Jean Sibelius: Bagatelles (op. 97)

(i) Humoresque I
(ii) Song
(iii) Little Waltz
(iv) Humorous March
(v) Impromptu

“Never write an unnecessary note. Every note must live”.1
— Sibelius

The miniature is the perfect genre to master this philosophy. Sibelius wrote the Opus 97 Bagatelles in 1920, in between his Fifth and Sixth Symphonies. The quirky nature of these Bagatelles reveal certain aspects of Sibelius’ personality. Karl Flodin described him in 1919:

There was something peculiarly fascinating about his slender figure. It was as if his straightforward nature always wanted to meet one with open arms. But you were never sure whether there was not, after all, some mockery behind it. His speech overflowed with paradoxes and metaphors, without allowing you to realise what was serious and what only played on the surface like bubbles born of odd caprices in his quick brain.2

As for the “Little Waltz”, Anna Söderhjelm described an encounter with a 24 year old Sibelius:

As for dancing, he did not dance himself because he was a “sick patient,” so he played for others to waltz, only you couldn’t really dance to his music. It started in good time, but soon began to go into roulades and runs.3

The fifth Bagatelle though, is better represented by Sibelius’ comment in 1919 that:

If I could express the same thing with words as with music, I would, of course, use a verbal expression. Music is something autonomous and much richer. Music begins where the possibilities of language end. That is why I write music.4


(1) Radio interview with Kalevi Kilpi, 1948. Cited at: Jean Sibelius: In His Own Words. http://www.sibelius.fi/english/ominsanoin/ominsanoin16.htm, accessed 2 June 2016.

(2) Karl Flodin. Cited in Karl Ekman Jr, Jean Sibelius: His Life and Personality.Translated by Edward Birse. London: Alan Wilmer, 1936, p.39.  Glenda Dawn Goss. Sibelius: A Composer’s Life and the Awakening of Finland. Chicago: University of Chicago Press, 2009.

(3) Glenda Dawn Goss. Sibelius, op. cit., p.93

(4) Interview with Berlingske Tidende, 10th June 1919. Cited at: Jean Sibelius: In His Own Words. http://www.sibelius.fi/english/ominsanoin/ominsanoin16.htm, accessed 2 June 2016.

© Greg Smith, 2012


Posted

in

by


Featured Content

Tchaikovsky’s output
“The secret of the vital power of Tchaikovsky’s music lies in the fact that there is virtually not a single province of his music–from the gems of Russian chamber music that issued from his pen to his greatest operas or symphonic poems–in which the appeal and effect of the music was less than in any […]
Mozart’s Pranks
Mozart’s sense of mischief is evident in his behaviour at a performance of The Magic Flute.  Thisis from a letter to his wife Oct 8 & 9 1791: … (1) had a box [in the theatre] this evening and applauded everything vigorously; but He, that Know-it-all, proved to be a real Bavarian; I couldn’t stay […]
A lesson with Beethoven
One fearful winter’s day in Vienna, in 1794, the snow standing deep and still falling fast, the traffic almost entirely suspended in the streets, Countess Teresa Brunswick, then a girl of fifteen, was waiting for Beethoven’s arrival, to give her her pianoforte lesson. Weather never stopped him; but when he appeared it was obvious that […]
Chopin’s pianistic style
While in London, Chopin frequently gave performances at soirées and matinées where he performed Nocturnes, Waltzes, Mazurkas and the Berceuse George Hogarth reported in the Daily News (10 July 1848): He accomplishes enormous difficulties, but so quietly, so smoothly and with such constant delicacy and refinement that the listener is not sensible of their real […]
Music acting as a spirit resonance
My purpose is to create music not for snobs, but for all people, music which is beautiful and healing.  To attempt what old Chinese painters called "spirit resonance" in melody and sound. – Alan Hovhaness. Cited at The Alan Hovhaness Website: http://www.hovhaness.com/Hovhaness.html
Beauty captivates the flesh
Beauty captivates the flesh, seeking permission to pass directly to the soul. — Simone Weil S. Weil, G Panichas (ed.) The Simone Weil Reader, New York, McKay, 1977, p. 378.
Frédéric Chopin: Nocturnes
Op. 9, no. 2 (Eb major)Op. 15, no. 3 (G minor)Op. 27, no. 1 (C-sharp minor)Op. 27, no. 2 (Db major) Chopin, while Polish by birth established his career in Paris, where his music was well received in intimate venues. In an article in Revue Musicale in 1832, François-Joseph Fétis wrote that Chopin “has found, […]
Ravel and food
Ravel was touring America, in 1928, but was having some interesting experiences with food. One on occasion: The Mason & Hamlin Company not only provided a piano for Ravel’s use at his hotel, and another for his tour, but also sent him a piano-tuner capable of acting as a courier, interpreter, and general assistant.  This […]
Jack Sparrow (Pirates of the Caribbean: Dead Man’s Chest)
Title: Jack Sparrow, from Pirates of the Caribbean: Dead Man’s ChestComposer: Hans ZimmerArranger: Greg SmithInstrumentation: Solo cello, string orchestra, tom-tom (optional)Product medium: PDF score and parts Available from Sheet Music Plus and Sheet Music Direct
Teddy Bear’s Picnic
American composer John Bratton wrote the music for “Teddy Bear’s Picnic” in 1907. It was first published by M. Witmark & Sons as a piano work titled “The Teddy Bears Picnic. Characteristic Two Step”. Irishman Jimmy Kennedy added the lyrics in 1932. Dance Band leader Henry Hall hosted a radio program on the BBC which […]