Jean Sibelius Biography

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Finlandia Tone Poem - Opus 26 Jean Sibelius Biography & Music

Transcript of Jean Sibelius Biography

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Finlandia Tone Poem - Opus 26

Jean Sibelius

Biography & Music

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Jean Sibelius (1865 -1957)

Finnish composer. He was unquestionably the greatest composer Finland has ever produced and the most powerful symphonist to have emerged in Scandinavia

He was the central figure in creating a Finnish voice in music in the late 19th and early 20th centuries.

His most significant output was orchestral: seven symphonies, one violin concerto, several sets of incidental music and numerous tone poems, often based on incidents taken from the Kalevala, the Finnish-language folk epic.

His work is distinguished by startlingly original adaptations of familiar elements: unorthodox treatments of triadic harmony, orchestral color and musical process and structure.

His music evokes a range of characteristic moods and topics, from celebratory nationalism and political struggle to cold despair and separatist isolation; from brooding contemplations of primitive musical ideas or slowly transforming sound textures to meditations on the mysteries, grandeurs and occasionally lurking terrors of archetypal folk myths or natural landscapes.

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A master of symphonic continuity and compressed, logical musical structure, he grounded much of his music in his own conception of the Finnish national temperament. Throughout the 20th century Finland regarded him as a national hero and its most renowned artist.

Sibelius wrote most of his works during the five decades from the beginning of the 1880’s to the end of the 1920’s. His stylistic development proceeds from his first exercises in the style of the Viennese classical school and early romanticism.

It moves via national romanticism to a sort of neoclassicism and to an expressionist impressionist intermediate stage.

Finally it arrives at a renewal and crystallization of symphonic thought, operating in ways whose significance is only now beginning to be understood in the light of contemporary scholarship.

The musical production of Jean Sibelius, comprises one of the most fascinating treasure houses of classical music.

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Musical Production

His complete list of works includes 118 Opus comprising more than 600 individual musical pieces.

The core of Sibelius's oeuvre is his set of seven symphonies. Like Beethoven, Sibelius used each successive work to further develop his own personal compositional style. His works continue to be performed frequently in the concert hall and are often recorded.

In addition to the symphonies, Sibelius's best-known compositions include Finlandia, Karelia Suite, Valse Triste, Violin Concerto in D minor, King Christian II Suite and The Tempest Suites 1 & 2.

Other works include pieces inspired by the Finnish national epic, the Kalevala, like Kullervo, the Lemminkäinen Suite and The Origin of Fire.

His compositions also include over songs for voice and piano; incidental music for plays; chamber music; piano music and several works of choral music.

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List of Compositions by Type of Work

187 Piano Works101 Solo songs and duets64 Works for solo instruments with & without piano60 Orchestral Works58 Choral Works30 Chamber music without piano26 Works for Choir and Orchestra or other instruments18 Incidental Music14 Chamber music with piano12 Solo Violin & Orchestra5 Works for wind ensamble4 Organ Works4 Works for solo voice and Orchestra74 Arrangements by Sibelius to his own works

and the works of others22 Other works

The Tempest Opus 109 – Dance of the Shapes

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The Finnish Mythology

Finnish mythology dates its animistic and shamanistic beliefs of nature spirits to more than 3,000 years ago. The objects of nature (sky, sun, moon and stars) are all considered distinct entities and deities.

Finnish mythology is both lyrical and charming. It dwells on the beauty of nature, the love of parents for their children, the enjoyment of life, love, beer & vapor baths. Magic is an important part of the legends. Songs and incantations perform great and powerful works. Nearly everything has life; including people, animals and normally inanimate objects which can make it difficult to differentiate between actual deities and magical human heroes. Evil, disease, injuries and beasts can be combated by chants, songs and incantations citing their origin.

The Kalevala

The Kalevala (land of heroes) is a collection of 22,795 lines of poetry divided into fifty poems of Finnish folklore put together in 1849 by Elias Lönnrot. The stories relate the struggles and contests between the Finns and Laplanders and the struggle of good versus evil. It is certainly a charming and beautiful read. The style of poetry is described as "unrhymed, non-strophic trochaic tetrameter". The runos (verses) were repeated through oral history over thousands of years and were written down in Kalavela and other collections of runos.

