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知れば夢中♪聴けばとりこ♪あだちの音楽団体！｜足立区 – ALL STORIES

Jean Sibelius ‘s Symphony No. During this time Sibelius was at the peak of his fame, a national figure in his native Finland and a composer of international stature. A fair copy of at least the first movement was made, but how much of the Eighth Symphony was completed is unknown. Sibelius repeatedly refused to release it for performance, though he continued to assert that he was working on it even after he had, according to later reports from his family, burned the score and associated material, probably in Much of Sibelius’s reputation, during his lifetime and subsequently, derived from his work as a symphonist.

His Seventh Symphony of has been widely recognised as a landmark in the development of symphonic form, and at the time there was no reason to suppose that the flow of innovative orchestral works would not continue. However, after the symphonic poem Tapiola , completed in , his output was confined to relatively minor pieces and revisions to earlier works. During the s the Eighth Symphony’s premiere was promised to Serge Koussevitzky and the Boston Symphony Orchestra on several occasions, but as each scheduled date approached Sibelius demurred, claiming that the work was not ready for performance.

It is thought that Sibelius’s perfectionism and exalted reputation prevented him ever completing the symphony to his satisfaction; he wanted it to be even better than his Seventh. After Sibelius’s death in , news of the Eighth Symphony’s destruction was made public, and it was assumed that the work had disappeared forever.

But in the s, when the composer’s many notebooks and sketches were being catalogued, scholars first raised the possibility that fragments of the music for the lost symphony might have survived. Since then, several short manuscript sketches have been tentatively identified with the Eighth, three of which comprising less than three minutes of music were recorded by the Helsinki Philharmonic Orchestra in While a few musicologists have speculated that, if further fragments can be identified, it may be possible to reconstruct the entire work, others have suggested that this is unlikely given the ambiguity of the extant material.

The propriety of publicly performing music that Sibelius himself had rejected has also been questioned. Jean Sibelius was born in in Finland, since an autonomous grand duchy within the Russian Empire having earlier been under Swedish control for many centuries.

Sibelius’s national stature was recognised in when he was awarded a state pension to enable him to spend more time composing. By the mids Sibelius had acquired the status of a living national monument and was the principal cultural ambassador of his country, independent since Tapiola was thirty or forty years ahead of its time”. The first reference to the Eighth Symphony in Sibelius’s diary is an undated entry from September “I offered to create something for America.

Thus, one of the extant sketches for his Seventh Symphony, on which he was engaged in —24, contains a ringed motif marked “VIII”. Early in Sibelius made one of his regular visits to Berlin, to imbibe the city’s musical life and to compose. He sent positive work-in-progress reports to Aino: the symphony, he said, will be “wonderful”. It will still need time. But it will turn out well. Thereafter Sibelius’s reports of the symphony’s progress became equivocal, sometimes contradictory, and difficult to follow.

Probably at the instigation of Downes, Sibelius had promised the world premiere of his new symphony to Serge Koussevitzky and the Boston Symphony Orchestra. In January he said the symphony was “not nearly ready and I cannot say when it will be ready”, but in August that year he told Koussevitzky that a performance in the spring of was possible.

Nothing resulted from this. This brought a swift telegram from Sibelius, to the effect that the symphony would not, after all, be ready for that season. Koussevitzky then decided to perform all of Sibelius’s symphonies in the Boston Symphony’s —33 season, with the world premiere of the Eighth as the culmination. In June Sibelius wrote to Koussevitzky suggesting that the Eighth be scheduled for the end of October.

A week later he retracted: “I am very disturbed about it. Please do not announce the performance. Koussevitzky was by now losing hope, yet he inquired once more, in the summer of Sibelius was evasive; he made no promise of delivery but would “return to the matter at a later date”. So far as Koussevitzky and the Boston Symphony were concerned, the matter ended there.

During his procrastinations with Koussevitzky, Sibelius continued to work on the symphony. In he again spent time in Berlin, writing to Aino in May that “the symphony is advancing with rapid strides”. Progress was interrupted by illness, but towards the end of the year Sibelius was confidently asserting that “I am writing my eighth symphony and I am full of youth.

How can this be explained? I’m taking everything in another way, more deeply. A gypsy within me. It will probably be my last. Eight symphonies and a hundred songs. It has to be enough. At some stage in that summer the formal copying of the symphony began. On 4 September Paul Voigt, Sibelius’s long-time copyist, sent a bill for making a fair copy of the first movement—23 pages of music.

Sibelius informed him—the note survives—that the complete manuscript would be about eight times as long as this excerpt, indicating that the symphony might be on a larger scale than any of its seven predecessors. He must crown his series of works in this form with a ninth symphony which will represent the summit and synthesis of his whole achievement’ “. Olin Downes, writing to Sibelius in [24]. Various reports appeared to confirm that the symphony’s release was imminent.

