Finland honors Sibelius as a national hero. During his lifetime, he received such honor in his homeland that probably no other musician in the world has enjoyed. In the small town of Hämenlijana in south-central Finland, not far from Helsinki, on December 8, 1865, a son was born into the family of a military doctor, Christian Gustav Sibelius. He was named Yogan-Julius-Christian, and later became known by the short name Jan.

Having lost his father at an early age, little Jan spent his childhood with his mother, brother and sister in his grandmother's house in his hometown. He had an inexhaustible imagination, populating the impenetrable forest thickets with strange creatures - nymphs, witches, gnomes. This trait remained with him into adulthood. No wonder his teachers called him a dreamer.

Jan began his education in a Swedish school, but soon moved to a Finnish one. There were no musicians in the Sibelius family, but many of them were very fond of art. Following an established family tradition, the growing children were taught music: sister Linda chose the piano, brother Christian the cello, and Jan began studying the piano, but then preferred the violin. At the age of ten he composed a short play.

At the age of 15, his attraction to music increased so much that it was decided to begin more serious, systematic studies. The leader of the local brass band, Gustav Levander, was chosen as the teacher.

this musician gave his student not only good technical training, but also some musical theoretical knowledge. As a result of his studies, the young musician wrote several chamber instrumental compositions.

As the eldest son, Jan was expected to become the pillar of the family. At the age of twenty, he entered the Faculty of Law at the University of Helsinki, secretly dreaming of something else - an artistic career as a virtuoso violinist.

In parallel with his studies at the university, the young man attended the Music Institute. Soon his successes finally convinced his family that his true calling was music.

The director of the institute, M. Wegelius, who taught theoretical disciplines, treated him with exceptional warmth. Sensing the great talent of the novice composer, Wegelius tried not to hamper his emerging talent and richly manifested creative imagination within the strict framework of traditional theoretical prescriptions.

R. Kayanus, who headed the national direction in Finnish music, played an exceptionally beneficial role in the life of young Sibelius. In his older friend, Sibelius met a patron and adviser, who at first provided significant assistance to the young composer.

In the spring of 1889, Sibelius graduated from the Music Institute. Along with other talented representatives of Finnish youth, Sibelius received a state scholarship for improvement abroad. A two-year stay in Germany and Austria brought many interesting impressions.

Sibelius's stay in his homeland in 1890 was marked by important event in his life - betrothal to Aino Yarisfelt. Soon he left again for further improvement, this time to Vienna. In Austria, Sibelius wrote two symphonic works. Sent to Helsinki by Kayanus, they were performed there, but without much success.

The trip abroad broadened the artistic horizons of the young composer, without, however, bringing great results in the study of musical theoretical disciplines. This reflected his stubborn resistance to ossified traditional norms and the desire to remain original. The creative achievements of this period were also small. However, when the 26-year-old composer returned home in 1891, he became convinced that some of his works were being performed willingly.

Soon Sibelius performed a large work in which his talent was widely revealed for the first time - the symphonic poem “Kullervo” for two soloists, a male choir and orchestra. Its first sketches were made during the years of my stay abroad.

Having promoted Sibelius to the forefront of Finnish cultural figures, Kullervo played a big role in his personal life. If earlier the parents of his betrothed did not dare to give their daughter to a musician with an insecure social position, now their doubts have dissipated. In the summer of 1892 the wedding took place. In young Aino, Sibelius found a friend who supported him in life path. But the family required considerable care. I had to think about getting a job, and a solution was found with the help of friends. Wegelius invited his pupil to teach composition theory and conduct a violin class at the Music Institute, and Kayanus assigned him the same duties at his orchestral school. Pedagogical activity Sibelius lasted about 8 years. Subsequently, he returned to her only occasionally, apparently without feeling much inclination to do so.

During this happy period of his life, in the early 1890s, the young composer became one of the central figures in the artistic life of Finland. Almost all of his works of this period are directly related to the images of his native country, its history, folk poetry, especially Kalevala. At this stage of his work, Sibelius remained committed to music associated with poetic text, - vocal and program.

Writings from the early 1890s confirm this principle. “Wandering in a Boat” for a mixed choir based on the text of the “Kalevala” runes, the overture “Karelia” and the suite of the same name, the symphonic poems “Spring Song” and “Forest Nymph” - works in which fairy-tale images of forest monsters that excited the imagination are revived little Ian in his childhood.

This period of creative quest and experimentation ended with a work in which Sibelius appeared as a great, accomplished artist and as a master of orchestral writing. It was the “Lemminkäinen Suite” - four legends for a symphony orchestra, which brought their author European and soon world fame.

After tragic hero Kullervo, the composer turned to the most cheerful, cheerful character of “Kalevala”, who combines the qualities of a brave warrior and an irresistible conqueror of hearts. Four parts of the suite are dedicated the most important episodes his stormy life.

The suite amazes with the originality and spontaneity of the melodic language, the amazing freshness of the harmonic colors. She seemed like a fresh breath of the North, pouring into the spicy, somewhat refined atmosphere of civilization late XIX century. The appearance of the great artist of the northern expanses appeared here, although not in full force, but already quite clearly.

Sibelius's remarkable suite has a strange fate. Interest and sympathy usually accompanied his previous performances. The suite was met with distrust and disapproval. It began with sharp performances by the orchestra artists. Listening to their bickering with the composer at rehearsals, Sibelius’s young wife quietly cried while sitting in the box. It was only thanks to his persistence and increased influence that the suite was defended. Critics assessed the new work rather reservedly, noting the insufficiently expressed national character of the music and the presence of influences from Wagner, Liszt, and Tchaikovsky.

However, with undoubted traces of influences that are quite understandable in the young composer, the suite captivates, first of all, with its original strength. But even the last two legends, which soon gained worldwide recognition as examples of truly Finnish art, did not attract the attention of critics.

Upset, Sibelius completely excluded the first two movements, which were not subsequently performed or published for 37 years. While “The Swan of Tuonel” and “The Return of Lemminkäinen” made a triumphal march through the concert stages of many countries, the first half of the suite remained forgotten. Only in 1934 did the famous Finnish conductor G. Schneefeucht perform all four movements in their entirety.

Despite failures, life difficulties and disappointments, Sibelius’s work made its way not only at home, but also abroad. Cajanus performed his music in Paris, and his compositions, published in Germany, aroused interest in Europe and the USA.

At this time, recognition and help came from where one least expected - the Senate awarded Sibelius a permanent state scholarship, which was an unprecedented case in the history of Finland.

There were relatively few significant events in his mature years: infrequent performances as a conductor, trips to Russia, Western Europe and America, meetings with outstanding contemporaries. A caring wife protects his peace, creating conditions for fruitful work. The composer's life takes place mainly in his study. Works that bring their author fame as a tribune of the Finnish national liberation movement are also born here.

In November 1899, press festivals were held in Helsinki in favor of a foundation that supported the Finnish press with its funds. The highlight of the evening was the final scene, entitled “Finland Awakens.” The introduction to Sibelius's last painting received a wide response, becoming known to the whole world in the form of a separate symphonic piece called “Finland”.

Despite its small size, this is an example of monumental musical art, a true monument of patriotic inspiration. Contemporaries said that “Finland” contributed more to the people’s liberation struggle than thousands of speeches and pamphlets. Bright colors and broad brush strokes dominate here.

During the same period, Sibelius created the First Symphony. It was first performed under the direction of the author on April 26, 1896. It rightly noted the obvious influences of Tchaikovsky and Borodin in particular. Sibelius completed his second symphony quite quickly and on March 3, 1902, it was first performed under the direction of the author in Helsinki.

The most popular, although not entirely characteristic of the composer’s work, “Sad Waltz” from the music to the drama “Death” by A. Järnefelt, dates back to the same years. Small forms like musical numbers to dramatic performances, generally occupied a prominent place throughout Sibelius’s creative life.

Almost simultaneously, Sibelius created a work of large scale. Concerto for violin and orchestra.

In the spring of 1904, an event occurred in the life of Sibelius that had an important influence on his further creative work. He and his family moved from Helsinki to a small estate in the village of Järvenlya, 30 kilometers from the capital, in a picturesque area near Lake Tuusula. The estate was named "Ainola", which means "Aino's dwelling" in Finnish, in honor of Sibelius's wife.

The composer lived here for more than half a century

here he created his most mature works, including five symphonies. “I needed to leave Helsinki,” he told close friends. - My creativity required different conditions. In Helsinki, any melody died in me. In addition, I am too sociable and am not able to refuse all kinds of invitations that interfere with my work.”

The true “consecration” of the new home - Ainola - was the outstanding work begun by the composer shortly after the resettlement - the Third Symphony. Completed only in 1907, it was perceived as a new word in the work of Sibelius. The epic grandeur of the previous two symphonies gives way here to lyrical depth.

Sibelius's fame spread more and more throughout the countries of the world every year. The concert tour he undertook in the United States in 1914 was a triumph and was accompanied by tributes that reflected the popularity of his work overseas.

The outbreak of the World War disrupted some of Sibelius's plans - he had to abandon his second trip to the USA, where he was persistently invited again, and connections with musicians in Western Europe were interrupted.