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The Kalevala narrates the quests and journeys of three main heroes; Väinämöinen, ilmarinen and Lemminkäinen and the struggle of the Finns (Suomilainen, Suomi) against the Laplanders. They are descendants from the divine ilmatar and are capable of great magic.

Väinämöinen is the singer "genii" (tutelary deity) who represents "will". ilmarinen is the smith/forgeman who created the Sampo. He represents "intellect". Lemminkäinen is the reckless adventurer/wizard who represents emotion.

Other mythological gods and heroes that appear in Jean Sibelius works:

Ukko: The highest god; ruled the sky, thunder, lightning, snow, etc.ilmatar: is the female virgin spirit of air who gave form to the earth Luonnotars: Maidens of the Air (also Mothers of Iron)

Kullervo: is a tragic figure, an orphan looking for his real family. But in the process manages to kill Ilmarinen's wife (a daughter of Louhi), and accidentally sleeps with his own sister. After discovering the incest, first his sister killed herself and then Kullervo falls on his sword.

Tuoni: is the god of the underworld who lives in Tuonela (the land of the dead)

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Johannes Brahms (1833-1897)Pyotr I. Tchaikovsky (1840-1893)Antonin Dvorak (1841-1904)Edvard Grieg (1843-1907)Rimsky Korsakov (1844-1908) Edward Elgar (1857-1934)Giacomo Puccini (1858-1924)Richard Strauss (1864-1949)Jean Sibelius (1865-1957)Sergéi Rachmáninov (1873-1943)Arnold Schoenberg (1874-1951)Charles Ives (1874-1954)Béla Bartók (1881-1945)Ígor Stravinski (1882-1971)Sergéi Prokófiev (1891-1953)George Gershwin (1898-1937)

Contemporary Composers of Jean Sibelius

Karelia Suite - Opus 11

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Biography Childhood (1865-1881)

Johan Christian Julius Sibelius was born on the 8th December 1865 in Hämeenlinna, a small garrison town in the Grand Duchy of Finland. The country was at that time part of the Russian Empire.

His father was Christian Gustaf Sibelius, a 44-year-old medical doctor, his mother was Maria Charlotta Sibelius, née Borg, who was aged 24 at the time of his birth.

The couple decided to call their son Janne in memory of Doctor Sibelius's brother, Johan "Janne" Sibelius, who had been the captain of a merchant ship.

Janne's father died of typhoid fever in July 1868, during years of severe famine. Due to the debts on the property taxes and expenses including the funeral, the family ran out of money. The estate was declared bankrupt and most of the personal property was taken over by creditors.

Maria Sibelius’s widow’s pension was not sufficient to maintain a house of her own. She and the children had to move in with her mother, Katarina Borg (née Haartman), who was the wife of a Dean.

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María Sibelius with her children Linda and Janne in 1867

"Janne" Sibelius as a young secondary school student

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In the autumn of 1872 Janne started at the Swedish preparatory school of Eva Savonius. During these years, Aunt Julia tried to give Janne more systematic piano lessons, The method did not suit Janne, who soon lapsed into improvising and criticizing Aunt Julia's music students.

Nevertheless, under his aunt's instruction, the boy learned to read music. In the years that followed he played music that interested him, both solo pieces and piano duets with his big sister Linda.

Janne’s mother tongue was Swedish, but in 1874 he was transferred to Lucina Hagman's Finnish-language preparatory school, since he had to learn Finnish in order to be admitted to the Hämeenlinna Normal Lyceum.

Finland had been part of Sweden until 1809 and the dominant language of the educated classes was still Swedish, not Finnish.

In 1876 Janne applied for and was admitted to Hämeenlinna Finnish Normal Lyceum.

In his leisure time, Janne was a bookworm, and later he took up hunting. He read a great deal and admired the poet Johan Ludvig Runeberg, so greatly that when he visited the poet's tomb he felt that Runeberg’s soul had flowed into him.

