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  1. Exhausted by optimisation, I’m seeking solace in the past. As Sibelius’s swans soar skywards, so do my spirits | Joseph Earp
    By Joseph Earp

    Humans have always been capable of transcending the lock box of daily life with little more technology at their side than wood, string, a baton and their voices

    theguardian.com/commentisfree/

    #Classicalmusic #Music #JeanSibelius #GustavMahler #Technology #Culture #TheGuardian #JosephEarp

  2. On 20 September 1957: #JeanSibelius, Finnish #composer (Valse Triste, Finlandia), died at 91.
    #RIP 🕊️🪦🎚️🕯️

  3. Yeah, so, I was working on a sort of manifesto like document and because of it I ended up listening to a Ray Chen rendition of Czardas. That lead me down a bit of memory lane! In the suggested videos thing, I saw a suggestion to a Sibelius piece and it jogged my memory a little about a piece my high school orchestra teacher was having us practice my first year. So, that lead me to trying to find it and J.W. Pepper made me find it: Andante Festivo. If you have never heard it before, I am sorry, but you need to stop reading and look up and listen to the 1939 recording of Sibelius himself conducting the piece for radio broadcast! As of yesterday! It is an absolute masterclass in beautiful music that will warm the coldest of hearts, IMO. Real humanity restoration music! #music #sibelius #JeanSibelius #andantefestivo #oldmusic #musicisbeautiful
  4. MÚSICA. El Nordic Sonf Festival llega a su edición XII

    MUSIC. The Nordic Song Festival reaches its 12th edition El encuentro que se realiza del 1 al 9 de agosto en Trolhattan está dedicado a la riqueza cultural de Finlandia El encuentro que se realiza del 1 al 9 de agosto en Trolhattan está dedicado a la riqueza cultural de Finlandia Imágenes del evento de inauguración con la actriz Stina Ekblad y de la Conferencia sobre música finlandesa y pronunciación con Petteri Salomaa Fotos: CORTESÍA Enrique Vázquez Lozano / Trollhattan La […]

    balsiaproducciones.com.mx/2026

  5. BBCSO/Oramo review – Turnage’s satisfying and clever Festen Suite makes UK debut
    By Alexandra Coghlan

    Royal Albert Hall, LondonThe festering atmosphere of Thomas Vinterberg’s film and its celebrated opera adaptation lingers in this vivid orchestration, a foil to Sibelius’s cathartic second symphony

    theguardian.com/music/2026/jul

    #Classicalmusic #Culture #Music #Proms2026 #BBCSymphonyOrchestra #MarkAnthonyTurnage #JeanSibelius #Proms #TheGuardian #AlexandraCoghlan

  6. Saariaho, Beethoven & Sibelius at the National Concert Hall

    And so it came to pass that yesterday evening I took the train into Dublin and back to see what, for me, will be the penultimate concert by National Symphony Orchestra Ireland at the National Concert Hall. The conductor for this occasion was Colombian born Lina Gonzalez-Granados. There was a good crowd at the NCH, although it wasn’t quite full.

    By way of a starter we heard Ciel d’hiver by Kaija Saariaho, a Finnish composer who spent her later life living in Paris; she passed away in 2023. This piece is an intriguing evocation of the winter sky, with dense blocks of harmonies suggesting the broad expanse of the heavens punctuated by drifting clusters of fragmented patterns until it reaches the zenith expressed by an intense climax before fading away again. This piece was new to me – it was in fact the Irish premier – and I enjoyed it greatly. I like it when there are unfamiliar items on the menu!

    The rest of the first half of the concert consisted of Beethoven’s Piano Concerto No. 1 (in C) with soloist John O’Conor. This was first published in 1795 (but revised around 1800). It actually Beethoven’s third go at writing a piano concerto but was published first. His first attempt was written when he was a teenager and was never published. What we now know as the Piano Concerto No. 2 was written around 1788 but not published until 1801. I hope this clarifies the situation.

