|
One need not deny one's own "modernism" to appreciate great artistry.
Sibelius is too often relegated to the definition of "post romantic", or even outright "romantic". Yet much of his music owes much of its identity to the 20th century.
Despite the overt lyricism, and unabashed tonality, the forms and the orchestration are undeniably modern. Even in some of his best-known and loved works such as Valse Triste and Swan of Tuonela.
His well-known violin concerto - a standard of the repertoire - is also one coloured by a certain modernism. Musical gestures that lie firmly in the 20th century coexisting in perfect harmony - pun intended - with a lush romantic tonalism.
The 7th Symphony is in my opinion his masterpiece. An incredibly dense structure, that defies straightforward analysis, rooted in tonality, yet so ambiguous in harmony.
"In C", the symphony begins with the most bizarre rising scale - beginning on A natural, rising through the natural minor scale... all the white notes of the C major scale, yet never for an instant do we FEEL as though we are in C major... and the resolution of this scale? Ab minor! passing though F major, and not resolving into C until the 8th measure! The entire episode coloured with suspensions and appogiaturas!
A truly amazing work of art, where structure and architecture BRING MORE to the appreciation of the work. And yet at the same time, it breathes out such rich romanticism that one can't help but be drawn into its drama.
Can you tell it's one of my all-time favourite pieces of music?
__________________
"Those that know, do;
Those that understand, teach."
-Aristotle-
"toute audace engendrée par l'ignorance cesse d'être une audace et devient une maladresse"
-Debussy-
In musical criticism, when issues of craft and technical consideration are set aside, what remains is more subjective. However, until technical issues are dealt with, the subjective portion bears considerably less weight.
|