The Finnish composer Jean Sibelius (1865–1957) wrote over 550 original works during his eight-decade artistic career.[1] This began around 1875 with a short miniature for violin and cello called Water Droplets (Vattendroppar),[2] and ended a few months before his death at age 91 with the orchestration of two earlier songs, "Kom nu hit, död" ("Come Away, Death") and "Kullervon valitus" ("Kullervo's Lament", excerpted from Movement III of Kullervo).[3]
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However, the 1890s to the 1920s represent the key decades of Sibelius's production.[4] After 1926's Tapiola, Sibelius completed no new works of significance, although he infamously labored until the late-1930s or the early-1940s on his Eighth Symphony, which he never completed and probably destroyed c. 1944.[5] This thirty-year creative drought—commonly referred to as the "Silence of Järvenpää",[6] in reference to the sub-region of Helsinki in which the composer and his wife, Aino, resided—occurred at the height of his international and domestic celebrity.[7]
Today, Sibelius is remembered principally as a composer for orchestra: particularly celebrated are his symphonies, tone poems, and lone concerto, although he produced viable works in all major genres of classical music.[8] While his orchestral works meant the most to him, Sibelius refused to dismiss his miniatures (piano pieces, songs, etc.) as insignificant, seeing them instead as "represent[ative of] his innermost self".[9]
Navigating Sibelius's oeuvre
editSibelius's Opp. 1–116
(disaggregated) by category
(disaggregated) by category
Works with and without opus
editSibelius's final opus list dates to 1952[10] and ranges from Opp. 1 to 116, albeit with Op. 107[f] unassigned and Op. 117[g] holding ambiguous status.[11] Among the 115 active numbers, however, are many collections; disaggregating these multi-work numbers reveals that—counting conservatively—about 342 compositions comprise the list:
- 77 orchestral works, spanning 59 opus numbers[a]
- 35 chamber works, spanning 13 opus numbers[b]
- 117 works for solo instrument (115 for piano, two for organ), spanning 20 opus numbers[c]
- 86 songs, spanning 16 opus numbers[d]
- 27 works for choir, spanning seven opus numbers[e]
When ordered numerically, Sibelius's opus list is an imperfect indicator of his stylistic maturation over time. This is because Sibelius curated the collection according to his ever-changing assessment of his oeuvre (highly self-critical, he became especially ambivalent later in life towards his early period),[12] promoting works to or demoting them from the catalogue and filling the resulting vacancies without a strict regard for compositional chronology.[13][h] Among the pieces that at one point held, but later lost, a place on Sibelius's opus list are numerous large-scale works from the 1880s and 1890s, including his only opera, three cantatas, a melodrama, and several multi-movement compositions for chamber ensembles.[17][i] Sibelius also demoted his first two orchestral compositions, the Overture in E major and Ballet Scene, which were originally intended as movements in a symphony before the composer abandoned the project.[21]
For works without opus, the convention since the late-1990s has been to follow the supplemental JS numbering system of the Finnish musicologist Fabian Dahlström, which he finalized in 2003 with the publication of Jean Sibelius: A Thematic Bibliographic Index of His Works.[22] This list runs from JS 1 to 225 and includes not only compositions Sibelius demoted from his opus list but also those that never held an opus number at any point during his career.[23]
Sibelius and his publishers
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An autographed postcard of Sibelius (c. 1912), printed in Berlin by Breitkopf & Härtel
Breitkopf & Härtel's first edition of Valse triste, Sibelius's most famous composition
Sibelius sold his music to several publishers over the course of his career. As a relatively unknown composer in the 1890s and early 1900s, he worked with domestic firms in Helsinki, including the eponymous operations of Axel E. Lindgren and Karl F. Wasenius, as well as Helsingfors Nya Musikhandel, a joint venture of Konrad G. Fazer and Robert E. Westerlund until the latter withdrew in 1904 to begin his own firm.[24][j] As Sibelius's international reputation grew, the major German firms came calling, and he relished not only the prestige but also the opportunity to free himself from the cumbersome domestic publishing process. He contracted with Berlin's Robert Lienau Musikverlag from 1905 to 1909 and with Leipzig's Breitkopf & Härtel from 1910 to 1918.[25] The arrival of the First World War in 1914, however, disrupted business with Germany, and Sibelius's royalty payments had to be rerouted through neutral Denmark. Ever in debt, Sibelius churned out undistinguished, "bread-and-butter" violin duos and piano pieces for R. E. Westerlund and A. E. Lindgren,[26] each of whom lacked the means to print the works but viewed them as shrewd investments.[27][k]
The end of the war brought little relief, as famine and civil war gripped newly-sovereign Finland and reparations wrecked the German economy. Breitkopf & Härtel wrote to the composer in May 1918 to express its regret that it could not accept the Fifth Symphony due to the post-war circumstances.[28] Into the breach stepped Edition Wilhelm Hansen in Copenhagen, which directly contracted with Sibelius in 1920 and, over the next half decade, emerged as Sibelius's leading publisher.[29][l] In 1926, Breitkopf & Härtel was able to resume its publishing relationship with Sibelius,[29] although it now had to share the composer with Hansen and others. At any rate, Sibelius spent the 1930s battling with the never-realized Eighth Symphony, and by the 1940s he had drifted into quasi retirement. Following his death in 1957, many compositions remained in manuscript, and the process of publishing his works posthumously began. Over the following decades, the Sibelius family agreed to allow several first editions variously by Hansen, Breitkopf & Härtel, and Musiikki-Fazer.[30][m]
Sibelius's manuscripts
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The National Library of Finland in Helsinki has custodianship over the vast majority of Sibelius's manuscripts.
Sibelius, a cigar connoisseur,[31] places a hand on one of his scores (c. 1930).
The largest and most comprehensive collection of Sibelius's manuscripts is owned by the National Library of Finland at the University of Helsinki. The institution began in earnest its mission to acquire the composer's literary estate in 1970, with the purchase—from the London auction house Sotheby's—of manuscripts that had once belonged to A. E. Lindgren and, thereafter, R. E. Westerlund.[33] The National Library's holdings ballooned (and the need for a supplemental catalogue became especially acute), however, in 1982, when the Sibelius family donated all papers still in its possession.[33] The gift more than doubled Sibelius's catalogue: among the nearly 2,000 manuscripts were not only drafts, thematic sketches, and page proofs related to known compositions, but also hitherto unknown juvenilia.[34]
In 1991, the Finnish musicologist Kari Kilpeläinen published The Jean Sibelius Musical Manuscripts at Helsinki University Library: A Complete Catalogue, in which each manuscript received a Helsinki University Library (HUL) identifier.[34] The JS and HUL numbering systems, moreover, are compatible; for example, Sibelius's destroyed Eighth Symphony is numbered JS 190 by Dahlström, with the surviving so-called Three Late Fragments that have been tentatively connected to the Eighth Symphony labeled as HUL 1325, HUL 1326/9, and HUL 1327/2 by Kilpeläinen.[35] A third notable acquisition occurred shortly after Kilpeläinen published his book, when in 1997 the National Library obtained manuscripts that had belonged to Edition Wilhelm Hansen.[33] Finally, in 2020, the institution purchased a 1,200-page collection from Robert Lienau Musikverlag.[36] In 2021, the UNESCO National Committee of Finland inducted the National Library's Jean Sibelius Musical Manuscripts into the country's Memory of the World Register, describing it as a "carefully nurtured national cultural treasure ... [that] has crucially expanded and shaped the image of how Sibelius composed and produced his works".[34]
Within Finland, additional manuscripts are held by the Sibelius Museum at Åbo Akademi University in Turku, the Sibelius Academy (the composer's alma mater, formerly the Helsinki Music Institute), the Helsinki Philharmonic Orchestra (which premiered most of his orchestral works), and the National Archives of Finland.[37] It is not legally possible to export Sibelius's manuscripts from Finland without permission, which in any case the Finnish authorities would probably not give.[38] Outside of Finland, Breitkopf & Härtel possesses the most notable collection of Sibelius manuscripts.[39]
Notable surveys of the oeuvre
editIn addition to Dahlström's comprehensive 2003 book, two additional surveys of Sibelius's oeuvre are of note. First, an ongoing collaborative project involving the National Library, Breitkopf & Härtel, and the Sibelius Society of Finland is the publication of the Jean Sibelius Works (JSW) critical edition, the text-critical approach of which utilizes "Sibelius's autograph musical manuscripts, copies made of them, instrumental parts, as well as first editions and their proofs ... the composer's correspondence, his diary, scribes' receipts, publishers' accounts, and newspaper reviews".[40] Began in 1996, the JSW is projected at 52–60 volumes and will cover all of Sibelius's completed compositions (and arrangements), many of which remain in manuscript and, therefore, will receive first editions. The current editor-in-chief is the Finnish musicologist Timo Virtanen.[41][n]
A second important survey is The Sibelius Edition recording project by the Swedish label BIS, for which the Sibelius biographer Andrew Barnett served as project advisor.[43] Released from 2007 to 2011, this 13-volume series, which sought to record every surviving "note [Sibelius] put down to paper", comprises 80+ hours of music over 68 discs and also includes the original versions of works the composer revised.[44][o]
Table of compositions
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Finnish postage stamps honoring Sibelius, a cultural icon[45]
The table below is a complete list of works by Jean Sibelius, compiled with reference to two sources: first, Dahlström's 2003 Jean Sibelius: A Thematic Bibliographic Index of His Works; and second, the track listings for all 13 volumes of BIS's The Sibelius Edition. The table contains six sortable parameters: genre, title, year of composition, catalogue number (either Op. or JS), instrumentation, and text author (if applicable). The default ordering is, first, by genre and, second, by year of composition. Finally, to aid visualization, the table is divided into color-coded subsections, as follows:
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| Genre | Title | Year(s) composed | Catalogue | Instrumentation | Text[p] | Notes |
|---|---|---|---|---|---|---|
Orchestral worksedit |
||||||
| Symphony |
|
1891–1892 (withdrawn 1893) | Op. 7 | S, B, mchor., orch. | Kalevala, Runos XXXV–VI | |
|
1898–1899, rev. 1900 | Op. 39 | orch. | – | ||
|
1901–1902 | Op. 43 | ||||
|
1904–1907 | Op. 52 | ||||
|
1909–1911 | Op. 63 | ||||
|
1914–1915, rev. 1916 & 1917–1919 | Op. 82 | ||||
|
1914–1923 | Op. 104 | ||||
| Symphony No. 7 in C major, in one movement | 1914–1924 | Op. 105 | ||||
| Symphony No. 8 | 1924–c. late 1930s–1945 (abandoned) | JS 190 | orch. (projected) | |||
| Concertante |
|
1903–1904, rev. 1905 | Op. 47 | vl., orch. | ||
| Serenade No. 1 in D major | 1912 | Op. 69a | ||||
| Serenade No. 2 in G minor | 1912–1913 | Op. 69b | ||||
| Serious Melody No. 1: Cantique | 1914 (arr. 1916) | Op. 77/1 | vl. (or vc.), orch. | |||
| Serious Melody No. 2: Devotion | 1915 (arr. 1916) | Op. 77/2 | ||||
| Humoresque No. 1 in D minor | 1917, rev. 1940 | Op. 87/1 | vl., orch. | |||
| Humoresque No. 2 in D major | 1917 | Op. 87/2 | ||||
| Humoresque No. 3 in G minor | Op. 89a | vl., str. | ||||
| Humoresque No. 4 in G minor | Op. 89b | |||||
| Humoresque No. 5 in E-flat major | Op. 89c | vl., orch. | ||||
| Humoresque No. 6 in G minor | 1918 | Op. 89d | ||||
|
1929 | JS 185[g] | vl., str. | |||
| Tone poem | En saga (Satu) | 1890–1892, rev. 1902 | Op. 9 | orch. | ||
| Spring Song (Vårsång) | 1894, rev. 1895 | Op. 16 | ||||
| The Wood Nymph (Skogsrået) | 1894–1895 | Op. 15 | – (V. Rydberg) | |||
| The Swan of Tuonela (Tuonelan joutsen) | 1893–1895, rev. 1897 & 1900 | Op. 22/2 | – (Kalevala) | |||
| Lemminkäinen's Return (Lemminkäinen palaa kotitienoille) | 1895, rev. 1897 & 1900 | Op. 22/4 | ||||
| Lemminkäinen and the Maidens of the Island (Lemminkäinen ja saaren neidot) | 1895, rev. 1897 & 1939 | Op. 22/1 | ||||
| Lemminkäinen in Tuonela (Lemminkäinen Tuonelassa) | Op. 22/3 | |||||
| Finlandia, from the Press Celebrations Music | [1899], arr. 1900 | Op. 26 | – | |||
| Pohjola's Daughter (Pohjolan tytär) | 1903–1906 | Op. 49 | – (Kalevala) | |||
| Nightride and Sunrise (Öinen ratsastus ja auringonnousu) | 1908 | Op. 55 | – | |||
| The Dryad (Dryadi) | 1910 | Op. 45/1 | ||||
| The Bard (Barden) | 1913, rev. 1913 | Op. 64 | ||||
| Luonnotar | 1913 | Op. 70 | S, orch. | Kalevala, Runo I | ||
| The Oceanides (Aallottaret) | 1913–1914, rev. 1914 & 1914 | Op. 73 | orch. | – | ||
| Kuutar (The Moon Goddess) | 1919–early 1920s (abandoned) | – | orch. (projected) | – (Kalevala) | ||
| Tapiola | 1926 | Op. 112 | orch. | |||
| Opera | The Building of the Boat (Veneen luominen) | 1893–1894 (abandoned) | – | soloists, chor., orch. (projected) | J. Sibelius & J.H. Erkko; Kalevala, Runos VIII & XVI |
|
| The Maiden in the Tower (Jungfrun i tornet), dramatized Finnish ballad in 1 act | 1896 (withdrawn 1896) | JS 101 | S, A, T, B, chor., orch. | R. Hertzberg | ||
| Stage | King Christian II (Kuningas Kristian II), play in 5 acts | 1898, rev. 1898 | Op. 27 | B, orch. | A. Paul | |
| Death (Kuolema), play in 3 acts | 1903 | JS 113 | Mz, B, str., perc. | A. Järnefelt | ||
| Pelléas et Mélisande (Pelléas och Mélisande), play in 5 acts | 1904–1905 | JS 147 | Mz, orch. | M. Maeterlinck – B. Gripenberg, trans. (sv) |
||
| Belshazzar's Feast (Belsazars gästabud), play in 4 acts | 1906 | JS 48 | H. Procopé | |||
| Canzonetta, added to Death (Kuolema) | 1906, rev. 1911 | Op. 62/1 | str. | – (A. Järnefelt) | ||
| Swanwhite (Svanevit), play in 3 acts | 1908 | JS 189 | orch. + organ | – (A. Strindberg) | ||
| The Language of the Birds (Die Sprache der Vögel) | 1911 | JS 62 | orch. | – (A. Paul) | ||
| Valse romantique, added to Death (Kuolema) | Op. 62/2 | – (A. Järnefelt) | ||||
| Scaramouche, ballet-pantomime in 2 acts | 1912–1913 | Op. 71 | orch. + pf. | P. Knudsen | ||
| Everyman (Jedermann or Jokamies), play in 1 act | 1916 | Op. 83 | Mz, T, B, chor., orch. + pf., organ | H. von Hofmannsthal – H. Jalkanen, trans. (fi) |
||
| The Tempest (Stormen), play in 5 acts | 1925, rev. 1927 | JS 182 | S, Mz, T, T, B, chor., orch. + harmonium | W. Shakespeare – E. Lembcke, trans. (da, 1926) – P. Cajander, trans. (fi, 1927) |
||
| Stage (arr.) | King Christian II Suite (Kuningas Kristian II)
|
[1898], arr. 1898 | → Op. 27 | orch. | – (A. Paul) | |
