Sibelius willingly addressed and to a music genre to drama performances, sating action by sound images of the big expressive force. In this genre its musical registrations of performances "¤хыыхрё and ¦хышчрэфр" are most considerable; Meterlinka, Shakespeare's tragedies "…ѕЁ " plays of Finnish playwright Jarnefelta "-ѕюыхьр" ("РьхЁ=і") one of which musical episodes - the Sad waltz - has got world popularity
The Important place in the creative biography of Sibeliusa programmno-symphonic products - poems occupy, overtures, imaginations, suites. Among them already mentioned Four symphonic legends from "-рыхтры№". This symphonic tetralogy shows one of the higher displays of mighty creative force of Sibeliusa. Continuing a line program simfonizma Berlioz, Sheet, Tchaikovsky, Sibelius, as though internally discusses with Rihardom Strauss reproducing the literary program in the smallest details musical zvukopisi.
It resolutely objects "ЁрёъЁр°штрэш " literary images music. In the programmno-symphonic products of Sibelius aspired to express characters of characters, atmosphere and an emotional tone of action, to create such dramaturgic design of a piece of music which would correspond to a plot, a plot, the form of product literary. These principles also have found the fullest expression in the tetralogy about Lemminkjajnene which have become by one of the most original and deep samples of symphonic music of the XX-th century.
The Same principles of deep comprehension of sincere movements of heroes, a reconstruction of emotional atmosphere, instead of an illustration of a choreographic drama, are taken as a principle ballet - pantomimes of Sibeliusa "РърЁрьѕ°" written in 1913 by request of the Copenhagen Royal theatre.
We Will address to the genre of the symphony defining at composers not only scales of their talent, skill, but depth of comprehension of the world and its reflexion in sound images.
Seven symphonies were created by Sibeliusom throughout quarter of the century, between 1899 and 1924 years.
Recollecting, how many the new phenomena have arisen in music for this rough twenty-fifth anniversary, it is possible to assume, as Sibelius has been involved in a circle of searches of new expressive means of harmonious language, principles of the polyphony new tembralnoj of a palette in years when stolkimi with opening have amazed the world Skryabin, Ravel, Stravinsky, Bartok. From what without being fenced off, knowing everything that sounded in the modern music world, one accepting enthusiastically, another - is reserved, the third at all without accepting, Sibelius went the way.
Certainly, between the First and Seventh symphonies, no less than between them "Ёютхёэшърьш" in other genres, there are stylistic distinctions. But they are caused by deep process of creative evolution, instead of external influences. Though it is quite possible, as external factors played the role. But only preliminary they passed a difficult way in depths of aesthetic thinking of the composer always bearing the idea.
Sibelius belonged to that group of composers which allocated the symphony in a special category of musical thinking, considering, what not structural features of the multiprivate, cyclic form, and its world outlook maintenance is defining. In this sense it rodstven to such titans simfonizma, as Beethoven, Tchaikovsky, Mahler. And on emotionally intense manner "чрЁш=№" it was closest than the heroes and ideals to Tchaikovsky.
We Will underline that speech is not present about any similarity of a musical material. The emotional saturation, depth of an ideological plan, democratic character of language of products makes related with Tchaikovsky Sibeliusa's symphonies. Simfonizm Sibeliusa rodstven and to creativity of Borodino, its symphonies, "-э ч¦ ЂуюЁ¦" "¤хёэх dark ыхёр" "Ря Ёхщ ъэ цэх" music, with such generosity embodying images and ideas of a folk epic.
Seven symphonies of Sibeliusa - the difficult world. But the world clear where all is told distinctly and significantly where is not present "юсЁш§ ьхё=" and music expresses a state of mind, actions, conflicts, accidents where often silvery search of strings kantele alternates with severe arhaikoj; in this world all is expressed truthfully - such is will of the composer; all is subordinated to laws of the musical logic perceived and understood each, who is able to listen to symphonic music.
Already in the First symphony (1899) the special talent of Sibeliusa is heard - the storyteller, the story-teller, able to charm attention listening to it. In many symphonies of Sibelius uses reception of adjustment of listeners on the "юсЁрчэѕ¦ тюыэѕ" coming into contact already when introduction in a symphonic narration sounds only. This reception the composer "тютыхърх=" listeners in creative background of a symphonic drama.
In the introduction to the symphony sad having started singing a clarnet it is perceived with any alarm, it is probable, because tremolirujushchie litavry create mood preceding a storm.
Melodic lines of the beginning of I part, merging, form a mighty sound stream. And echoes of a vital drama rush into lyrical singing of II part. In III part the sky clears up, but also here, let for a short while, the mourning episode of memoirs or, maybe, a reminder puts. Even in the ending, vigorous and monumental, the general line of development does not find optimistic end, does not find because the composer does not palter, does not change to the truth for the sake of the imposing conclusion of the symphony.
The Special place in the creative biography of Sibeliusa is occupied with the Second symphony (1901) - The symphonic legend on struggle for freedom of the native earth. There is no necessity for precisely formulated literary program, the figurative system of this symphonic saga is so clear. In the beginning of the symphony music zhivopisuet the Finnish landscape, the nature, at times gloomy, and at times and amusing an eye, as a dewy lawn in solar morning. The native earth! And nearby - other theme excited, disturbing. In essence, I part - the developed introduction to a tool drama. Limiting pressure development reaches in II part filled in the images of severe fight and deep grief. Leaving in the fantasy world in III part - a tribute to romantic traditions. But also here reflexions of a patriotic theme sound very definitely. The dream advances the validity in the ending and causes the music full of pleasure, a celebration, confidence to a life. It sounds as a hymn. Perhaps, after Tchaikovsky Fifth symphony and Glazunov's Heel in the European music there was no the symphonic ending filled with such optimism.
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