- .. '" .:.-- , ,, __.--:----;-:-:-/ /,.,/ -�' �/,�� ,�,,..?, 1 1 I l 1 • \. / \ p1 \� �, / lJ , � / \ / I ./· \/ ll/' . , / 1/ ' ,7''---/4 .·�✓i ',':--....\._\, \.... �-✓ �--::;;;-. �½;, ,1 -c::::-J . • .)., ;?[ / . 1 1 \,_.. \ 11 \ . \� AI l ,.-::::: r� l.i� �J ( • ·'":ri-_efJ / ! ,���J1� -r.Td J:l� �-l�� ,-,Y)/ V � i '\ ,/ n � �- �- f · li,.�, \ 1· c, \ /' / \ \ / - .J ./ �. ,,-,::::::, J - 1 V 11" f- ...,_-� /l • • t . ' t(J / 17 J' f'I' ,, 'J, \, j ;) ) l / 1J . ! ·- 1' ,� \� ----- . r· ', \ TIMO VIRTANEN JEAN SIBELIUS, SYMPHONY NO. 3 MANUSCRIPT STUDY ANO ANALYSIS Timo Virtanen Jean Sibelius, symphony no 3. Manucript Study and Analysis ISBN 978-952-329-199-7 (PDF) http://urn.fi/URN:ISBN978-952-329-199-7 TIMO VIRTANEN ,� /1 ✓· , ✓ /\i I ./ f JEAN SIBELIWS,1 Il ! SYMPHONY Nb. 3 \ . ,rJ I MANUSCRIPT S UDY \ _/ t ..- I AND ANALY IS i _// I/ ' / 1/ \; / \ ., �_/ 1 \\__ ___ ,. STUDIA MUSICA 26 / SIBELIUS ACADEMY / \ © Timo Virtanen and Sibelius Academy 2005 Cover and layout: Arto Sivonen ISBN 952-5531-19-8 ISSN 0788-3757 Hakapaino Oy, Helsinki 2005 iii SIBELIUS ACADEMY Department of Composition and Music Theo ry Studia Musica No. 26, 2005 Virtanen, Timo Jean Sibelius, Symphony No. 3: Manuscript Study and Analysis ABSTRACT This study is divided into two parts. In the firstpart, the compositional process ofJean Sibelius's Third Symphony is discussed from the perspective of manuscript study. This study has revealed that the compositional process was long and intricate, and several works, completed either beforeor even years after the Symphony, were intermingled in the process. At the beginning of the compositional work, Sibelius does not seem to have had a clear idea of the Symphony or its movements as a whole. Nothing in the manuscripts indicates that he was intentionally building up broad passages and sections from small motives. On the contrary, Sibelius seems to have constructed the work by bringing together ideas which he had written in his sketch collections over many years and which originally did not share common roots. His central task seems to have been to build up a unified whole of the separate and originally rather fragmentary elements. Sibelius's manuscripts reveal that the composer made unsuccessfulattempts to combine different ideas before he finally arrived at combinations which he foundacceptable. The manuscript study, together with some observations presented in literature earlier and future research, may clarify the picture of Sibelius's composing strategy, which the composer himself referred to as creating a picture fromfragments of a mosaic. The second part of the study presents an analytical view focusing on questions of harmony and voice­ leading structure, and form discussed from the perspective of Schenkerian theory, while che thematic and other aspects having to do with the formal design are of more marginal interest here. Although the form of the Third has often been described as the most classical of ali Sibelius symphonies, many passages in the work have been regarded as problematic, or even unanalysable. The apparent "classical" clarity of the music may be a result of certain features of the thematic disposition, whilst a study of the interaction between tonal structure and formal design in the work may open up new perspectives on the questions of form. Since Sibelius's music stylistically is situated between the classic-romantic tonal tradition and the new trends of the early 20th century, the applicability of the Schenkerian approach forms a central methodological question. In order to understand the characteristics of the tonal structure in Sibelius's music and the ways of departing fromthe tonality of the common-practice period in Sibelius's works, the particular features in his music have to be mirrored against the background of tonal conventions. Schenkerian theory opens up a possibility to elucidate these relations. The Epilogue sheds light on the possible programmatic background of Sibelius's Third Symphony. In 1905 Sibelius was planning an oratorio on a libretto written by Jalmari Finne and based on the Finnish national epic, the Kalevala,and some characteristics of the Symphony display interesting parallels with the oratorio libretto. iv ACKNOWLEDGEMENTS During the preparation of this book I have felt myself privileged to have received so much advice and feedback fromso many colleagues, and outstanding Sibelius experts. I would like to thank my supervisors, Prof. LauriSuurpää forhis exhaustive and accurate reading of my text at various stages, and Prof. Veijo Murtomäki and Prof. Ilkka Oramo for their valuable comments and suggestions. I also would like to thank my fellow scholars in the post-graduate seminars, especially Mr. Juhani Alesaro and Mr. Risto Väisänen for the many