But even the war did not prevent us from solemnly celebrating the fiftieth anniversary of the great composer in December 1915.

At the same time, Sibelius first introduced listeners to his new Fifth Symphony. It stands out for its monumental design. But since 1918, a new great idea was brewing in the composer’s soul - the Sixth Symphony. It was written only 5 years later - an unusually long period for its author, which can partly be explained by the difficult circumstances of this period. On February 16, 1923, the symphony was first performed under the baton of Sibelius in Helsinki.

Approaching sixty years of age, Sibelius exhibits high creative activity. He writes the Seventh Symphony and a number of other major works.

Sibelius's last significant work, the symphonic poem Tapiola, was written in 1926. From the late 1920s, Sibelius's creative activity ceased for almost thirty years. Only occasionally did the composer create small works or rework old ones.

He studied at the Hämeenlinna Normal Lyceum.

Following family tradition, children were taught to play musical instruments. Sister Linda practiced on the piano, brother Christian on the cello, Jan at first on the piano, but later preferred the violin.

Already at the age of ten, Jan composed a short play.

Subsequently, his attraction to music increased and he began systematic studies under the leadership of the leader of the local brass band, Gustav Levander.

The practical and theoretical knowledge gained allowed the young man to write several chamber instrumental compositions.

Upon Sibelius's return to Finland, his official debut as a composer took place: the symphonic poem Kullervo, op. 7, for soloists, male choir and orchestra - according to one of the Finnish legends folk epic Kalevala. These were years of unprecedented patriotic fervor, and Sibelius was immediately hailed as the musical hope of the nation. He soon married Aino Järnefelt, whose father was the famous lieutenant general and governor who took part in the national movement - August Alexander Järnefelt.

Kullervo was followed by the symphonic poem “The Tale” (En Saga), op. 9 (); Suite “Karelia”, op. 10 and 11 (); "Spring Song", op. 16 () and the suite “Lemminkäinen” (Lemminkissarja), op. 22 (). Sibelius competed for a position as a music teacher at the university, but failed, after which his friends persuaded the Senate to establish for him an annual scholarship of 3,000 Finnish marks.

Two Finnish musicians had a notable influence on Sibelius's early work: he was taught the art of orchestration by Robert Kajanus, conductor and founder of the Helsinki Orchestra Association, and his mentor in the field of symphonic music was the music critic Karl Flodin. The premiere of Sibelius's First Symphony took place in Helsinki (). The composer wrote 6 more works in this genre - the last was the Seventh Symphony (one-movement Fantasia sinfonica), op. 105, first performed in 1924 in Stockholm. Sibelius gained international fame thanks to his symphonies, but his violin concerto and numerous symphonic poems, such as Pohjola's Daughter (Finnish Pohjolan tytär), Night Jump and Sunrise (Swedish) are also popular. Nattlig ritt och soluppgang), "Tuonelan joutsen" and "Tapiola".

Most of Sibelius' works for the dramatic theater (sixteen in total) are evidence of his special penchant for theatrical music: in particular, the symphonic poem "Finlandia" () and "Sad Waltz" (Valse triste) from the music for the play by the composer's brother-in-law Arvid Järnefelt "Death" (Kuolema); the play was first staged in Helsinki in 1903. Many of Sibelius's songs and choral works are often heard in his homeland, but are almost unknown outside of it: obviously, their distribution is hampered by the language barrier, and in addition, they lack the characteristic merits of his symphonies and symphonic poems. Hundreds of piano and violin pieces and several suites for orchestra also rival the composer's best works.

Sibelius's creative activity actually ended with the symphonic poem Tapiola, op. 112. For more than 30 years, the musical world has been waiting for new works from the composer - especially his Eighth Symphony, which was talked about so much (its premiere was even announced in 1933); however, the expectations did not come true. During these years, Sibelius wrote only small plays, including Masonic music and songs, which did not enrich his legacy in any way. However, there is evidence that in 1945 the composer destroyed a large number of papers and manuscripts - perhaps among them were later works that did not reach their final implementation.

His work is recognized mainly in Anglo-Saxon countries. He came to England five times to conduct his works, and visited the USA, where under his direction the premiere of the symphonic poem Oceanides (Aallottaret) took place as part of a music festival in Connecticut. Sibelius's popularity in England and the United States reached its peak by the mid-1930s. Major English writers such as Rose Newmarch, Cecil Gray, Ernest Newman and Constant Lambert admired him as outstanding composer of his time, a worthy successor to Beethoven. Among the most ardent adherents of Sibelius in the United States were O. Downes, music critic of the New York Times, and S. Koussevitzky, conductor of the Boston Symphony Orchestra; c, when Sibelius's music was played on the radio by the New York Philharmonic, listeners voted the composer their “favorite symphonist.”

Sibelius in Freemasonry

Major works

Orchestral

Music for theatrical productions

Chamber

For piano

Melodeclamation

Works without opus designation

Performances of Sibelius' music

Conductors who have recorded all of Sibelius' symphonies (including or excluding Kullervo) include Maurice Abravanel, Vladimir Ashkenazy (twice), John Barbirolli, Paavo Berglund (three times), Leonard Bernstein (twice), Osmo Vänskä, Alexander Gibson, Sir Colin Davis (three times), Kurt Sanderling, Lorin Maazel, Gennady Rozhdestvensky, Simon Rattle, Petri Sakari, Jukka-Pekka Saraste, Leif Segerstam (twice), Neeme Järvi (twice).

Important recordings of some of Sibelius' symphonies were also made by Karel Ancherl (No. 1), Thomas Beecham (No. 4, 7), Herbert von Karajan (No. 1, 2, 4-7), Robert Kayanus (No. 1-3, 5), Kirill Kondrashin (No. 2, 3, 5), Sergei Koussevitzky (No. 2, 5, 7), James Levine, Evgeny Mravinsky (No. 3, 7), Eugene Ormandy (No. 1, 2, 4, 5, 7), Evgeny Svetlanov ( No. 1), Georg Tintner (No. 7), Sergiu Celibidache (No. 2, 5), Georg Schneevoigt (No. 6), Paavo Järvi (Kullervo). Other orchestral works of Sibelius were also recorded by conductors Hans Rosbaud and Wilhelm Furtwängler.

The violin concerto was recorded by violinists Camilla Weeks, Ida Handel, Gidon Kremer, Anne-Sophie Mutter, David Oistrakh, Itzhak Perlman, Isaac Stern, Jascha Heifetz, Henrik Schering.

Films about Sibelius

• In 2003, Finnish director Timo Koivusalo made the film “Sibelius” about the life of the composer. The role of Sibelius was played by actor Martti Suosalo.

see also

Write a review of the article "Sibelius, Jan"

Notes

Literature

• One hundred wonderful Finns. Kaleidoscope of biographies = 100 suomalaista pienoiselämäkertaa venäjäksi / Ed. Timo Vihavainen ( Timo Vihavainen); lane from Finnish I. M. Solomesha. - Helsinki: Society of Finnish Literature ( Suomalaisen Kirjallisuuden Seura), . - 814 p. - ISBN 951-746-522-X. - (Retrieved February 18, 2010)
• Entelis L. A. Jean Sibelius // Silhouettes of composers of the 20th century. - Leningrad: Music,. - 249 p. - 60,000 copies.
• Fabian Dahlström. Jean Sibelius: Thematisch-bibliographisches Verzeichnis seiner Werke. Wiesbaden: Breitkopf & Härtel, 2003. xlvii, 768 SS. (accepted abbreviation JS).

Links

• (Finnish) (Swedish) (English)

Excerpt characterizing Sibelius, Jan

It was already two o'clock in the afternoon. The French have already entered Moscow. Pierre knew this, but instead of acting, he thought only about his enterprise, going over all its slightest future details. In his dreams, Pierre did not vividly imagine either the process of delivering the blow or the death of Napoleon, but with extraordinary brightness and sad pleasure he imagined his death and his heroic courage.
“Yes, one for all, I must commit or perish! - he thought. - Yes, I’ll come up... and then suddenly... With a pistol or a dagger? - thought Pierre. - However, it doesn’t matter. It is not I, but the hand of Providence that will execute you, I say (Pierre thought about the words he would utter when killing Napoleon). Well, go ahead and execute me,” Pierre continued to say to himself, with a sad but firm expression on his face, lowering his head.
While Pierre, standing in the middle of the room, reasoned with himself in this way, the door of the office opened, and a completely changed figure of the always previously timid Makar Alekseevich appeared on the threshold. His robe was open. The face was red and ugly. He was obviously drunk. Seeing Pierre, he was embarrassed at first, but noticing the embarrassment on Pierre’s face, he immediately cheered up and walked out into the middle of the room with his thin, unsteady legs.
“They were timid,” he said in a hoarse, trusting voice. - I say: I won’t give up, I say... is that right, sir? “He thought for a moment and suddenly, seeing a pistol on the table, he unexpectedly quickly grabbed it and ran out into the corridor.
Gerasim and the janitor, who were following Makar Alekseich, stopped him in the hallway and began to take away the pistol. Pierre, going out into the corridor, looked at this half-crazed old man with pity and disgust. Makar Alekseich, wincing from the effort, held the pistol and shouted in a hoarse voice, apparently imagining something solemn.
- To arms! Aboard! You're lying, you can't take it away! - he shouted.
- It will, please, it will. Do me a favor, please leave. Well, please, master... - said Gerasim, carefully trying to turn Makar Alekseich towards the door by his elbows.
- Who are you? Bonaparte!.. - shouted Makar Alekseich.
- This is not good, sir. Come to your rooms and rest. Please give me a pistol.
- Get away, despicable slave! Don't touch! Saw? - Makar Alekseich shouted, shaking his pistol. - Aboard!
“Get involved,” Gerasim whispered to the janitor.
Makar Alekseich was grabbed by the arms and dragged to the door.
The hallway was filled with ugly sounds of fussing and the drunken, wheezing sounds of a breathless voice.
Suddenly a new, piercing female scream came from the porch, and the cook ran into the hallway.
- They! Dear fathers!.. By God, they are. Four, mounted!.. - she shouted.
Gerasim and the janitor released Makar Alekseich from their hands, and in the quiet corridor the knocking of several hands on the front door was clearly heard.