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Music Becomes a Serious Pursuit (1881-1885)

Janne's main instrument changed from the piano to the violin around the start of the 1880s. In the autumn of 1881, Janne, who was then nearly 16 years old, at last received proper music lessons, as a pupil of the bandmaster, Gustaf Levander.

He made rapid progress with the violin. Sibelius and his brothers formed a trio in which Janne played the violin, Linda the piano and little brother Christian the cello.

The first mention of a composition can be found in a letter Sibelius wrote from Kalalahti, on August 1883. He disclosed that he had composed a trio and was working on another.

Several biographies claim that Janne wrote his first composition, Vattendroppar (Raindrops) around 1875-1876. The work is a miniature for cello and violin

However, most researchers now believe that the work was written in the early 1880s and that it could be a small pizzicato exercise for Janne and his brother Christian, who had started playing the cello

Valse Triste - Opus 44

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Sibelius wrote his earliest works to be played by family members. In these early works, critics have been seen influences from the Viennese classical school, and later from Tchaikovsky and Grieg in particular.

In February 1884, Janne got hold of Johann Christian Lobe's work “Lehrbuch der musikalischen Composition”. Through the reading of this book, he must have acquired a knowledge of musical theory that was exceptional for a youth of his age. Following Lobe's teachings, Sibelius composed a piano quartet and a piano trio.

Janne was able take his matriculation examination in the spring of 1885. His essay from the examination has been preserved: it shows that his school Finnish was quite good and that he was interested in the reign of the Swedish king, Gustav III (reigned 1771-1792).

In his letters, Sibelius seems to be considering the career of an apothecary or a clerk, but encouraged by his maternal uncle Axel Borg, he enrolled in the Faculty of Law at Helsinki University.

The family did not wish to hinder his musical pursuits, so in addition, he was allowed to register as a special student at the conservatoire.

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Studies in Helsinki (1885-1888)

It soon became clear that Janne did not spend his time at the university. All his interest was taken up by the Helsinki Music Institute, which Martin Wegelius, a famous finnish composer and musicologist had founded in 1882.

Janne’s violin teacher was Mitrofan Wasiljeff, who considered his pupil a "musical genius". In theory, counterpoint and harmony he was instructed by Martin Wegelius himself.

Gradually, the theory lessons developed into composition lessons, where Wegelius, according to his own words, learned from Sibelius as much as Sibelius learned from him.

In the spring term of 1886, Sibelius started to use the visiting cards of his uncle, the sea captain. "Jean is now my musical name," he wrote to his uncle Pehr.

In the spring of 1888, Wegelius and Sibelius together wrote music for Gunnar Wennerberg's Näcken (The Water Sprite).

In the autumn of 1888, the Music Institute had a stroke of luck, when Wegelius managed to engage as a piano teacher Ferruccio Busoni, the future pianist, composer and conductor.

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The young virtuoso became acquainted with Sibelius and with Armas Järnefelt, the other star of the Music Institute, and with Adolf Paul. Busoni encouraged Sibelius to continue with his compositions

In the autumn of 1888, another momentous event occurred. Armas Järnefelt, who had become acquainted with Sibelius at the Music Institute, took him to visit his family. It was there that Janne met his future wife. Seventeen-year-old Aino Järnefelt had moved to Helsinki with her mother Elisabeth Järnefelt and her sister Elli.

Two chamber music works crowned Sibelius's studies in Helsinki, a suite for violin, viola and cello, and a string quartet in A minor. The suite was performed for the first time on the 13th April 1889.

The performance was such an overwhelming experience that Robert Kajanus, the celebrated composer and conductor of the Helsinki Music Society, declared that he would immediately give up his own work as a composer. In fact, Kajanus still continued to compose, but he was to become world-famous as a champion of Sibelius’s music, and the first conductor to record his music.

Sibelius was now the greatest prospect in Finnish music. The young composer received a grant of 2000 marks to enable him to go to study in Berlin in the autumn (about 8000 Euros in today’s money).

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Johan Ludvig Runeberg Martin Wegelius Ferruccio Busoni

The Origin of Fire – Opus 32

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Studies in Berlin (1889-1890)

In Berlin, the 23-year-old Sibelius had powerful musical experiences.

