Jean Sibelius (1865-1957)
Pelléas et Mélisande, op. 46
Sibelius began writing incidental music in the late 1890’s as the symbolist movement from Paris made its way to Helsinki. The subject of these initial works had an historical basis, as he composed the incidental music for Adolf Paul’s play King Christian II (1898), and festival music in 1893, Karelia Suite, at which Finlandia made its first appearance. As the new century unfolded however, Sibelius found himself composing incidental music for some of the key symbolist dramatic works that portrayed more exotic themes of love, death, mysticism and dreams. One of these works was Pelléas et Mélisande, which had been premiered in Paris in 1893.
The story opens in the vicinity of King Arkel’s castle where Mélisande is found in a nearby forest by the grandson of the king, Golaud. They marry, however Mélisande’s life in the castle is not a happy one and she eventually becomes friends with Golaud’s younger brother Pelléas. Pelléas, realizing he can no longer bear his life in the castle with his true love married to his brother, announces to Mélisande that he must leave. At this meeting, she declares her love for him and upon embracing, Golaud, who had been watching them, appears and kills his brother in a fit of jealousy. Mélisande runs away, but is found and returned to the castle where she dies shortly thereafter, presumably over the heartbreak of losing her love.
Sibelius wrote a total of ten pieces for the incidental music for this play, including seven interludes (one being the overture) and a song. He later arranged this music into a concert suite with only nine movements, containing all but one of the original pieces, giving each movement a name rather than the original numbers.
The first movement (the overture), “At the Castle Gate” sets the scene outside of King Arkel’s castle.
“Mélisande” depicts the heroine crying by a stream in a nearby forest when the king’s grandson Golaud discovers her there. Here the English horn's melody reflects the sadness of Mélisande and the muted strings perhaps that of the flowing stream.
“At the Seashore” portrays Pelléas and Mélisande in their first intimate meeting, the low rumbling in the basses depicting the deep undercurrents of the sea, while the woodwinds’ cries above suggest the coastal birds in this dramatic scene.
“By A Spring In the Park” has the couple meeting again, here in a lighter more cheerful waltz setting, yet still one senses the ominous mood underlying the scene.
“The Three Blind Sisters”, originally sung by Mélisande to express her dwindling hope, is transcribed for woodwinds in the orchestral suite.
“The Pastorale” was composed at the point where Pelléas and Golaud emerge from the depths of the castle to the open air surrounding it. Sibelius’ characteristic thirds can be heard in the woodwinds here over a pizzicato figure in the cellos. The violins’ melody soaring above as the flutes complete the peaceful scene, birds fluttering in the midst of it all.
“Mélisande at the Spinning Wheel” returns to the ominous overtones played by the incessant viola trill suggesting the persistant spinning of the wheel (and perhaps fate).
“Entra’cte” is said to express the growing love of Pelléas and Mélisande, as well as the difficulties they face in their circumstances. However Sibelius’ biographer, Robert Layton, suggests it may simply have been the composer at his best displaying his ‘sheer joy in music-making.’ In the final tragic scene of the play,
“Mélisande’s Death”, we find the heroine resigned to sadness and death at losing her true love. Sibelius again depicts the depth of emotions with his adept orchestrations.
Harriet Bosse, wife of the Swedish playwright August Strindberg, who once played the role of Mélisande commented on the effects of the music from this last scene: “…lying on my deathbed in the last act, the orchestra played ‘The Death of Mélisande’. I was so moved that I cried at every performance.”
Work composed: 1905 World premiere: 17th March, 1905 at Swedish Theater in Helsinki (Incidental music version) / 12th March, 1906 at University of Helsinki (Suite version)
Instrumentation:
flute (doubling on piccolo), oboe (doubling on English horn), 2 clarinets, 2 bassoons, 2 horns, timpani, percussion (bass drum, triangle), strings
Ludvig van Beethoven (1770-1827)
Symphony no. 4 in B-flat Major
After completing the monumental Eroica Symphony in 1804, Beethoven began sketching a new symphony in C minor that would eventually become the well-known Fifth. He repeatedly laid the work aside to work on other compositions, including an entirely new symphony in B-flat, the Fourth. A visit to the summer residence of Count Franz von Oppersdorf, who had his own private orchestra, resulted in this commission. Because of its relatively relaxed character, its classical framework and conservative instrumentation, and its placement between two iconic siblings (the Third and Fifth Symphonies), Schumann would later aptly describe the Fourth as “a slender Greek maiden between two Norse gods.” The first performance of the Fourth Symphony took place in March 1807 at the palace of Prince Lobkowitz, in a program that also included the Fourth Piano Concerto and the Coriolan Overture.
The Adagio introduction begins in an atmosphere of unusual mystery as the orchestra explores various tonalities, as if groping in darkness. The issue is settled when a searing chord launches the sparkling Allegro vivace.
The second movement Adagio is in a serenely expansive rondo form. Its broad cantabile principal theme is punctuated by a rhythmic accompaniment figure that evolves through the movement; even the timpani gets its turn. The following Allegro vivace is a scherzo in a newly expanded formal pattern Beethoven would use throughout his middle period: the playful Trio (Un poco meno allegro) appears twice rather than the more usual once, creating a five-part arch-like structure of Menuetto – Trio – Menuetto – Trio – Menuetto.
The breathtaking finale (Allegro ma non troppo) is a near perpetual motion: even the lyrical second theme seems restless. Listen carefully for the return of the opening material: the bassoon sneaks the bubbling main theme in before the orchestra can catch up. In the coda, Beethoven borrows a trick from Haydn’s playbook, “the excellence of which lies in its badness,” according to the musiciologist Donald Tovey. The theme is slowed significantly, then teasingly drawn out in fragments, like a scrap held before a hungry dog. After a good joke there’s always someone who laughs first. This time, it’s the bassoons, violas, and cellos driving merrily to the finish.
Instrumentation:
flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, strings