Pierre, who had decided with himself that before fulfilling his intention he did not need to reveal either his rank or knowledge of the French language, stood in the half-open doors of the corridor, intending to immediately hide as soon as the French entered. But the French entered, and Pierre still did not leave the door: irresistible curiosity held him back.
There were two of them. One is an officer, tall, brave and handsome man, the other is obviously a soldier or orderly, a squat, thin, tanned man with sunken cheeks and a dull expression on his face. The officer, leaning on a stick and limping, walked ahead. Having taken a few steps, the officer, as if deciding with himself that this apartment was good, stopped, turned back to the soldiers standing in the doorway and in a loud commanding voice shouted to them to bring in the horses. Having finished this matter, the officer, with a gallant gesture, raised his elbow high, straightened his mustache and touched his hat with his hand.
- Bonjour la compagnie! [Respect to the whole company!] - he said cheerfully, smiling and looking around him. Nobody answered.
– Vous etes le bourgeois? [Are you the owner?] - the officer turned to Gerasim.
Gerasim looked at the officer in fear and questioningly.
“Quartire, quartire, logement,” said the officer, looking down at him with a condescending and good-natured smile. little man. – Les Francais sont de bons enfants. Que diable! Voyons! Ne nous fachons pas, mon vieux, [Apartments, apartments... The French are good guys. Damn it, let's not quarrel, grandfather.] - he added, patting the frightened and silent Gerasim on the shoulder.
- Aca! Dites donc, on ne parle donc pas francais dans cette boutique? [Well, really, no one here speaks French?] he added, looking around and meeting Pierre’s eyes. Pierre pulled away from the door.
The officer turned to Gerasim again. He demanded that Gerasim show him the rooms in the house.
“The master is gone, don’t understand... mine is yours...” said Gerasim, trying to make his words clearer by the fact that he spoke them inside out.
The French officer, smiling, spread his hands in front of Gerasim's nose, making him feel that he did not understand him, and, limping, walked to the door where Pierre stood. Pierre wanted to move away to hide from him, but at that very time he saw Makar Alekseich leaning out from the open kitchen door with a pistol in his hands. With the cunning of a madman, Makar Alekseich looked at the Frenchman and, raising his pistol, took aim.
- Aboard!!! - the drunk shouted, pressing the trigger of the pistol. The French officer turned around at the shout, and at the same instant Pierre rushed at the drunken man. While Pierre grabbed and raised the pistol, Makar Alekseich finally hit the trigger with his finger, and a shot was heard that was deafening and covered everyone in gunpowder smoke. The Frenchman turned pale and rushed back to the door.
Having forgotten his intention not to reveal his knowledge of the French language, Pierre, snatching the pistol and throwing it, ran up to the officer and spoke to him in French.
“Vous n"etes pas blesse? [Are you not injured?],” he said.
“Je crois que non,” answered the officer, feeling himself, “mais je l"ai manque belle cette fois ci,” he added, pointing to the loose plaster in the wall. “Quel est cet homme? [It seems not... but this since it was close. Who is this man?] - the officer said, looking sternly at Pierre.
“Ah, je suis vraiment au desespoir de ce qui vient d"arriver, [Ah, I’m really in despair at what happened],” Pierre said quickly, completely forgetting his role. “C”est un fou, un malheureux qui ne savait pas ce qu"il faisait. [This is an unfortunate madman who did not know what he was doing.]
The officer approached Makar Alekseich and grabbed him by the collar.
Makar Alekseich, his lips parted, as if falling asleep, swayed, leaning against the wall.
“Brigand, tu me la payeras,” said the Frenchman, removing his hand.
– Nous autres nous sommes clements apres la victoire: mais nous ne pardonnons pas aux traitres, [Robber, you will pay me for this. Our brother is merciful after victory, but we do not forgive traitors,” he added with gloomy solemnity in his face and with a beautiful energetic gesture.
Pierre continued in French to persuade the officer not to punish this drunken, insane man. The Frenchman listened silently, without changing his gloomy appearance, and suddenly turned to Pierre with a smile. He looked at him silently for several seconds. His handsome face took on a tragically tender expression, and he extended his hand.
“Vous m"avez sauve la vie! Vous etes Francais, [You saved my life. You are a Frenchman," he said. For a Frenchman, this conclusion was undeniable. Only a Frenchman could accomplish a great deed, and saving his life, m r Ramball "I capitaine du 13 me leger [Monsieur Rambal, captain of the 13th light regiment] - was, without a doubt, the greatest thing.
But no matter how undoubted this conclusion and the officer’s conviction based on it were, Pierre considered it necessary to disappoint him.
“Je suis Russe, [I am Russian,”] Pierre said quickly.
“Ti ti ti, a d"autres, [tell this to others," said the Frenchman, waving his finger in front of his nose and smiling. "Tout a l"heure vous allez me conter tout ca," he said. – Charme de rencontrer un compatriote. Eh bien! qu"allons nous faire de cet homme? [Now you'll tell me all this. It's very nice to meet a compatriot. Well! What should we do with this man?] - he added, addressing Pierre as if he were his brother. Even if Pierre was not a Frenchman, having once received this highest title in the world, he could not renounce it, said the expression on the face and tone of the French officer. To the last question, Pierre once again explained who Makar Alekseich was, explained that just before their arrival this a drunken, crazy man stole a loaded pistol, which they did not have time to take away from him, and asked that his act be left unpunished.
The Frenchman stuck out his chest and made a royal gesture with his hand.
– Vous m"avez sauve la vie. Vous etes Francais. Vous me demandez sa grace? Je vous l"accorde. Qu"on emmene cet homme, [You saved my life. You are a Frenchman. Do you want me to forgive him? I forgive him. Take this man away," the French officer said quickly and energetically, taking the hand of the one who had earned him for saving his life into the French Pierre, and went with him to the house.
The soldiers who were in the yard, hearing the shot, entered the vestibule, asking what had happened and expressing their readiness to punish those responsible; but the officer strictly stopped them.
“On vous demandera quand on aura besoin de vous,” he said. The soldiers left. The orderly, who had meanwhile managed to be in the kitchen, approached the officer.
“Capitaine, ils ont de la soupe et du gigot de mouton dans la cuisine,” he said. - Faut il vous l "apporter? [Captain, they have soup and fried lamb in the kitchen. Would you like to bring it?]
“Oui, et le vin, [Yes, and wine,”] said the captain.