| The Maiden in the Tower Overture (Jungfrun i tornet) | [1896], arr. 1900 (score markings) | → JS 101 | – (R. Hertzberg) | |||
| Valse triste, from Death (Kuolema) | [1903], arr. 1904 | Op. 44/1 | – (A. Järnefelt) | |||
Pelléas et Mélisande Suite (Pelléas och Mélisande)
|
[1905], arr. 1905 | Op. 46 | – (M. Maeterlinck) | |||
| Scene with Cranes (Kurkikohtaus), from Death (Kuolema) | [1903], arr. 1906 | Op. 44/2 | – (A. Järnefelt) | |||
Belshazzar's Feast Suite (Belsazars gästabud)
|
[1906], arr. 1907 | Op. 51 | – (H. Procopé) | |||
Swanwhite Suite (Svanevit)
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[1908], arr. 1908 | Op. 54 | – (A. Strindberg) | |||
| The Tempest Prelude (Stormen) | [1925], arr. 1927 | Op. 109/1 | – (W. Shakespeare) | |||
The Tempest Suite No. 1 (Stormen)
|
[1925], arr. 1927, rev. 1929 | Op. 109/2 | ||||
The Tempest Suite No. 2 (Stormen)
|
[1925], arr. 1927 | Op. 109/3 | ||||
| Oratorio | Marjatta | 1905 (abandoned) | – | soloists, chor., orch. (projected) | J. Finne; Kalevala, Runo L | |
| Cantata | Cantata for the University Graduation Ceremonies of 1894 (Kantaatti tohtorinja maisterinvihkijäisissä 1894)
|
1894 (partially survives) | JS 105 | S, B, chor., orch. | K. Leino | |
Cantata for the Coronation of Nicholas II (Kantaatti iloja onnentoivotusjuhlassa 1896)
|
1896 | JS 104 | chor., orch. | P. Cajander | ||
Cantata for the University Graduation Ceremonies of 1897 (Kantaatti tohtorinja maisterinvihkijäisissä 1897)
|
1897 (partially survives) | JS 106 | S, B, chor., orch. | A.V. Koskimies | ||
| The Origin of Fire (Tulen synty) | 1902, rev. 1910 | Op. 32 | B, mchor., orch. | Kalevala, Runo XLVII | ||
| The Captive Queen (Vapautettu kuningatar) | 1906 (arr. c. 1910) | Op. 48 | chor. (or mchor.), orch. | P. Cajander | ||
| My Own Land (Oma maa) | 1918 | Op. 92 | chor., orch. | S.K. Bergh | ||
| Song of the Earth (Jordens sång) | 1919 | Op. 93 | J. Hemmer | |||
| Hymn of the Earth (Maan virsi) | 1920 | Op. 95 | E. Leino | |||
| Väinämöinen's Song (Väinön virsi) | 1926 | Op. 110 | Kalevala, Runo XVIII | |||
| Melodrama | The Wood Nymph (Skogsrået) | 1894–1895 | → Op. 15 | Nar., orch. + pf. | V. Rydberg | |
| The Breaking of the Ice on the Oulu River (Islossningen i Uleå älv) | 1899 | Op. 30 | Nar., mchor., orch. | Z. Topelius | ||
| Snöfrid | 1900 | Op. 29 | Nar., chor., orch. | V. Rydberg | ||
| The Countess's Portrait (Grevinnans konterfej) | 1906 | JS 88 | Nar., str. | Z. Topelius | ||
| A Lonely Ski-Trail (Ett ensamt skidspår) | [1925], arr. 1948 | JS 77b | Nar., harp, str. | B. Gripenberg | ||
| Orch. song | "Serenad" ("Serenade") | 1894–1895 | JS 168 | B, orch. | E.J. Stagnelius | |
| "Koskenlaskijan morsiamet" ("The Rapids-Rider's Brides") | 1897 | Op. 33 | B, orch. | A. Oksanen | ||
| "Se'n har jag ej frågat mera" ("Since Then I Have Questioned No Further") | [1891–1892], arr. 1903 | → Op. 17/1 | voice, orch. | J.L. Runeberg | ||
| "På verandan vid havet" ("On a Balcony by the Sea") | [1903], arr. 1903 | → Op. 38/2 | V. Rydberg | |||
| "I natten" ("In the Night") | [1903], arr. 1903 | → Op. 38/3 | ||||
| "Höstkväll" ("Autumn Evening") | [1903], arr. 1904 | → Op. 38/1 | voice, orch. (or str.) | |||
| "Arioso" | 1911 | → Op. 3 | S, str. | J.L. Runeberg | ||
| "Hertig Magnus" ("Duke Magnus") | [1909], arr. 1912 | → Op. 57/6 | voice, orch. | E. Josephson | ||
| "Der Rabe" ("The Raven") | 1910 (abandoned) | – | S, orch. (projected) | E. Poe – [Unknown], trans. (de) |
||
| "Våren flyktar hastigt" ("Spring Is Flying") | [1891], arr. 1913 | → Op. 13/4 | voice, orch. | J.L. Runeberg | ||
| "Soluppgång" ("Sunrise") | [1902], arr. 1913 | → Op. 37/3 | T. Hedberg | |||
| "Demanten på marssnön" ("The Diamond on the March Snow") | [1900], arr. 1917 | → Op. 36/6 | J.J. Wecksell | |||
| "Autrefois" | 1919, rev. 1920 | Op. 96b | S, S, orch. | H. Procopé | ||
| "Kullervon valitus" ("Kullervo's Lament"), from Kullervo | [1892, arr. 1892–1893, 1917–1918], arr. 1957 | → Op. 7 | B, orch. | Kalevala, Runo XXXV | ||
| "Kom nu hit, död" ("Come Away, Death") | [1909], arr. 1957 | → Op. 60/1 | B, str. + harp | W. Shakespeare – C.A. Hagberg, trans. (sv) |
||
| Misc. (– voice) | Overture in E major | 1891 | JS 145 | orch. | – | |
| Ballet Scene (Scène de ballet) | JS 163 | |||||
| Fencing Music (Fäktmusik) | 1891 (lost) | JS 80 | orch. (probable) | |||
| Circus March (Zirkusmarsch) | JS 223 | |||||
| Karelia Overture | [1893], arr. 1893 | Op. 10 | orch. | |||
|
Op. 11 | |||||
| Presto, from the String Quartet in B-flat major | [1890], arr. 1894 | → Op. 4/3 | str. | |||
| Impromptu, from the Six Impromptus | [1893], arr. 1894 | → Op. 5/5–6 | ||||
| Menuetto | 1894 | JS 127 | orch. | |||
| Coronation March (Kröningsmarsch), from the Cantata for the Coronation of Nicholas II | [1896], arr. 1896 | → JS 104 | ||||
Music for the Press Celebrations Days (Musiikkia Sanomalehdistön päivien juhlanäytäntöön)
|
1899 | JS 137 | ||||
| March of the Pori Regiment (Porilaisten marssi), arrangement [II] of the original | arr. 1900 | JS 152 | ||||
| Overture in A minor | 1902 | JS 144 | ||||
| Cassazione | 1904, rev. 1905 | Op. 6 | ||||
| Romance in C major | 1904 | Op. 42 | str. | |||
| Musik zu einer Szene (Music to a Scene) | Op. 45/2 | orch. | ||||
| Dance Intermezzo (Tanssi-Intermezzo) | [1904, rev./trans. 1904], arr. 1907 | Op. 45/2 | ||||
| Cortège | 1905 | JS 54 | ||||
| Pan and Echo (Pan och Echo) | 1906 | Op. 53 | ||||
| In memoriam | 1909, rev. 1910 | Op. 59 | ||||
Rakastava (The Lover)
|
[1894], arr. 1911, rev. 1912 | Op. 14 | str., perc. | – (Kanteletar) | ||
Scènes historiques I, from the Press Celebrations Music
|
[1899], arr. 1911 | Op. 25 | orch. | – | ||
|
1912 | Op. 66 | ||||
| Valse lyrique | [1914, rev. 1919 & 1919], arr. 1920 | Op. 96a | ||||
| Academic March (Promootiomarssi) | 1919 | JS 155 | ||||
| Valse chevaleresque | 1921–1922, rev. 1922 | Op. 96c | ||||
|
1921 | Op. 98a | str. + flutes | |||
|
1922 | Op. 98b | str. | |||
|
Op. 100 | str. + harp | ||||
| Morceau romantique | 1925 | JS 135a | orch. | |||
| Andante festivo | [1922], arr. 1938 | JS 34b | str. + timpani | |||
| Misc. (+ voice) | Lord, You are a Rock (Herr du bist ein Fels) | 1889–1890, rev. 1889–1890 | HUL 1260 | chor., orch. | [Unknown] | |
| Lord, Show Us Your Mercy (Herr erzeige uns deine Gnade) | HUL 1263 | |||||
|
1893 (partially destroyed) | JS 115 | B, 2 male folk singers, orch. | Kalevala, Runo XIV; Svenska fornsånger, Vol. II |
||
Rakastava (The Lover)
|
[1894], arr. 1894 | JS 160b | T, mchor., str. | Kanteletar, Book I:173–74, 122 | ||
| A Song for Lemminkäinen (Laulu Lemminkäiselle) | [1895–1896], arr. 1896 | Op. 31/1 | mchor., orch. | Y. Weilin | ||
| Sandels | 1898, rev. 1915 | Op. 28 | J.L. Runeberg | |||
| Song of the Athenians (Athenarnes sång) | 1899 | Op. 31/3 | mchor., bchor., orch. | V. Rydberg | ||
| Impromptu | 1902, rev. 1910 | Op. 19 | fchor., orch. | |||
| Have You Courage? (Har du mod?) | 1904, rev. 1911, 1912, & 1913–1914 | Op. 31/2 | mchor., orch. | J.J. Wecksell | ||
| Jäger March (Jääkärien marssi) | [1917], arr. 1918 | → Op. 91a | H. Nurmio | |||
| Scout March (Partiolaisten marssi) | [1918], arr. 1918 | → Op. 91b | chor., orch. | J. Finne | ||
| Processional, from the Masonic Ritual Music | [1927], arr. 1938 | → Op. 113/6 | chor., orch. | V. Rydberg – M. Kernochan, trans. (en) |
||
| "Koskenlaskijan morsiamet" ("The Rapids-Rider's Brides") | [1897], arr. 1943 | → Op. 33 | mchor., orch. | A. Oksanen | ||
Chamber worksedit |
(↑ to top) | |||||
| Stage | Ljunga Wirginia
|
1885 (partially survives) | HUL 0542–46 | pf. (4-hands), vl., vc. | W. von Konow | |
| Scherzo in E minor | 1887 (partially survives) | JS 165 | ||||
The Lizard (Ödlan)
|
1909 | Op. 8 | vl. solo, 2 vl., va., vc., db. | – (M. Lybeck) | ||
| Melodrama | The Watersprite (Näcken) in A-flat major | 1888 | JS 138 | Nar., S, pf., vl., vc. | G. Wennerberg | |
| Nights of Jealousy (Svartsjukans nätter) | 1893 | JS 125 | Nar., S (voc.), pf., vl., vc. | J.L. Runeberg | ||
| Brass septet | Overture in F minor | 1889 | JS 146 | torviseitsikko | – | |
| Allegro in G minor | JS 25 | torviseitsikko, perc. | ||||
| Andantino | 1890 | JS 45 | torviseitsikko | |||
| Menuetto | ||||||
| Preludium (Förspel) | 1891 | JS 83 | torviseitsikko, perc. | |||
| Tiera | 1899 | JS 200 | torviseitsikko, perc. | – (Kalevala) | ||
| Song of the Athenians (Athenarnes sång) | → Op. 31/3 | mchor., bchor., torviseitsikko, perc. | V. Rydberg | |||
| Quintet | Andante – Allegro | 1888–1889 | JS 31 | pf., 2 vl., va., vc. | – | |
| [Vivace] | 1890 | HUL 0517 | ||||
|
JS 159 | |||||
| Quartet | Piano Quartet in D minor
|
1884 | JS 157 | pf., vl., va., vc. | ||
| Molto moderato – Scherzo | 1885 | JS 134 | 2 vl., va., vc. | |||
|
JS 184 | |||||
| Harmonium Quartet in G minor | 1887 | JS 158 | harmonium, pf., vl., vc. | |||
| [Four Themes] | HUL 0796/2 | 2 vl., va., vc. | ||||
| Alla marcia in E minor | 1888 | JS 16 | ||||
| Presto in F major | JS 154 | |||||
| Theme and Variations in G minor | JS 197 | |||||
| Allegretto in D major | JS 20 | |||||
| Andantino in C major | JS 39 | |||||
| Theme and Variations in C-sharp minor | 1888 (partially survives) | JS 195 | 2 vl., va., vc. | |||
| [Thirty-three Small Pieces] | 1888–1889 | HUL 0618 | 2 vl., va., vc. | |||
| Moderato – Allegro appassionato in C-sharp minor | JS 131 | |||||
| Andante molto sostenuto in B minor | JS 37 (fragment) | |||||
| Andante – Allegro molto in D major | JS 32 | |||||
| [Allegro] in G minor | HUL 0620 | |||||
| Allegro in E minor | JS 28 | |||||
| Adagio in F minor | JS 14 | |||||
| Allegretto in A major | JS 17 | |||||
| Più lento in F major | JS 149 | |||||
| Fugue for Martin W. (Fuga för Martin W.) | 1889 | JS 85 | ||||
|
JS 183 | |||||
| Allegretto in B-flat major | HUL 0621 | |||||
|
1889–1890 | Op. 4 | ||||
| Adagio in D minor | 1890 | JS 12 | ||||
| Piano Quartet in C minor | 1891 (partially survives) | JS 156 | pf., vl., va., vc. | |||
|
1908–1909 | Op. 56 | 2 vl., va., vc. | |||
| Andante festivo | 1922 | JS 34a | ||||
| Trio | [Menuetto] in D minor | c. 1882–1885 | HUL 0538 | pf., vl., vc. | ||
Trio in 'G major'
|
1883 | JS 205 | pf., 2 vl. | |||
| Menuetto in F major | JS 126 | |||||
| [Andante] – Adagio – Allegro maestoso | c. 1883–1885 | HUL 0539 | pf., vl., vc. | |||
Piano Trio in A minor
|
1884 | JS 206 | ||||
| Allegro in D major | 1886 | JS 27 | ||||
|
JS 207 | |||||
| Serenata in D minor | 1887 | JS 169 | 2 vl., vc. | |||
| Minuet and Allegro | JS 128 | |||||
|
JS 209 | pf., vl., vc. | ||||
| Andantino in G minor | JS 43 | |||||
| [Allegretto] in A-flat major | c. 1887–1888 | HUL 0547 | ||||
|
1888 | JS 208 | ||||
Suite in A major
|
1889 (partially survives) | JS 186 | ||||
| Andantino in A major | 1889 | JS 38 | ||||
| La pompeuse Marche d'Asis | 1891 (other arrangements lost) | JS 116 | ||||
| Duo | Water Droplets (Vattendroppar) | c. 1875–1881 | JS 216 | vl., vc. (pizz.) | ||
| Castles in the Air (Luftslott) | c. 1881 | JS 65 | 2 vl. | |||
Violin Sonata in A minor
|
1884 | JS 177 | vl., pf. | |||
| Andantino in C major | JS 40 | vc., pf. | ||||
| Andante grazioso in D major | 1884–1885 | JS 35 | vl., pf. | |||
| [Moderato] – Presto – Tempo I in A minor | 1886 | JS 7 | ||||
| [Andantino] in A minor | 1886–1887 | JS 8 | ||||
| [Tempo di valse] in B minor | JS 89 (fragment) | |||||
| [Mazurka] in A major | JS 4 | |||||
| [Andante molto] in C major | JS 49 | |||||
| [Aubade] in A major | JS 3 | |||||
| [Menuetto] in E minor | JS 67 | |||||
| [Scherzino] in F major | JS 78 | |||||
| [Allegretto] in G major | 1886–1887, rev. 1886–1887 | JS 86 | ||||
| [Duo] in E minor | 1887 | JS 68 | vl., vc. | |||
| Andante cantabile in E-flat major | JS 30b | harmonium, pf. | ||||
| Andante cantabile in G major | JS 33 | vl., pf. | ||||
| Andante molto in F minor | JS 36 | vc., pf. | ||||
| Tempo di valse in G minor | 1887 (partially survives) | JS 193 | ||||
| [Sonata Allegro Exposition] in B minor | 1887 | JS 90 | vl., pf. | |||
Suite in D minor
|
1887–1888 | JS 187 | ||||
| [Lento] in E-flat minor | JS 76 | vl. (or vc.), pf. | ||||
| Moderato – Maestoso in E-flat major | JS 132 | vl., pf. | ||||
| Allegretto in C major | 1888 | JS 19 | ||||
| Allegretto in E-flat major | JS 22 | |||||
Suite in E major
|
JS 188 | |||||
| [Andante] in B minor | JS 91 (fragment) | vc., pf. | ||||
| [Andantino] in B minor | 1888–1889 | JS 92 (fragment) | vc., pf. | |||
| Allegro [Sonata Exposition] in A minor | JS 26 | vl., pf. | ||||
| Canon in G minor | 1889 | JS 50 | vl., vc. | |||
Violin Sonata in F major
|
JS 178 | vl., pf. | ||||
| Adagio in F-sharp minor | JS 15 | vc., pf. | ||||
| Tempo di valse (Lulu Waltz) in F-sharp minor | JS 194 | |||||
Fantasy
|
1889 (partially survives) | JS 79 | ||||
| Romance in B minor | 1890, rev. 1911 | Op. 2/1 | vl., pf. | |||
| Epilog (Epilogue) | 1891, rev. 1911 | Op. 2/2 | ||||
| Duo in C major | 1891–1892 | JS 66 | vl., va. | |||
| Rondo in D minor | 1893 | JS 162 | va., pf. | |||
| Lullaby (Kehtolaulu) | 1899 | JS 222 | kantele, vl. | |||
| Malinconia (Melancholy) | 1900 | Op. 20 | vc., pf. | |||
|
1915 | Op. 80 | vl., pf. | |||
| Mazurka in D minor | Op. 81/1 | |||||
| Souvenir in D major | Op. 79/1 | |||||
| Tempo di Minuetto | Op. 79/2 | |||||
| Impromptu in A minor | Op. 78/1 | vl. (or vc.), pf. | ||||
| Rigaudon in D major | Op. 78/4 | |||||
| Romance in F major | 1915, rev. 1915 | Op. 78/2 | ||||
| Danse caractéristique | 1916 | Op. 79/3 | vl., pf. | |||
| Sérénade in D major | Op. 79/4 | |||||
| Dance Idyll (Tanz-Idylle) in E minor | 1917 | Op. 79/5 | ||||
| Berceuse in C-sharp minor | Op. 79/6 | |||||
| Religioso in G minor | Op. 78/3 | vl. (or vc.), pf. | ||||
| Rondino in D major | Op. 81/2 | vl., pf. | ||||
| Valse in D major | Op. 81/3 | |||||
| Aubade in D major | 1918 | Op. 81/4 | ||||
| Menuetto in D minor | Op. 81/5 | |||||
| Novellette | 1922 | Op. 102 | ||||
| Danse champêtre No. 1 | 1924 | Op. 106/1 | ||||
| Danse champêtre No. 2 | Op. 106/2 | |||||
| Danse champêtre No. 3 | 1925 | Op. 106/3 | ||||
| Danse champêtre No. 4 | Op. 106/4 | |||||
| Danse champêtre No. 5 | Op. 106/5 | |||||
| On the Heath (Auf der Heide) | 1929 | Op. 115/1 | ||||
| Ballad (Ballade) | Op. 115/2 | |||||
| Humoresque | Op. 115/3 | |||||
| The Bells (Die Glocken) | Op. 115/4 | |||||
| Scène de danse | Op. 116/1 | |||||
| Danse caractéristique | Op. 116/2 | |||||
| Rondeau romantique | Op. 116/3 | |||||
| To My Beloved Aino (Rakkaalle Ainolle) | 1931 | JS 161 | pf. (4-hands) | |||
| Duo (trans.) |
|
[1903–1904, rev. 1905], trans. 1905 | Op. 47 | vl., pf. | ||
| Serious Melody No. 1: Cantique | [1914 (arr. 1916)], trans. 1915 (1916) | Op. 77/1 | vl. (or vc.), pf. | |||
| Serious Melody No. 2: Devotion | [1915 (arr. 1916)], trans. 1915 (1916) | Op. 77/2 | ||||
| Scène d'amour (Love Scene), from Scaramouche | [1913], trans. 1925 | Op. 71 | vl., pf. | |||
Works for solo instrumentedit |
(↑ to top) | |||||
| Carillon | The Bells of Kallio Church (Kallion kirkon kellosävel) | 1912 | JS 102 | carillon | – | |
| Cello | [Theme and Variations] in D minor | 1887 | JS 196 | cello | ||
| Moderato in F major | 1885–1889 | HUL 1351 | ||||
| [Mazurka] in G minor | 1887–1889 | – | ||||
| Kantele | Moderato | 1896–1898 | JS 130 | kantele | ||
| Dolicissimo | JS 63 | |||||
| Organ | Intrada | 1925 | Op. 111a | organ | ||
| Preludium | 1926 | JS 153/1 | ||||
| Postludium | JS 153/2 | |||||
| Mournful Music (Surusoitto) | 1931 | Op. 111b | ||||
| Theme for Improvisation | 1933 | – | ||||
| Violin | [Étude] in D major | 1886 | JS 55 | violin | ||