The Finnish composer Leevi Madetoja mentioned in that the work was virtually complete; [25] an article by the Swedish journalist Kurt Nordfors indicated that two movements were complete and the rest sketched out. In December , during an interview in connection with his 70th birthday celebrations, he indicated that he had discarded a whole year’s work; this pointed to a full-scale revision of the Eighth.

He was furious when Downes continued to pester him for information, on one occasion shouting “Ich kann nicht! Or did he not give the work a number at all, because he was not satisfied with it? Finally it became a burden, even though so much of it had already been written down. In the end I don’t know whether he would have accepted what he had written. Sibelius remained in Finland during the Winter War of —40, despite offers of asylum in the United States.

During that time they were visited by the pianist Martti Paavola, who was able to examine the contents of Sibelius’s safe.

Paavola later reported to his pupil Einar Englund that among the music kept there was a symphony, “most likely the Eighth”. Back in Ainola, Sibelius busied himself by making new arrangements of old songs. However, his mind returned frequently to the now apparently moribund symphony.

In February he told his secretary, Santeri Levas , that he hoped to complete a “great work” before he died, but blamed the war for his inability to make progress: “I cannot sleep at nights when I think about it. It can’t be something superficial, it has to be something that has been lived though.

In my new work I am struggling with precisely these issues. At some time in the mids, probably in summer , [29] Sibelius and Aino together burned a large number of the composer’s manuscripts on the stove in the dining room at Ainola. It was a happy time”. The musicologist Erkki Salmenhaara posits the idea of two burnings: that of which destroyed early material, and another after Sibelius finally recognised that he could never complete the work to his satisfaction.

Although Sibelius informed his secretary in late August that the symphony had been burned, [29] the matter remained a secret confined to the composer’s private circle. During the remaining years of his life, Sibelius from time to time hinted that the Eighth Symphony project was still alive.

In August he wrote to Basil Cameron: “I have finished my eighth symphony several times, but I am still not satisfied with it.

I will be delighted to hand it over to you when the time comes. The burning of the manuscript became generally known later, when Aino revealed the fact to the composer’s biographer Erik W.

The Finnish state that raised Sibelius to the level of a national hero also played a large part in crippling his creativity. The nation not only found its hero, it succeeded in silencing him. Silence was, in fact, the only logical response Sibelius could make to his deification by the Finnish state. Mark McKenna, “Who Stopped the Music? Critics and commentators have pondered the reasons why Sibelius finally abandoned the symphony. Throughout his life he was prone to depression [34] and often suffered crises of self-confidence.

Alex Ross , in The New Yorker , quotes an entry from the composer’s diary, when the Eighth Symphony was allegedly under way:. To be able to live in the first place, I must have alcohol. Wine or whisky. That’s the matter. Abused, alone, and all my real friends are dead. My current prestige here at home is rock-bottom. Impossible to work. If only there were a solution. Writers have pointed to the hand tremor that made writing difficult and to the alcoholism that afflicted him at numerous stages of his life.

The myth, sustained for more than 15 years, that Sibelius was still working on the symphony was, according to McKenna, a deliberate fiction: “To admit that he had stopped completely would be to admit the unthinkable—that he was no longer a composer”. After his death Sibelius, though remaining popular with the general public, was frequently denigrated by critics who found his music dated and tedious.

He added, however, that the library contained further Sibelius sketches from the late s and early s, some of which are akin to the ringed fragment and which could conceivably have been intended for the Eighth Symphony.

Maybe there are still some clues to the 8th Symphony hidden away and just waiting for some scholar to discover them. In , in an article entitled “On Some Apparent Sketches for Sibelius’s Eighth Symphony”, the musical theorist Nors Josephson identifies around 20 manuscripts or fragments held in the Helsinki University Library as being relevant to the symphony and concludes that: “Given the abundance of preserved material for this work, one looks forward with great anticipation to a thoughtful, meticulous completion of the entire composition”.

Even the fragment marked “VIII”, he maintains, cannot with certainty be said to relate to the symphony, since Sibelius often used both Roman and Arabic numerals to refer to themes, motifs or passages within a composition. Virtanen provides a further note of caution: “We should be aware that [the fragments] are, after all, drafts: unfinished as music, and representing only a certain stage in planning a new composition”.

The sketches were copied and tidied, but nothing not written by Sibelius was added to the material. The pieces comprise an opening segment of about a minute’s duration, an eight-second fragment that might be part of a scherzo, and a final scrap of orchestral music again lasting roughly a minute.

There’s a genteel orchestral thunderclap that throws open the door to a harmonic world that is Sibelius’ alone, but has strange dissonances unlike any other work. Another glimpse sounds like the beginning of a scherzo, surprisingly spring-like with a buoyant flute solo.

熱心なシベリウスの8チュートリアル無料.ナスノシベリウスの2021

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