Uploaded May 2025 | Updated September 2026, 2 weeks ago
Helsinki Philharmonic Orchestra conducted by Leif Segerstam.
I - Tempo molto moderato - Largamente - Allegro moderato - Vivace molto - Presto: 0:00
II - Andante mosso, quasi allegretto - Tranquillo - Tempo I - Poco largamente: 14:36
III - Allegro molto - Misterioso - Largamente assai: 24:05
Sibelius' Symphony No.5 was composed between 1914-5, being commissioned by the Finnish government in honour of his 50th birthday on December 8 of 1915, which had been declared a national holiday. It was premiered on that day performed by the Helsinki City Orchestra under Jean Sibelius. Sibelius was not satisfied with the piece and made several revisions, culminating in a second version in 1916. He kept modifying the work until creating the final version in 1919, which was performed on November 24 of 1919.
Several differences separate the original version from the final one; Sibelius essentially fused the first two movements, shortened the third, made the orchestration more clear and transparent, and revised and rearranged extensively the musical materials. Compared with the dark, dissonant and gritty Symphony No.4, the fifth is much more optimistic and heroic in tone (which seems at odds considering it was written during World War I and the Finnish civil war). Sibelius' final, mature style began with this symphony.
The first movement groups the first two of the previous version, only vaguely resembling sonata form. It begins with a horn call (which contains much of the musical material of the work), followed by a gentle and lyrical main theme, presented by the woods and supported by the horns. String tremoli lead us to an agitated and nervous second theme on strings. Follows a development section that combines and transforms these materials mostly in piano, underlined by a constant tremolandi from strings.
A ghostly passage, with short phrases from the bassoon, leads us to an anguished climax. A scherzo-like section (the original second movement) opens with a rhythmic theme on strings, clearly derived from the main theme. The music gradually builds momentum, leading us to a contrasting trio passage, derived from the second theme. The scherzo passage resumes as the music grows into a majestic climax on the main theme, which ends the movement triumphally.
The second movement uses the same material from the original third movement, but sometimes the treatment of said material is different. It is structured as a theme and variations. It begins with an idyllic main theme exposed between woodwinds and strings pizzicati. Follows a series of very fluid and seamless variations. Despite the extreme simplicity of the material, Sibelius manages to create unusual and complex sonorities. The main theme is repeated in the middle, followed by new variations. After one last repetition of the main theme by the wood, the movement ends calmly.
The third movement is essentially the same as the original fourth, with several repetitions eliminated and a revised orchestration. It is again loosely written in sonata form. It begins with the entrance of strings with expecting tremolandi, leading us to a solemn and expansive main theme on the horns, which is said to have been inspired by the sound of swan-calls, as well as a specific instance when the composer witnessed sixteen of them taking flight at once. The original bitonal dissonances, which reminded us of the previous symphony, are absent. A melodic second theme is also introduced by the wood, quickly leading us to the development, mostly in piano as in the first movement. Then the lyrical theme grows in a passionate and expressive passage on strings, before the main theme reappears, exploding in a powerful climax. A solemn coda, in the form of orchestral chords separated by long silences, ends the work firmly.
Picture: "Landscape from Koli" (1928) by the Finnish painter Eero Järnefelt.
Musical analysis partially written by myself. Sources: https://t.ly/Zgf5j and https://t.ly/7ccdq
To check the score: https://t.ly/OGBVB
Helsinki Philharmonic Orchestra conducted by Leif Segerstam.
I - Tempo molto moderato - Largamente - Allegro moderato - Vivace molto - Presto: 0:00
II - Andante mosso, quasi allegretto - Tranquillo - Tempo I - Poco largamente: 14:36
III - Allegro molto - Misterioso - Largamente assai: 24:05
Sibelius' Symphony No.5 was composed between 1914-5, being commissioned by the Finnish government in honour of his 50th birthday on December 8 of 1915, which had been declared a national holiday. It was premiered on that day performed by the Helsinki City Orchestra under Jean Sibelius. Sibelius was not satisfied with the piece and made several revisions, culminating in a second version in 1916. He kept modifying the work until creating the final version in 1919, which was performed on November 24 of 1919.
Several differences separate the original version from the final one; Sibelius essentially fused the first two movements, shortened the third, made the orchestration more clear and transparent, and revised and rearranged extensively the musical materials. Compared with the dark, dissonant and gritty Symphony No.4, the fifth is much more optimistic and heroic in tone (which seems at odds considering it was written during World War I and the Finnish civil war). Sibelius' final, mature style began with this symphony.
The first movement groups the first two of the previous version, only vaguely resembling sonata form. It begins with a horn call (which contains much of the musical material of the work), followed by a gentle and lyrical main theme, presented by the woods and supported by the horns. String tremoli lead us to an agitated and nervous second theme on strings. Follows a development section that combines and transforms these materials mostly in piano, underlined by a constant tremolandi from strings.
A ghostly passage, with short phrases from the bassoon, leads us to an anguished climax. A scherzo-like section (the original second movement) opens with a rhythmic theme on strings, clearly derived from the main theme. The music gradually builds momentum, leading us to a contrasting trio passage, derived from the second theme. The scherzo passage resumes as the music grows into a majestic climax on the main theme, which ends the movement triumphally.
The second movement uses the same material from the original third movement, but sometimes the treatment of said material is different. It is structured as a theme and variations. It begins with an idyllic main theme exposed between woodwinds and strings pizzicati. Follows a series of very fluid and seamless variations. Despite the extreme simplicity of the material, Sibelius manages to create unusual and complex sonorities. The main theme is repeated in the middle, followed by new variations. After one last repetition of the main theme by the wood, the movement ends calmly.
The third movement is essentially the same as the original fourth, with several repetitions eliminated and a revised orchestration. It is again loosely written in sonata form. It begins with the entrance of strings with expecting tremolandi, leading us to a solemn and expansive main theme on the horns, which is said to have been inspired by the sound of swan-calls, as well as a specific instance when the composer witnessed sixteen of them taking flight at once. The original bitonal dissonances, which reminded us of the previous symphony, are absent. A melodic second theme is also introduced by the wood, quickly leading us to the development, mostly in piano as in the first movement. Then the lyrical theme grows in a passionate and expressive passage on strings, before the main theme reappears, exploding in a powerful climax. A solemn coda, in the form of orchestral chords separated by long silences, ends the work firmly.
Picture: "Landscape from Koli" (1928) by the Finnish painter Eero Järnefelt.
Musical analysis partially written by myself. Sources: https://t.ly/Zgf5j and https://t.ly/7ccdq
To check the score: https://t.ly/OGBVB