| [Allegretto] in A major | 1891–1894 | HUL 1088/2 | ||||
| A Happy Musician (En glad musikant) | 1924–1926 | JS 70 | T. Rangström | |||
| Melodrama | To Longing (Trånaden)
|
1887 | JS 203 | Nar., piano | E.J. Stagnelius | |
| Oh, If You Had Seen (O, om du sett) | 1888 | JS 141 | E. Hackzell | |||
| A Lonely Ski-Trail (Ett ensamt skidspår) | 1925 | JS 77a | B. Gripenberg | |||
| Piano (orig.) | Con moto, sempre una corda in D-flat major | 1885 | JS 52 | piano | – | |
| [Andante] in E-flat major | JS 74 | |||||
| [Menuetto] in A minor | JS 5 | |||||
| [Tempo di valse] in A major | JS 2 | |||||
| Scherzo in E major with Trio in E minor (or with [Trio] in A major) | 1885, arr. 1886 | JS 134a(b) | ||||
| Andante in E-flat major | 1887 | JS 30a | ||||
| [Aubade] in A-flat major | JS 46 | |||||
| Au crépuscule in F-sharp minor | JS 47 | |||||
| Andantino in B major | 1888 | JS 44 | ||||
| Allegretto in B-flat minor | JS 18 | |||||
| Allegro in F minor | HUL 0768/3 | |||||
[Five Short Pieces]
|
HUL 0797 | |||||
| Più lento – Tempo di valse in E-flat major | JS 150 | |||||
| Allegretto in G minor | JS 24 | |||||
| Moderato – Presto in D minor | JS 133 | |||||
| Largo in A major | JS 117 | |||||
| Adagio in D major | JS 11 | |||||
| Vivace in D minor | JS 221 | |||||
| Andantino in E major | JS 41 | |||||
| [Presto] in A minor | JS 6 | |||||
| [Polka] in E-flat major | 1888–1889 | JS 75 | ||||
Florestan
|
1889 | JS 82 | ||||
| Allegretto in E major | JS 21 | |||||
| Valse in A-flat major, À Betzy Lerche | JS 1 | |||||
| [Sonata Allegro Exposition] in D minor | JS 179a | |||||
| [Sonata Allegro Exposition] in F minor | JS 179b | |||||
| [Sonata Allegro Exposition] in C major | JS 179c | |||||
| [Sonata Allegro] in E major | JS 179d | |||||
| [Sonata Allegro Exposition] in C minor | JS 179e | |||||
| Scherzo in F-sharp minor | 1891 | JS 164 | ||||
| Theme and Variations in C minor | 1891 (lost) | JS 198 | piano | |||
| Impromptu No. 1 in G minor | 1893 | Op. 5/1 | piano | |||
| Impromptu No. 2 in G minor | Op. 5/2 | |||||
| Impromptu No. 3 in A minor | Op. 5/3 | |||||
| Impromptu No. 4 in E minor | Op. 5/4 | |||||
| Impromptu No. 5 in B minor | Op. 5/5 | |||||
| Impromptu No. 6 in E major | Op. 5/6 | |||||
|
Op. 12 | |||||
| Impromptu in G minor | 1895 | Op. 24/1 | ||||
| Romance in A major | Op. 24/2 | |||||
| Allegretto in F major | 1895–1896 | JS 23 | ||||
| Lento in E major | 1896–1897 | JS 119 | ||||
| Allegretto in G minor | 1897 | JS 225 | ||||
| Romance in D minor | 1896–1898 | Op. 24/4 | ||||
| Idyll in F major | 1897–1898, rev. 1904 | Op. 24/6 | ||||
| Caprice in E minor | 1898 | Op. 24/3 | ||||
| Waltz in E major | 1898 | Op. 24/5 | ||||
| Andantino in F major | 1899, rev. 1899 | Op. 24/7 | ||||
| Marche triste | 1899 | JS 124 | ||||
| Pianokompositioner för barn (Piano Works for Children), 21 sketches | JS 148 | |||||
| Kavaljeren (The Cavalier) | 1900 | JS 109 | ||||
| Nocturno | Op. 24/8 | |||||
| Romance in D-flat major | 1901 | Op. 24/9 | ||||
| My Beloved Is Beautiful, Her Mouth Like a Corn-cockle (Minun kultani kaunis on, sen suu kuin auran kukka) | 1902–1903 | JS 81/1 | ||||
| I Love You with All My Heart (Sydämestäni rakastan) | JS 81/2 | |||||
| Evening Is Coming (Ilta tulee, ehtoo joutuu) | JS 81/3 | |||||
| That Beautiful Girl (Tuopa tyttö, kaunis tyttö) | JS 81/4 | |||||
| The Fratricide (Velisuurmaaja) | JS 81/5 | |||||
| Wedding Memory (Häämuistelma) | JS 81/6 | |||||
| Barcarole in G minor | 1903 | Op. 24/10 | ||||
|
1904 | Op. 41 | – (Kalevala) | |||
| Adagio in E major | 1907 | JS 13 | – | |||
| Rêverie | 1909 | Op. 58/1 | ||||
| Scherzino | Op. 58/2 | |||||
| Air varié | Op. 58/3 | |||||
| The Shepherd (Der Hirt) | Op. 58/4 | |||||
| The Evening (Des Abends) | Op. 58/5 | |||||
| Dialogue | Op. 58/6 | |||||
| Tempo di minuetto | Op. 58/7 | |||||
| Fisher Songs (Fischerlied) | Op. 58/8 | |||||
| Serenade (Ständchen) | Op. 58/9 | |||||
| Summer Song (Sommerlied) | Op. 58/10 | |||||
| Étude in A minor | 1911 | Op. 76/2 | ||||
|
1912 | Op. 67/1 | ||||
|
Op. 67/2 | |||||
|
Op. 67/3 | |||||
| Rondino No. 1 in G-sharp minor | Op. 68/1 | |||||
| Rondino No. 2 in C-sharp minor | Op. 68/2 | |||||
| Valsette in E minor | Op. 40/1 | |||||
| Chant sans paroles in E minor | 1913 | Op. 40/2 | ||||
| Humoresque in C major | Op. 40/3 | |||||
| Berceuse in D major | Op. 40/5 | |||||
| Rêverie in E minor | Op. 34/6 | |||||
| Menuetto in C major | Op. 40/4 | |||||
| Spagnuolo | JS 181 | |||||
| To Longing (Till trånaden) | JS 202 | |||||
| Pensée mélodique in C major | 1914 | Op. 40/6 | ||||
| Rondoletto in A-flat major | Op. 40/7 | |||||
| Valse in D-flat major | Op. 34/1 | |||||
| Air de danse in E major | Op. 34/2 | |||||
| Mazurka in A major | Op. 34/3 | |||||
| Boutade in A-flat major | Op. 34/5 | |||||
| Eclogue (Ekloge) | Op. 74/1 | |||||
| Soft West Wind (Sanfter Westwind) | Op. 74/2 | |||||
| At the Dance (Auf dem Tanzvergnügen) | Op. 74/3 | |||||
| In the Old House (Im alten Heim) | Op. 74/4 | |||||
| When the Rowan Blossoms (När rönnan blommar) | Op. 75/1 | |||||
| The Solitary Fir Tree (Den ensamma furan) | Op. 75/2 | |||||
| The Aspen (Aspen) | Op. 75/3 | |||||
| The Birch (Björken) | Op. 75/4 | |||||
| Carillon | Op. 76/3 | |||||
| Romanzetta | Op. 76/6 | |||||
| Arabesque in D-flat major | Op. 76/9 | |||||
| Capriccietto | Op. 76/12 | |||||
| Nouvellette in F major | Op. 94/2 | |||||
| Couplet in D major | 1914, rev. 1914 | Op. 34/4 | ||||
| The Spruce (Granen) | 1914, rev. 1919 | Op. 75/5 | ||||
| The Lilac (Syringa) | 1914 (withdrawn 1919, rev. as Op. 96/1) | |||||
| Scherzando in A-flat major | 1915 | Op. 40/8 | ||||
| Petite sérénade in B-flat major | Op. 40/9 | |||||
| Polonaise in C major | 1916 | Op. 40/10 | ||||
| Danse pastorale in A major | Op. 34/7 | |||||
| Joueur de harpe in B-flat minor | Op. 34/8 | |||||
| Reconnaissance in D major | Op. 34/9 | |||||
| Souvenir in A minor | Op. 34/10 | |||||
| Humoresque in C-sharp minor | Op. 76/4 | |||||
| Pièce enfantine | Op. 76/8 | |||||
| Elegiaco in C-sharp minor | Op. 76/10 | |||||
| Harlequinade | Op. 76/13 | |||||
| The Carnation (Oeillet) | Op. 85/2 | |||||
| The Iris (Iris) | Op. 85/3 | |||||
| Esquisse | 1917 | Op. 76/1 | ||||
| Affettuoso | Op. 76/7 | |||||
| Bluebells (Bellis) | Op. 85/1 | |||||
| The Columbine (Aquileja) | Op. 85/4 | |||||
| The Campanula (Campanula) | Op. 85/5 | |||||
| Mandolinato | JS 123 | |||||
| Scout March (Partiolaisten marssi) | 1918 | Op. 91b | J. Finne | |||
| Linnæa (The Twinflower of the North) | Op. 76/11 | – | ||||
| Consolation in C-sharp minor | 1919 | Op. 76/5 | ||||
| Danse in C major | Op. 94/1 | |||||
| Sonnet in B-flat major | Op. 94/3 | |||||
| Shepherd and Shepherdess (Berger et bergerette) | Op. 94/4 | |||||
| Mélodie in B major | Op. 94/5 | |||||
| Gavotte in C major | Op. 94/6 | |||||
| Con passione | JS 53 | |||||
| Andantino 'To O. Parvianen' ('Till O. Parvianen') | JS 201 | |||||
| Humoresque I (Humoreske I) | 1920 | Op. 97/1 | ||||
| Song (Lied) | Op. 97/2 | |||||
| Little Waltz (Kleiner Waltzer) | Op. 97/3 | |||||
| Humorous March (Humoristischer Marsch) | Op. 97/4 | |||||
| Impromptu | Op. 97/5 | |||||
| Humoresque II (Humoreske II) | Op. 97/6 | |||||
| Pièce humoristique | 1922 | Op. 99/1 | ||||
| Esquisse | Op. 99/2 | |||||
| Souvenir | Op. 99/3 | |||||
| Impromptu | Op. 99/4 | |||||
| Couplet | Op. 99/5 | |||||
| Animoso | Op. 99/6 | |||||
| Moment de valse | Op. 99/7 | |||||
| Petite Marche | Op. 99/8 | |||||
| Romance | 1924 | Op. 101/1 | ||||
| Chant du soir | Op. 101/2 | |||||
| Scène lyrique | Op. 101/3 | |||||
| Humoresque | Op. 101/4 | |||||
| Scène romantique | Op. 101/5 | |||||
| The Village Church | Op. 103/1 | |||||
| The Fiddler | Op. 103/2 | |||||
| The Oarsman | Op. 103/3 | |||||
| The Storm | Op. 103/4 | |||||
| In Mournful Mood | Op. 103/5 | |||||
| Landscape (Maisema) | 1929 | Op. 114/1 | ||||
| Winter Scene (Talvikuva) | Op. 114/2 | |||||
| Forest Lake (Metsälampi) | Op. 114/3 | |||||
| Song in the Forest (Metsälaulu) | Op. 114/4 | |||||
| Spring Vision (Kevätnäky) | Op. 114/5 | |||||
| Piano (trans.) | Karelia Suite, select numbers
|
[1893, arr. 1893], trans. c. 1893–1897 | → Op. 11 | – | ||
| The Wood Nymph (Skogsrået), final section only | [1894–1895], trans. 1895 | → Op. 15 | – (V. Rydberg) | |||
King Christian II (Kuningas Kristian II), select numbers
|
[1898], trans. 1898 | → Op. 27 | – (A. Paul) | |||
| Song of the Athenians (Athenarnes sång) | [1899], trans. 1899 | → Op. 31/3 | – (V. Rydberg) | |||
| Finlandia, from the Press Celebrations Music | [1899, arr. 1900], trans. 1900 | → Op. 26 | – | |||
| Have You Courage? (Har du mod?) | 1904, rev. 1911, 1912], trans. 1913 | → Op. 31/2 | J.J. Wecksell | |||
| Valse triste, from Death (Kuolema) | [1903, arr. 1904], trans. 1904 | → Op. 44/1 | – (A. Järnefelt) | |||
Pelléas et Mélisande Suite (Pelléas och Mélisande)
|
[1905, arr. 1905], trans. 1905 | → Op. 46 | – (M. Maeterlinck) | |||
| Dance Intermezzo (Tanssi-Intermezzo) | [1904], rev./trans. 1904 | → Op. 45/2 | – | |||
| Pan and Echo (Pan och Echo) | [1906], trans. 1907 | → Op. 53 | ||||
Belshazzar's Feast Suite (Belsazars gästabud)
|
[1906, arr. 1907], trans. 1907 | → Op. 51 | – (H. Procopé) | |||
| The Dryad (Dryadi) | [1910], trans. 1910 | → Op. 45/1 | – | |||
| The Bells of Kallio Church (Kallion kirkon kellosävel) | [1912], trans. 1912 | Op. 65b | ||||
Scaramouche, select numbers
|
[1912–1913], trans. 1914 | → Op. 71 | – (P. Knudsen) | |||
| Valse lyrique | 1914, rev. 1919 & 1919 | Op. 96a | – | |||
| Autrefois | [1919, rev. 1920], trans. 1920 | → Op. 96b | H. Procopé | |||
| Valse chevaleresque | 1921–1922, rev. 1922 | Op. 96c | – | |||
|
[1921], trans. 1921 | → Op. 98a | ||||
|
[1922], trans. 1922 | → Op. 98b | ||||
|
→ Op. 100 | |||||
|
[1916], trans. 1925 | → Op. 83 | – (H. von Hofmannsthal) | |||
| Morceau romantique | [1925], trans. 1925 | JS 135b | – | |||
The Tempest Suite Nos. 1 & 2 (Stormen), select numbers
|
[1925, arr. 1927], trans. 1927 | → Op. 109 | – (W. Shakespeare) | |||
Songsedit |
(↑ to top) | |||||
| Song | "Serenad" ("Serenade") | 1887–1888 | JS 167 | voice, pf. | J.L. Runeberg | |
| "En visa" ("A Song") | 1888 | JS 71 | Baeckman | |||
| "Orgier" ("Orgies") | 1888–1889 | JS 143 | L. Stenbäck | |||
| "Skogsrået" ("The Wood-Nymph") | JS 171 | V. Rydberg | ||||
| "Likhet" ("Alikeness") | 1890 | JS 120 | J.L. Runeberg | |||
| "Jag kysser dig ej" ("I Kiss You and Weary Not") | 1889–1891 | HUL 1183 | ||||
| "Löjet var utan hem" ("Wit Was without a Home") | 1890–1891 | HUL 1286/2 | ||||
| "Hjärtats morgon" ("The Heart's Morning") | 1891 | Op. 13/3 | ||||
| "Drömmen" ("The Dream") | Op. 13/5 | |||||
| "Fågellek" ("Play of the Birds") | Op. 17/3 | K.A. Tavaststjerna | ||||
| "Våren flyktar hastigt" ("Spring is Flying") | Op. 13/4 | J.L. Runeberg | ||||
| "Jägargossen" ("The Young Huntsman") | Op. 13/7 | |||||
| "Sov in!" ("Go to Sleep!") | 1891–1892 | Op. 17/2 | K.A. Tavaststjerna | |||
| "Se'n har jag ej frågat mera" ("Since Then I Have Questioned No Further") | Op. 17/1 | J.L. Runeberg | ||||
| "Tule, tule kultani" ("Come, Come, My Sweetheart") | 1892 | JS 211 | Traditional | |||
| "Under strandens granar" ("Under the Fir-Trees") | Op. 13/1 | J.L. Runeberg | ||||
| "Kyssens hopp" ("The Kiss's Hope") | Op. 13/2 | |||||
| "Till Frigga" ("To Frigga") | Op. 13/6 | |||||
| "Det mörknar ute" ("Outside It is Growing Dark") | 1897 | Op. 1/3 | Z. Topelius | |||
| "Vilse" ("Astray") | 1898, rev. 1902 | Op. 17/4 | K.A. Tavaststjerna | |||
| "Illalle" ("To Evening") | 1898 | Op. 17/6 | A.V. Koskimies | |||
| "Souda, souda, sinisorsa" ("Swim, Duck, Swim") | 1899 | JS 180 | ||||
| "Segelfahrt" ("Sailing") | JS 166 | J. Öhqvist | ||||
| "Svarta rosor" ("Black Roses") | Op. 36/1 | E. Josephson | ||||
| "Men min fågel märks dock icke" ("But My Bird Is Long In Homing") | Op. 36/2 | J.L. Runeberg | ||||
| "Bollspelet vid Trianon" ("Tennis at Trianon") | Op. 36/3 | G. Fröding | ||||
| "Den första kyssen" ("The First Kiss") | 1900 | Op. 37/1 | J.L. Runeberg | |||
| Säv, säv, susa" ("Sigh, Sigh, Sedges") | Op. 36/4 | G. Fröding | ||||
| "Marssnön" ("The March Snow") | Op. 36/5 | J.J. Wecksell | ||||
| "Demanten på marssnön" ("The Diamond on the March Snow") | Op. 36/6 | |||||
| "Flickan kom ifrån sun älsklings möte" ("The Girl Returned Home from Meeting Her Lover" or "The Tryst") | 1901 | Op. 37/5 | J.L. Runeberg | |||
| "On hanget korkeat, nietokset" ("High are the Snowdrifts") | Op. 1/5 | W. Joukahainen | ||||
| "Lasse liten" ("Little Lasse") | 1902 | Op. 37/2 | Z. Topelius | |||
| "Soluppgång" ("Sunrise") | Op. 37/3 | T. Hedberg | ||||
| "Var det en dröm?" ("Was It a Dream?") | Op. 37/4 | J.J. Wecksell | ||||
| "Lastu lainehilla" ("Driftwood") | Op. 17/7 | I. Calamnius | ||||
| "Höstkväll" ("Autumn Evening") | 1903 | Op. 38/1 | V. Rydberg | |||
| "På verandan vid havet" ("On a Balcony by the Sea") | Op. 38/2 | |||||
| "I natten" ("In the Night") | Op. 38/3 | |||||
| "Harpolekaren och Hans son" ("The Harper and His Son") | 1904 | Op. 38/4 | ||||
| "Jag ville, jag vore i Indialand" ("I Wish I Were in India") | Op. 38/5 | G. Fröding | ||||
| "En slända" ("A Dragonfly") | Op. 17/5 | O. Levertin | ||||
| "Lenzgesang" ("Spring Song") | 1906 | Op. 50/1 | A. Fitger | |||
| "Sehnsucht" ("Longing") | Op. 50/2 | E.R. Weiss | ||||
| "Im Feld ein Mädchen singt" ("In the Field a Maid Sings") | Op. 50/3 | M. Susman | ||||
| "Aus banger Brust" ("From Anxious Heart") | Op. 50/4 | R. Dehmel | ||||
| "Die stille Stadt" ("The Silent City") | Op. 50/5 | |||||
| "Rosenlied" ("Song of the Roses") | Op. 50/6 | A. Ritter | ||||
| "Erloschen" ("Extinguished") | JS 73 | G. Busse-Palma | ||||
| "Hundra vägar" ("A Hundred Ways") | 1907 | Op. 72/6 | J.L. Runeberg | |||
| "Jubal" | 1908 | Op. 35/1 | E. Josephson | |||
| "Teodora" | Op. 35/2 | B. Gripenberg | ||||
| "Älven och snigeln" ("The River and the Snail") | 1909 | Op. 57/1 | E. Josephson | |||
| "En blomma stod vid vägen" ("A Flower Stood by the Wayside") | Op. 57/2 | |||||
| "Kvarnhjulet" ("The Mill-wheel") | Op. 57/3 | |||||
| "Maj" ("May") | Op. 57/4 | |||||
| "Jag är ett träd" ("I Am a Tree") | Op. 57/5 | |||||
| "Hertig Magnus" ("Duke Magnus") | Op. 57/6 | |||||
| Vänskapens blomma" ("The Flower of Friendship") | Op. 57/7 | |||||
| "Näcken" ("The Watersprite") | Op. 57/8 | |||||
| "Giv mig ej glans, ej guld, ej prakt" ("Give Me No Splendor, Gold or Pomp") | Op. 1/4 | Z. Topelius | ||||
| "Kom nu hit, död" ("Come Away, Death") | 1909 (arr. 1909) | Op. 60/1 | voice, guitar (or pf.) | W. Shakespeare – C.A. Hagberg, trans. (sv) |
||
| "Hållilå, uti storm och i regn" ("Hey, Ho, the Wind and the Rain") | Op. 60/2 | |||||
| "Hymn to Thaïs, the Unforgettable" | 1909, rev. 1945–1948 | JS 97 | voice, pf. | A. Borgström | ||
| "Vattenplask" ("Lapping Waters") | 1910 | Op. 61/2 | V. Rydberg | |||
| "Långsamt som kvällskyn" ("Slowly as the Evening Sky") | Op. 61/1 | K.A. Tavaststjerna | ||||
| "När jag drömmer" ("When I Dream") | Op. 61/3 | |||||
| "Romeo" | Op. 61/4 | |||||
| "Romans" ("Romance") | Op. 61/5 | |||||
| "Dolce far niente" | Op. 61/6 | |||||
| "Vårtagen" ("The Spell of Springtide") | Op. 61/8 | B. Gripenberg | ||||
| "Fåfäng önskan" ("Idle Wishes") | Op. 61/7 | J.L. Runeberg | ||||
| "Arioso" | 1911 | Op. 3 | S, pf. | |||
| "Nu står jul vid snöig port" ("Now Christmas Stands at the Snowy Gate") | 1913 | Op. 1/1 | voice, pf. | Z. Topelius | ||
| "Nu så kommer julen" ("Now Is Christmas Coming") | Op. 1/2 | |||||
| "Autumn Song" | JS 199/1 | S, A, pf. | R.W. Dixon | |||
