English Commentary by Sergio Cánovas 

Sibelius’ Symphony No.1 was composed between 1898-9, conceived as a programmatic piece before the composer decided to remove any extramusical elements. It was premiered on April 26 of 1899, performed by the Helsinki Orchestral Society conducted by the composer. It was revised the following year, compressing the work and specially the second and third movements. The piece was very well-received in Finland for its nationalistic tone.

As Sibelius was finishing the symphony, the February manifesto was published by the Russian Government of Russian emperor Nicholas II, in which the autonomy of Finland was drastically reduced. In the same concert the symphony was premiered, «The Song of the Athenians» was interpreted, which was loved by the nationalists to whom he invited the fight. Russia tried to Russify Finland, but the effort was in vain, as expressed by Adolf Ivar Arwidsson: «we are not Swedes, we do not want to become Russians, let us therefore, be Finns».

The first movement is written in sonata form. It begins with a slow introduction, in which a melancholic clarinet solo, over soft timpani rolls, introduces elements developed through the symphony. The strings then enter, presenting a lively and passionate main theme. The music rises in an expansive climax, before a charming and playful second theme is introduced by the wood supported by violin tremoli and harp syncopations. The development is concise yet eventful , reminiscent of Tchaikovsky. A massive climax leads us to the recapitulation of the themes. The opening clarinet solo melody reappears as the coda, followed by two stern pizzicato chords.

The second movement is very freely written, not resembling any traditional structure. It opens with a warm, lyrical main theme presented by muted violins and cellos over a harp figure. As the music becomes more dramatic, fragments of the clarinet theme return in a dialogue for clarinets and bassoons, and later flutes and oboes. The music unfolds in a free variation way until reaching a powerful central climax, followed by a new development in form of a furious allegro. The main theme is then lyrically recapitulated, leading us to a peaceful coda.

The third movement is a scherzo in ternary form. It begins with a vigorous main theme of Finnish flavour, supported by strong timpani blows and derived from the opening clarinet theme. Woodwinds lead into to a dance-like violin theme, soon followed by a fugato. In the trio section, horns introduce a calm pastoral theme, offering great contrast as it is taken by the woods. However, soon the scherzo is resumed, leading us to an exciting coda.

The fourth movement, despite its title, closely follows sonata form. It opens with a slow introduction in which strings present the opening clarinet theme, which is fragmented and transformed by the woods. A lively main theme is then presented by strings, dissonant and furious in its expression. A deeply lyrical, if melancholic, second theme appears after a brief pause on low strings. A turbulent and dramatic development ensues, culminating in a forceful climax. The second theme darkly reappears, before being transformed into a hopeful one full of light and will. A tragic coda breaks this bright passage, ending with two pizzicato chords as in the first movement.

Picture: «Wild Dog» (1959) by the American painter Andrew Wyeth.

Musical analysis mostly written by myself.

Sources: https://rb.gy/2ig5q and https://rb.gy/lxjwa

To check the score: https://rb.gy/heeqp