Symphony No. 3 (Sibelius)
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The Symphony No. 3 in C Major Op. 52 by Jean Sibelius is a good-natured, triumphant, and deceptively simplistic piece written in 1907. The first performance was given by the Helsinki Philharmonic Society conducted by the composer on 25 September 1907. The first recording was made by Robert Kajanus with the London Symphony Orchestra for the HMV label in January 1934.
- Allegro moderato (approx. 10'30")
- Andantino con moto, quasi allegretto (approx. 10'00")
- Moderato - Allegro ma non tanto (approx. 8'30")
(Total Timing: approx. 29'00")
[edit] Composition
The Third symphony represents a turning point in Sibelius's symphonic output. His First and Second symphonies are grandiose Romantic and patriotic works. The Third, however, shows a distinct, almost Classical desire to contain the largest amount of musical material in the least possible melodic figures, harmonies, and durations. This musical economy is most apparent in the first movement, almost reminiscent of Beethoven in its clear and cleanly developed sections; indeed, the entire piece lasts just under half an hour.
[edit] Movements
The symphony opens with a gentle melody in the cello and double-bass, after the announcement of which the brass and the remaining strings enter the scene in turn. A lilting, almost folk-like flute solo gives way to a triumphant horn call over brush-like strings in the first of three major climaxes in the first movement. After this rush of sound, the gentle serenity of the opening is recalled by the cellos once again, but this time in a more vulnerable and sostenuto manner in the remote key of B minor.
From this point, the music gently winds down. Then, a succession of woodwind instruments recall the second cello melody over soft string scales, which repeatedly recall the opening of the movement. The tension grows and fairly explodes into the opening theme, underscored by timpani, and the violins flit their way over a pulsating cushion of brass-and-woodwind chorales and offbeat pizzicato in the cellos. The flute theme is once again recalled, and the second cello theme is finally brought to life by the entire orchestra; played in the string section, the timpani and woodwind provide rhythmic material while more brass chorales are sustained throughout the section.
The music once again winds down, but this time before it is let go completely, a glorious flute and horn chorale lead into more recollections of past themes, which have the last word before this phenomenal movement closes on a simple two-chord "amen" cadence (plagal cadence).
The opening of the second movement is a nocturne, a movement of supreme clarity and austere romantics, seemingly contradictory, but immediately accessible; the first section almost waltzes out of the pervading darkness, but, in an almost constrained manner, the music refuses to do so. After the extended introduction, a brief moment of lightness gives way to the string section taking over the theme with woodwinds and horns providing masterful, touching comments. The music is propelled to the end by perpetual cello pizzicato, and then the second movement ends in several string pulses in which the midnight waltz grinds to a halt in which the tune is still almost recognizable.
The last movement is really two movements compacted into a single glorious finale. A hushed, tense scherzo breaks into a triumphant chorus which is repeated several times. The coda brings the chorus theme into greater and greater expanses, until at long last the symphony concludes in a compendium of the chorus theme and a rush of string figures and woodwind scales. The cadence brings the piece to an almost abrupt halt with a simple, noble V-III-I (G-E-C) in the brass.