| "Vi ses igen" ("Farewell") | 1914 (lost) | Op. 72/1 | voice, pf. | V. Rydberg | ||
| "Orions bälte" ("Orion's Girdle") | Op. 72/2 | Z. Topelius | ||||
| "Kyssen" ("The Kiss") | 1915 | Op. 72/3 | voice, pf. | V. Rydberg | ||
| "Der Wanderer und der Bach" ("The Wanderer and the Brook") | Op. 72/5 | M. Greif | ||||
| "Kaiutar" ("The Echo Nymph") | Op. 72/4 | Larin-Kyösti | ||||
| "Tanken" ("The Thought") | JS 192 | 2 voices, pf. | J.L. Runeberg | |||
| "Tre trallande jäntor" ("Three Warbling Maidens") | 1915 (lost) | JS 204 | voice, pf. | G. Fröding | ||
| "Vårförnimmelser" ("The Coming of Spring") | 1916 | Op. 86/1 | voice, pf. | K.A. Tavaststjerna | ||
| "Och finns det en tanke?" ("And Is There a Thought?") | Op. 86/4 | |||||
| "Längtan heter min arvedel" ("Longing Is My Heritage") | Op. 86/2 | E.A. Karlfeldt | ||||
| "Dold förening" ("Hidden Union") | Op. 86/3 | C. Snoilsky | ||||
| "Sångarlön" ("The Singer's Reward") | Op. 86/5 | |||||
| "I systrar, I bröder, I älskande par" ("Ye Sisters, Ye Brothers, Ye Loving Couples") | 1917 | Op. 86/6 | M. Lybeck | |||
| "Blåsippan" ("The Blue Anemone") | Op. 88/1 | F.M. Franzén | ||||
| "De bägge rosorna" ("The Two Roses") | Op. 88/2 | |||||
| "Vitsippan" ("The Wood Anemone") | Op. 88/3 | |||||
| "Sippan" ("The Anemone") | Op. 88/4 | J.L. Runeberg | ||||
| "Törnet" ("The Thorn") | Op. 88/5 | |||||
| "Blommans öde" ("The Flower's Destiny") | Op. 88/6 | |||||
| "Norden" ("The North") | Op. 90/1 | |||||
| "Hennes budskap" ("Her Message") | Op. 90/2 | |||||
| "Morgonen" ("The Morning") | Op. 90/3 | |||||
| "Fågelfängaren" ("The Bird Catcher") | Op. 90/4 | |||||
| "Sommarnatten" ("Summer Night") | Op. 90/5 | |||||
| "Vem styrde hit din väg?" ("Who Brought You Hither?") | Op. 90/6 | |||||
| "Mummon syntymäpäivänä" ("Birthday Song to Grandmother") | 1919 | JS 136 | Anonymous | |||
| "Små flickorna" ("Young Girls") | 1920 | JS 174 | H. Procopé | |||
| "Narciss" ("Narcissus") | 1925 | JS 140 | B. Gripenberg | |||
| "Herran siunaus" ("The Lord's Blessing") | JS 95 | B, organ | Numbers 6 | |||
| "Siltavahti" ("The Guardian of the Bridge") | [1928], arr. 1928 | JS 170b | voice, pf. | W. Sola | ||
| Song (trans.) | "Kullervon valitus" ("Kullervo's Lament"), from Kullervo | [1892], trans. 1892–1893, rev. 1917–1918 | → Op. 7 | Kalevala, Runo XXXV – F. von Schiefner, trans. (de) |
||
| "Koskenlaskijan morsiamet" ("The Rapids-Rider's Brides") | [1897], trans. 1897–1899 | → Op. 33 | A. Oksanen | |||
| "Sången om korsspindeln" ("Fool's Song of the Spider"), from King Christian II | [1898], trans. 1898 | → Op. 27/4 | A. Paul | |||
| "De trenne blinda systrar" ("The Three Blind Sisters"), from Pelléas et Mélisande | [1905], trans. 1905 | → JS 147/6 | M. Maeterlinck – B. Gripenberg, trans. (sv) |
|||
| "Den judiska flickans sång" ("The Jewish Girl's Song"), from Belshazzar's Feast | [1906], trans. 1907, rev. 1939 | → JS 48/2b | H. Procopé | |||
| Luonnotar | [1913], trans. 1913 | → Op. 70 | S, pf. | Kalevala, Runo I | ||
| "Autrefois" | [1919, rev. 1920], arr. 1920 | → Op. 96b | S, S, pf. | H. Procopé | ||
Choral worksedit |
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| Choral (a capp.) | [Chorales written for Martin Wegelius] (student exercises)[gt]
|
1887–1888 | – | chor. | Various | |
| "Ensam i dunkla skogarnas famn" ("Alone in the Dark Forest's Clasp") | 1888 | JS 72 | E. von Qvanten | |||
| "När sig våren åter föder" ("When Spring is Born Again") | JS 139 | J.L. Runeberg | ||||
| "Tanke, se hur fågeln svingar" ("Imagine, See How the Bird Swoops") | JS 191 | |||||
| "Hur blekt är allt" ("How Pale is All") | JS 96 | |||||
| "Ack, hör du fröken Gyllenborg" ("Ah, Do You Hear, Miss Gyllenborg"), folk ballad from Pernå | 1888–1889 | JS 10 | Anonymous | |||
[Chorales written for Albert Becker] (student exercises)[gt]
|
– | Various | ||||
| "Työkansan marssi" ("Worker's March") | 1893 | JS 212 | J.H. Erkko | |||
| "Venematka" ("The Boat Journey") | 1893 (arr. 1914) | Op. 18/3 | mchor. (or chor.) | Kalevala, Runo XL | ||
| "Soitapas sorea neito" ("Play, Pretty Maiden") | 1893–1894 | JS 176 | T, chor. | Kanteletar, Book II:238 | ||
Rakastava (The Lover)
|
1894 (arr. 1898) | JS 160a(c) | T, mchor. (or S, B, chor.) | Kanteletar, Book I:173–74, 122 | ||
| "Laulun mahti" ("The Power of Song"), arr. of J. Vītols's song | 1895 | JS 118 | T, mchor. | Aukselis – J.J. Mikkola, trans. (fi) |
||
| "Saarella palaa" ("Fire on the Island") | 1895 (arr. 1898) | Op. 18/4 | mchor. (or chor.) | Kanteletar, Book I:186 | ||
| "Juhlamarssi" ("Festive March"), from the Promotional Cantata of 1894 | [1894], arr. c. 1896 | → JS 105 | chor. | K. Leino | ||
| "Hymne" ("Hymn") | 1896, rev. 1898 | Op. 21 | mchor. | F. Gustafsson | ||
Songs for Mixed Chorus from the 1897 Promotional Cantata (Lauluja sekaköörille 1897 vuoden promotiooni kantaatista)
|
[1897], arr. 1898 | Op. 23 | S, B, chor. | A.V. Koskimies | ||
| "Kuutamolla" ("In the Moonlight") | 1898 | JS 114 | mchor. | A. Kallas | ||
Carminalia, a setting of three school songs
|
JS 51a | chor. | Piae Cantiones | |||
| "Min rastas raataa" ("Busy as a Thrush") | JS 129 | Kanteletar, Book I:219 | ||||
| "Sortunut ääni" ("The Broken Voice") | 1898 (arr. 1898) | Op. 18/1 | mchor. (or chor.) | Kanteletar, Book I:57 | ||
| "Sydämeni laulu" ("Song of My Heart") | 1898 (arr. 1904) | Op. 18/6 | mchor. (or chor.) | A. Kivi | ||
| "Aamusumussa" ("In the Morning Mist") | 1898 (arr. c. 1913) | JS 9a(b) | chor. (or fchor. or cchor.) | J.H. Erkko | ||
| "Isänmaalle" ("To the Fatherland") | 1899 (rev. & arr. 1900), arr. 1908 | JS 98a/b(c) | mchor. (or chor.) | P. Cajander | ||
| "Metsämiehen laulu" ("The Woodsman's Song") | 1899 | Op. 18/5 | mchor. | A. Kivi | ||
| "Terve, kuu" ("Hail Moon") | 1901 | Op. 18/2 | mchor. | Kalevala, Runo XLIX | ||
| "Kotikaipaus" ("Homesickness") | 1902 | JS 111 | 3 female voices | W. von Konow | ||
| "Den 25 oktober 1902. Till Thérèse Hahl" ("... To Thérèse Hahl") [Version I] | JS 60 | chor. | N. Wasastjerna | |||
| "Den 25 oktober 1902. Till Thérèse Hahl" ("... To Thérèse Hahl") [Version II] | JS 61 | |||||
| "Har du mod?" ("Have You Courage?") | 1903–1904 | JS 93 | mchor. | J.J. Wecksell | ||
| "Veljeni vierailla mailla" ("My Brothers Abroad") | 1904 | JS 217 | J. Aho | |||
| "Ej med klagan" ("Not with Lamentation") | 1905 | JS 69 | chor. (or mchor.) | J.L. Runeberg | ||
| "Kansakoululaisten marssi" ("March of the Primary School Children") | 1910 | JS 103 | chor. | O. Pekka | ||
| "Kantat" ("Cantata") | 1911 | JS 107 | fchor. | W. von Konow | ||
| "Män från slätten och havet" ("Men from Land and Sea") | Op. 65a | chor. | E. Knape | |||
| "Kallion kirkon kellosävel" ("The Bells of Kallio Church") | [1912], arr. 1912 | Op. 65b | chor. | H. Klemetti | ||
| "Uusmaalaisten laulu" ("Song of the People of Uusimaa") | 1912 | JS 214a(b) | chor. (or mchor.) | K. Terhi | ||
| "Soi kiitokseksi Luojan" ("We Praise Thee, Our Creator"), from the Songs for Mixed Chorus from the 1897 Promotional Cantata | [1897], arr. 1913 | → Op. 23/6a | fchor. (or cchor.) | A.V. Koskimies | ||
| "Terve ruhtinatar" ("Hail Princess"), from the Cantata for the Coronation of Nicholas II | [1896], arr. c. 1913 | → JS 104 | P. Cajander | |||
| "Nejden andas" ("The Landscape Breathes"), from The Breaking of the Ice on the Oulu River | [1899], arr. c. 1913 | → Op. 30 | Z. Topelius | |||
| "The Sun upon the Lake is Low" | 1913 | JS 199/2 | chor. | W. Scott | ||
| "Herr Lager och Skön fager" ("Mr. Lager and the Fair One") | 1914 | Op. 84/1 | mchor. | G. Fröding | ||
| "På berget" ("On the Mountain") | 1915 | Op. 84/2 | B. Gripenberg | |||
| "Evige Eros" ("Eternal Eros") | Op. 84/4 | B, mchor. | ||||
| "Ett drömackord" ("A Dream Chord") | Op. 84/3 | mchor. | G. Fröding | |||
| "Till havs" ("To Sea") | 1917, rev. 1917 | Op. 84/5 | J. Reuter | |||
| "Drömmarna" ("The Dreams") | 1917 | JS 64 | chor. | |||
| "Fridolins dårskap" ("Fridolin's Folly") | JS 84 | mchor. | E.A. Karlfeldt | |||
| "Ute hörs stormen" ("Outside the Storm is Raging") | 1918 | JS 224/1 | mchor. | G. Schybergson | ||
| "Brusande rusar en våg" ("The Roaring of a Wave") | JS 224/2 | |||||
| "Jone havsfärd" ("Jonah's Voyage") | JS 100 | E.A. Karlfeldt | ||||
| "Viipurin Laulu-Veikkojen kunniamarssi" ("Honor March of the Singing Brothers of Viipuri") [Version I] | 1920 | JS 219 | E. Eerola | |||
| "Likhet" ("Resemblance") | 1922 | JS 121 | mchor. | J.L. Runeberg | ||
| "Koulutie" ("The Way to School") | 1924 | JS 112 | chor. | V.A. Koskenniemi | ||
| "Humoreski" ("Humoresque") | 1925 | Op. 108/1 | mchor. | Larin-Kyösti | ||
| "Ne pitkän matkan kulkijat" ("Wanderers on the Long Way") | Op. 108/2 | |||||
| "Skolsång" ("School Song") | JS 172 | chor. | N. Runeberg | |||
| "Den höga himlen" ("The Lofty Heaven") | 1927 | JS 58a | S. Korpela – J. Tegengren, trans. (sv) |
|||
| "Siltavahti" ("The Guardian of the Bridge") | 1928 | JS 170a | mchor. | W. Sola | ||
| "On lapsonen syntynyt meille" ("A Child is Born to Us") | 1929 | JS 142 | chor. | A.V. Jaakkola | ||
| "Viipurin Laulu-Veikkojen kunniamarssi" ("Honor March of the Singing Brothers of Viipuri") [Version II] | JS 220 | mchor. | E. Eerola | |||
| "Giv mig ej glans, ej guld, ej prakt" ("Give Me No Splendor, Gold or Pomp") | [1909], arr. 1935 (arr. 1942) | → Op. 1/4 | mchor. (or S, fchor.) | Z. Topelius | ||
| "Finlandia-hymnin" ("Finlandia Hymn"), from Finlandia | [1899], arr. 1938 & 1940 (arr. 1948) | → Op. 26 | mchor. (or chor.) | W. Sola (1938) V.A. Koskenniemi (1940) |
||
| Choral (accmp.) | "Oje Carulì" ("Oh Caroline"), arr. of a song by M.P. Costa | 1887–1888 (partially survives) | JS 99/1 | B, chor., pf. | S. di Giacomo | |
| "Trippole trappole", arr. of a Spanish folk song adapted by G.L. Cottrau | JS 99/2 | chor., pf. | Traditional | |||
| "Upp genom luften" ("Up through the Air") | 1888 | JS 213 | Atterbom | |||
| "Vi kysser du fader min fästmö här?" ("Why, O Father, Do You Kiss My Bride?") | 1889–1890 | JS 218 | J.L. Runeberg | |||
Carminalia, a setting of three school songs
|
[1898], arr. 1898 | JS 51b(c) | fchor., organ or harm. (or piano) | Piae Cantiones | ||
| The Origin of Fire (Tulen synty) | [1902, rev. 1910], arr. 1910 | → Op. 32 | B, mchor., pf. | Kalevala, Runo XLVII | ||
| Impromptu | [1902, rev. 1910], arr. 1910 | Op. 19 | fchor., pf. | V. Rydberg | ||
| "Har du mod?" ("Have You Courage?") | [1904], arr. 1904, rev. & arr. 1911 | → Op. 31/2 | mchor., pf. | J.J. Wecksell | ||
| "A Cavalry Catch" | 1913 | JS 199/3 | F. MacLeod | |||
| "Jääkärien marssi" ("Jäger March") | 1917 | Op. 91a | mchor., pf. | H. Nurmio | ||
| "Partiolaisten marssi" ("Scout March") | [1918, arr. 1918], arr. 1921 | → Op. 91b | chor., pf. | J. Finne | ||
| "Skyddskårsmarsch" ("Skyddskår's March") | 1925 | JS 173 | mchor., pf. (ad lib.) | N. Runeberg | ||
| "Palmusunnuntaina" ("On Palm Sunday") | JS 110/1 | B, chor., organ | Psalms 23, 111, 42 | |||
| "Pyhainpaivana tai hautajaisjumalanpalveluksissa" ("On All Saints' Day") | JS 110/2 | Revelation 14, Psalm 126 | ||||
| "Kristillisissa nuorisojuhlissa" ("For Christian Youth Ceremonies") | JS 110/3 | Ecclesiastes 12, Gloria Patri | ||||
| "Karjalan osa" ("Karelia's Fate") | 1930 | JS 108 | mchor., pf. | A. Nurminen | ||
| "Partiolaisten marssi" ("Scout March") [a.k.a. "The World Song of the World Association of Girl Scouts and Girl Guides"] | [1918, arr. 1918], arr. 1952 | → Op. 91b | fchor., pf. | G. Ewart | ||
| "Giv mig ej glans, ej guld, ej prakt" ("Give Me No Splendor, Gold or Pomp") | [1909], arr. 1954 | → Op. 1/4 | cchor., organ | Z. Topelius | ||
Masonic Ritual Music (Vapaamuurareiden rituaalimusiikkia)
|
1927, rev. 1936, 1946, & 1948 | Op. 113 | T, mchor., organ (or harm.) | Various | ||
| "Suur' olet Herra" ("The Lofty Heaven") | [1927], arr. 1945 | JS 58b | mchor, organ | S. Korpela – J. Tegengren, trans. (sv) |
||
Preliminary versions and fragmentsedit |
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| Orch. (frag.) | [Luonnotar], predecessor to Pohjola's Daughter | 1903–1905 | HUL 0163 | orch. | – | |
[Suite for Orchestra], predecessor to The Oceanides
|
1913–1914 | – | ||||
| Chamber (frag.) | Den lilla sjöjungfrun (The Little Mermaid) | 1887–1888 (abandoned, partially survives) | JS 59 | Nar., 2 vl., va., vc. (probable) | H.C. Andersen – K.J. Backman, trans. (sv) |
|
String Trio in G minor
|
1893–1894 | JS 210 | vl., va., vc. | – | ||
| [March], preliminary version of Scout March (Partiolaisten marssi) | 1897–1899 | HUL 0504 | torviseitsikko, perc. | |||
| Violin (frag.) | [Mazurka] in C major | 1883 | HUL 0536a/2 | violin | ||
| Impromptu in G minor | 1884 | HUL 0525/3 | ||||
| Song (frag.) | "Medan nordanvinden gnyr" ("While the North Wind Roars") | 1888 | HUL 1283 | 2 voices, vc. | Anonymous | |
| "Då världar ännu skapade ej voro" ("When Worlds Still Uncreated Were") | JS 56 | voice, vc. (?), pf. | ||||
| "Solen slog himlen röd" ("The Sun Reddened the Sky") | HUL 1179 | voice, pf. | E. Josephson | |||
| "Höstkväll" ("Autumn Evening") | 1888–1889 | HUL 1180 | V. Rydberg | |||
| "Flickan gick en vintermorgan" ("The Maiden Went Out One Winter Morning") | 1890–1892 | HUL 1186 | J.L. Runeberg | |||
| "Den första kyssen" ("The First Kiss") | 1891–1892 | JS 57 | ||||
| "Frihet" ("Freedom") | – | K.A. Tavaststjerna | ||||
| "Drick, De förflyga de susande pärlorna" ("Drink, the Fizzling Pearls are Flying Away") | F.M. Franzén | |||||
| "Romans" ("Romance") | 1905 | K.A. Tavaststjerna | ||||
| "Och skull ditt hjärta jag fångat" ("And If I had Captured Your Heart") | 1908–1910 | [Unknown] | ||||
| Song (prelim.) | [preliminary version of "Säv, säv, susa"] | 1900 | JS 42 | G. Fröding | ||
| [preliminary version of "Soluppgång"] | 1902 | JS 87 | T. Hedberg | |||
| [preliminary version of "Vänskapens blomma"] | 1909 | JS 215 | E. Josephson | |||
| Choral (frag.) | "Heitä, koski, kuohuminen" ("Rapids, Cease Your Foaming") | 1893 | JS 94 | mchor. | Kalevala, Runo XL | |
| "Listen to the Water Mill" | 1905–1906 | JS 122 | chor. | S. Doudney | ||
| Unknown | March of the Pori Regiment (Porilaisten marssi), arrangement [I] of the original | arr. 1892 (lost) | JS 151 | chamber ensemble | – | |
| "The American Millers' Song" | [Unknown] (lost) | JS 29 | voice, pf. (probable) | [Unknown] | ||
| Snöfallet (The Snowfall) | 1927 (lost) | JS 175 | ||||
Notes, references, and sources
editNotes
edit- ^ a b The opus numbers for orchestral works are: Opp. 6 (one), 7 (one; choral symphony aggregated), 9 (one), 10 (one), 11 (one; suite aggregated), 14 (one), 15 (two; tone poem and melodrama), 16 (one), 19 (one), 22 (one; suite aggregated), 25 (one; suite aggregated), 26 (one), 27 (one; incidental music aggregated), 28 (one), 29 (one), 30 (one), 31 (three), 32 (one), 33 (one), 39 (one), 42 (one), 43 (one), 44 (two), 45 (two), 46 (one; suite aggregated), 47 (one), 48 (one), 49 (one), 51 (one; suite aggregated), 52 (one), 53 (one), 54 (one; suite aggregated), 55 (one), 59 (one), 62 (two), 63 (one), 64 (one), 66 (one; suite aggregated), 69 (two), 70 (one), 71 (one; through-composed score aggregated), 73 (one), 77 (two), 82 (one), 83 (one; through-composed score aggregated), 87 (two), 89 (four), 91 (two), 92 (one), 93 (one), 95 (one), 96 (three), 98 (one; two suites aggregated), 100 (one; suite aggregated), 104 (one), 105 (one), 109 (three; two suites aggregated and a prelude), 110 (one), and 112 (one). Finally, to avoid double counting opus numbers, this count excludes two orchestral works Sibelius subsequently arranged from Opp. 4 (one) and 5 (one).
