Sibelius: Symphony 3 & 4

 

If I thought Symphony no. 2 by Sibelius included pastoral elements to contrast with the symphonic struggle, the composer imbues the pastoralisms tenfold in Symphony no. 3 in C Major.

A chugging bass line introduces what essentially turns into a rustic dance in the first movement, perhaps the most overt ruralia I have heard from Sibelius in these symphonies. The reeling open strings are a blast!

Sibelius does contrast the rusticity with brassy heroism and string-laden strife, but I generally hear wishful sunshine from the composer. Eventually the countryside wildlife gather, where many wind solos are accommodated, and the dance is welcomed back in to the fold. Perhaps the final plagal cadence insinuates Sibelius feelings on this agrarian musical setting.

The flutes bring in their own folksy dance into the second movement. If the rusticity is more haunting and melancholy than the buoyant opening movement, the contrast is appreciated. Subtly, Sibelius sets opposing rhythms to this dance - a 3/4 against a 6/8 to provide underlying rhythmic interest. Additionally, there are small moments where he injects duple half notes as well, making for a truly off-kilter feeling when they come along.

The final movement is a little more baffling. The motivic material appears fragmented and in the mood to avoid development across the first four minutes. Compared to the two melodically centered movements which preceded it, this portion seems a great leap forward for the composer, subverting expectations from what came before. Still Sibelius carries through the bucolic nature of the first two movements, especially at the very opening, where oboes join in the folk-laden fun, as if they had missed playing earlier.

About halfway through the last movement, a rhythmically decisive chorale reminds listeners of his two previous symphonies, preparing the way for a journey to a positive ending. A slowly paced crescendo effectively builds this last idea to its ultimate conclusion.

The biggest feature of Symphony no. 3 for this listener is the economy of the music and a relative brevity of its structure. The symphony finishes with a feeling of Sibelius just ending, as if he has nothing more to say. Indeed, I find the development of the first movement most effective, whereas the second lovingly dwells on its song-like attributes, and the third just takes a while to finally get going.

I notice this is one of the symphonies Leonard Bernstein does not revisit later in life in Vienna. Is it the efficient structure of this music, the Dvořák-ian folksiness which pervades the music, or is there something else at hand? As far as I can tell, it didn't make it to the Bernstein Century series either. In any case, I like this symphony's attitude and inherently bucolic nature, even if its scope is smaller and more contained. After all, not every creation needs to be a universe destroyer.

If you are not prepared for it, Symphony no. 4 in A minor will catch you off guard. The work is serious and dour, grim and caustic, unnerving and unexpected.

Musically, this is the most chromatic I have heard from the composer. It is as if Sibelius has heard the moving musical waves across Europe and said he will try and expand his symphonic universe.

For the unsuspecting listener, these elements may leave one floundering for something to grasp onto. For those tired if the composer's overt Romanticisms, the Fourth Symphony may be haven to enjoy Sibelius attempting to dip a toe into modernism and expressionism.

The mournful solo cello at the opening of the first movement, underscored by undulating waves of cellos and double basses, signals something darker is at hand. The slow motion creates unusual dissonances atypical of the composer, but not altogether unwelcome. After all, to truly get to know a composer through their music means to explore every aspect of their psychology.

Of course, beginning a symphony at a slow tempo sends a message to the listener too. Here Leonard Bernstein hangs onto the quasi Adagio much firmer than the molto moderato, making every musical moment speak to the listener, no matter how dark it gets. Those looking for broad Romantic tunes, best look elsewhere, although Sibelius does move towards peeks of light in the final third of the first movement.

An opening slow movement also means the normal fast movement is delayed to the second-movement position. Truly, this movement is more akin to a Scherzo, one pretty much devoid of a contrasting Trio, however, Sibelius' preference for long tones banishes a sense of forward motion, preferring lyrical quality. The movement doesn't provide much atmospheric relief for the listener either, where the composer prefers oddly contrasting instrumental sounds to lightheartedness, so perhaps Scherzo is the wrong term to use. A tranquillo section does allow for a light dance to ensue, but such festivities are quelled before they begin.

Timing wise, Sibelius doesn't spend much time with his 'Scherzo', preferring instead to dwell in slow-moving musical motions. Thus the third-movement Largo is equal to the length of the starting movement, creating a ring of melancholy around the swift second movement. One noticeable element in Symphony no. 4 is a focus on the strings as an ensemble, using the winds primarily for color effects, while the strings bear the brunt of the musical content, at least in comparison to his earlier symphonies.

Sibelius has generally relied on very little percussion in his symphonies, the timpani being the strongest musical character from that instrumental section. What a wonder to hear bells of all things in the fourth and last movement! They provide just a little bit of twinkling uplift this listener needed at this point of the symphony. This is also the point where a sense of drama is contrasted throughout, rather than a protracted austere demeanor. Certainly, the finale is a valedictory conclusion from the composer.

If it seems I ambivalent regarding the music in the Fourth Symphony, it may be because I have to be in a certain mood for such music, or I simply like to dwell in warm musical positivity, or at least some sort of organic growth which encapsulates a variety or a journey of moods. For most of this symphony, there is an oppressive moodiness which gives no signal of let up. Bernstein and NY certainly don't allow the listener many glimpses of hope.

 

 

 

Works
Symphony 3 in C Major, op. 52 (26.46)
Symphony 4 in A Minor, op. 63 (39.26)

Performers
New York Philharmonic Orchestra
Leonard Bernstein, conductor

Label: Columbia / Sony
Year: 1965-66; 2015
Total Timing: 66.12