interesting discussions. I owe a debt of gratitude to Mr. Väisänen for also having been my teacher. His profoundinsight into different fields of music and research has been a very important source of motivation during my years of study. I am also grateful to him for guiding me to study Sibelius's music and his manuscripts. I would like to thank my colleagues in theSibelius critical edition project, Dr. Kari Kilpeläinen for his incisive comments and suggestions concerning the manuscript study, and Mr. Jukka Tiilikainen and Mrs. Tuija Wicklund for the many inspiring discussions concerning Sibelius's manuscripts. Also linked with the project as the first editor-in-chief, Prof. Fabian Dahlström has provided me with important informationconcerning the variousSibelius sources. The credit for the discovery of the "Marjatta" fragments and references to the oratorio in correspondence by Sibelius and others belongs to Mr. Markku Hartikainen, whom I would like to thank forhelping me to find the relevant sources and for the exhilarating conversations about the "Marjatta." I am grateful to Prof. James Hepokoski and Prof. Joseph C. Kraus for commenting on the manuscript of this book in detail. I had an opportunity to discuss my analysis with Prof. Edward Laufer, the meetings with whom I remember with gratitude. Prof. Jim Samson and Prof. Tomi Mäkelä became acquainted with some chapters of this study and their views were received with thanks. The language in this book was checked by Prof. Glenda Dawn Goss, who also made useful comments concerning the content of the book, and Mr. Keith Bosley, whose expertise in the fieldof the Kalevala opened new perspectives. Many thanks also to Mr. Andrew Lightfootfor a finalcheck of some parts of the text. I would like to thank archivist Petri Tuovinen (Helsinki University Library), who has helped me a lot with Sibelius manuscripts, and Mr. Bernd Schuff(Archives ofRobert Lienau Musikverlag, Frankfurt) for collecting information about the Third Symphony materials. I am also grateful to Mr. Arto Sivonen forplanning the visual design of the book. The owners ofSibelius's rights kindly gave me permission to include manuscript facsimilesin my book. My research and the publication of this book were supported financially by the Emil Aaltonen Foundation, the Finnish Academy, and the Sibelius Academy Foundation. ln conclusion I would like to thank my dear wife Leena and my two wonderful sons, Lassi and Olli. Theyali patiently accompanied me during the years of the preparation of this study. I dedicate this book to the memory of my father, Erkki Virtanen (1920-2000). TABLE OF CONTENTS j v Chapter 1: lntroduction 1 1.1 Sibelius's "Most Unfortunate Child" 1 1.2 Background and Basics of the Present Scudy 5 1.2.l Previous Manuscript Studies ofSibelius's Works 5 1.2.2 The Third Symphony as a Subject for Manuscript Study 6 1.2.3 Analytical Studies of Sibelius's Works 7 1.2.4 Analytical Studies of the ThirdSymphony 8 1.3 Contents of the Present Scudy 8 1.3.1 The Two-part Division 8 1.3.2 The Chapters in Outline 10 vi TABLE OF CONTENTS PART 1: MANUSCRIPT STUDY Chapter 2: Preliminaries 13 2.1 On Terminology 13 2.2 Problems in Identifyingand Definingthe Chronology ofSibelius's Manuscripts 14 Chapter 3: The Third Symphony: Genesis and Musical Manuscripts 17 3.1 The Genesis of the Third Symphony According to Biographical Sources 17 3.2 The Musical Manuscripts for the Third Symphony in Helsinki University Library 19 Chapter 4: Musical Manuscripts for the First Movement 23 4.1 An Overview 23 4.2 Opening (mm. 1-17) 24 4.3 Measures 17-39 30 4.4 The Minor Passage (mm. 40-54) 34 4.5 The End of the Exposition (mm. 54-85) 38 4.6 Development (mm. 85-164) 40 4.7 Recapitulation and Coda (mm. 164-273) 42 4.8 Conclusions 43 Chapter 5: Musical Manuscripts forthe Second Movement 45 5.1 The Early Complete Version 45 5.2 Sketches and Drafts 46 5.3 The Main Thematic Materia! 47 5.4 The "Woodwind Chorale" 49 5.5 The Drafrfor the AJ,-Major Passage 51 5.6 Conclusions 52 Chapter 6: Musical Manuscripts forthe Third Movement 55 6.1 An Overview 55 6.2 Opening (mm. 1-41) 55 6.3 The Minor Key Episodes (mm. 42-70 and 112-160) and 59 the Developmental Section (mm. 160-245) 6.4 The Hymn Section 61 6.5 Conclusions 62 Chapter 7: A Network of Compositions Created in 1901-1912 65 Chapter 8: The Compositional Process of the Third Symphony 69 in the Light of the Musical Manuscripts TABLE OF CONTENTS ] vii PART II: ANALYSIS Chapter 9: Background: General Problems in Analyzing Form in Sibelius's Music 73 Chapter 10: First Movement 75 10.1 An Overview 75 10.2 Exposition 77 10.2.1 First Group 77 10.2.2 Second Theme in B Minor? 80 10.2.3 TheEnd of the Exposition 84 10.3 Development 88 10.4 Recapitulation and Coda 91 Chapter 11: Second Movement 99 11.1