- ^ a b The opus numbers for chamber works are: Opp. 2 (two pieces), 4 (one), 8 (one; incidental music aggregated), 20 (one), 56 (one), 78 (four), 79 (six), 80 (one), 81 (five), 102 (one), 106 (five), 115 (four), and 116 (three). Finally, to avoid double counting opus numbers, this count excludes a duo for violin and piano that Sibelius subsequently arranged from Op. 71.
- ^ a b The opus numbers for solo piano are: Opp. 5 (six pieces), 12 (one), 24 (ten), 34 (ten), 40 (ten), 41 (one; suite aggregated), 58 (ten), 67 (three), 68 (two), 74 (four), 75 (five), 76 (thirteen), 85 (five), 94 (six), 97 (six), 99 (eight), 101 (five), 103, (five), and 114 (five). Finally, to avoid double counting opus numbers, this count excludes the two piano pieces Sibelius subsequently arranged from Op. 71. Only one opus number, 111, includes works for organ (two).
- ^ a b The opus numbers for the songs are: Opp. 1 (five songs), 3 (one), 13 (seven), 17 (seven), 35 (two), 36 (six), 37 (five), 38 (five), 50 (six), 57 (eight), 60 (two), 61 (eight), 72 (six, albeit with two lost), 86 (six), 88 (six), and 90 (six). This count excludes the following songs from orchestral works Sibelius subsequently transcribed for voice and piano: Opp. 7 (one, from Kullervo), 27 (one, from King Christian II), 33 (one, The Rapids-Rider's Brides), 46 (one, from Pelléas et Mélisande), and 70 (one, Luonnotar).
- ^ a b The opus numbers for choral works are: Opp. 18 (six songs), 21 (one), 23 (ten; song cycle disaggregated), 65 (two), 84 (five), 108 (two), and 113 (one; through-composed score, aggregated, that also includes the "Finlandia-hymni" ("Finlandia Hymn") that Sibelius subsequently arranged from Op. 26). Finally, to avoid double counting opus numbers, this count excludes "Nejden andas" ("The Landscape Breathes"), which Sibelius arranged from Op. 30 (one).
- ^ a b Sibelius's final opus list from 1952 did not assign Op. 107 to any composition. However, earlier personal lists indicate that c. 1930 the composer had labeled the Three Introductory Antiphons (Kolme johdantovuorolaulua) for baritone soloist (liturgist), mixed choir (congregation), and organ (1925, JS 110/1–3), as well as "Herran siunaus" ("The Lord's Blessing") for organ and liturgist (1925, JS 95), as Op. 107. The Three Introductory Antiphons were demoted c. 1942, while "Herran siunaus" lost its place c. 1951. Some evidence also exists that Sibelius, after demoting the antiphons, may have considered replacing them with the orchestral song "Onward, Ye Brethren" (from No. 6 of the Op. 113 Masonic Ritual Music).[858]
- ^ a b c The Suite for Violin and String Orchestra (1929; JS 185) is sometimes designated as Sibelius's de facto Op. 117, because the composer referred to it as such in a 15 February 1929 letter to Carl Fischer Music. Nevertheless, Fischer's rejection of the Suite led Sibelius to demote the work from his opus list, and his personal catalogue from 1930 listed the Academic March (Promootiomarssi; JS 155, 1919) and the patriotic piece for male choir and piano "Karjalan osa" ("Karelia's Fate"; JS 108, 1930), respectively, as Opp. 117/1 and 117/2. By 1942, Sibelius had again changed his mind, with the orchestrated version of Andante festivo (JS 34b; 1922, arranged 1938) now labeled as Op. 117/a. His final opus list from 1952, however, did not assign Op. 117 to any composition.[859]
- ^ The 1952 list superseded several earlier personal catalogues, the first of which dates to 1896.[14] For a detailed discussion of Sibelius's various personal catalogues, see Erik Tawaststjerna's Sibelius, Vol. III: 1914–1957, pp. 41–47,[15] as well as Fabian Dahlström's "Die Opuszahlen" in Jean Sibelius: Thematisch-bibliographisches Verzeichnis seiner Werke, which traces Sibelius's cataloguing changes both numerically by opus (pp. 680–687) and alphabetically by name of composition (pp. 687–692).[16]
- ^ Notable demotions include:
- String Quartet in A minor (JS 183, 1889) → WoO in 1911[18]
- Violin Sonata in F major (JS 178, 1889) → WoO in 1897[18]
- Piano Quintet in G major (JS 159, 1890) → WoO in 1915[19]
- Overture in E major (JS 145, 1891) → WoO in 1915[18]
- Ballet Scene (JS 163, 1891) → WoO in 1914 → promoted in 1915 → WoO again by 1931[19]
- Nights of Jealousy (JS 125, 1893) → WoO in 1915 → promoted 1925 → WoO again by 1931[20]
- Promotional Cantata of 1894 (JS 105) → WoO by 1911[19]
- Coronation Cantata (1896) → WoO by 1910[20]
- The Maiden in the Tower (JS 101, 1896) → WoO in 1914[20]
- Promotional Cantata of 1897 (JS 106) → WoO in 1905[19]
- ^ Because Imperial Russia—and by extension the Grand Duchy of Finland—was not a member of the Berne Convention of 1886, these Finnish publishers in turn relied upon the Leipzig-based firm of Breitkopf & Härtel for copyright protection in the major European markets, as well as in the United States, the independent copyright regime of which Breitkopf & Härtel had the resources to navigate.[24]
- ^ Westerlund took on Lindgren's contracts upon the latter's death in 1919.[27] Many of Westerlund's purchases from this period, in turn, were acquired later by Edition Wilhelm Hansen in Copenhagen. Some of these Edition Wilhelm Hansen acquired directly from Westerlund, whereas other Westerlund sold to the London-based firms of Augener & Co. and J. & W. Chester, who then later sold them to Hansen.[28]
- ^ During this time, Sibelius also signed with Carl Fischer Music in New York; Hansen, however, acquired the right to produce parallel editions.[28]
- ^ In 1967, Fazer acquired Westerlund's remaining Sibelius editions; in 1994, Warner/Chappell Music Finland Oy purchased Fazer.[30]
- ^ The Jean Sibelius Works (JSW) critical edition has had three editors-in-chief, as follows: Fabian Dahlström (1996–2000), Glenda Dawn Goss (editor: 1998–2000; editor-in-chief: 2000–2004), and Timo Virtanen (acting editor-in-chief: 2004–2005; permanent editor-in-chief: 2006–present). In addition, Esko Häkli (chair of the editorial committee, 1996–2019), Kari Kilpeläinen (editor: 1996–2002 and 2005–2015), and Jukka Tiilikainen (editor: 1996–2003) were founding contributors.[42]
- ^ In addition, the Finnish labels Finlandia (which Warner Music acquired in 1994) and Ondine, as well as the budget label Naxos, have recorded not only Sibelius's orchestral works, but also the less well-known portions of his oeuvre, including his chamber works, songs, piano pieces, and choral music.[citation needed]
- ^ For compositions that include words, this column provides the name of the text's author (e.g., poet, librettist, etc.) or, in cases where there is no author, the name of the text (e.g., the Kalevala or the Kanteletar). In addition, relevant text information is provided parenthetically for a subset of compositions without words, if they:
- were derived from an earlier work with words (e.g., the orchestral overture Sibelius arranged from his opera The Maiden in the Tower is listed as: "– (R. Hertzberg)")
- were intended to accompany a literary source (e.g., the purely instrumental incidental music Sibelius wrote for Strindberg's play Swanwhite is listed as: "– (A. Strindberg)")
- were inspired by a literary source (e.g., the tone poem Pohjola's Daughter, which wordlessly portrays a story from the Finnish national epic, is listed as: "– (Kalevala)")
- ^ a b c In 1893, Sibelius withdrew Kullervo, saying he wanted to revise it; he never did so. Nevertheless, in 1892–1893, he excerpted Kullervo's concluding monologue from Movement III and arranged it for voice (in German, rather than the Finnish original) and piano as Kullervos Wehruf (Kullervo's Lament); due to the differences between Finnish and German, he made alterations to the metre of the vocal line. Later in 1917–1918, he used the German arrangement to make new one in Finnish for voice and piano, changing the metre back (Kullervon valitus). Finally, in 1957, he arranged Kullervo's Lament for baritone and orchestra.[46]
- ^ From 1898–1899, Sibelius worked on his First Symphony (Op. 39). In 1900, in preparation for the Finnish music program at the Paris World Exhibition, he revised the symphony. (the original version does not survive, although a complete draft score made during the revision process is extant).[48]
- ^ From 1901–1902, Sibelius worked on his Second Symphony (Op. 43); two themes that eventually ended up in Movement II were briefly intended for projected works that never materialized: first, a theme labeled "Death" (related to Don Juan) was meant for 'Festival: Four Tone-Poems for Orchestra'; and second, a theme labeled "Christus" was related to a composition after Dante's Divine Comedy. Finally, in 1902, Sibelius made a few minor changes in preparing the symphony for publication.[50]
- ^ The second movement of the Third Symphony contains material from 1905's abandoned oratorio Marjatta.[52]
- ^ a b From late 1909–1911, Sibelius busied himself with his Fourth Symphony (Op. 63)—the first, germinal ideas appear to have been piano sketches from September 1909 called 'The Mountain' and 'Thoughts of a Wayfarer', which may have ended up in the symphony's first and third movements, respectively. Moreover, in November 1910, Sibelius began working on a new orchestral song, for the Finnish soprano Aino Ackté, based on Poe's poem The Raven. By December, however, he had abandoned the project; nevertheless, some of the material from "The Raven" eventually made its way into the finale of the Fourth. In late 1911, Sibelius made a few minor changes in preparing the symphony for publication.[54][55]
- ^ Sibelius's work on his Fifth (Op. 82), Sixth (Op. 104), and Seventh (Op. 105) symphonies overlapped, as he sorted his motifs and refined his symphonic ideals. In 1915, Sibelius completed the Symphony No. 5, which was then in four movements. However, in 1916, he substantially revised the piece, and by merging the first two movements, created a three-movement work. From 1918–1919, Sibelius undertook a second revision and produced the final, three-movement version of the Fifth. (Two ideas he considered but ultimately rejected were: first, to write an entirely new first movement; and second, to scrap Movements II–III.) The original 1915 version of the symphony is extant, while the intermediate 1916 version is—with the exception of a double bass part—lost.[57]
- ^ a b Sibelius's work on his Fifth (Op. 82), Sixth (Op. 104), and Seventh (Op. 105) symphonies overlapped, as he sorted his motifs and refined his symphonic ideals. The Symphony No. 6—at one point referred to as Fantasia I—also incorporated material from a 1919–1920 (eventually abandoned) Kalevala-themed project: a tone poem called The Moon Goddess (Kuutar; no catalogue number). Moreover, a theme initially intended for the symphony eventually made its way into the finale of the Violin Sonatina in E major (Op. 80).[59][60]
- ^ Sibelius's work on his Fifth (Op. 82), Sixth (Op. 104), and Seventh (Op. 105) symphonies overlapped, as he sorted his motifs and refined his symphonic ideals. His initial plan (c. 1918) for what would become Op. 105 was a symphony in three movements; by 1922, this had evolved into a four-movement work and, by 1923, finally into a single-movement composition that eroded the traditional subdivisions of sonata form. The completed piece initially premiered under the ambivalent title of Fantasia sinfonica, but at some point in 1924–1925, Sibelius decided to 'promote' it to his Symphony No. 7.[62] Two different preliminary endings [HUL 0354 and HUL 0353] are extant.[63]
- ^ Manuscript destroyed by composer, likely in the 1940s; very few sketches survive.[65]
- ^ a b Sibelius heavily revised the Violin Concerto in 1905 (the original version is extant). That same year, he transcribed the piece for violin and piano.[66]
- ^ a b These works comprise the Op. 69 Two Serenades. Sibelius considered—but decided against—titling the D major serenade I gammalt hem (In the Old Home) and the G minor serenade Romance.[68][69]
- ^ a b c d These works, Cantique and Devotion, comprise the Op. 77 Two Serious Melodies. They are also known by their Latin subtitles, respectively as: Laetare anima mea" ("Rejoice My Soul") and "Ab imo pectore" ("From My Very Heart"). In 1915, Sibelius transcribed the melodies for violin and piano. The year after, he arranged them for cello and orchestra and made transcriptions for cello and piano.[72]
- ^ a b c d e f Although published over two opus numbers (Opp. 87/1–2 and 89/1–4), Sibelius intended the Six Humoresques to be played as a suite. In 1940, he revised No. 1's instrumentation after the 1917 version was lost (this version was rediscovered in 1982 and is now extant).[75]
- ^ In 1929, Sibelius composed the Suite for Violin and String Orchestra (JS 185). Upon its rejection by a publisher, however, Sibelius began—but did not complete—a revision.[82]
- ^ Sibelius composed En saga (Op. 9)—sometimes translated as A Fairy Tale, A Saga, or A Legend—in 1892–1893. Some scholars believe the piece began as a chamber work for flute, clarinet, and string sextet or septet from 1890–1891, although the original sketches do not survive. In 1902, Sibelius substantially revised En saga; the original 1893 version is extant.[84]
- ^ In 1894, Sibelius composed an Improvisaatio (Improvisation) for orchestra. However, in 1895, he withdrew and revised the piece, changing the key from F major to D major and renaming it Spring Song (Vårsång). Scholars formerly believed that a second revision to Spring Song had occurred in 1902, but more recent scholarship has established that a second revision never took place. The original 1894 version is extant.[86]
- ^ a b c The Wood Nymph (Op. 15), to which Sibelius gave the subtitle "Ballade pour l'orchestre", refers to two thematically-related compositions: first, a tone poem for orchestra; and second, a melodrama for narrator, piano, two horns, and strings. Sibelius claimed to have completed the melodrama first, which he then expanded into the longer tone poem. Musicologists, however, suspect the reverse is true: that the tone poem came first and then was condensed into the melodrama. Scholars also suspect that some of The Wood Nymph's material may have originated from Sibelius's discarded opera project, The Building of the Boat. The tone poem was thought lost until its rediscovery in the early 1990s by Kari Kilpeläinen. Finally, in 1895, Sibelius arranged the coda for solo piano as Ur Skogsrået.[88]
