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It is a common truth – and an area of increasing interest for the musical studies too – that the 19th century was
a century of national thinking. As a result of this folkstories/fairytales and folksongs were collected and
published practically in all of the European countries. The movement touched greatly the composition history
of the nineteenth century, and almost all art music composers got influences from their national heritage. It
involved not only composers coming from so called ‘national cultures’ but also from the old Western European
nations, like the Germans and the Austrians.
This was the case also with the Scandinavian and Russian composers, and among them, with Jean Sibelius,
who during his early career felt a strong spiritual affinity with the Russian nationalistic composers, ‘The Five’,
gathered around Balakirev, and based his creative work, much alike his Russian colleagues, to a great extent
on the Finnish-Karelian folk music. This is obvious for every serious researcher of Sibelius’s music, although
later in his life Sibelius tried to conceal and minimise the deep influence he got from the folk music, as he tried
to gain a profile as a universal composer.
LIKE A FOLK-SONG
In Vienna he composed also his first piece hinting towards the awareness of the Finnish folk song style: the
song Drömmen (The Dream) Op. 13 No. 5 was written in the night of 8th of January in 1891, on the basis of the
letter Sibelius sent his wife Aino that day. In it he says:
‘It is new [of its kind] and Finnish too. I really do believe in Finnish music, although ‘the experts’ sneer at it. Its
melodicious, strangely melancholic monotony, which can be found in all Finnish melodies, is very typical,
although it is actually a mistake.’
The last part of the sentence (italicised by this writer) is a direct echo of the idea that Borenius had about the
Finnish folksong, as we can see later.
The song is, in despite of some modern compositional features, in its characteristics very Finnish. Firstly, the
melody is using in the A-section (mm. 1–10) the minor pentachord, based on F, which is typical to ancient folk
melodies. Only in the shortened repeat of the A section (mm. 25–28) the pentachord is expanded by the raised
6th and the natural 7th degrees with the final culmination and the dramatic question: ‘Var är kyssen?’ (Where
is the kiss?). The middle B section (mm. 11–24) is based on raised tonic, on F sharp, and the F sharp
pentachord is exceeded only once, at the moment when the voice reaches its top note, F sharp 2, with the
word ‘glädje’ (joy). (Ex. 1)
Sibelius was also influenced by Karelian kantele music. Already during his student time in Helsinki Sibelius
was at a big masquerade ‘disguised as a Finnish kantele player and had therefore learned some folksongs on
the kantele’ (letter February 3, 1889 to oncle Pehr Sibelius), the Finnish national instrument he was capable of
handling and for which he wrote also a couple of pieces. After having taken a look at some kantele pieces by
Karelian players, like those of Fedja Happo and Teppana Jänis, and having heard authentic kantele playing –
for instance Maanitus, recorded in 1949 by Vanja Tallas (1876–1952), the last representative of the ancient
tradition – it is easy to notice that Sibelius has in his early piano music a lot of kantele associations: especially
in the Impromptus Nos. 2–4, and also in all movements of the Piano Sonata. (Ex 5)
MUSIC EDITOR
Sibelius encountered still later the runic singing. In 1895, a new edition of Kalevala was planned to be
published with a commentary and a separate appendix containing some representative runic melodies,
Sibelius was chosen the expert to furnish the volume with musical examples. Originally only two or three
melodies were thought to be enough to give an ordinary reader an idea about the runic singing. But when
Sibelius met Borenius in order to consult him, he quickly realised that just a few melodies were not enough for
the purpose. So he proposed to the editor that 40 melodies had to be included in the new edition; however,
only 17 were accepted to accompany the new edition.
These melodies, chosen to the new Kalevala edition appendice, use most of the time only the range of a
pentachord; eight of them touch also the 6th degree, whereas only one has the range of a tetrachord. It is
interesting to notice that in 11 melodies the mode is major, and only in 6 cases the mode is minor. Thus the
Finnish proverb that ‘playing is made of sorrows, fashioned of griefs’ is not true at all. As Borenius said, ‘in our
epic poetry one seeks in vain after the traces of melancholy’! Most of the melodies chosen by Sibelius follow
the standard binary structure, while some of them consist of more than two phrases: one of melodies has
seven phrases, and three melodies include four phrases. These more extensive structures come close to
Sibelius’s statement about Kalevala as ‘theme and variations’.
TRANSFORMATIONS
In Sibelius’s music the consequences of his thinking and ideas are clearly to be seen. His melodic writing
follows these principles: the Aeolian mode is often transformed into the Dorian or Aeolian-Ionian, when the
minor pentachord is exceeded and the melody reaches its culmination. In his harmonisation Sibelius uses
parallel chords that move both upwards and downwards along the minor-major scale (sometimes also along
the major-minor-scale), and the basic sonority, that of the ninth chord, can be found everywhere in his music,
still in the seventh symphony. Very often he just puts a pedal-note a fifth below the finalis, creating a
‘subdominant ninth chord’ effect.
In the song Drömmen we find the Aeolian-Ionian harmonisation right at the beginning. Sibelius’s way of moving
the chords is functionally neutral; although the chords resemble dominant and subdominant chords (mm. 1–6),
they shall not be interpreted to fulfil these functions. The F sharp minor section uses also the raised Aeolian-
Ionian 6th and 7th degrees. The climax occurs at the dominant ninth chord, to resolve temporarily into E minor.
At the end of the piece the D natural gives its place to the D flat, thus transforming the mode into F Aeolian.
(Ex. 6)
The same techniques of using the Aeolian-Ionian mode as the source of the harmonisation can be found
almost anywhere in his (early) output: in the Karelia Ouverture, jn the Ballad Skogsrået (The Wood-Nymph,
1894/5), and especially in the six Finnish Folksongs Arranged for Piano (1902–03).