    The Piano Concrto No. 1 consists of three movements, an expansive slow movement (marked Largo) sandwiched between two sprightly up-tempo movements, marked Allegro con brio and Rondo-Allegro Scherzando, respectively. It’s very obviously influenced by Mozart, but Beethoven’s own voice is very clear too. I think the first part of the last movement, full of energy and wit, is the best part of this work and O’Conor played it with genuine sparkle. His performance was very well received, and he rounded it off with a very familiar charming encore, also by Beethoven, his Für Elise, which O’Conor played for his two granddaughters who were both in the audience last night.

    Ludwig van Beethoven washimself by all accounts an extraordinary pianist and I couldn’t help wondering during the interval what he would have sounded like playing his own piano concertos.

    After the wine break we returned to hear the Symphony No. 2 in D Major by Jean Sibelius. This piece was written about a century later than the Beethoven Piano Concerto and its sound world is very different, although it does share an overall mood of hope and defiance that you will find in many works by Beethoven. It’s probably this aspect of the work that led to it being co-opted by the Finnish nationalist movement although I don’t think it was written for that purpose.

    I had been looking forward to this for quite a while as I had never heard this work performed in a live concert before. Hearing it last night was a revelation, especially because the momentum of the piece was much better controlled than on some recordings I’ve heard. It’s a large piece, in four movements, lasting about 45 minutes altogether. The first movement starts with hesitant figures repeated a number of times by different sections of the orchstra. The second movement is slow and rather mournful in tone but full of great melodic ideas. It is marked Tempo andante, ma rubato and I think how to handle the rubato (deviating from strict tempo) is what some conductors might struggle with: I think it’s supposed to flow naturally, but not wallow or become too turbulent. The third movement starts in a hurry and moves directly into the thrilling Finale. The last movement is full of blazing statements of triumph, as would accompany a hero reaching the end of a perilous journey.

    The balance and contrast between the different sections of the orchestra was very well done. I especially enjoyed the playing of the brass instruments which was vigorous but superbly controlled. Hats off to NSOI and to Lina Gonzalez-Granados for the performance. I found myself humming pieces of the Sibelius to myself as I walked back to Pearse station for the train back to Maynooth.

    P.S. I must get a better recording of the Symphony No. 2 by Jean Sibelius for my collection – does anyone out there have any suggestions?

    #BeethovenPianoConcertoNo1 #CielDHiver #JeanSibelius #JohnOConor #KaijaSaariaho #LinaGonzalezGranados #LudwigVanBeethoven #SibeliusSymphonyNo2
  7. On Mar 24, 1924: 1st performance of #JeanSibelius' 7th Symphony in C at the Konsertföreningenin in Stockholm.

  8. Sibelius - Symphony No 3 in C major, Op 52 - Salonen
    youtu.be/_iPYeALbp50?si=UNFWNf

    I love this piece so much, from the bass and cello quirky but energetic folk dance opening to the stirring chorale theme towards the end of the third and final movement.

    It's often described as a piece in which Sibelius turned to classicism. I would prefer to describe it as a constrained romanticism, the very lack of grandiloquent bombast adding so much to the emotional power which comes to fruition as the symphony concludes.

    For all sorts of reasons, some of them purely personal, I am attached to this particular performance.

    I listen to this symphony frequently. Each time I do so I feel a new and better life surge up within me.

    I can't guarantee it will have the same effect on you, but do give it a go. It's only about thirty minutes long, so even if it does little or nothing for you, you won't feel a huge chunk has been taken out of your time.

    If, on the other hand, it does work for you, then time and time again over the rest of your life you will want to renew that half hour experience .

    #ClassicalMusic #JeanSibelius #SymphonyNo3 #SymphonicMusic #FinnishMusic

  9. Iltakuuntelemisiksi #TampereFilharmonia'n 75-vuotisjuhlalevy: #ErkkiMelartin'ia, #EinarEnglund'ia ja #JeanSibelius'ta. Melartinia pitäisikin muistaa kuunnella taas enemmän. #musiikki

  10. Shostakovich 50 at the National Concert Hall

    Last night’s concert at the National Concert Hall in Dublin was billed Shostakovich 50 because 2025 marks the 50th anniversity of the death in 1975 of Dmitri Shostakovich, whose First Symphony was performed after the interval, by the National Symphony Orchestra under the direction of guest conductor John Storgårds. As you can see, though, the programme was quite varied and no fewer than three other composers were represented.

