions, while the Midnight Waltz ' abrades up almost beyond recognition.

The third movement is actually two different sets, which are combined into a final. Sibelius has described as a " crystallization of chaos ". The opening includes thematic fragments of different material from already known or forthcoming sources. A verhuschtes, intense scherzo is in a triumphant chant about - again in the dominant CF ♯ - tritone - which is repeated several times. The coda brings the chorale theme in ever greater dimensions to the symphony finally abruptly ends after a summary of the chorale theme and a noise of string figures and woodwind scales with a C major arpeggio triad.