- ^ a b c d e From 1895–1896, Sibelius composed the four-movement Lemminkäinen Suite (Lemminkäis-sarjaan, Op. 22). Surviving sketches indicate that Sibelius rescued some material from his discarded 1893 opera project, The Building of the Boat; for example, the opera's overture evolved into Lemminkäinen's The Swan of Tuonela. The original ordering of the Lemminkäinen Suite was as follows: Lemminkäinen and the Maidens of the Island (which is occasionally mistranslated as Lemminkäinen and the Maidens of Saari)[90] was No. 1; Lemminkäinen in Tuonela was No. 2; The Swan of Tuonela was No. 3, and Lemminkäinen's Return (sometimes translated as Lemminkäinen's Homeward Journey) was No. 4. In 1897, Sibelius revised the entire suite, and in 1900, he again revised The Swan of Tuonela and Lemminkäinen's Return for publication in 1901. Lemminkäinen and the Maidens of the Island and Lemminkäinen in Tuonela were neglected for four decades until 1939, when Sibelius revised them for publication (although they were not published until 1954) and reversed the order of The Swan of Tuonela and Lemminkäinen in Tuonela (now Ops. 22/2 and 22/3, respectively). The original the 1895–1896 versions of all but The Swan of Tuonela are extant; the 1897 version of The Swan of Tuonela is lost, while the 1897 versions of Lemminkäinen and the Maidens of the Island and Lemminkäinen in Tuonela are not performable; the 1897 Lemminkäinen's Return is extant. The thematic material (a fanfare) that forms the basis of A Song for Lemminkäinen comes from the original, 1895–1896 ending of Lemminkäinen's Return (Op. 22/4). Upon revising the piece (either in 1897 or 1900), Sibelius transplanted this final section into the song for male choir and orchestra.[91]
- ^ Extracted by the composer from the sixth tableau, Suomi herää (Finland Awakes), of JS 137.[96]
- ^ a b c d Pohjola's Daughter (Pohjolan tytär, Op. 49), to which Sibelius gave the subtitle Symphonische Fantasie (Symphonic Fantasy), was composed in 1906. However, some of its themes trace to an earlier project on the subject of Luonnotar from 1903–1905; that 'Luonnotar' (for which a fragment is extant) grew out of the abandoned oratorio Marjatta (without catalogue number) and, by 1906, evolved into the Op. 49 tone poem. It is thematically unrelated to the later Luonnotar (Op. 70) tone poem for soprano and orchestra from 1913; that same year, Sibelius arranged Luonnotar for soprano and piano.[98][99]
- ^ a b In 1910, Sibelius arranged The Dryad for solo piano.[102]
- ^ a b c The Oceanides (Aallottaret, Op. 73) survives in three forms: first, a three-movement preliminary orchestral suite in E-flat major that dates to 1913 (No. 1 is lost, while Nos. 2–3 are extant); second, the initial ("Yale") version of the tone poem in D-flat major that dates to 1914; and third, the revised version of the tone poem in D major that Sibelius undertook en route to America. Barnett (2007) has also speculated that the lost first movement from the "pre-Oceanides suite" may be the missing first version of the tone poem The Bard (Barden, Op. 64), which Sibelius had written—and also revised—in 1913.[104]
- ^ Although Sibelius's final tone poem, Tapiola (Op. 112), takes its inspiration from the Kalevala, it does not depict an actual story from within its runos—indeed, Sibelius (with his wife's assistance) suggested the English translation should be The Forest, rather than the literal translation of The Realm of Tapio. Sibelius considered making cuts to Tapiola prior to its November premiere, but was unable to do so because the publisher had already been engraved the piece.[108]
- ^ The Building of the Boat was Sibelius's plan for a Wagnerian grand opera. By September 1894, however, he had abandoned the project and began to rework most of its material into the Lemminkäinen Suite (and perhaps, too, The Wood Nymph, Op. 15). For example, the opera's overture became The Swan of Tuonela (Op. 22/2).[110]
- ^ a b In 1896, Sibelius withdrew The Maiden in the Tower (for which a rehearsal score for soloists, mixed choir, and piano accompaniment is also extant), saying he wanted to revise it; he never did.[111] In the 2010s, a 12-minute, derivative concert overture for orchestra—marked by Sibelius and "hiding among the [original 1896] orchestral parts"—was "discovered" by Tuomas Hannikainen. It is not to be confused with the actual 3-minute overture of the opera.[citation needed]
- ^ a b c d The incidental music for King Christian II was originally in four numbers for the 24 February 1898 premiere: 1) Elegie, 2) Musette, 3) Menuetto, and 4) Fool's Song of the Spider (Sången om korsspindeln). No. 3 is a reworking of an earlier orchestral work—Menuetto (JS 127)—that dates to 1894, while No. 4 is an orchestral song for baritone. In the summer of 1898, Sibelius added three additional movements: 5) Nocturne, 6) Serenade, and 7) Ballade; shortly thereafter, he arranged a five-movement concert suite for orchestra (also Op. 27). Moreover, in 1898, Sibelius arranged Nos. 1–4 from the theatre score for solo piano, as well as No. 4 as a song for baritone and piano.[113]
- ^ a b c d e f Nos. 2—Moderato (Paavali's Song)–and 3—Moderato assai – Moderato (Elsa's Song) – Poco adagio—from the incidental music for [[Kuolema (Sibelius)|Kuolema]] are orchestral songs for baritone and mezzo-soprano, respectively. Sibelius excerpted and revised the score to produce two concert pieces for orchestra: in 1904, No. 1—Tempo di valse lente – Poco risoluto—as Valse triste (Op. 44/1); and in 1906, the outer sections of No. 3 (Moderato assai and Poco adagio) with No. 4—Andante—as Scene with Cranes (Op. 44/2). In 1904, he also transcribed Valse triste for solo piano. Finally, for a 1911 production of the play, he wrote two new numbers for a revised version of Järnefelt's play: Canzonetta (Op. 62/1)—originally titled Rondo der Liebenden (Rondo of the Lovers) and written in 1906—and Valse romantique (Op. 62/1)—originally titled Vals-intermezzo.[115][116]
- ^ a b c d No. 6—The Three Blind Sisters (De trenne blinda systrar)—from the incidental music for [[Pelléas et Mélisande (Sibelius)|Pelléas et Mélisande]] is an orchestral song for mezzo-soprano; in 1905, Sibelius arranged it for voice and piano (JS 147/6). Moreover, in 1905, Sibelius derived a nine-movement concert suite for orchestra (Op. 46); he also transcribed it for solo piano the same year (except No. 2a).[118]
- ^ a b c d No. 2b— The Jewish Girl's Song (Den judiska flickans sång)—from the incidental music for Belshazzar's Feast is an orchestral song for mezzo-soprano; in 1907 (revised 1939), Sibelius arranged it for voice and piano (JS 48/2b). Moreover, from 1906–1907, Sibelius derived a four-movement concert suite for orchestra (Op. 51); he also transcribed it for solo piano the same year.[88]
- ^ a b A fragment for an alternative version of No. 9—Largo—is extant. In 1908, Sibelius derived from the incidental music for Swanwhite a seven-movement concert suite (Op. 54).[122]
- ^ Publisher: MFz (1997). Sibelius composed a wedding march for Act III of The Language of the Birds (although no production of the play appears to have used the piece).[124]
- ^ a b c Sibelius derived three additional works from Scaramouche: Danse élégiaque and Scène d'amour were arranged in 1914 for solo piano, and in 1925, the Sibelius arranged (or perhaps more accurately, revised as "almost a new piece") the latter for violin and piano.[126] The twenty-minute 'Scaramouche Suite' is a sanctioned excerption by the composer's son-in-law, Jussi Jalas, that maintains Sibelius's original orchestration.
- ^ a b In 1925, Sibelius considered excerpting a suite from Everyman, but never did so. In the end, in 1925, he merely arranged for solo piano Nos. 2 (Largo), 4 (Tempo commodo), and 8 (Allegretto – Allegro) as, respectively, Episodio, Canzone, and Scéna.[128]
- ^ a b c d e In 1925, for the Royal Danish Theatre, Sibelius completed the incidental music to Shakespeare's The Tempest (JS 182, Danish-language translation by Edvard Lembcke). In 1927, a production at the Finnish National Theatre used a Finnish-language translation by Paavo Cajander, and Sibelius took the opportunity to add the concluding Epilogue (No. 34b), based on an earlier work from 1904: Cassazione (Op. 6). Also in 1927, he derived two, nine-movement concert suites (Op. 109/2–3), as well as the stand-alone Prelude (Op. 109/1), from the incidental music; each is for orchestra and is without voices. In the same year, he also transcribed three numbers for solo piano as Episode (Miranda), Dance of the Nymphs, and Scène. Finally, in 1929, Sibelius revised No. 5—Canon—from the first orchestral suite; the 1927 of Canon version is extant.[130]
- ^ Sibelius began working on the Marjatta oratorio in 1905, but soon abandoned his plans the same year, likely due to a waning enthusiasm for Finne's libretto (based on the Kalevala's biblically-inspired Runo L). Musicologists speculate that material from the oratorio eventually made its way into numerous compositions: 1906's 'Luonnotar' tone poem, which itself evolved into Pohjola's Daughter (Op. 49); 1907's Third Symphony (Op. 52); the second movement (Love Song) of 1912's Scènes historiques II (Op. 66); and, possibly, 1905's Not with Lamentation (Ej med klagan, JS 69), for mixed choir a cappella; 1909's In memoriam (Sibelius) (Op. 59); and 1922's Andante festivo (JS 34a).[141]
- ^ a b Cantata for the Graduation Ceremonies of 1894, which is sometimes called the Promotional Cantata, only partially survives: the soprano part for the third movement is lost; however, a rehearsal score with piano accompaniment is extant. In 1896, Sibelius made an arrangement for mixed choir a cappella and retitled as Festive March (Juhlamarssi).[142]
- ^ a b c Sometimes referred to as the Coronation Cantata; in 1896, Sibelius arranged for orchestra a section of Part I from the Cantata for the Coronation of Emperor Nicholas II as the Coronation March (Kröningsmarsch). Finally, in 1913, he arranged a portion of the cantata as Hail Princess (Terve Ruhtinatar), for female (or children's) choir a cappella.[144]
- ^ a b c The complete score of the Cantata for the Graduation Ceremonies of 1897 is lost, although some orchestral parts, as well as a rehearsal score with piano accompaniment, are extant. (In 2010, Kalevi Aho and Timo Hongisto used these sources to reconstruct a performing version of the cantata, albeit for soprano, tenor, mixed choir, and piano.)[146] In 1898, Sibelius excerpted from the Cantata for the Graduation Ceremonies of 1897 ten songs and arranged them as the Op. 23 Songs for Mixed Chorus from the 1897 Promotional Cantata (Lauluja sekaköörille 1897 vuoden promotiooni kantaatista), while in 1913 he arranged No. 6a—We Praise Thee, Our Creator (Soi kiitokseksi Luojan—for female (or children's) choir a cappella.[147]
- ^ a b In 1910, Sibelius revised the 1902 version of The Origin of Fire—which is extant—and also transcribed it for baritone, male choir, and piano.[149]
- ^ Sometimes translated as The Liberated Queen, The Captive Queen is also known as the Cantata in Celebration of Snellman's Birth (Snellmanin juhla-kantaatti). To avoid the ire of the Russian censors, the piece premiered under the title There Sings the Queen (Siell' laulavi kuningatar). By 1910 (but perhaps as early as 1906), Sibelius arranged the piece for male choir and orchestra.[151]
- ^ Oma maa is sometimes translated as Our Native Land.
- ^ Subtitled Cantata for the Inaugural Ceremonies of Åbo Academy University 1919.
- ^ a b Sibelius gave The Breaking of the Ice on the Oulu River the subtitle of "improvisation". In 1913, Sibelius arranged a short portion of the melodrama as The Landscape Breathes (Nejden andas), for female (or children's) choir a cappella. An alternative ending for The Landscape Breathes is also extant.[158]
- ^ Sibelius gave Snöfrid the subtitle of "improvisation".[160] In 1929, Hansen was the first to publish parts and full score; however, the choir parts—without publisher information—appeared in 1904.[161]
- ^ The Countess's Portrait is sometimes recorded without the narration.
- ^ a b Originally for narrator and piano (JS 77a), Sibelius arranged A Lonely Ski-Trail for narrator, harp, and strings in 1948.[164]
- ^ a b The "Serenad" (JS 168, 1895; Stagnelius) for baritone and orchestra and the "Serenad" (JS 167, 1888; Runeberg) for voice and piano are unrelated to each other.
- ^ a b Originally for soloist and orchestra, Sibelius later made two arrangements of "Koskenlaskijan morsiamet" ("The Rapids-Rider's Brides"): in 1897–1899, for voice and piano; and in 1943, for male choir and orchestra.[735] The song is sometimes translated as "The Ferryman's Brides" or "The Rapids-Shooter's Brides".
- ^ a b c d e f g h These songs comprise the Op. 17 Seven Songs, of which five are sung in Swedish and two in Finnish. Sibelius subsequently arranged "Se'n har jag ej frågat mera" ("Since Then I Have Questioned No Further") for voice and orchestra
- ^ a b c d e f g h These songs comprise the Op. 38 Five Songs, each of which is sung in Swedish. Sibelius subsequently arranged "Höstkväll" ("Autumn Evening"), "På verandan vid havet" ("On a Balcony by the Sea"), and "I natten" ("In the Night") for voice and orchestra.
- ^ a b "Arioso" is a Swedish-language songs. Sibelius appears to have worked on two versions simultaneously: one for soprano and strings, the other for soprano and piano.[694]
- ^ a b c d e f g h i j These songs comprise the Op. 57 Eight Josephson Songs, each of which is sung in Swedish. Sibelius subsequently arranged "Hertig Magnus" ("Duke Magnus") for voice and orchestra. (This version of the song was lost until its rediscovery in 1943, only to be lost again and relocated in 1994.)[672]
- ^ a b c d e f g h These songs comprise the Op. 13 Seven Runeberg Songs, each of which is sung in Swedish. Sibelius subsequently arranged "Våren flyktar hastigt" ("Spring is Flying") for voice and orchestra.
- ^ a b c d e f g These songs comprise the Op. 37 Five Songs, each of which is sung in Swedish. Sibelius subsequently arranged "Soluppgång" ("Sunrise") for voice and orchestra.
- ^ a b c d e f g h These songs comprise the Op. 36 Six Songs, each of which is sung in Swedish. Sibelius subsequently arranged "Demanten på marssnön" ("The Diamond on the March Snow") for voice and orchestra.
- ^ a b c In 1919, Sibelius wrote Autrefois as the second of the Op. 96 Three Pieces; although it is scored for two sopranos and orchestra, two clarinets may substitute if no vocalists are available. In 1920 made minor revisions for publication; at this time, he also arranged the piece for solo piano (with text written above the music), as well as for two sopranos and piano.[177]
- ^ a b c In 1909, Sibelius wrote two songs for a Swedish-language production of Shakespeare's Twelfth Night: "Kom nu hit, död" ("Come Away, Death") and "Hållilå, uti storm och i regn" ("Hey, Ho, the Wind and the Rain"). While each song was originally for voice and guitar, Sibelius arranged them for voice and piano in 1909. In 1957, he arranged "Kom nu hit, död" for baritone and orchestra.[682]
- ^ a b Initially, Sibelius intended the Overture in E major (JS 145) and Ballet Scene (JS 163) as movements I and II, respectively, in a symphony; however, he abandoned this plan in April 1891.[181][182]
- ^ a b This early orchestral work by Sibelius has not survived.[185][186]
- ^ a b c d Extended title is Music for a Lottery Soireé in Aid of Education in the Province of Viipuri; reconstructed individually by Kalevi Aho and Jouni Kaipainen;[237] the composer excerpted the overture as Op. 10 and arranged tableau No. 4 and the two intermezzi into the Op. 11 suite; tableau No. 8 includes the composer's arrangement of the Finnish national anthem, Maamme (Our Land).
