Classical Music | Orchestral Music

Recorded on 08/19/2009, uploaded on 08/19/2009

Musician's or Publisher's Notes

Jean Sibelius was thirty-three years old when he completed his Symphony No. 1 in E minor in 1899. Cast in the traditional four-movement form, it is average in length for a symphony, lasting roughly forty minutes. However, like the first symphonic efforts by other composers, it is an emotionally volatile work that presses the boundaries of both form and substance—an experimentation that ultimately results in the tauter and more mature efforts of later works. At the same time, Sibelius’ Symphony No. 1 is also quite memorable melodically, more so than its successor, betraying at times the influence of Tchaikovsky, though by now, Sibelius had well-developed his own orchestral style. The work was premiered on April 26, 1899 by the Helsinki Philharmonic Orchestra, under the direction of the composer, in an initial version that is now lost. Following the premiere, Sibelius revised the symphony, completing the version known today during the summer of 1900. This version was premiered in July of that year, again by the Helsinki Philharmonic, and conductor by Robert Kajanus, who would later conduct the first recording of the symphony in 1930.

The symphony opens with a theme stated by a clarinet solo over a timpani roll that unifies the entire first movement and is later heard at the outset of the finale. Solo passages among the woodwinds and strings are characteristic during the symphony as a whole. The two middle movements—an Andante and a Scherzo—are both loosely conceived ternary forms. The Andante develops its principal melody in place of presenting new material during its central episode. On the other hand, the following Scherzo begins vigorously in C major, and which is then contrasted by a slower paced trio in E major. Lastly, the finale opens with a restatement of the first movement’s clarinet solo, now rendered at full strength by the string section. This, however, is only the introduction to a movement that further bears the indication, quasi una fantasia. The finale proper, marked Allegro molto, provides a lively conclusion to the symphony, and is flavored with Sibelius’s quaint folk idiom.    Joseph DuBose

Courtesy of The International Festival-Institute at Round Top

Located in historic Round Top, Texas, The James Dick Foundation for the Performing Arts and its sole project, The International Festival-Institute at Round Top, were founded in 1971 by world-renowned concert pianist James Dick. Begun with a handful of gifted young pianists in rented space on the town square, the project is now an internationally acclaimed European-styled music institute for aspiring young musicians and distinguished faculty. Over a thirty eight year period and with the help of its patrons and friends, The James Dick Foundation for the Performing Arts has developed superb year round education and performance programs.