The French officer and Pierre entered the house. Pierre considered it his duty to again assure the captain that he was not a Frenchman and wanted to leave, but the French officer did not want to hear about it. He was so polite, kind, good-natured and truly grateful for saving his life that Pierre did not have the spirit to refuse him and sat down with him in the hall, in the first room they entered. In response to Pierre's assertion that he was not a Frenchman, the captain, obviously not understanding how one could refuse such a flattering title, shrugged his shoulders and said that if he certainly wanted to pass for a Russian, then let it be so, but that he, despite then, everyone is still forever connected with him with a feeling of gratitude for saving his life.
If this man had been gifted with at least some ability to understand the feelings of others and had guessed about Pierre’s feelings, Pierre would probably have left him; but this man’s animated impenetrability to everything that was not himself defeated Pierre.
“Francais ou prince russe incognito, [Frenchman or Russian prince incognito," said the Frenchman, looking at Pierre’s dirty but thin underwear and the ring on his hand. – Je vous dois la vie je vous offre mon amitie. Un Francais n "oublie jamais ni une insulte ni un service. Je vous offre mon amitie. Je ne vous dis que ca. [I owe you my life, and I offer you friendship. The Frenchman never forgets either insult or service. I offer my friendship to you. I say nothing more.]
There was so much good nature and nobility (in the French sense) in the sounds of the voice, in the facial expression, in the gestures of this officer that Pierre, responding with an unconscious smile to the Frenchman’s smile, shook the outstretched hand.
- Capitaine Ramball du treizieme leger, decore pour l "affaire du Sept, [Captain Ramball, thirteenth light regiment, Chevalier of the Legion of Honor for the cause of the seventh of September," he introduced himself with a smug, uncontrollable smile that wrinkled his lips under his mustache. - Voudrez vous bien me dire a present, a qui" j"ai l"honneur de parler aussi agreablement au lieu de rester a l"ambulance avec la balle de ce fou dans le corps. [Will you be so kind as to tell me now who I am with I have the honor of talking so pleasantly, instead of being at a dressing station with a bullet from this madman in my body?]
Pierre replied that he could not say his name, and, blushing, began, trying to invent a name, to talk about the reasons why he could not say this, but the Frenchman hastily interrupted him.
“De grace,” he said. – Je comprends vos raisons, vous etes officier... officier superieur, peut être. Vous avez porte les armes contre nous. Ce n"est pas mon affaire. Je vous dois la vie. Cela me suffit. Je suis tout a vous. Vous etes gentilhomme? [To be complete, please. I understand you, you are an officer... a staff officer, perhaps. You served against us . This is not my business. I owe you my life. This is enough for me, and I am all yours. Are you a nobleman?] - he added with a hint of a question. Pierre bowed his head. - Votre nom de bapteme, s"il vous plait? Je ne demande pas davantage. Monsieur Pierre, dites vous... Parfait. C "est tout ce que je desire savoir. [Your name? I don’t ask anything else. Monsieur Pierre, did you say? Great. That’s all I need.]
When fried lamb, scrambled eggs, a samovar, vodka and wine from the Russian cellar, which the French had brought with them, were brought, Rambal asked Pierre to take part in this dinner and immediately, greedily and quickly, like a healthy and hungry person, began to eat, quickly chewing with his strong teeth, constantly smacking his lips and saying excellent, exquis! [wonderful, excellent!] His face was flushed and covered with sweat. Pierre was hungry and gladly took part in the dinner. Morel, the orderly, brought a saucepan with warm water and put a bottle of red wine in it. In addition, he brought a bottle of kvass, which he took from the kitchen for testing. This drink was already known to the French and received its name. They called kvass limonade de cochon (pork lemonade), and Morel praised this limonade de cochon, which he found in the kitchen. But since the captain had wine obtained during the passage through Moscow, he provided kvass to Morel and took up a bottle of Bordeaux. He wrapped the bottle up to the neck in a napkin and poured himself and Pierre some wine. Satisfied hunger and wine revived the captain even more, and he talked incessantly during dinner.
- Oui, mon cher monsieur Pierre, je vous dois une fiere chandelle de m"avoir sauve... de cet enrage... J"en ai assez, voyez vous, de balles dans le corps. En voila une (he pointed to his side) a Wagram et de deux a Smolensk,” he showed the scar that was on his cheek. - Et cette jambe, comme vous voyez, qui ne veut pas marcher. C"est a la grande bataille du 7 a la Moskowa que j"ai recu ca. Sacre dieu, c"etait beau. Il fallait voir ca, c"etait un deluge de feu. Vous nous avez taille une rude besogne; vous pouvez vous en vanter, nom d"un petit bonhomme. Et, ma parole, malgre l"atoux que j"y ai gagne, je serais pret a recommencer. Je plains ceux qui n"ont pas vu ca. [Yes, my dear Mr. Pierre, I am obliged to light a good candle for you because you saved me from this madman. You see, I've had enough of the bullets that are in my body. Here is one near Wagram, the other near Smolensk. And this leg, you see, doesn’t want to move. This was during the big battle of the 7th near Moscow. ABOUT! it was wonderful! You should have seen it was a flood of fire. You gave us a difficult job, you can boast about it. And by God, despite this trump card (he pointed to the cross), I would be ready to start all over again. I feel sorry for those who did not see this.]
“J"y ai ete, [I was there],” said Pierre.
- Bah, vraiment! “Eh bien, tant mieux,” said the Frenchman. – Vous etes de fiers ennemis, tout de meme. La grande redoute a ete tenace, nom d"une pipe. Et vous nous l"avez fait cranement payer. J"y suis alle trois fois, tel que vous me voyez. Trois fois nous etions sur les canons et trois fois on nous a culbute et comme des capucins de cartes. Oh!! c"etait beau, Monsieur Pierre. Vos grenadiers ont ete superbes, tonnerre de Dieu. Je les ai vu six fois de suite serrer les rangs, et marcher comme a une revue. Les beaux hommes! Notre roi de Naples, qui s"y connait a crie: bravo! Ah, ah! soldat comme nous autres! - he said, smiling, after a moment of silence. - Tant mieux, tant mieux, monsieur Pierre. Terribles en bataille... galants... - he winked with a smile, - avec les belles, voila les Francais, monsieur Pierre, n "est ce pas? [Bah, really? All the better. You are fierce enemies, I must admit. The big redoubt held up well, damn it. And you made us pay dearly. I've been there three times, as you can see me. Three times we were on the guns, three times we were knocked over like card soldiers. Your grenadiers were magnificent, by God. I saw how their ranks closed six times and how they marched out like a parade. Wonderful people! Our Neapolitan king, who ate the dog in these matters, shouted to them: bravo! - Ha, ha, so you are our brother soldier! - So much the better, so much the better, Mr. Pierre. Terrible in battle, kind to beauties, these are the French, Mr. Pierre. Is not it?]
The captain was so naively and good-naturedly cheerful, whole-hearted, and pleased with himself that Pierre almost winked himself, looking at him cheerfully. Probably the word “galant” made the captain think about the situation in Moscow.
- A propos, dites, donc, est ce vrai que toutes les femmes ont quitte Moscow? Une drole d"idee! Qu"avaient elles a craindre? [By the way, please tell me, is it true that all the women left Moscow? A strange thought, what were they afraid of?]
– Est ce que les dames francaises ne quitteraient pas Paris si les Russes y entraient? [Wouldn’t the French ladies leave Paris if the Russians entered it?] said Pierre.
“Ah, ah, ah!..” The Frenchman laughed cheerfully, sanguineally, patting Pierre on the shoulder. - Ah! “elle est forte celle la,” he said. – Paris? Mais Paris Paris... [Ha, ha, ha!.. But he said something. Paris?.. But Paris... Paris...]
“Paris la capitale du monde... [Paris is the capital of the world...],” said Pierre, finishing his speech.
The captain looked at Pierre. He had the habit of stopping in the middle of a conversation and looking intently with laughing, affectionate eyes.
- Eh bien, si vous ne m"aviez pas dit que vous etes Russe, j"aurai parie que vous etes Parisien. Vous avez ce je ne sais, quoi, ce... [Well, if you hadn’t told me that you were Russian, I would have bet that you were a Parisian. There is something about you, this...] - and, having said this compliment, he again looked silently.
“J"ai ete a Paris, j"y ai passe des annees, [I was in Paris, I spent whole years there," said Pierre.
– Oh ca se voit bien. Paris!.. Un homme qui ne connait pas Paris, est un sauvage. Un Parisien, ca se sent a deux lieux. Paris, s"est Talma, la Duschenois, Potier, la Sorbonne, les boulevards," and noticing that the conclusion was weaker than the previous one, he hastily added: “Il n"y a qu"un Paris au monde. Vous avez ete a Paris et vous etes reste Busse. Eh bien, je ne vous en estime pas moins. [Oh, it's obvious. Paris!.. A man who does not know Paris is a savage. You can recognize a Parisian two miles away. Paris is Talma, Duchesnois, Potier, The Sorbonne, the boulevards... There is only one Paris in the whole world. You were in Paris and remained Russian. Well, I respect you no less for that.]
Under the influence of the wine he drank and after days spent in solitude with his gloomy thoughts, Pierre experienced involuntary pleasure in conversation with this cheerful and good-natured man.
– Pour en revenir a vos dames, on les dit bien belles. Quelle fichue idee d"aller s"enterrer dans les steppes, quand l"armee francaise est a Moscou. Quelle chance elles ont manque celles la. Vos moujiks c"est autre chose, mais voua autres gens civilises vous devriez nous connaitre mieux que ca . Nous avons pris Vienne, Berlin, Madrid, Naples, Rome, Varsovie, toutes les capitales du monde... On nous craint, mais on nous aime. Nous sommes bons a connaitre. Et puis l "Empereur! [But let's return to your ladies: they say that they are very beautiful. What a stupid idea to go and bury yourself in the steppe when the French army is in Moscow! They missed a wonderful opportunity. Your men, I understand, but you are people educated - should have known us better than this. We took Vienna, Berlin, Madrid, Naples, Rome, Warsaw, all the capitals of the world. They fear us, but they love us. It doesn’t hurt to know us better. And then the emperor ...] - he began, but Pierre interrupted him.
“L"Empereur,” Pierre repeated, and his face suddenly acquired a sad and embarrassed expression. “Est ce que l"Empereur?.. [Emperor... What is the emperor?..]
- L"Empereur? C"est la generosite, la clemence, la justice, l"ordre, le genie, voila l"Empereur! C "est moi, Ram ball, qui vous le dit. Tel que vous me voyez, j" etais son ennemi il y a encore huit ans. Mon pere a ete comte emigre... Mais il m"a vaincu, cet homme. Il m"a empoigne. Je n"ai pas pu resister au spectacle de grandeur et de gloire dont il couvrait la France. Quand j"ai compris ce qu"il voulait, quand j"ai vu qu"il nous faisait une litiere de lauriers, voyez vous, je me suis dit: voila un souverain, et je me suis donne a lui. Eh voila! Oh, oui, mon cher, c"est le plus grand homme des siecles passes et a venir. [Emperor? This is generosity, mercy, justice, order, genius - this is what an emperor is! It is I, Rambal, telling you. The way you see me, I was his enemy eight years ago. My father was a count and an emigrant. But he defeated me, this man. He took possession of me. I could not resist the spectacle of grandeur and glory with which he covered France. When I understood what he wanted, when I saw that he was preparing a bed of laurels for us, I said to myself: here is the sovereign, and I surrendered myself to him. And so! Oh yes, my darling, this is the most great person past and future centuries.]
– Est il a Moscow? [What, is he in Moscow?] - Pierre said, hesitating and with a criminal face.
The Frenchman looked at Pierre's criminal face and grinned.
“Non, il fera son entree demain, [No, he will make his entry tomorrow,” he said and continued his stories.
Their conversation was interrupted by the cry of several voices at the gate and the arrival of Morel, who came to announce to the captain that the Wirtemberg hussars had arrived and wanted to place their horses in the same yard in which the captain’s horses stood. The difficulty arose mainly because the hussars did not understand what they were told.
The captain ordered the senior non-commissioned officer to be called to him and in a stern voice asked him which regiment he belonged to, who their commander was and on what basis he allowed himself to occupy an apartment that was already occupied. In response to the first two questions, the German, who did not understand French well, named his regiment and his commander; but to the last question, without understanding it, inserting broken French words into German speech, he answered that he was a quartermaster of the regiment and that he had been ordered by his superior to occupy all the houses in a row. Pierre, who knew German, translated to the captain what the German was saying, and The captain's answer was conveyed in German to the Wirtemberg hussar. Realizing what he was told, the German surrendered and took his men away. The captain came out onto the porch, giving some orders in a loud voice.
When he returned back to the room, Pierre was sitting in the same place where he had sat before, with his hands on his head. His face expressed suffering. He was really suffering at that moment. When the captain left and Pierre was left alone, he suddenly came to his senses and realized the position in which he was. It was not that Moscow was taken, and not that these happy victors ruled it and patronized him - no matter how hard Pierre felt this, this was not what tormented him at the moment. He was tormented by the consciousness of his weakness. A few glasses of wine and a conversation with this good-natured man destroyed the concentrated gloomy mood in which Pierre lived these last days and which was necessary for the fulfillment of his intentions. The pistol, the dagger, and the coat were ready; Napoleon was arriving tomorrow. Pierre also considered it useful and worthy to kill the villain; but he felt that now he would not do it. Why? - he didn’t know, but he seemed to have a presentiment that he would not fulfill his intention. He fought against the consciousness of his weakness, but vaguely felt that he could not overcome it, that the previous gloomy system of thoughts about revenge, murder and self-sacrifice had scattered like dust at the touch of the first person.
The captain, limping slightly and whistling something, entered the room.
The Frenchman's chatter, which had previously amused Pierre, now seemed disgusting to him. And the whistling song, and the gait, and the gesture of twirling his mustache - everything now seemed offensive to Pierre.
“I’ll leave now, I won’t say a word to him again,” thought Pierre. He thought this, and meanwhile he was still sitting in the same place. Some strange feeling of weakness chained him to his place: he wanted but could not get up and leave.
The captain, on the contrary, seemed very cheerful. He walked around the room twice. His eyes sparkled and his mustache twitched slightly, as if he was smiling to himself at some funny invention.
“Charmant,” he said suddenly, “le colonel de ces Wurtembourgeois!” C "est un Allemand; mais brave garcon, s"il en fut. Mais Allemand. [Lovely, colonel of these Württembergers! He is German; but a nice fellow, despite this. But German.]
He sat down opposite Pierre.
– A propos, vous savez donc l "allemand, vous? [By the way, do you know German?]
Pierre looked at him silently.
– Comment dites vous asile en allemand? [How do you say shelter in German?]
- Asile? - Pierre repeated. – Asile en allemand – Unterkunft. [Asylum? Refuge - in German - Unterkunft.]
– Comment dites vous? [How do you say?] - the captain asked incredulously and quickly.
“Unterkunft,” Pierre repeated.
“Onterkoff,” said the captain and looked at Pierre with laughing eyes for several seconds. – Les Allemands sont de fieres betes. “N"est ce pas, monsieur Pierre? [These Germans are such fools. Isn’t it so, Monsieur Pierre?],” he concluded.
- Eh bien, encore une bouteille de ce Bordeau Moscovite, n "est ce pas? Morel, va nous chauffer encore une pelilo bouteille. Morel! [Well, another bottle of this Moscow Bordeaux, isn’t it? Morel will warm us another bottle. Morel !] – the captain shouted cheerfully.
Morel served candles and a bottle of wine. The captain looked at Pierre in the light, and he was apparently struck by the upset face of his interlocutor. Rambal, with sincere grief and sympathy on his face, approached Pierre and bent over him.
“Eh bien, nous sommes tristes, [What is it, are we sad?],” he said, touching Pierre’s hand. – Vous aurai je fait de la peine? “Non, vrai, avez vous quelque chose contre moi,” he asked again. – Peut etre rapport a la situation? [Perhaps I have upset you? No, really, don’t you have something against me? Maybe regarding the position?]
Pierre did not answer, but looked affectionately into the Frenchman’s eyes. This expression of participation pleased him.
- Parole d"honneur, sans parler de ce que je vous dois, j"ai de l"amitie pour vous. Puis je faire quelque chose pour vous? Disposez de moi. C"est a la vie et a la mort. C"est la main sur le c?ur que je vous le dis, [ Honestly, not to mention what I owe you, I feel friendship for you. Is there anything I can do for you? Use me. This is for life and death. I’m telling you this with my hand on my heart,” he said, hitting his chest.
“Merci,” said Pierre. The captain looked intently at Pierre the same way he looked when he learned what the shelter was called in German, and his face suddenly lit up.
- Ah! dans ce cas je bois a notre amitie! [Ah, in that case, I drink to your friendship!] - he shouted cheerfully, pouring two glasses of wine. Pierre took the glass he had poured and drank it. Rambal drank his, shook Pierre's hand again and leaned his elbows on the table in a thoughtfully melancholy pose.

