Jean Sibelius, born Johan Julius Christian Sibelius (8 December 1865 – 20 S… Read Full Bio ↴Jean Sibelius, born Johan Julius Christian Sibelius (8 December 1865 – 20 September 1957), was a Finnish composer and violinist of the late Romantic and early-modern periods. He is widely recognized as his country's greatest composer and, through his music, is often credited with having helped Finland to develop a national identity during its struggle for independence from Russia.
The core of his oeuvre is his set of seven symphonies, which, like his other major works, are regularly performed and recorded in his home country and internationally. His other best-known compositions are Finlandia, the Karelia Suite, Valse triste, the Violin Concerto, the choral symphony Kullervo, and The Swan of Tuonela (from the Lemminkäinen Suite). Other works include pieces inspired by nature, Nordic mythology, and the Finnish national epic, the Kalevala, over a hundred songs for voice and piano, incidental music for numerous plays, the opera Jungfrun i tornet (The Maiden in the Tower), chamber music, piano music, Masonic ritual music, and 21 publications of choral music.
Sibelius composed prolifically until the mid-1920s, but after completing his Seventh Symphony (1924), the incidental music for The Tempest (1926) and the tone poem Tapiola (1926), he stopped producing major works in his last thirty years, a stunning and perplexing decline commonly referred to as "The Silence of Järvenpää", the location of his home. Although he is reputed to have stopped composing, he attempted to continue writing, including abortive efforts on an eighth symphony. In later life, he wrote Masonic music and re-edited some earlier works while retaining an active but not always favourable interest in new developments in music.
The Finnish 100 mark note featured his image until 2002, when the euro was adopted.[4] Since 2011, Finland has celebrated a Flag Day on 8 December, the composer's birthday, also known as the "Day of Finnish Music". In 2015, the 150th anniversary of the composer's birth, a number of special concerts and events were held, especially in the city of Helsinki.
The core of his oeuvre is his set of seven symphonies, which, like his other major works, are regularly performed and recorded in his home country and internationally. His other best-known compositions are Finlandia, the Karelia Suite, Valse triste, the Violin Concerto, the choral symphony Kullervo, and The Swan of Tuonela (from the Lemminkäinen Suite). Other works include pieces inspired by nature, Nordic mythology, and the Finnish national epic, the Kalevala, over a hundred songs for voice and piano, incidental music for numerous plays, the opera Jungfrun i tornet (The Maiden in the Tower), chamber music, piano music, Masonic ritual music, and 21 publications of choral music.
Sibelius composed prolifically until the mid-1920s, but after completing his Seventh Symphony (1924), the incidental music for The Tempest (1926) and the tone poem Tapiola (1926), he stopped producing major works in his last thirty years, a stunning and perplexing decline commonly referred to as "The Silence of Järvenpää", the location of his home. Although he is reputed to have stopped composing, he attempted to continue writing, including abortive efforts on an eighth symphony. In later life, he wrote Masonic music and re-edited some earlier works while retaining an active but not always favourable interest in new developments in music.
The Finnish 100 mark note featured his image until 2002, when the euro was adopted.[4] Since 2011, Finland has celebrated a Flag Day on 8 December, the composer's birthday, also known as the "Day of Finnish Music". In 2015, the 150th anniversary of the composer's birth, a number of special concerts and events were held, especially in the city of Helsinki.
En Saga Op. 9
Jean Sibelius Lyrics
We have lyrics for these tracks by Jean Sibelius:
Be Still My Soul Be still my soul the Lord is on thy side Bear…
Finlandia Oi Suomi, katso, Sinun päiväs koittaa, yön uhka karkoitettu…
Finlandia-hymni Oi, Suomi, katso, sinun päiväs' koittaa Yön uhka karkoitettu…
Säv säv susa Säv säv susa Våg våg slå I sägen mig var ingalill Den unga…
Sibelius : Finlandia-hymni Oi, Suomi, katso, sinun päiväs' koittaa Yön uhka karkoitettu…
Var det en dr Var det en dröm att ljuvt en gång Jag var ditt…
Var det en dröm Var det en dröm att ljuvt en gång Jag var ditt…
Var det en dröm Var det en dröm att ljuvt en gång Jag var ditt…
Var det et dröm Var det en dröm att ljuvt en gång Jag var ditt…
Var det et dröm? Var det en dröm att ljuvt en gång Jag var ditt…
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
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Mariposa Symphony Orchestra
@Monty Vierra - the personnel involved in this recording are listed NOW, but were not listed at the time of my comment. It was posted with no reference to the Lahti Orchestra or Vanska. Take a look at other past comments by posters who were attempting to guess whose interpretation this is. I did suspect it was Vanska's Lahti take - that is, his interpretation of the final (1902) version from Sibelius; you may not know that he's also recorded (also with the Lahti SO) Sibelius' ORIGINAL version of En Saga: the 1892 version. And just for the record? I consider THAT recorded version, by Vanska himself: to have the edge over this version, though whether that slightly-longer 1892 En Saga is preferred over the final version I'll leave to others.
