He was also under continuing attack from the European musical intelligentsia, Russian oppression of Finland was intensifying, and he had just toured the pre-WWI German empire. In 1910, when Sibelius started work on this symphony, he had recently completed an arduous, two-year course of treatment for a tumor in his throat. The third movement culminates with combined agitated strings and regal brass.
As I listened to the second movement, I closed my eyes to see Fräulein Maria and young Kurt move gracefully through a solemn folk dance in a cosmic courtyard. Those agitated strings of the first movement rush headlong toward optimistic themes expressed by flutes and cellos, and the movement ends with a gracious conversation between brass and string motives. This is much more restrained, structural writing than the two symphonies that preceded it, with lighter instrumentation and a less Romantic style. The third symphony, which had a long gestation, represents a compositional turning point for Sibelius. Sibelius' reaction to that characterization has been a matter of some debate, but whether he meant it as patriotic or not, it is some seriously glorious music. Many refer to this as his "Symphony of Independence," written during a time of Russian oppression of Finland. This battle culminates in a sweeping hang-glider of a romantic theme that lifts off at the beginning of the fourth movement and then dips and soars toward a glorious arrival announced by the brass. As the piece progresses, we hear Sibelius musing on the struggle for supremacy between death and resurrection he'd recently seen Mozart's Don Giovanni, and was interested in Death's appearance to the title character. The opening, ascendant string motive is hopeful, joyous. He'd just been well-received in German musical society and was able, for the first time in years, to devote himself to full-time composition. Patriotism? A good mood? Sibelius composed most of this symphony in Italy. When it was over, I had the sense that the struggle had receded for the time being, but real resolution wouldn't come until after a farther horizon. The second movement is a gorgeous harbor, and the third hurries toward the reappearance of the opening theme, expanded and intensified, in the strings at the beginning of the fourth movement. There is great excitement, conflict and discovery throughout this opening movement, and it's easy to hear the composer's love of the natural world at work. It begins and ends in mystery: the opening of the first movement is a melancholic clarinet line over rolling timpani the theme gazes unflinchingly at the misty orange horizon. This symphony is a culmination of Sibelius's early period - romantic, human, searching. See each reflection for a recommended recording, or listen to them all in order via the Spotify playlist below.
Jodi Gustafson listened to all seven of Sibelius's symphonies and shares her appreciations and insight into each one.
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