Jean Sibelius was born on December 8, 1865 in Hämeenlinna in the Grand Duchy of Finland. He was the second of three children of Dr. Christian Gustav Sibelius and Maria Charlotte Borg. He lost his father early and spent his childhood with his mother, brother and sister in his grandmother's house in his hometown.

The family spoke Swedish and supported Swedish cultural traditions. However, Jan's parents sent him to a Finnish-language high school. From 1876 to 1885 he studied at the Normal Lyceum of Hämeenlinna.

Following family tradition, children were taught to play musical instruments. Sister Linda practiced on the piano, brother Christian on the cello, Jan at first on the piano, but later preferred the violin. Already at the age of ten, Jan was composing a short play. Subsequently, his attraction to music increases and he begins systematic studies under the leadership of the leader of the local brass band, Gustav Levander. The practical and theoretical knowledge gained allowed the young man to write several chamber instrumental compositions.

In 1885 he entered the Faculty of Law at the Imperial University in Helsinki, but he was not attracted to the legal profession, and soon he moved to the Institute of Music, where he became the most brilliant student of Martin Wegelius. Many of his early works for chamber ensembles were performed by students and teachers of the institute.

In 1889, Sibelius received a state scholarship to study composition and music theory with Albert Becker in Berlin. The following year he took lessons from Karl Goldmark and Robert Fuchs in Vienna.

Upon Sibelius's return to Finland, his official debut as a composer took place: the symphonic poem Kullervo, op. 7, for soloists, male choir and orchestra - based on one of the tales of the Finnish folk epic Kalevala. These were years of unprecedented patriotic fervor, and Sibelius was immediately hailed as the musical hope of the nation. Soon he married Aino Järnefelt, whose father was the famous lieutenant general and governor who took part in the national movement - August Alexander Järnefelt.

Kullervo was followed by the symphonic poem “The Tale” (En Saga), op. 9 (1892); Suite “Karelia”, op. 10 and 11 (1893); "Spring Song", op. 16 (1894) and the suite “Lemminkissanen” (Lemminkissarja), op. 22 (1895). In 1897, Sibelius competed for a position as a music teacher at the university, but failed, after which his friends convinced the Senate to establish for him an annual scholarship of 3,000 Finnish marks.

