The common and easily jumped-to conclusion about Sibelius’ First Symphony is that it is a “Romantic”, “Nationalist” and/or “patriotic” work. There is indeed some element of truth in using these convenient terms, but it would be unjustified to claim that that is all to this symphony.
Sibelius vehemently denied any extra-musical meaning to all his symphonies, and yet his listeners – first and foremost his fellow Finns – saw everything from forests and mountains to swirling winds and sweeping snowscapes to the being of Finnish-ness in his music. In the final analysis, the composer also admitted that it is not incorrect to find, “let us say, a feeling of nature [in his music]… . [Let that be said], as long as we have it clear within ourselves, we do not become a part of the music’s innermost sound and sense through analysis …”
This compromise is perhaps representative of his struggle to unite the torrent of human feeling he felt (for nature, his home, land among other things) and the “profound inner logic” which propelled his music’s search for symphonic perfection. Continue reading Sibelius: The First Symphony