SYMPHONY NO. 1, IN E MINOR, OP. 39
I. Andante ma non troppo; allegro energico II. Andante ma non troppo lento III. Allegro IV. Finale (quasi una fantasia): andante; allegro molto
There is a marked difference between the mood and the orchestral expression of this First symphony and those of the composer’s Fifth and Seventh. Sibelius was not young in years when he wrote the First—he was thirty-four—but this symphony was the work of one musically young. It is seldom that a first symphony rests on firm foundations architectonically planned, logically continuous in flow of musical thought, as is the First symphony of Brahms, who had written much chamber music before he ventured into the symphonic field.
The musical thoughts of a symphonic composer meditating his first work of long breath are many; they are often yeasty in their exuberance. There is not yet in the joy of composing the ability to eliminate. There is so much to say; all of it is thought important, essential.
Yet this exuberance when it expresses itself in a fantastical manner is not displeasing. Better wild irregularity, barbaric force than the smug aping of orthodox and approved predecessors. In the first symphony he did not escape the influence of Tchaikovsky, an influence shown particularly in the second movement. But the voice of Sibelius himself speaks in no uncertain tones: a virile voice that has new things to say; is not ashamed of screaming outbursts, sudden contrasts; not a whining egoist, not a despairing pessimist; a strong soul not disturbed by the sensuous charm of woman.
And so this symphony is more than conventionally interesting. It is dramatic, as if Sibelius had had a drama in his mind, perhaps one of his own life. The music is free, outspoken. It is without fear of the learned professor at the conservatory. One might say of the symphony, one hears this music and is in the mighty presence of a man.
The First symphony was composed in 1899 and published in 1902. The first performance was at Helsingfors on April 26, 1899. The symphony was played in Berlin at a concert of Finnish music, led by Robert Kajanus, in July, 1900.
I. Introduction: andante ma non troppo, E minor, 2-2. Over a drum roll that rises and falls in intensity a clarinet sings a mournful melody, which is of much importance in the finale of the symphony.
The first violins, after the short introduction, give out the first theme with imitative passages for violas and violoncellos, allegro energico, E minor, 6-4. There are two subsidiary motives: one for wind instruments, and one, derived from this last, for strings. A crescendo leads to a climax, with the proclamation of the first chief theme by full orchestra with a furious drum roll. The second and contrasting chief motive is given to the flutes, piano ma marcato, against tremulous violins and violas and delicate harp chords. The conclusion of this theme is developed and given to the flutes with syncopated rhythm for the strings. The pace is quickened, and there is a crescendo, which ends in B minor. The free fantasia is of a passionate nature with passages that suggest mystery; heavy chords for wind instruments are bound together with chromatic figures for the strings; wood-wind instruments shriek out cries with the interval of a fourth; cries that are taken from one in the introduction; the final section of the second theme is sung by two violins with strange figures for the strings, pianissimo, and with rhythms taken from the second chief theme. These rhythms in the course of a powerful crescendo dominate at last. The first chief theme endeavors to assert itself, but it is lost in descending chromatic figures. Again there is a crescendo, and the strings have the second subsidiary theme, which is developed until the wild entrance of the first chief motive. The orchestra rages until, after a great outburst and with clash of cymbals, a diminuendo leads to gentle echoes of the conclusion of the second theme. Now the second theme tries to enter, but without the harp chords that first accompanied it. Rhythms that are derived from it lead to defiant blasts of the brass instruments. The movement ends in this mood.