Two Finnish musicians had a notable influence on Sibelius's early work: he was taught the art of orchestration by Robert Kajanus, conductor and founder of the Helsinki Orchestra Association, and his mentor in the field of symphonic music was the music critic Karl Flodin. The premiere of Sibelius's First Symphony took place in Helsinki (1899). The composer wrote 6 more works in this genre - the last was the Seventh Symphony (one-movement Fantasia sinfonica), op. 105, first performed in 1924 in Stockholm. Sibelius gained international fame thanks to his symphonies, but his violin concerto and numerous symphonic poems, such as Pohjola's Daughter (Finnish: Pohjolan tyt?r), “Night Jump and Sunrise” (Swedish: Nattlig ritt och) are also popular soluppgang), Tuonelan joutsen and Tapiola.

Most of Sibelius's works for the dramatic theater (sixteen in total) are evidence of his special penchant for theatrical music: in particular, the symphonic poem "Finlandia" (1899) and "Sad Waltz" (Valse triste) from the music for the play by the composer's brother-in-law Arvid Järnefelt's "Death" (Kuolema); the play was first staged in Helsinki in 1903. Many of Sibelius's songs and choral works are often heard in his homeland, but are almost unknown outside of it: obviously, their distribution is hampered by the language barrier, and in addition, they lack the characteristic merits of his symphonies and symphonic poems . Hundreds of piano and violin pieces and several suites for orchestra also rival the composer's best works.

A special position in Finnish national culture is occupied by the symphonic poem “Finland”, which is a musical illustration of the history of the people and had an anti-Russian orientation. The tune was a success and became the national anthem. Its performance, including whistling the melody in public places, was punishable by the Russian authorities with imprisonment.

Sibelius's creative activity actually ended in 1926 with the symphonic poem Tapiola, op. 112. For more than 30 years, the musical world has been waiting for new works from the composer - especially his Eighth Symphony, which was talked about so much (its premiere was even announced in 1933); however, the expectations did not come true. During these years, Sibelius wrote only small plays, including Masonic music and songs, which did not enrich his legacy in any way. However, there is evidence that in 1945 the composer destroyed a large number of papers and manuscripts - perhaps among them were later works that did not reach their final embodiment.

His work is recognized mainly in Anglo-Saxon countries. In 1903-1921 he came to England five times to conduct his works, and in 1914 he visited the USA, where under his direction the premiere of the symphonic poem Oceanides (Aallottaret) took place as part of a music festival in Connecticut. Sibelius's popularity in England and the United States reached its peak by the mid-1930s. Such major English writers as Rose Newmarch, Cecil Gray, Ernest Newman and Constant Lambert admired him as an outstanding composer of his time, a worthy successor to Beethoven. Among the most ardent adherents of Sibelius in the United States were O. Downes, music critic of the New York Times, and S. Koussevitzky, conductor of the Boston Symphony Orchestra; in 1935, when Sibelius's music was broadcast on the radio by the New York Philharmonic, listeners voted the composer their "favorite symphonist."

Since 1940, interest in Sibelius's music has noticeably declined: voices have been heard questioning his innovation in the field of form. Sibelius did not create his own school and did not directly influence the composers of the next generation. Nowadays, he is usually placed on a par with such representatives of late romanticism as R. Strauss and E. Elgar. At the same time, in Finland he was and is assigned a much more important role: here he is recognized as a great national composer, a symbol of the country's greatness.

During his lifetime, Sibelius received honors that were given to only a few artists. It is enough to mention the numerous streets of Sibelius, Sibelius parks, and the annual music festival “Sibelius Week”. In 1939, the composer’s “alma mater”, the Music Institute, received the name Sibelius Academy.

Sibelius in Freemasonry

He was a Freemason for many years, and was rightfully one of the outstanding figures of Finnish Freemasonry. Sibelius was one of the founders of Suomi Lodge No. 1 in Helsinki. Later he was the chief organist of the Grand Lodge of Finland. In 1927, Sibelius wrote nine vocal and instrumental compositions, which he collected under the general title Masonic Music for Rituals. The first edition of the score, intended for distribution among Masons, was published in 1936. The second edition was published in 1950, revised and expanded by the author with new compositions, including the famous symphonic poem “Finland”, accompanied by a special text during Masonic performance.

Major works

Symphonies

• "Kullervo", symphony for soloists, choir and orchestra, op.7 (1899)
• Symphony No. 1 e-moll, op.39 (1899)
• Symphony No. 2 in D major, op.43 (1902)
• Symphony No. 3 in C major, op.52 (1907)
• Symphony No. 4 in a minor, op.63 (1911)
• Symphony No. 5 Es-dur, op.82 (1915)
• Symphony No. 6 in d-moll, op.104 (1923)
• Symphony No. 7 in C major, op.105 (1924)

Symphonic poems

• "Saga", op.9 (1892, second edition 1901)
• "Forest Nymph", Op. 15 (1894)
• "Spring Song", Op. 16 (1894)
• "Finland", op.26 (1899)
• "Pohjola's Daughter", op.49 (1906)
• "Night Jump and Sunrise", op.55 (1907)
• "Dryad", op.45 (1910)
• “Luonnotar” for soprano and orchestra, op. 70 (1913)
• "Bard", op.64 (1914)
• "Oceanids", op.73 (1914)
• "Tapiola", op.112 (1926)

Symphonic suites

• “Lemminkäinen” (four symphonic legends: “Lemminkäinen and the girls on the island of Saari”, “Lemminkäinen in Tuonel”, “The Swan of Tuonel”, “The Return of Lemminkäinen”; 1893-1895)
• "Karelia", suite, Op. 11 (1893)
• "Pelléas et Mélisande" (1905, from the music to the play by Maurice Maeterlinck)
• "Historical Scenes" I, Op. 25 (1. Overture 2. Scene 3. Celebration) (1899)
• “Love Suite” for strings, timpani and triangle (Rakastava), op. 14 (1911)
• "Historical Scenes" II, Op. 66 (1. Hunt 2. Love Song 3. At the Drawbridge) (1912)
• "Three Pieces for Orchestra, Op. 96. (1. Lyrical Waltz, 2. Past (Pastoral), 3. Knight's Waltz) (1920)
• "Little Suite" for 2 flutes and string orchestra, Op. 98a (1921)
• "Rural Suite" for string orchestra, Op. 98b (1921)
• “Genre Suite” (Suite caracteristique), Op. 100 (1922)

Concert works

• Concerto for violin and orchestra in d minor, op.47 (1903)
• Two serenades for violin and orchestra, op. 69 (1912)
• Two solemn melodies for violin or cello and orchestra, op. 77 (1914, 1915)
• Six humoresques for violin and orchestra, op. 87 and 89 (1917)

Theater works

• “The Making of a Boat”, opera (1894, unfinished; the play “The Swan of Tuonel” was written on the material of the overture)
• "The Maiden in the Tower", opera in one act (1896)
• “King Christian II”, music for the play by A. Paula (1898)
• “Pelleas and Mélisande”, music for the play by M. Maeterlinck (1905)
• “Death”, music for the drama by A. Järnefelt, Op. 44 (including the famous "Sad Waltz") (1903)
• “Scaramouche”, pantomime ballet based on the play by P. Knudsen, op. 71 (1913)
• Belshazzar's Feast, music for the drama by Hjalmar Procope (1906) Op. 51.
• "White as a Swan", music for the drama by August Strindberg (1908) Op. 54.
• "The Lizard", music for the play by Mikael Liebeck (1909) Op. 8
• "The Name", music to the play by Hugo von Hofmannsthal (1916) Op. 83.
• "The Tempest", music to the play by William Shakespeare, Op. 109 (1925)

Other works

• "Karelia" - overture, op.10 1893
• "Pan and Echo", op.53a 1906

Chamber works

• Two Pieces (Romance and Epilogue) for violin and piano (1888) Op. 2.
• String Quartet in B major (1889) Op. 4.
• "Melancholia" for cello and piano (1901) Op. 20.
• “Voces intimae” (“Hidden Voices”), string quartet in d minor (1909) Op. 56.
• Four Pieces for Violin (or Cello) and Piano (1915) Op. 78.
• Six Pieces for Violin and Piano (1915) Op. 79.
• Sonatina in E major for violin and piano (1915) Op. 80.
• Five Pieces for Violin and Piano (1915) Op. 81.
• Novelleta for violin and piano (1923) Op. 102.
• "Country Dances", five pieces for violin and piano (1925) Op. 106.
• Four Pieces for Violin and Piano (1929) Op. 115.
• Three Pieces for Violin and Piano (1929) Op. 116.

For piano

• Six Impromptu Op. 5.
• Sonata in F major (1893) Op. 12.
• Ten Pieces (1894-1903) Op. 24.
• Ten Bagatelles (1914-1916) Op. 34.
• "Pensees lyriques", 10 pieces (1912-1914) Op. 40.
• "Küllikki", three lyric pieces (1904) Op. 41.
• Ten Pieces (1909) Op. 58.
• Three Sonatinas (1912) Op. 67.
• Two Little Rondos (1912) Op. 68.
• Four Lyric Pieces (1914) Op. 74.
• Five Pieces (1914) Op. 75.
• Thirteen Pieces (1914) Op. 76.
• Five Pieces (1916) Op. 85.
• Six Pieces (1919) Op. 94.
• Six Bagatelles (1920) Op. 97.
• Eight Short Pieces (1922) Op. 99.
• Five Romantic Pieces (1923) Op. 101.
• Five Characteristic Impressions (1924) Op. 103.
• Five Sketches (1929) Op. 114.

