1966 LP text:
"One of the best symphonies" is how the outstanding contemporary conductor Leopold Stokowski described Sibelius' Violin Concerto.
Indeed, its monumental scale, emotional breadth, symphonic development, and virtuosic composition rank this Concerto alongside Sibelius' finest symphonic works. The virtuosity required by the Concerto hindered its popularity for a long time, and only relatively recently did it enter the repertoire of outstanding violinists.
The Concerto was written in 1903 (with a second edition made in 1905); it marked the end of the first period of Sibelius' creative work. During this period, he composed the symphonic fantasy "Kullervo," the symphonic poems "The Saga" and "Finlandia," the "Karelia" suite and overture, the cycle of legends about the folk hero Lemminkäinen, music for Arvid Järnefelt's play "Death" (including the widely known "Valse Triste"), and his First and Second Symphonies.
In the works of this first period, the content and imagery of the music are entirely based on Finnish folklore—poetic folk sagas, runes, and legends recorded in the national epic "Kalevala." The musical language of these works is most closely related to folk roots, which is vividly expressed in the Violin Concerto.
As in most of his previous works, the music of the Concerto tells of a tense, harsh struggle between man and the untamed, severe nature of the north, and of the ultimate triumph of will and reason over the powerful, unruly elements. This content determined the colossal dynamic range, the immense emotional and meaningful load of the soloist's part, the unique form of the first movement (a sonata with two cadenzas), and the overall lyrical-epic character of the music.
The soloist's part is contrasted with the orchestra's part, which personifies the elemental forces of nature.
The first movement opens with a theme imbued with sincere, heartfelt warmth and intimacy. It sounds free, improvisational, as if in deep contemplation. In the second section, the contemplative-narrative presentation is infused with resilient, willful intonations and, gradually unfolding and becoming emotionally charged, leads to the intense, expressive first cadenza of the soloist. In contrast to the soloist's part, the orchestra's melody flows broadly and serenely, concluding the first image of the exposition.
The romantically passionate, evocative second theme continues, enriches, and develops the main image of this part. This is followed by a new orchestral "wave" (the concluding part), in which a formidable volcanic force, hidden in the depths of the universe, seems to surface.
The central section of the first movement is the development. It is entirely filled with the soloist's second cadenza, full of enormous emotional tension, energy, and drama.
In the recapitulation, the intonations of the solo part penetrate authoritatively into the orchestral fabric. This is the culmination of the contrasting opposition between the soloist and the orchestra parts. A dynamic coda concludes the first movement.
The second part of the Concerto is a deeply poetic, calm Adagio. It transports the listener into a realm of bright, elegiac moods. Despite the rebellious spirit of the middle episode, which sounds like an echo of the stormy events of the first part, and the exalted drama of the recapitulation, the Adagio leaves an impression of peace, tranquility, and silence.
The finale is sharply contrasting to the second part. Its music leads away from the dramatic conflict of the preceding parts and seems to resurrect long-forgotten images of ancient pagan festive ritual ceremonies. Two melodies, similar in intonation, mode, and rhythm to folk songs, dominate this part. The first, mobile and motoric, like a mesmerizing tune, is played by the soloist to the monotonous accompaniment of percussion and low string instruments. The second, initially presented by the orchestra in the parts of the violas, cellos, and woodwinds, imitates a crudely naïve folk dance that develops into a force of immense elemental power.
The finale concludes with a major coda built on motifs from the main theme of the first part. This kinship creates a unique intonational-meaningful arch, which crowns the entire cycle with a solemn triumph.
Sibelius' Violin Concerto was first performed in the autumn of 1905 in Berlin under the direction of Richard Strauss, with the well-known Czech virtuoso Karel Halíř as the soloist.
The symphonic poem "Tapiola" (Op. 112) was written by Jean Sibelius in 1925. For this work, inspired by the Finnish national epic "Kalevala," the composer provided a brief program:
In the fourteenth rune of the "Kalevala," Tapio, the lord of the forest, and Tapiola, his forest realm, are described:
"Tapiola" by Sibelius is a poetic portrayal of the forest's elemental forces, an inspired hymn to the wondrous beauty of the endless forests that make up the unique charm of the Finnish landscape. Written for a large orchestra with the inclusion of piccolo, English horn, bass clarinet, and contrabassoon, the score is remarkable for its richness and vividness of color. In this symphonic poem, Sibelius' mastery of motif transformation, the astonishing simplicity and clarity of musical images, and the dazzling build-up of dynamics are powerfully manifested.