That said? Vanska's take - THIS one on BIS is very good. I have it in three of the currently-available CD pressings from Vanska and Lahti. And yes, I have a library of over 8,000 CDs, many of which are out of print and reflect interpretations which I would place either on the same plane as that of Vanska, or - better. And subjectively? I prefer Leif Segerstam's reading with the Danish Radio Symphony Orchestra, which my experienced ear knows well: to be better than this "best" one. Also perhaps better than the Vanska (final version) recording which was posted here as "the best"? Paavo Berglund's great reading with Bournemouth, analog recording aside. It has a seething energy that really reflects what we know of Sibelius' personal strife both in 1892 when he composed the original version and then, later - for more personal reasons, in 1902 when he offered his final revised form. Both Segerstam and Berglund capture that whirlpool of sound to a better degree - in my opinion - than Vanska in his multiple outings. And don't get me wrong: Vanska is an excellent conductor, and gets the best out of the Lahti players, but - in this case, he's just not quite at the top. Again, in my opinion.
And another thing about Berglund? He's the man who pulled "Kullervo" out of obscurity and released its initial recording (the Bournemouth 1971, not the later go with Helsinki, which is good, but not quite as good as that first recording with the BSO) - which I still consider to be at the top of the pile, despite so many other conductors and ensembles THEN wishing to add it to their discography over the ensuing half-century of readings. This is a man who understands - like Segerstam - exactly what made Sibelius tick, to an astonishing degree. Though En Saga is not derived from the Kalevala, it IS directly related to Kullervo, and no one (in my opinion) understands that quite so well as Berglund.
And if you need any sort of further reassurance of my creds? I first read the Elias Lonnrot "Kalevala" from which Sibelius drew so much of his inspiration and direct roadmaps for compositions: when I was a teen, decades ago. That absolutely massive tome, in its Magoun translation. And have returned to it over the years - it's the virtual bible from which Sibelius derived SO much. Understanding the Kalevala is to understand Sibelius; to truly understand Sibelius and his world is to better be able to adjudicate interpretations of his work. You?
But the critical point you dismissed is the use of LANGUAGE. You note yourself the ubiquitous use of "best performance" - which shows that the word itself - "BEST " - has become tainted by mis-use. The meaning of "best" is now, in effect: meaningless, because of the sort of puppy-dog eagerness to proclaim something "the best" without truly comprehending either the actual meaning of the word, or worse: a sense of laziness for not actually researching to determine which (subjectively) IS "the best." How can something be "the best" unless all available options have been experienced? This sort of thing actually demeans both the reader AND all other interpretations unless the OP has actually heard them all. The less-sophisticated reader who may be new to the field is then perhaps swayed into believing that yes, this IS the BEST and that no other recordings, no other interpretations - are to be considered. Which is, of course: unfortunate and perhaps reflects the dumbing-down of the music field.
As for my relationship with YouTube? Nope - your sideswipe comment at my experience with YouTube is way off the mark. Let's simply say I have a discerning attitude when it comes both to interpretation across the panoply of the classical rep - and to the use, or mis-use: of language.
I hope that helps you.
Guillermo Jesus Guerra Bravo
Brillante obra de este autor finlandés.
Keith Laws
Beautiful performance; considering it was only Sibelius 2nd ever written work. I think it's quite modern and excellent
Conrad Dean
Truly increadible! Sibelius himself said this piece captured the "entirety of my youth". This piece really feels so intimate
Ben Garrison
Great stuff--Sibelius was one of a kind.
Wim Wulffele
Ben Garrison (
Dave Schauweker
Wonderful work and performance, and the lyrical, melancholy clarinet solo conclusion is a masterstroke.
Martin West
A very fine performance, indeed! In my opinion only the final allegro (starting at 13:30) is a teeny bit too fast, being restless more than dramatic. The gran cassa also is a bit rude at times towards the end, having also a tendency to accent the last note in the "du - dudu - du" crescendo rhythm (while the emphasis being on the note before that) (starting at 4:03 and so on). Puny details, I know. The pianissimi of the orchestra are exquisite.
Richard Williams
The bass drum near the end is very formidable! BRAVO
Reed Crisis
This has to be the Vänskä, Lahti recording. And it is very good indeed. I learned to play Clarinet because of this pieces ending, as one of the main reasons.
Reed Crisis
@soavemusica Yeah, the clarinet solo here is all about beauty and it is relatively easy to play for a beginner.