For organ

• Two pieces Op. 111.
  • 1. Intrada (1925)
  • 2. Funeral Music (1931)

• Six male a cappella choirs to the texts of “Kalevala”, “Kanteletar” and to the words of Kiwi (1893-1901) Op. 18.
• Impromptu for women's choir and orchestra to words by Rydberg (1902) Op. 19.
• "Natus in curas." Hymn for male choir a cappella (ed. 1899) Op. 21.
• "University Cantata 1897" for mixed choir a cappella (1897) Op. 23.
• "Sandels", improvisation for male choir and orchestra on words by Runeberg (1898) Op. 28.
• "The Origin of Fire" for baritone, male choir and orchestra (1902) Op. 32.
• "The Captive Queen", ballad for choir and orchestra (1906) Op. 48.
• Two songs for mixed choir a cappella (1911-1912) Op. 65.
• Five male choirs a cappella (1915) Op. 84.
• “Native Land”, cantata for choir and orchestra, lyrics by Kallio (1918) Op. 92.
• "Song of the Earth", cantata for choir and orchestra to a text by Jarl Gemmer - to commemorate the opening of the university in Turku (1919) Op. 93.
• "Hymn to the Earth", cantata for choir and orchestra, text by Eino Leino (1920) Op. 95.
• "Hymn" for choir and organ (1925) Op.107.
• Two male choirs a cappella (1925) Op.108.
• “Hymn to Väinö” (“Kalevala”) for choir and orchestra (1926) Op.110.
• "Masonic Ceremonial Music" for male voices, piano or organ (1926-1948) Op.113.

• Five Christmas Songs for Voice and Piano (1895-1913) Op.1
• Arioso to words by Runeberg for voice and string orchestra (1911) Op.3.
• Seven songs to words by Runeberg with piano accompaniment (1891-1892) Op.13.
• Seven songs to words by Runeberg, Tavastjerne and others for voice and piano (1894-1899) Op.17.
• "The Carrier's Brides" for baritone or mezzo-soprano and orchestra (1897) Op.33.
• Two Songs for Voice and Piano (1907) Op.35.
• Six songs for voice and piano (1899), among them - “March Snow” (No. 5), “Diamonds in the Snow” (No. 6) (second edition by the author - for voice and orchestra) Op.36.
• Five songs for voice and piano (1898-1902), among them “The Girl Came Back from a Date” (No. 5) to the words of Runeberg Op. 37.
• Five Songs for Voice and Piano (1904) Op. 38.
• Six songs for voice and piano (1906), among them - “The Quiet City” (No. 5) to the words of Demel Op.50.
• Eight songs for voice and piano to words by Josephson (1909) Op.57.
• Two songs for voice and piano (or guitar) based on texts from Shakespeare's Twelfth Night (1909) Op.60.
• Eight songs for voice and piano with words by Tavastjerne, Runeberg and others (1910) Op.61.

"Luonnotar", poem for soprano and orchestra (1913) Op.70.

• Six songs for voice and piano to words by Topelius, Rydberg and others (1914-1915) Op.72.
• Six Songs for Voice and Piano (1916) Op.86.
• Six songs for voice and piano with words by Franzen and Runeberg (1917) Op.88.
• Six songs for voice and piano with words by Runeberg (1917) Op.90.

Melodeclamation

• "Dryad" (lyrics by Rydberg), with accompaniment of piano, two horns and string orchestra (1894) Op.15.
• "Snowy Peace" (words by Rydberg), with choir and orchestra (1900) Op.29.
• “Ice drift on the Oulu River” (words by Topelius), with accompaniment of male choir and orchestra (1899) Op.30.

Works without opus designation

• Trio a minor (1881-1882)
• Piano quartet e-moll (1881-1882)
• Suite for violin and piano (1883)
• Andantino for cello and piano (1884)
• String Quartet in Es major (1885)
• Sonata for violin and piano in F major (1886)
• Piano Trio (1887)
• "Tranaden" ("The Wishing One"), melodic recitation to words by Stagnelius, with piano accompaniment (1887)
• "Nights of Jealousy", melodic recitation to words by Runeberg, accompanied by a piano trio (1888)
• Serenade for voice and piano to words by Runeberg (1888)
• "Water Spirit", two songs with piano trio accompaniment for Wennerberg's play (1888)
• Theme and variations for string quartet (1888)
• Suite for violin, viola and cello A major (1889)
• String quartet in a minor (1889)
• Piano quintet g minor (1889)
• Overture in a minor (1890-1891)
• Overture in E major (1890-1891)
• Piano Quartet in C major (1891)
• Octet for flute, clarinet and strings (1891), later used in Saga
• Ballet scene for orchestra (1891)
• "Tiera", piece for brass band (1894)
• "Dryad", symphonic poem (1894)
• "University Cantata 1894", for choir and orchestra (1894)
• “Min rastas”, for male choir a cappella (1894)
• Rondo for viola and piano (1895)
• "Endless Day" (words by Erkko), for children's voices a cappella (1896)
• "One Force" (lyrics by Cajander), for male choir a cappella (1898)
• "Swimming", for voice and piano (1899)
• "Hymn to Thaïs", to lyrics by Borgström, for voice and piano (1900)
• "Cortege", for orchestra (1901)
• "Portraits", for string orchestra (1901)
• "The Horseman", for piano (1901)
• Six Finnish Folk Songs for Piano (1903)
• “No need to complain” (with lyrics by Runeberg), for mixed choir a cappella (1905)
• "Carminalia", for boys' choir (1905)
• "The Language of Birds", music for the play by Adolf Paul (1911)
• "Drommarna", for mixed choir (1912)
• "Uusimaa", for mixed choir (1912)
• "Juhlamarssi", for mixed choir (1912)
• "Spagnuolo", piece for piano (1913)
• "Dream" (with lyrics by Runeberg), for two sopranos and piano (1915)
• "Mandolinata", for piano (1917)
• “The Folly of Fridolin” (to words by Karlfeldt), for male choir a cappella (1917)
• "Narcissus" (with lyrics by Gripenberg), for voice and piano (1918)
• "Sails", for voice and piano (1918)
• “Girls” (to lyrics by Procope), for voice and piano (1918)
• "Faded", for voice and piano (1918)
• Two songs for male choir a cappella (1918)
• “Brotherhood” (to lyrics by Aho), for male choir a cappella (1920)
• "Similarity" (with words by Runeberg), for male choir a cappella (1920)
• “Johan's Journey” (with lyrics by Fröding), for male choir a cappella (1920)
• "Romantic Piece", for piano (1920)
• "Passionate Desire", for piano (1920)
• “Solemn March of the Singing Brotherhood in Vyborg” I, for male choir (1920)
• "Andante festivo", for string quartet (1922). There is an original arrangement for string orchestra and timpani ad libitum, made in 1938.
• "Andante lirico", for string orchestra (1924)
• "Blue Duck", for voice and piano (ed. 1925)
• “Lonely Ski Trail”, melodic recitation (with words by Gripenberg) accompanied by piano (1925). There is an original arrangement for the reader, harp and bows, made in 1948.
• Two Psalms for mixed choir a cappella (1925-1927)
• "The Guard on the Bridge", for male choir a cappella (1929)
• “Solemn March of the Singing Brotherhood in Vyborg” II, for male choir a cappella (1929)
• “The Fate of Karelia”, for male choir and piano (1930)

Performances of Sibelius' music

Conductors who have performed recordings of all Sibelius symphonies (including or excluding Kullervo) include Vladimir Ashkenazy, John Barbirolli, Paavo Berglund, Leonard Bernstein, Osmo Vänskä, Alexander Gibson, Sir Colin Davis, Kurt Sanderling, Lorin Maazel, Gennady Rozhdestvensky, Simon Rattle , Petri Sakari, Jukka-Pekka Saraste, Leif Segerstam, Neeme Järvi.

Important recordings of some of Sibelius's symphonies were also made by Karel Ancherl (No. 1), Thomas Beecham, Herbert von Karajan (No. 1, 2, 4-7), Robert Kayanus, Kirill Kondrashin (No. 2, 3, 5), Sergei Koussevitzky (No. 2 , 5, 7), James Levine, Evgeniy Mravinsky (No. 3, 7), Eugene Ormandy (No. 1, 2, 4, 5, 7), Evgeniy Svetlanov (No. 1), Georg Tintner (No. 7), Sergiu Celibidache ( No. 2, 5), Georg Leohart Schneevoigt, Paavo Järvi (“Kullervo”). Other orchestral works of Sibelius were also recorded by conductors Hans Rosbaud and Wilhelm Furtwängler.

The violin concerto was recorded by violinists Ida Handel, Gidon Kremer, Anne-Sophie Mutter, David Oistrakh, Itzhak Perlman, Isaac Stern, Jascha Heifetz, and Henrik Schering.