    The first piece was The Oceanides, tone poem by Jean Sibelius intended to evoke the sea nymphs of Greek mythology. It’s quite a short piece – only eleven minutes in performance – but full of movement, suggesting the ebb-and-flow of the sea and its different moods, from tranquil to stormy. Its place on the programme made it a good workout for the orchestra and a wonderful starter to whet their appetite of the audience for the rest of the menu.

    After that appetizer we had a performance of the Rhapsody on a Theme by Paganini by Sergei Rachmaninov with soloist Yukine Kuroki at the piano. This piece comprises a set of 24 variations on a them from one of Paganini’s caprices for solo violin. The Rhapsody on a theme of Paganini is piece full of contrasts: sometimes pyrotechnical, sometimes lyrical. My favourite section is the 18th variation, in which a lovely romantic melody emerges and is picked up by the whole orchestra in a manner that’s very characteristic of Rachmaninov. This tune is just an inversion of the theme transposed into a different  key and slowed down.

    The Rachmaninov alone was worth the cost of the ticket. I was amazed how pianist Yukine Kuroki coped with the technical challenges of this work but also how she managed to generate so much power for a person of such slight build. Rachmaninov himself was quite a large man who had hands like shovels, so his work often places difficult demands on a soloist. Not last night, though, as Yukine Kuroki not only played with great accomplishment but also clearly enjoyed herself. In the passages during which the piano was not playing she was bouncing up and down and tapping her feet waiting for her cue. It was lovely to watch as well as to listen to. I’ll also mention that she was wearing a gorgeous one-shoulder dress with a vivid red colour.

    After the wine break interval we returned for a piece that was new to me, the Symphony No. 3 ‘White Interment’ by Ukrainian composer Victoria Vita Polyova. This is described a symphony, but it doesn’t have the traditional structure in terms of movements. It has instead a rather static structure, consisting of thematic blocks based on a poem Now always snows. It’s a sombre and rather minimalist piece, with little of the development you would expect from a true symphony, but the sound world it creates is layered in interesting ways. I enjoyed the performance.

    And finally we have the Symphony No. 1 by Dmitri Shostakovich which I don’t think I had heard in concert before. The most astonishing thing about this work was that he wrote it as a graduation piece for the St Petersburg Conservatory. Its first performance was in 1926, when the composer was only 19. It is a substanial work over four movements (the last two played without interruption) and there are passages within it in which you can see that he had already found much of the distinct voice that he used in his later compositions. This piece isn’t really reminiscent of any other composers, either.

    The performance was excellent, with particularly strong work by the woodwinds and brass. It was very well received by the NCH audience which is always very generous with its applause.

    #DmitriShostakovich #JeanSibelius #JohnStorgårds #NationalConcertHall #RhapsodyOnAThemeByPaganini #SergeiRachmaninov #ShostakovichSymphonyNo1 #TheOceanides #YukineKuroki

  11. @AllonsyMelissa

    Good luck too with your ventures into Finnish language and culture.

    I love a lot of the works of Sibelius.

    This short piece, "Andante Festivo", is conducted here by Sibelius himself. Broadcast on the New Year's Eve of 1939, this scratchy recording moves me so much.

    youtu.be/vgXI8tnibmI?si=jiKCq7

    #FinnishMusic #Finland #JeanSibelius #Sibelius #AndanteFestivo

  12. Sibelius -- The Swan of Tuonela

    youtu.be/X3_H5YlgKFU?si=qXegyn

    “Tuonela, the land of death, the hell of Finnish mythology, is surrounded by a large river of black waters and a rapid current, in which the swan of Tuonela glides majestically singing.” -- Jean Sibelius.

    A must listen if you want to hear magical writing for the cor anglais.

    #ClassicalMusic #JeanSibelius #TheSwanOfTuonela
    #LateRomanticism #FinnishMusic
    #CorAnglais

  13. On his birthday I've been listening to two fine recordings of Sibelius.Both are played by the Halle Orchestra under the baton of Mark Elder. One is of symphony No.2,the other is of symphonies 1&3.

    #JeanSibelius
    #halle
    #classicalmusic

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