On his very first evening he heard Mozart's Don Giovanni at the Kroll Opera. During his year of study, he attended performances of Wagner's Tannhäuser and The Master Singers of Nuremberg.

He went to Hans von Bülow's legendary piano concerts and to the Beethoven concerts where von Bülow conducted the Berlin Philharmonic Orchestra. He also attended the young Richard Strauss’s “Don Juan”.

Sibelius became a student of the German Composer Albert Becker and had to do the rigorous composition exercises that his teacher demanded. Becker was a renowned specialist who had composed a popular Mass in B flat minor, and he was a board member of the Royal Academy of Arts.

He went back to Finland to spend the summer and was planning to go to Vienna. However, the departure was delayed, since the romance with Aino Järnefelt had been rekindled, leading to a secret engagement in September.

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Studies in Vienna (1890-1891)

Sibelius did not leave for Vienna until October 19th 1890. He had not managed to arrange a teacher. He tried to get the instruction from Brahms or Bruckner. But neither of them accepted him as a student.

He became a private student of the composer Robert Fuchs, who was teaching at the Vienna Conservatoire.

Thanks to Robert Fuchs, Sibelius was allowed to play as an extra violinist in the student orchestra of the Conservatoire.

Sibelius also met Karl Goldmark, who had become popular with his opera, The Queen of Sheba. Goldmark agreed to become Sibelius's teacher on the basis that Sibelius would bring him works for evaluation as they were completed.

At the same time, Sibelius began to study Finnish folk music and the rhythms of Kalevala with a view to getting more originality into his works.

His drafts for the first symphony started to develop in February. In April 1891, the Overture and the Scène de Ballet were performed by the orchestra of Robert Kajanus at a public concert. The work was interrupted by the composer falling ill again, which led to medical treatment and an operation in an expensive private hospital.

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Composition of Kullervo and Sibelius Wedding (1891-1892)

In April 1892, Sibelius completed Kullervo, a gigantic work in five movements for orchestra, male choir and soprano and baritone soloists.

The work is based on the tragedy of Kullervo, a mythological hero of the Kalevala, the national epic poem of Finland. The composition of the work took Sibelius about a year.

The success of Kullervo and the fact that Sibelius had been promised work as a teacher, both at the Music Institute and at Kajanus's Orchestral School, helped the composer and Aino Järnefelt to convince her parents to authorize their wedding.

The wedding took place at the Järnefelts’ summer residence in Tottisalmi, on the 10th June 1892. After the wedding the young couple spent their honeymoon at Monola House near Lieksa.

In between the kissing and cooing, Sibelius found time to compose “En Saga” and to revise the songs “Under Strandens Granar”, “Kyssens Hopp” and “Till Frigga”, with words of the poet Runeberg.

King Christian II Suite - Opus 27

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The Swan of Tuonela and Karelia Suite (1892-1897)

In the autumn 1892, the young couple set up house in Helsinki. Sibelius was teaching theory and violin playing at Wegelius’s Music Institute and at Kajanus’s Orchestra School. Sometimes he had over 30 hours of teaching in a week.

A version of “En Saga”, longer and more heterogeneous than the present version, was performed for the first time on February 16th,1893. Sibelius cut out certain superfluous parts of the work and made a revision in 1902.

It was now that Sibelius’s brief Wagnerian period began. In the summer of 1893 he was planning an opera based on the 6th and 16th runes of Kalevala.

As an overture for the opera Sibelius composed “The Swan of Tuonela”. He went to the Wagner Festival in Bayreuth in the summer of 1894 to further immerse himself in the Wagnerian style. Finally He was not able to complete the opera came, but from the drafts he began to prepare his Lemminkäinen Suite.

During these years other works were completed: the Viipuri Students’ Association commissioned music for scenes from the history of Karelia. This gave rise to the Karelia stage music from which Sibelius later prepared the Karelia Suite.

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Towards an International Breakthrough (1897-1902)

At this point, Sibelius had already composed some works of an extremely high international level, including Kullervo, En Saga, the early versions of the Karelia Suite and the Lemminkäinen Suite, but internationally was not very well known.