- ^ a b c d The String Quartet B-flat major—Sibelius's third—is in four movements. In 1894, Sibelius arranged Movement III for strings and titled it Presto (also known as Scherzo). Musicologists have speculated: first, that the Adagio in D minor (JS 12) may have been intended as a slow movement for the Op. 4 quartet; and second, that the Allegretto in B-flat major (without catalogue number) may be an abandoned sketch.[305]
- ^ a b In 1893, Sibelius reused themes from Nights of Jealousy—a melodrama for narrator, vocalise soprano, and piano trio–for Nos. 5–6 of the Six Impromptus for solo piano (Op. 5). In 1894, he combined the fifth and sixth impromptus in an arrangement for strings and titled the new piece Impromptu.[263]
- ^ Although the Menuetto dates to 1894, Sibelius subsequently revised and shortened the piece for inclusion as No. 3 in the King Christian II incidental music (Op. 27).[193]
- ^ Sibelius wrote the Press Celebrations Music to raise money for the Press Pension Fund. (This purpose, however, served as a cover for the actual cause: to support a free Finnish press, which had suffered censorship under the Tsar's February Manifesto.) Sibelius's music introduced dramatic tableaux by Kaarlo Bergbom, with declaimed verses by Eino Leino and Jalmari Finne. Sibelius later arranged tableaux Nos. 1, 3, and 4 as Scènes historiques I (Op. 25) and tableau No. 6 as Finlandia (Op. 26).[196][197]
- ^ a b Sibelius twice arranged the well-known Swedish/Finnish song March of the Pori Regiment: first, in 1892 for a chamber ensemble with unknown scoring ("piccolo, violin, viola, and a couple other instruments"), which was performed for the unveiling of the Finnish painter Albert Edelfelt's painting of the same name; and second, as an orchestral encore piece for the Helsinki Philharmonic Society's 1900 European tour. The 1892 arrangement is lost.[199]
- ^ a b Sibelius's fourth (and only mature) string quartet, Voces intimae)—its earliest sketches date to 1899–1903—is in five movements, of which Movement III's (marked Adagio di molto) opening idea originated in the Adagio in E major for solo piano (JS 13); and Movement V contains a motif original to the Overture in A minor for orchestra (JS 144). Finally, a short preliminary ending for Movement V is also extant.[311]
- ^ The 1904 version is extant.[202]
- ^ Sibelius originally entitled the piece as Andante.[204]
- ^ a b c Sibelius wrote Musik zu einer Szene (Music to a Scene) to accompany a tableaux. However, in 1904 he shortened and arranged the piece—now titled Dance Intermezzo—for solo piano. Later, in 1907, he orchestrated Dance Intermezzo.[206]
- ^ a b Originally written to accompany a tableau, Sibelius gave the subtitle to Pan and Echo of Tanzintermezzo (Dance-intermezzo). In 1907, he arranged it for solo piano.[210]
- ^ Sibelius composed this funeral march in memory of Eugen Schauman. The 1909 version is extant.[212]
- ^ a b c In 1894, Sibelius composed Rakastava (The Lover), a three-part choral suite for tenor and male choir a cappella (JS 160a); at this time, he also made an arrangement for tenor, male choir, and strings (JS 160b), in order to assist with the premiere performance. Later, in 1898, he made a second arrangement, this time for soprano, baritone, and mixed choir a cappella (JS 160c). Finally, in 1911 while visiting Paris, he orchestrated Rakastava for strings, timpani, and triangle as his Op. 14; a revision followed in 1912 in advance of publication. The 1911 'Paris' version, however, is extant.[757]
- ^ In 1911, Sibelius arranged tableaux Nos. 1, 4, and 3 from the Music for the Press Celebrations Days (JS 137), respectively, as All'Overtura, Scena, and Festivo.[215][216]
- ^ No. 1 is sometimes translated as The Chase. The original order of the movements was: At the Draw-Bridge, Love Song, and The Hunt.[218]
- ^ a b c d e f g h These works for solo piano comprise the Op. 75 Five Pieces (original French title: Cinq Morceaux),[525] although the collection is more commonly referred to as The Trees due to the thematic link between the descriptive titles of the pieces. Originally, the set included six, rather than five, pieces. However, in 1919 Sibelius decided to rework both No. 5 The Spruce (Granen) and No. 6 The Lilac (Syringa) into a single ABA waltz called Valse lyrique. Dissatisfied with the result, he again separated the two pieces, revising The Spruce into its final form and refashioning The Lilac into a second version, which took the name Valse lyrique and transferred from Op. 75/6 (its deprecated catalogue number) to Op. 96/1. (The initial versions of The Spruce [HUL 0732], The Lilac, and Valse lyrique [HUL 0734] are extant.) Moreover, in 1920, Sibelius orchestrated Valse lyrique. Finally, a preliminary version of No. 3 The Aspen (Aspen, c. 1912 [HUL 0730]) is also extant.[526]
- ^ Sibelius composed the Academic March for the University of Helsinki's degree ceremony of 1919.[221]
- ^ a b From late 1921 to January 1922, Sibelius worked simultaneously on the piano and orchestral versions of Valse chevaleresque, which became the third of the Op. 96 Three Pieces. Later in 1922, he revised the piece in response to its rejection by a publisher. (The original for piano [HUL 1815] is extant).[223]
- ^ a b In 1921, Sibelius transcribed the Suite mignonne for piano.[225]
- ^ a b In 1922, Sibelius transcribed the Suite champêtre for piano.[227]
- ^ a b Sibelius suggested (unsuccessfully) to a publisher that the three movements should be called Danse passionée, Danse romantique, and Danse chevaleresque, respectively. In 1922, he transcribed the Suite caractéristique for piano.[229]
- ^ a b Sibelius composed this piece, the extended title of which is Morceau romantique sur un motif de M. Jakob de Julin, after a waltz by the industrialist Jakob von Julin, who was a relative of General Carl Mannerheim. Sibelius also rendered the piece for solo piano (JS 135b), which indeed may have come first.[231]
- ^ a b Originally for string quartet (JS 34a), Andante festivo may have drawn some of its material from 1905's abandoned oratorio project, Marjatta. In 1929, a double string quartet played the piece at the wedding of one of Sibelius's daughters, and the piece subsequently became common for strings. However, Sibelius did not make an official orchestration until 1938.[233]
- ^ Sibelius's earliest surviving compositions for orchestra, the so-called [Two Chorales] for mixed choir and orchestra were student exercises for Albert Becker, with whom Sibelius studied in Berlin. For each, two versions are extant, and it is likely the second set incorporates minor revisions suggested by Becker. An unfinished version of Herr du bist ein Fels for mixed choir and piano also survives.[235]
- ^ In 1915, Sibelius made very minor revisions to Sandels; the 1898 version—of which Sibelius also made a transcription for male choir and piano—is extant.[241]
- ^ a b c Originally for male choir, boys' choir, and small orchestra, Sibelius made numerous arrangements of the Song of the Athenians in 1899: for solo piano; for male choir and boys' choir a cappella; for male choir, boys' choir, and piano; for male choir, boys' choir, piano, and ad libitum harmonium; and for male choir, boys' choir, brass septet, and percussion.[243]
- ^ a b In 1910, Sibelius revised the 1902 version of the Impromptu for female choir and orchestra—which is extant—and also rendered it for female choir and piano. A transcription of the 1902 version for female choir and piano is extant.[245]
- ^ a b c d Sibelius composed Have You Courage? (Har du mod?, Op. 31/2) for male choir and orchestra in 1904 [version I]; at this time, he also made an arrangement for male choir and piano. Unsatisfied with the piece, however, Sibelius revised the orchestral version of Have You Courage? three more times: in 1911 [version II; also arranged for male choir and piano]; 1912 [version III]; and 1914 [version IV], which is based likely on a 1913 transcription/revision of version III for solo piano (with text written above the music)]. All versions are extant. A preliminary study of Wecksell's poem for male choir a capella (JS 93) dates to 1903–1904; its thematic material is completely different from that of Op. 31/2.[247]
- ^ a b The extended title of the Jäger March is March of the Finnish Jäger Battalion. Originally composed in 1917 for male choir and piano, Sibelius initially withheld his name from the first edition of the work. In 1918, he arranged the Jäger March for male choir and orchestra.[249]
- ^ a b c d e Originally composed in 1918 for piano (with the text written above the music), Sibelius later—likely in 1918 but perhaps as late as 1921—arranged the Scout March for mixed choir and orchestra. Two additional arrangements followed: in 1921, for mixed choir and piano; and in 1952, for female choir and piano, retitled as "The World Song of the World Association of Girl Scouts and Girl Guides" and set to either an English-language text by Gavin Ewart or a French-language text by Francine Cockenpot. Finally, the origins of the Scout March have been traced to a sketch—[March], with an incomplete percussion part—for brass septet and percussion from the 1897–1899.[251]
- ^ a b In 1927, Sibelius wrote music for the masonic lodge he had joined in 1922: Musique religieuse, for tenor and harmonium (Op. 113), of which No. 6–Salem–was set to words by Viktor Rydberg. A non-Sibelius arrangement for mixed choir and harmonium appeared in 1929, with Marshall Kernochan translating Rydberg's poem to English as Onward, Ye Brethren (or Onward, Ye Peoples) and Channing Lefebvre covering the original tenor part for choir. In 1938, Sibelius added to the Kernochan–Lefebvre collaboration an orchestral arrangement that replaced the harmonium and renamed the piece Processional. The piece can also be performed by orchestra alone by omitting the choral part (which the orchestra doubles).[253]
- ^ a b Ljunga Wirginia (without catalogue number), which a young Sibelius called an "opera", is his earliest surviving attempt at dramatic music. The project was a collaboration between Sibelius and his childhood friend, Walter von Konow. Although the latter's libretto is lost, Movements I–V of Sibelius six-movement score are extant, as well as the violin part for Movement VI; no vocal parts, if ever written, have survived. Two years later in 1887, Sibelius and von Konow briefly revived their plans for the opera, with Sibelius producing a new piece, the Scherzo in E minor (JS 165), which only partially survives. Kalevi Aho has completed the piano and cello parts of Ljunga Wirginia's sixth movement, as well as (with Timo Hongisto) the Scherzo in E minor.[256]
- ^ A chamber piece, Sibelius noted that the string ensemble for The Lizard should be no more than nine players, the violin soloist included.[259] Nevertheless, it has been recorded by full string orchestra.
- ^ a b In 1888, Sibelius collaborated with his teacher, Martin Wegelius on the incidental music for a "dramatic runic sorcery" titled The Watersprite (Näcken); Wegelius composed Nos. 1 and 3–6, while Sibelius wrote No. 2. A separate fragment for piano trio—[Allegretto] in A-flat major (without catalogue number)—may have served as a preliminary version of Sibelius's piece.[261]
- ^ Sibelius's earliest surviving piece for piano quintet, the Andante – Allegro (which "comprises a complete sonata exposition") may have been a student exercise completed under the guidance of this teacher, Martin Wegelius.[271]
- ^ a b c The Piano Quintet in G minor is in five movements. When composing the piece, Sibelius replaced his original Movement IV (marked Vivace) with a Scherzo (Vivacissimo); the earlier Vivace is extant. At neither of the two concerts at which the quintet was played was it heard in its entirety; Movement V went unperformed until 1965. As a result, Sibelius rescued themes from the quintet's finale by reusing them for the Rondo in D minor (JS 162) for viola and piano duo, as well as the first of the Six Impromptus (Op. 5/1) for solo piano.[273]
- ^ a b In 1884, Sibelius composed the four-movement Piano Quartet in D minor, which is in "an essentially Viennese classical style". Movement IV of the quartet contains material that Sibelius initially intended for a fourth movement to the Piano Trio in A minor (JS 206) he had written a few months earlier; the Piano Trio ended up in three movements.[276]
- ^ a b The String Quartet in E-flat major—Sibelius's first—is in four movements. It appears in the same sketchbook as two other brief pieces for string quartet: first, the Molto moderato – Scherzo (JS 134), which is Sibelius's earliest piece in the genre; and second, a fragmentary [Scherzo] in B minor (without catalogue marking; completed by Kalevi Aho).[278]
- ^ The Harmonium Quartet in G minor is in one movement and shares a theme with the [Catalogue of Themes, 50 Short Pieces], a composition exercise for solo piano that Sibelius completed for his teacher, Martin Wegelius.[281]
- ^ a b c d At the Helsinki Music Institute, Sibelius studied under Martin Wegelius, the teaching method of whom had pupils master the smallest of compositional units before advancing to longer, more complex ones. Among Sibelius's student exercises for Wegelius are a handful of short pieces for string quartet: the [Four Themes]—in G major, E-flat major, A minor, and E minor–(without catalogue number), Alla Marcia in E minor (JS 16), the Presto in F major (JS 154), the Theme and Variations in G minor (JS 197), and the [Thirty-three Small Pieces] (without catalogue number).[283]
- ^ a b From 1887–1888, Sibelius planned a melodrama for narrator and string quartet after Hans Christian Andersen's The Little Mermaid (JS 59). Envisioned as a series of musical episodes, Sibelius only made it though four sections before abandoning the project. Although only the first violin part survives for the first four episodes, it makes clear that he had planned to reuse earlier chamber works: the second episode corresponds to the Allegretto in A major (JS 17) and Più lento in F major (JS 149), while the third episode is based on the Andantino in C major (JS 39). The first episode, as well as the brief fourth, are original compositions.[289]
- ^ Until 1911, Sibelius listed the Theme and Variations in C-sharp minor for string quartet as his Op. 1. The piece only partially survives, having lost five bars at the beginning of Variation III, although Kalevi Aho has made a performing version. (It is possible, however, that one or more complete variations, too, are lost.)[291]
- ^ a b c d Sibelius composed the Moderato – Allegro appassionato in C-sharp minor (JS 131), the Andante molto sostenuto in B minor (JS 37), the Andante – Allegro molto in D major (JS 32), and the [Allegro] in G minor (without catalogue number)—each for string quartet—as student exercises under the direction of his teacher, Martin Wegelius.[294]
- ^ a b The String Quartet in A minor—Sibelius's second—is in four movements. The initial finale was the Fugue (JS 85) that Sibelius had written as an academic exercise under the direction of his teacher, Martin Wegelius. It was subsequently replaced by the concluding Allegro.[302]
- ^ In 1891, Sibelius composed the Theme and Variations in C minor for solo piano (JS 198), and later that year, he expanded it into the single-movement Piano Quartet in C minor (JS 156). Neither JS 198 nor the piano part to JS 156 have survived.[309]
- ^ Scholars believe the [Menuetto] in D minor (without catalogue number) to be Sibelius's earliest surviving piece for piano trio, although it cannot be date with precision.[314]
- ^ a b In 1883, Sibelius wrote the three-movement Trio (JS 205) for piano and two violins, the first movement of which is only partially in G major, the key he assigned the piece. A second piece from this time, the Menuetto in F major (JS 126) may have been intended as a fourth movement to JS 205 or, perhaps, as a movement for a never-realized second trio.[316]
- ^ The [Andante] – Adagio – Allegro maestoso (without catalogue number), an early work by Sibelius for piano trio, cannot be dated with precision.[319]
- ^ The Piano Trio in A minor, Hafträsk—Sibelius's second—is in four movements. Immediately upon its completion, he substantially revised the first movement; this revised version, however, is fragmentary, although the cello part is complete. The trio derives its nickname from the small village of Hafträsk (on Norrskata, an island located in the Turku archipelago), at which the Sibelius family summered in 1886.[322]
- ^ a b Scholars have speculated that Sibelius may have originally intended the Serenata in D minor (JS 169) and the Minuet – Allegro (JS 128), each for two violins and cello, as a single, multi-movement work.[324]
- ^ The Piano Trio in D major, Korpo—Sibelius's third, and most significant, trio—is in three movements. The trio derives its nickname from Korpo (an island located in the Turku archipelago), at which the Sibelius family summered in 1887.[327]
- ^ The Andantino in G minor (JS 43) cannot be dated with precision; the manuscript paper hints that it was composed around the same time as the Korpo piano trio (JS 209).[324]
- ^ The Piano Trio in C major, Lovisa—Sibelius's fourth—is in three movements. The trio derives its nickname from Lovisa, the municipality in which the composer's aunt (and, before her death, his paternal grandmother) lived; Sibelius summered there in 1888.[331]
- ^ In 1889, Sibelius wrote the five-movement Suite in A major (JS 186) for piano trio; the violin part to Movement IV is lost. Scholars have speculated that Sibelius may have initially intended a second piece, the Andantino in A major (JS 38), as the suite's first movement. In 1911, Sibelius sought to publish (and made minor revisions to) the first three movements and provisionally labeled them as his Op. 1; however, the piece did not appear in print.[333]
- ^ JS 38/186
- ^ In February 1891, Sibelius composed La pompeuse Marche d'Asis (JS 116) at the request of his brother, Christian Sibelius, who was a medical student at the Anatomical Institute of Helsinki University (ASIS). The piece appears to have been originally for string quartet (this version is lost). In November, Sibelius arranged the it for piano, two violins, and cello (this, too, is lost), as well as for piano trio (the only extant version).[336]
- ^ Vattendroppar is believed to be Sibelius's earliest surviving work, although it cannot be dated with precision.[2]
- ^ Luftslott–a duo for two violins–is believed to be Sibelius's second earliest surviving work (and the earliest surviving autograph manuscript), although it cannot be dated with precision.[339]
- ^ Fragmentary; completed by Jaakko Kuusisto.
- ^ A premilimary version of the [Allegretto] in G major (JS 86) is extant.
- ^ Piano part is lost, but was reconstructed by Kalevi Aho in 2006.
- ^ Sometimes referred to as Sonata in D minor.
- ^ Piano part lost.
- ^ a b In 1890–1891, Sibelius composed two duos for violin and piano, the Romance in B minor and Perpetuum mobile, each of which was first printed in a Finnish periodical. In 1911, he substantially revised these pieces as his Op. 2 and sold them to a publisher; at this time, he changed the title of Perpetuum mobile to Epilogue.[370]
- ^ In 1891, Sibelius worked on Kullervo (Op. 7) in Lovisa and gave private violin lessons. Scholars believe he composed the Duo in C major (JS 66) for violin and viola for these teaching purposes, with him playing the latter and his pupil(s) playing the former.[373]
- ^ In September 1899, while visiting the Finnish painter Pekka Halonen, Sibelius wrote the Lullaby (also known as Waltz or Waltzer) for kantele and violin. It makes use of a folk song that Halonen had played on the kantele and to which Sibelius then wrote a violin accompaniment.[376]
- ^ Malinconia (Op. 20) premiered under the provisional title Fantasia.[378]
- ^ The main theme of the Op. 80 Violin Sonatina's third movement was originally intended for the Sixth Symphony (Op. 104).[380]
- ^ a b c d e These works comprise the Op. 81 Five Pieces for violin and piano.
- ^ a b c d e f These works comprise the Op. 79 Six Pieces for violin and piano.
- ^ a b c d These works comprise the Op. 78 Four Pieces for violin (or cello) and piano. The original version of Romance (No. 2) is extant.
- ^ In 1922, Sibelius planned to write a new series of pieces for violin and piano; however, he ended up only composing one piece: the Op. 102 Novellette.[397]
- ^ a b c d e These works comprise the Op. 106 Five Danses Champêtres for violin and piano.
- ^ a b c d These works comprise the Op. 115 Four Pieces for violin and piano.
- ^ a b c These works comprise the Op. 116 Three Pieces for violin and piano.
- ^ a b In 1912, Sibelius composed The Bells of Kallio Church (JS 102) for the new building's September consecration. For this occasion, Heikki Klemetti made a choral arrangement of Sibelius's melody without the composer's blessing. Later in the year, Sibelius arranged his piece for solo piano, as well as for mixed choir a cappella (each is Op. 65b).[416]
- ^ a b Sibelius composed two pieces for solo kantele—Moderato and Dolicissimo—as a souvenir for his sister-in-law, the amateur kanetele player Aili Järnefelt, who had been badly injured railway accident. The pieces were unknown until 1989[420] and are part of the manuscripts collection at the Sibelius Museum.[421]
- ^ a b These works for organ comprise the Op. 111 Two Pieces. Intrada exists in both a version for single pedal and double pedal [HUL 0828]; a brief sketch [HUL 0052] is extant. Moreover, both a preliminary version and a provisional alternative [each HUL 1893] of Mournful Music (Surusoitto) are also extant.
- ^ a b These works for organ comprise the so-called [Two Pieces] (JS 153).
- ^ Text written above the music.[430]
- ^ Sibelius gave to Trånaden the subtitle "fantasy". It is unknown whether he intended Stagnelius's poem to be spoken before or during the playing of each piano number, although Erik Tawaststjerna has suggested—and recordings have utilized—the former (alternation between recitation and music).[432]
- ^ As a souvenir for a friend, Ellen Hackzell, Sibelius wrote a melodrama setting her poem Oh, If You Had Seen. The recitation is intended to alternate with the piano music.[434]
- ^ The Con moto, sempre una corda in D-flat major (JS 52, 1885) is believed to Sibelius's earliest surviving piece for solo piano.[437]
- ^ a b c The so-called [Three Pieces] for solo piano—JS 74, 2, and 5–appear together on the same manuscript paper. They date to the autumn of 1885, around the time Sibelius had begun his studies at the Helsinki Music Institute.[437]
- ^ a b c The so-called [Three Short Pieces] for solo piano—JS 44, 18, and the Allegro in F minor (without catalogue designation [HUL 0768/3])—from 1888 were likely composition exercises that Sibelius wrote for Martin Wegelius.[437]
- ^ The so-called [Five Short Pieces] for solo piano—each without catalogue designation [HUL 0797]—from 1888 were likely composition exercises that Sibelius wrote for Martin Wegelius.[437]
- ^ Completed by the Finnish composer Kalevi Aho.[461]
- ^ Completed by the Finnish composer Kalevi Aho.[461]
- ^ Completed by the Finnish composer Kalevi Aho.[461]
- ^ a b c d e f These works comprise the Op. 5 Six Impromptus (original German title: Sechs Impromptus).[466] For Nos. 5–6, Sibelius reused themes from Nights of Jealousy—a melodrama for narrator, vocalise soprano, and piano trio. In 1894, he combined Nos. 5–6 in an arrangement for strings and titled the new piece Impromptu.[263]
- ^ Although Breitkopf &Härtel were the first to publish the Op. 12 Piano Sonata in its entirety, Fazer & Westerlund earlier had published Movement III in 1898.[468]
- ^ a b c d e f g h i j These works for solo piano comprise the Op. 24 Ten Pieces (original German title: Zehn Stücke).[470] Preliminary/original versions of No. 3 (Caprice in B minor, 1898), No. 6 (Andantino in F major, 1897; Idyll in F major 1897–1898), and No. 7 (Andantino in F major, 1899) are extant.[88]
- ^ a b c d e f These pieces for solo piano comprise the JS 81 Six Finnish Folk-Songs.