Films about Sibelius

• In 2003, Finnish director Timo Koivusalo made the film “Sibelius” about the life of the composer. The role of Sibelius was played by actor Martti Suosalo.

Sibelius is the most famous and respected Finnish composer, one of the most outstanding authors of symphonies and symphonic poems of the 20th century, and indeed the entire history of music.

During his lifetime, he received such honor in his homeland as probably no other musician in the world. This is evidenced by the numerous streets of Sibelius, the annual music festival “Sibelius Week”.

In 1939, the composer’s “alma mater”, the Music Institute, received the name Sibelius Academy.

Not far from Helsinki, on December 8, 1865, a son was born into the family of the doctor Christian Gustav Sibelius. He was named Yogan-Julius-Christian, and later became known by the short name Jan.

Little Yan, who lost his father early, grew up in a female environment. There were no musicians in the Sibelius family, but all children were taught music. Jan preferred the violin to the piano.

By the age of 15, he began to study regularly, under the leadership of the leader of the local brass band. Great importance for Jan had a nature that Sibelius perceived as a poetic, mysterious force. The path of the future composer was outlined in closeness with nature.

When the time came to choose a profession, Jan, who dreamed of a career as a violinist, entered the Faculty of Law at the University of Helsinki.

As the eldest son, he was expected to become the pillar of the family. However, along with his studies in law, Sibelius attended classes at the Music Institute, and soon it became clear to everyone around him that his real calling was music.

University textbooks were covered with dust, and in the fall of next year there was no talk of continuing to study at the university.

The director of the music institute, M. Wegelius, treated Jan with exceptional warmth and understanding.

Having discerned the brilliant talent of the novice composer, Wegelius tried not to hamper his richly manifested imagination within the framework of strict rules.

In the spring of 1889, Sibelius graduated from the Music Institute and received a state scholarship for improvement abroad. My two-year stay abroad brought many interesting experiences. However, in terms of studying musical theoretical disciplines, no major progress occurred.

Endless exercises, no doubt useful in themselves, did not bring much fruit. Yang stubbornly resisted ossified traditional norms and strived to remain original.

Despite the fact that the creative achievements of this period were small, upon returning to his homeland, Jan saw that his works were willingly performed.

Soon Sibelius performed a large work - the symphonic poem "Kullervo" for two soloists, a male choir and orchestra. This day is considered the birthday of Finnish professional music.

"Kullervo" was born when the composer was under the influence of an ardent, originally Finnish mood. The poem not only brought him to the forefront of Finnish culture, but also played a role in his personal life. The fact is that the parents of his betrothed, Aino Yarisfelt, refused to give their daughter in marriage to an unknown musician with an unsecured social position.

Now all their doubts were dispelled, and soon Sibelius married Aino, who became his indispensable assistant and support throughout his life.

To provide for his family, until the turn of the century, Sibelius was forced to teach violin and theoretical disciplines at a music school and an orchestra school.

During this happy period of his life, in the early 1890s, the young composer became one of the central figures in the artistic life of Finland.

The music seemed like a fresh breath of the North, merging into the spicy, refined atmosphere of civilization at the end of the 19th century. Works are also born that bring their author fame as a tribune of the Finnish national liberation movement.

Contemporaries said that Sibelius's plays contributed more to the people's liberation struggle than thousands of speeches and pamphlets.

The following works - the symphonic poems "Saga" and "The Swan of Tuonel" - made the composer's name famous abroad. The Finnish government took an unprecedented step and awarded the composer a state scholarship, which allowed him to devote himself entirely to creativity.

In 1904, Sibelius and his family moved from Helsinki to a small estate "Ainola", which means "Aino's dwelling" in Finnish, named after his wife. Here the composer lived for more than half a century and created his most mature works, including five symphonies.

His fame spread more and more throughout the countries of the world every year. Sibelius finally moved into the ranks of major composers. In 1914, a tour to the United States took place, accompanied by tributes reflecting the popularity of his work.

Russian composers highly appreciated his music. He will have a strong friendship with Rimsky-Korsakov and Glazunov for many years. The outbreak of the World War disrupted some of Sibelius's plans, but did not prevent him from celebrating his fiftieth birthday on a grand scale.

Imbued with light, colorful images, the Fifth Symphony was performed under the direction of the author at a gala concert. The celebration of the anniversary of the “greatest son of Finland” resulted in a nationwide celebration.

By the mid-1920s, Sibelius's creative activity was gradually declining. Sibelius's work actually ended in 1926 with the symphonic poem "Tapiola", but contacts with the musical world did not stop, and the flow of visitors to Ainola did not dry up.

At the end of his life, Sibelius was generally recognized as one of the greatest composers of his time. His music was performed everywhere, festivals were held in his honor, and when the composer turned 90, Sir Winston Churchill sent Sibelius a box of his favorite Havana cigars.

The world-famous Finnish composer Jean Sibelius is seen in his homeland as a national hero. During his lifetime, he received all the honors that a composer can expect in his own country.

On a frosty December day in 1865, a boy was born into the family of a military doctor, named Johann - Julius - Christian, but the whole world recognized him under the short name Jan.

The boy’s father passed away early, and he spent his childhood under the wing of his mother and grandmother in his hometown of Khamenliyan, not far from the capital of the country. The teachers looked at the boy with bewilderment and called him an inventor and a dreamer. His inexhaustible imagination populated the real world with fabulous creatures that lived around us: salamanders, naiads, dryads, nymphs, gnomes and giants, elves and trolls became his good friends.

The Sibelius family tried to give their children a good education; the children initially attended a Swedish school, but then moved to a Finnish one. All the children in the family studied music, my sister played the piano, my younger brother played the cello, and little Ian played the violin. Already at the age of ten he repaired his first small play.

In adolescence, noticing his extraordinary musical abilities, the boy began to be taught music more seriously. His first teacher was Gustav Levander, the conductor of a local brass band, who was able to give the child good theoretical knowledge and skills in playing the instrument and the first lessons in harmony. It was under his leadership that the boy wrote several chamber instrumental opuses.

Even as a young man, Ian knew that he had an obligation to help his widowed mother and put his younger sister and brother on their feet. Therefore, he entered the University of Law in Helsinki. At the same time, he attended a music institute, because he could not do without music and only in it did he see his true calling.

In the spring of 1889, Jan graduated from the music institute and, as a talented performer and composer, received a state scholarship to improve his talent in European countries. For two years he honed his skills in Germany and Austria, met famous people and received a lot of amazing impressions.

The return to his homeland in 1890 was marked by an engagement to Aino Arisfeldt. After this, Jan returned to Austria, where he worked hard and wrote two concertos for piano and orchestra. They were performed in the musician’s homeland, but were not very successful. This is explained by the fact that everything new finds its way with difficulty.

And the young composer passionately resisted the ossified forms of music-making and strived to remain himself in his work. In 1891 he returned home, and was very surprised to note that many of his early works were successful.

Soon he performed the symphonic poem “Kullervo” for two soloists, a male choir and a full symphony orchestra. The first opuses, which later became a major work, were written while he was abroad. Having created a sensation in society, the poem immediately placed the young composer among the outstanding musicians of the era.

Now many looked at Sibelius as a promising composer and musician; in addition, in 1892, a wedding took place with his betrothed, to which the girl’s parents finally agreed.

The subsequent happy years are filled with creativity and love. The composer writes a lot about his native country, its nature, its people, its amazing culture. At this time, he created “Wanderings in a Boat” for several voices with an orchestra based on runes from the Finnish epic “Kalevala”, the large symphonic poem “Spring Song” and “Forest Nymph”, in which his childhood friends - the fairy-tale creatures inhabiting forests and meadows of the homeland.

And in conclusion, a huge work was written that brought Sibelius world fame - “The Legend of Lemminkäinen”, four legends - poems for a symphony orchestra. They are also dedicated to the cheerful and somewhat adventurous hero of Kalevala, his dangerous adventures and optimistic character.

Like many of the greatest musical works, the poem did not initially find its audience, and was fully performed only in 1934 by the Finnish conductor G. Schneefeucht.

But, nevertheless, the works of the Finnish composer were successfully performed in many European countries: Germany, France, Austria and even in the USA.

Sibelius himself did not like to leave his home and personal office; his mature years passed slowly, and the loving hands of his wife created comfort and peace for him. He went on tour several times to European countries and Russia, but mostly worked in his native Finland.

It was here that he created, although small, one of his most famous works, “Sad Waltz” for the play “Death” by A. Järnefelt.

At the beginning of the twentieth century, Sibelius left Helsinki with his family and moved to a rural estate in the village of Järvenliä called “Aino House” in honor of his beloved wife.

Here he spent almost half a century in happiness and peace. Five symphonies were created here, which were favorably received by critics and the public. “The Third” is especially striking with its lyricism and unconventional epic grandeur - it was a new word in art.

In 1925-26, the seventh symphony, called by critics “Parsifal” by the composer, and the poem “Tapiola”, the last major work, were created. After this, the composer’s activity ceased for more than thirty years: he created only small musical pieces or created a new arrangement for previously written works.

In 1957, the great Finnish composer died and was buried in his homeland, which sacredly honors his memory.