Sibelius composed the music for Adolf Paul's play King Christian II. With this music, Sibelius attracted some attention beyond Finland. As early as February 1899 the play was successfully performed in Stockholm

Sibelius and the orchestra of Robert Kajanus started an European tour in 1900.There were nineteen concerts in thirteen different cities, and the grand tour marked the beginning of Sibelius's international breakthrough.

The emphasis was on Sibelius's orchestral works: the First symphony and Finlandia and, in the second program, Lemminkäinen’s Return, The Swan of Tuonela and parts of the suite King Christian II. The orchestra also performed works by Kajanus and Armas Järnefelt and folk song adaptations.

The autumn of 1901 was taken up with the composition of the second symphony, as was the beginning of 1902. Its first public performance in Helsinki on 8th March 1902 was one of the most consummate triumphs of Sibelius's career

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Valse Triste and the move to Ainola (1903-1908)

Sibelius achieved his greatest popularity with “Valse Triste”, a sad waltz which he composed for a play called Death, written by his brother in law, Arvid Järnefelt.

At the beginning of 1904 Sibelius had time to put the finishing touches to his violin concerto. The first public performance of the Violin Concerto was on the 8th February. A revised version was performed in the spring of 1905 in Berlin.

In the summer the Sibelius family moved to Tuusula, supervising the work on their new house and on September 24th, 1904 they moved into Ainola.

The Sibelius family thus became part of the artistic community living by Lake Tuusula. Its members also included the painter Eero Järnefelt, the painter Pekka Halonen and the novelist Juhani Aho and their families, figures destined to become pre-eminent in Finnish cultural life.

In 1905, the main Sibelius work to emerge was a new symphonic poem which initially he had called Luonnotar ("Daughter of Nature") in his letters. At the final stage of composing, the work was changed to Pohjola's Daughter.

The summer of 2007 was taken up with work and a trip to Berlin. The third symphony was finally completed in time for a concert on the 25th September.

Violin Concerto 3rd Movement – Opus 47

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Inner voices (1908-1914)

After a successful surgery of a throat tumor in Berlin, Sibelius returned to Finland and stayed more at home and composed introspective masterpieces. Sibelius had, for a change, promised to teach two talented composers, Toivo Kuula and Leevi Madetoja. Both of them later became renowned Finnish composers.

The year 1911 began with the finishing touches to the fourth symphony and in April, the symphony was completed. It confused the orchestral musicians with its new, introspective style and it was difficult to understand by the public.

During the summer of 1913, he composed one of his great masterpieces, Luonnotar (Daughter of Nature) for soprano and orchestra. The Times praised the composer for his wonderfully rich imagination.

In 1914, as a result of a commission by the millionaire Carl Stoeckel, Sibelius composed “The Oceanides”, a new orchestral work for the Norfolk Music Festival in the United States.

Sibelius was planning a profitable tour in the United States, perhaps for the following year. He wrote to his brother that his debt problems were about to be solved.But events took another turn. On his voyage home, Sibelius heard about the shots fired in Sarajevo, and when he finally arrived home, the First World War was about to begin.

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The first World War and the fifth symphony (1915-1919)

The First World War did not threaten the safety of Sibelius, as the battles between the great powers did not spread to Finland. However, the payment of royalties from abroad was cut off and he had to scribble dozens of small pieces for Finnish publishers simply to avoid bankruptcy.

On April 1915, the work on the fifth symphony was progressing. The symphony was finally completed for the composer's 50th birthday, on 8th December 1915.

The fifth symphony with its heroic final notes had come as a relief for the public: it was more readily accessible than the fourth symphony, which was considered difficult to understand. But Sibelius himself was not pleased with his new work and started to revise it at the beginning of 1916.

At the end of November 1919 Sibelius gave four concerts in Helsinki, in which he at last presented the final version of the fifth symphony.

During the last weeks of the year, he was again diligently forging the sixth symphony, and the Hymn of the Earth to the lyrics of Eino Leino.

The Tempest Opus 109 - Dance of the Naiads

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The Last Masterpieces (1920-1927)

At the start of the 1920s Sibelius wrote “Hymn of the Earth” for the choir Suomen Laulu and orchestrated Valse lyrique. In September 1922 Sibelius started to make progress with his sixth symphony, which he had been drafting for a long time. About six months later, in February 1923, the new masterpiece was performed for the first time.

