Jean Sibelius (1865 - 1957)
En Saga, Op. 9

Christened Johan, known as Janne, the young Sibelius eventually adopted the French form of his name - Jean - after an uncle who was a sea captain. This uncertainty at the start of the composer's life was matched by doubt at the end of it, for from the age of 62 until his death at over 90 he published no further music. This is all the more surprising when one realizes that Sibelius founded, single-handedly, an entire national school of music which is still bearing fruit today. For today Finland leads the world in the excellence of its composers, conductors and singers - a remarkable feat for a country with such a small population.

Sibelius' greatest music is contained in the series of seven symphonies and a dozen or so tone poems which comprise his main orchestral music. The first major tone poem. En Saga, predates the first symphony, while the last tone poem, Tapiola, came shortly after the last symphony. The two tone poems have much in common, despite being separated by 35 years and most of his composing career. Both last about 20 minutes, and are wholly abstract compositions, depicting moods and feelings inspired by the Finnish landscape. Despite its title. En Saga has no story line - any epic story will do.

I had long thought En Saga an astonishingly fine work for such an early opus number, so it came as no surprise to learn that, although having first written it in 1892, Sibelius revised En Saga extensively in 1902, at the same time as writing the second symphony. This revision was major and deep - he shortened the piece by several minutes, altered several tunes and extensively changed the orchestration. Some aspects of the orchestration are very unusual - note for example the lack of timpani, the very long (but almost inaudible) cymbal rolls, and the single (but so effective) cymbal crash.

En Saga starts quietly and slowly, as fragments of various themes are hinted at. A long melody emerges from the depths of the orchestra; the tempo soon picks up and the long melody is transformed into a more optimistic incarnation. Several other themes are presented, all related to the opening material - this close relationship of all the themes is a feature of Sibelius's best music, and one of the reasons his music sounds so natural and organic, yet is also so subtle and complex. After a big climax the music relaxes and almost fades out completely. The pick-up is swift and the next fast section thrilling and dramatic. It ends with that single cymbal smash ("Let it ring" directs Sibelius) and the final section, with the keening clarinet solo fading into stillness, is as desolate as anything Sibelius ever penned.