The beginning of the year 1924 Sibelius dedicated to his seventh symphony Sibelius conducted the first public performance of his symphony in Stockholm at the end of March, still under the name Fantasía Sinfónica I.

In May 1925 the publisher Wilhelm Hansen and the Danish Royal Theatre both approached Sibelius with the same objective: they needed Sibelius's music for a production of Shakespeare’s play “The Tempest”. The composer started to work on his last and greatest incidental music and finished the work very fast, long before the first presentation to the public in March 1926.

At the beginning of 1926 the New York conductor Walter Damrosch commissioned a symphonic poem to last 15-20 minutes. Sibelius answered in the affirmative, and this marked the beginning of the composition of “Tapiola”, composition that he completed in the Autumn of this year.

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The Eighth Symphony (1928-1933) & At the height of his popularity (1934-1939)

Sibelius's struggle with the eighth symphony lasted for years and ended with the "great burning party" at Ainola, in which he destroyed advanced sketches of the work or even the complete work, no later than 1945.

In 1939 he wrote new versions of, for example, Lemminkäinen and the Maidens of Saari and Lemminkäinen in Tuonela for publication. However, the publication was delayed until 1954.

The Second World War (1939-1945)

At the beginning of October 1939, the inhabitants of Helsinki were asked to send their children away from the capital because of the threat of attack from the Soviet Union. Sibelius decided to return to Ainola.

In September 1944, Finland and the Soviet Union concluded an interim peace, which turned out to be permanent.

Sibelius composed some works after 1944, despite his shaking hands and cataract ridden eyes, using manuscript paper with extra large staves. But now most of the compositions existed only in the wishes and thoughts of the aging composer. The silence of Ainola had begun.

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The Silence of Ainola (1945-1957)

Towards the end of the 1940s Sibelius showed that "the silence of Ainola" was not quite as complete as people have imagined. During a single night in 1946 he composed two new pieces for the ritual music of the Freemasons: the Hymn of Brotherhood and the Hymn of Praise.

Sibelius was satisfied with his overall situation. "It is wonderful to be appreciated during one's lifetime," he said in an interview in 1947. "There are so many who never discover that their art has won its place."

One of Sibelius's last semi-official appearances was his 85th birthday party at Ainola in December 1950.

Flashbulbs were popping, especially when the Finnish President J. K. Paasikivi greeted the composer. It proved to be a long visit: the two former pupils of Hämeenlinna Normal Lyceum discussed their memories of teachers and schoolmates during the 1880s.

According to his son in law, Jussi Jalas, the last years of Sibelius all followed much the same pattern, at least externally: "His health was good; he read, walked, observed nature and followed the events of the world, and especially musical events, via the radio,"

Symphony No.2 Allegro Moderato

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Death and Funeral (1957)

On the 20th September, Sibelius felt dizzy when he woke up. Nevertheless, as he lay in bed he scanned through the daily newspapers, as was his habit. At one o'clock, in the middle of breakfast, he collapsed.

At nine o'clock in the evening he passed away. At the same time, Malcolm Sargent was conducting the composer's fifth symphony in a concert broadcast from Helsinki.

On Sunday, 29th September, there was a small memorial service in Ainola. After the ceremony the composer's coffin was carried to a motor hearse. In Helsinki, the musicians of the Helsinki Philharmonic Orchestra and the Radio Symphony Orchestra carried the coffin into Helsinki Cathedral while Tapani Valsta played music of Bach on the organ.

Before nine o'clock in the evening the cathedral was opened to the public, and it remained open until midnight. During this time 17,000 people filed past the coffin to pay their respects. Students stood guard all through the night.

The funeral took place on Monday, 30th September 1957. People formed a guard of honor at the roadside from the centre of Helsinki to Järvenpää. At Ainola, the relatives carried the coffin to the terrace which had been chosen as the burial place.

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References:http://www.sibelius.fi/english/index.htmhttp://www.oxfordmusiconline.com/public/http://molly.kalafut.org/