- ^ Kyllikki, a suite for piano, is subtitled "Three Lyrical Pieces" (original German subtitle: Drei lyrische Stücke).[489]
- ^ a b c d e f g h i j These works for solo piano comprise the Op. 58 Ten Pieces (original German title: Zehn Stücke).[492]
- ^ a b c d e f g h i j k l m These works for solo piano comprise the Op. 76 Thirteen Pieces (original French title: Treize Morceaux).[500]
- ^ a b c These works for solo piano comprise the Op. 67 Three Sonatinas (original German title: Drei Sonatinen).[502]
- ^ a b These works for solo piano comprise the Op. 68 Two Rondinos (original German title: Zwei Rondinos).[504]
- ^ a b c d e f g h i j These works for solo piano comprise the Op. 40 Lyrical Pieces (original French title: Pensées lyriques).[506]
- ^ a b c d e f g h i j These works for solo piano comprise the Op. 34 Little Pieces (original French title: Bagatelles).[511] The original version of No. 4 (Couplet in D major, 1914) is extant.
- ^ a b c d These works for solo piano comprise the Op. 74 Lyric Pieces (original German title: Lyrische Stücke).[521]
- ^ a b c d e f These works for solo piano comprise the Op. 94 Six Pieces (original German title: Sechs Stücke).[535]
- ^ a b c d e These works for solo piano comprise the Op. 85 Five Pieces (original French title: Cinq Morceaux),[550] although the collection is more commonly referred to as The Flowers due to the thematic link between the descriptive titles of the pieces.[88]
- ^ a b c d e f These works for solo piano comprise the Op. 97 Six Bagatelles (original German title: Sechs Bagatellen).[567] Preliminary versions of Nos. 2 and 5, each also from 1920, are extant.[88]
- ^ a b c d e f g h These works for solo piano comprise the Op. 99 Eight Short Pieces (original French title: Huit petits Morceaux).[573]
- ^ a b c d e These works for solo piano comprise the Op. 101 Five Romantic Compositions (also known by its alternative, Finnish title: Viisi romanttista kappaletta).[579]
- ^ a b c d e These works for solo piano comprise the Op. 103 Five Characteristic Impressions (also known by its alternative, Finnish title: Viisi karakteristista impressiota).[584]
- ^ a b c d e These works for solo piano comprise the Op. 114 Five Esquisses (original German title: Fünf Skizzen; also known by its alternative, Finnish title: Viisi luonnosta).[589]
- ^ Although they share the same poem by Viktor Rydberg, the song "Skogsrået" ("The Wood-Nymph"; JS 171, 1888–1889) is unrelated thematically to the Op. 15 tone poem and melodrama.[620]
- ^ While in Lieksa during his honeymoon in Finnish Karelia, Sibelius collected folk melodies; one of these was "Tule, tule kultani" ("Come, Come, My Sweetheart"), which he arranged for voice and piano.[631]
- ^ a b c d e f g These songs comprise the Op. 1 Five Christmas Songs, each of which is sung in Swedish. Sibelius subsequently made several arrangements of "Giv mig ej glans, ej guld, ej prakt" ("Give Me No Splendor, Gold or Pomp"): for male choir a cappella in 1935; for voice and female choir a cappella in 1942; for two unaccompanied female voices in 1942; and for children's choir and organ in 1954. He also made several arrangements of "On hanget korkeat, nietokset" ("High are the Snowdrifts"): for two voices and piano in 1903–1905; and for two unaccompanied female voices in 1942.[636]
- ^ a b c d e f These songs comprise the Op. 50 Six Songs, each of which is sung in German.
- ^ a b c d e These songs comprise the Op. 72 Six Songs, of which "Vi ses igen" ("Farewell") and "Orions bälte" ("Orion's Girdle") were lost during the First World War. Of the remaining four songs, two are sung in Swedish, one in German, and one in Finnish.[668]
- ^ a b These songs comprise the Op. 35 Two Songs, each of which is sung in Swedish.
- ^ "Hymn to Thaïs" is Sibelius's only song sung in English. He revised the piece three times between 1945–1948. The original 1909 version is extant.[684]
- ^ a b c d e f g h These songs comprise the Op. 61 Eight Songs, each of which is sung in Swedish.
- ^ a b c In 1913, at the request of Horatio Parker, Sibelius wrote three short pieces—"Autumn Song", "The Sun upon the Lake is Low", and "A Cavalry Catch"—for The Progressive Music Series of songbooks. Collectively, these three pieces are called the Three Songs for American Schools (JS 199). [824]
- ^ Sibelius composed, but then doubted, the Swedish-language song "Tre trallande jäntor" ("Three Warbling Maidens", JS 204) in 1915. Likely, he destroyed the piece.[704]
- ^ a b c d e f These songs comprise the Op. 86 Six Songs, each of which is sung in Swedish.
- ^ a b c d e f These songs comprise the Op. 88 Six Songs, each of which is sung in Swedish. Because a thematic link runs through the set, Sibelius considered it a song cycle.[712]
- ^ a b c d e f These songs comprise the Op. 90 Six Runeberg Songs, each of which is sung in Swedish.
- ^ Sibelius composed "Mummon syntymäpäivänä" ("Birthday Song to Grandmother"; JS 136, 1919) for his mother-in-law Elisabeth Järnefelt's eightieth birthday. The author of the text is unknown (most likely, it was penned by a member of the Sibelius family) and the song was not intended for public consumption.[725]
- ^ Sibelius composed the song "Små flickorna" ("Young Girls"; JS 174, 1920) for the Christmas magazine Lucifer.[727]
- ^ "Narciss" ("Narcissus"; JS 140, 1925) is the final original song that Sibelius composed for voice and piano.[729]
- ^ a b c d In 1925, Sibelius composed four short vocal pieces for the Finnish choral conductor Heikki Klemetti, who commissioned them for a volume of liturgical studies titled Suomen evankelisluterilaisen kirkon Messusävelmät (Mass Songs for the Evangelical Lutheran Church of Finland). The first piece, "Herran siunaus" ("The Lord's Blessing", JS 95), is a song for organ with a liturgist's text written over the music; this is to be sung by a baritone. For the remaining three pieces (JS 110/1–3), the baritone soloist and mixed choir serve, respectively, as the liturgist and the congregation. The JS 110 choral songs are known collectively as the Three Introductory Antiphons (Kolme johdantovuorolaulua).[828]
- ^ a b Sibelius wrote "Siltavahti" ("The Guardian of the Bridge"; JS 170a) for the male choir New York Laulumiehet in 1928. That same year, he arranged it for voice and piano (JS 170b).[732]
- ^ a b Note: For display purposes, these student exercises—each of which is without catalogue number—have been combined into an artificial group.
- ^ Sibelius and J.H. Erkko wrote the "Työkansan marssi" ("Worker's March", JS 212) for the Finnish workers' movement.[749]
- ^ a b c d e f g h i j These choral pieces comprise the Op. 18 Six Partsongs. Originally composed for male choir, Sibelius subsequently arranged "Sortunut ääni" ("The Broken Voice"), "Venematka" ("The Boat Journey"), "Saarella palaa" ("Fire on the Island"), and "Sydämeni laulu" ("Song of My Heart") for mixed choir.[751] An additional three partsongs—"Isänmaalle" ("To the Fatherland", JS 98), "Veljeni vierailla mailla" ("My Brothers Abroad", JS 217), and "Min rastas raataa" ("Busy as a Thrush", JS 129)—are associated with Op. 18, as each was at one point numbered among Op. 18 before Sibelius demoted them from his opus list.[752] Sibelius wrote "Isänmaalle" (JS 98a) for male choir in 1899, but revised it in 1900 while arranging it for mixed choir (JS 98c). Finally, in 1908 he arranged the revised version for male choir (JS 98b).[753] Note: The fragment "Heitä, koski, kuohuminen" ("Rapids, Cease Your Foaming") (1893, JS 94) for male choir a cappella, which Sibelius may have planned as a continuation of "Venematka", was later completed by Erik Bergman, Jussi Jalas, and Erik Tawaststjerna.[754]
- ^ a b In 1898, Sibelius wrote Carminalia, a choral suite originally for three-part mixed choir (JS 51a). That same year, he made two arrangements: the first, for two-part female choir and organ (or harmonium) (JS 51b); and the second, for two-part female choir and piano (JS 51c).[765]
- ^ In 1898, Sibelius composed "Aamusumussa" ("In the Morning Mist", JS 9a) for mixed choir. In 1913, he made an arrangement for female (or children's) choir (JS 9b).[770]
- ^ a b Sibelius composed "Den 25 oktober 1902. Till Thérèse Hahl" (JS 60) for the 60th birthday of the Finnish choral singer Thérèse Hahl. Presumably to modify the disgruntled poet Nils Wasastjerna, who had disliked the setting, Sibelius undertook a second attempt (JS 61). The two versions do not share thematic material and, as such, are treated as separate works.[776]
- ^ Sibelius composed the choral song "Ej med klagan" ("Not with Lamentation", JS 69) for the 24 August 1905 funeral of the Finnish painter Albert Edelfelt. It is possible that he reused themes from the abandoned Marjatta oratorio.[781]
- ^ Sibelius composed the short choral song "Kansakoululaisten marssi" ("March of the Primary School Children", JS 103) to commemorate the centennial of Uno Cygnaeus, father of the Finnish public school system.[783]
- ^ Sibelius composed the choral song "Kantat" ("Cantata") to commemorate the fiftieth anniversary of the girls' school in Turku at which his childhood friend Walter von Konow—the text's author—had taught history c. 1900.[215]
- ^ a b c d e From 1914–1917, Sibelius composed the Op. 84 Five Songs for male choir a cappella. Nos. 1–4 were commissioned by the vocal choir Muntra Musikanter. The remaining song, "Till havs" ("To Sea"), was written in 1917 for Akademiska sångföreningen; that same year, he made minor revisions. The first version is extant.[794]
- ^ a b In 1927, Sibelius composed "Den höga himlen" ("The Lofty Heaven"; JS 58a) for the revised edition of the Swedish-language Finnish hymn book. The song can also be sung in Finnish as "Suur' olet Herra" (indeed, Simo Korpela's poem is originally in Finnish). In 1945, Sibelius arranged the Finnish original for male vocal quartet with organ accompaniment (JS 58b).[809]
- ^ Sibelius first arranged "Finlandia-hymnin" ("Finlandia Hymn") in 1938 for male choir to words by Sola. In 1940, he substituted Koskenniemi's text for Sola's and made two arrangements for mixed choir: in F major and A-flat major.[815]
- ^ These songs comprise the JS 99 Two Italian Folk Songs, which Sibelius arranged sometime between 1887 and 1888. Only the parts for mixed choir, however, are extant; as such, BIS's world premiere recording made use of existing (that is, non-Sibelius) piano parts, as well as—for No. 1—the solo part for baritone.[88]
- ^ In 1930, Sibelius composed "Karjalan osa" ("Karelia's Fate", JS 108) as an anthem for the newly-founded anti-Communist league, the Lapua Movement.[830]
- ^ The String Trio in G minor (JS 210) is in three movements, of which the second and third are incomplete.[839]
- ^ "Då världar ännu skapade ej voro" ("When Worlds Still Uncreated Were", JS 56) is a song fragment that dates to 1888. The author of the text is unknown.[843]
- ^ Nothing is known about the lost work "The American Millers' Song" (JS 29) other than the fact that it is mentioned in several of Sibelius's personal catalogues (for example, those from 1909, 1911, and 1915).[856]
- ^ Nothing is known about the lost work Snöfallet (The Snowfall, JS 175) other than the fact that Sibelius composed it in September 1927 as a gift for the Finnish industrialist Jacob von Julin.[857]
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- ^ Dahlström 2003, p. 630; SibEd., v. 9 2009, p. 12.
- ^ Dahlström 2003, pp. 141–142; SibEd., v. 3 2007, p. 9.
- ^ Barnett 2007, p. 36–37.
- ^ Dahlström 2003, p. 507; SibEd., v. 9 2009, p. 6.
- ^ Barnett 2007, pp. 56–58, 84.
- ^ SibEd., v. 9 2009, p. 9.
- ^ Dahlström 2003, pp. 596–598; SibEd., v. 9 2009, p. 9.
- ^ Barnett 2007, pp. 9–11.
- ^ Dahlström 2003, pp. 594–595; SibEd., v. 2 2007, p. 10.
- ^ Barnett 2007, pp. 11–12.
- ^ Dahlström 2003, pp. 580–581; SibEd., v. 2 2007, p. 3.
- ^ Dahlström 2003, pp. 616–617; SibEd., v. 2 2007, p. 3.
- ^ Barnett 2007, pp. 21–22.
- ^ Dahlström 2003, p. 596; SibEd., v. 2 2007, p. 11.
- ^ Barnett 2007, pp. 25, 35–36.
- ^ SibEd., v. 2 2007, p. 3.
- ^ Dahlström 2003, p. 501; SibEd., v. 2 2007, p. 3.
- ^ Dahlström 2003, p. 592; SibEd., v. 2 2007, p. 3.
- ^ Dahlström 2003, p. 627; SibEd., v. 2 2007, p. 3.
- ^ Dahlström 2003, p. 502; SibEd., v. 2 2007, p. 3.
- ^ Barnett 2007, pp. 37–38.
- ^ Dahlström 2003, p. 513; SibEd., v. 2 2007, p. 3.
- ^ Barnett 2007, p. 43.
- ^ Dahlström 2003, p. 626; SibEd., v. 2 2007, p. 3.
- ^ a b SibEd., v. 2 2007, p. 4.
- ^ Barnett 2007, pp. 38–39.
- ^ Dahlström 2003, p. 579; SibEd., v. 2 2007, p. 5.
- ^ Dahlström 2003, p. 512; SibEd., v. 2 2007, p. 4.
- ^ Dahlström 2003, p. 508; SibEd., v. 2 2007, p. 4.
- ^ Dahlström 2003, p. 506; SibEd., v. 2 2007, p. 5.
- ^ Dahlström 2003, p. 500; SibEd., v. 2 2007, p. 5.
- ^ Dahlström 2003, p. 501; SibEd., v. 2 2007, p. 5.
- ^ Dahlström 2003, p. 589; SibEd., v. 2 2007, p. 5.
- ^ Barnett 2007, pp. 47–48, 51.
- ^ Dahlström 2003, pp. 545–546; SibEd., v. 2 2007, p. 5.
- ^ Dahlström 2003, pp. 614–615; SibEd., v. 2 2007, p. 5.
- ^ Barnett 2007, pp. 51, 53, 60–61, 89.
- ^ SibEd., v. 2 2007, p. 5.
- ^ Dahlström 2003, pp. 13–14; SibEd., v. 2 2007, p. 6.
- ^ Dahlström 2003, p. 499; SibEd., v. 2 2007, p. 6.
- ^ Barnett 2007, pp. 65–66.
- ^ Dahlström 2003, pp. 593–594; SibEd., v. 2 2007, p. 11.
- ^ Barnett 2007, p. 148, 151, 192–196.
- ^ Dahlström 2003, pp. 257–259; SibEd., v. 2 2007, p. 6.
- ^ Dahlström 2003, p. 509; SibEd., v. 2 2007, p. 6.
- ^ Barnett 2007, p. 7.
- ^ a b SibEd., v. 2 2007, p. 7.
- ^ Barnett 2007, pp. 7–8.
- ^ Dahlström 2003, p. 633; SibEd., v. 2 2007, p. 7.
- ^ Dahlström 2003, p. 576; SibEd., v. 2 2007, p. 7.
- ^ Barnett 2007, p. 8.
- ^ Dahlström 2003, pp. 634–635; SibEd., v. 2 2007, p. 7.
- ^ Dahlström 2003, p. 505; SibEd., v. 2 2007, p. 8.
- ^ Barnett 2007, pp. 19–20.
- ^ Dahlström 2003, pp. 635–636; SibEd., v. 2 2007, p. 8.
- ^ a b Barnett 2007, p. 30.
- ^ Dahlström 2003, p. 604; SibEd., v. 9 2009, p. 3.
- ^ Dahlström 2003, p. 577; SibEd., v. 9 2009, p. 4.
- ^ Barnett 2007, pp. 27–30.
- ^ Dahlström 2003, pp. 638–639; SibEd., v. 2 2007, p. 9.
- ^ Dahlström 2003, p. 514; SibEd., v. 2 2007, p. 9.
- ^ SibEd., v. 2 2007, p. 9.
- ^ Barnett 2007, pp. 43–44.
- ^ Dahlström 2003, pp. 636–637; SibEd., v. 2 2007, p. 9.
- ^ Barnett 2007, pp. 47, 223.
- ^ Dahlström 2003, pp. 619–620; SibEd., v. 9 2009, p. 7.
- ^ Dahlström 2003, p. 512; SibEd., v. 9 2009, p. 7.
- ^ Barnett 2007, p. 65.
- ^ Dahlström 2003, p. 571; SibEd., v. 2 2007, p. 9.
- ^ Dahlström 2003, p. 644; SibEd., v. 9 2009, p. 3.
- ^ Barnett 2007, pp. 6–7.
- ^ Dahlström 2003, p. 530; SibEd., v. 9 2009, p. 3.
- ^ Dahlström 2003, pp. 608–609; SibEd., v. 6 2008, p. 3.
- ^ Dahlström 2003, p. 513; SibEd., v. 9 2009, p. 3.
- ^ Dahlström 2003, p. 511; SibEd., v. 6 2008, p. 3.
- ^ Dahlström 2003, pp. 495–496; SibEd., v. 6 2008, p. 3.
- ^ Dahlström 2003, p. 496; SibEd., v. 6 2008, p. 3.
- ^ a b Dahlström 2003, p. 548; SibEd., v. 6 2008, p. 4.
- ^ a b Dahlström 2003, p. 494; SibEd., v. 6 2008, p. 4.
- ^ Dahlström 2003, p. 517; SibEd., v. 6 2008, p. 4.
- ^ Dahlström 2003, p. 531; SibEd., v. 6 2008, p. 3.
- ^ Dahlström 2003, p. 538; SibEd., v. 6 2008, p. 4.
- ^ Dahlström 2003, p. 546; SibEd., v. 6 2008, pp. 4, 12.
- ^ Dahlström 2003, p. 531; SibEd., v. 9 2009, p. 4.
- ^ Dahlström 2003, p. 507; SibEd., v. 2 2007, p. 10.
- ^ Dahlström 2003, p. 508; SibEd., v. 6 2008, p. 4.
- ^ Dahlström 2003, pp. 511–512; SibEd., v. 9 2009, p. 3.
- ^ Dahlström 2003, p. 625; SibEd., v. 9 2009, p. 4.
- ^ Dahlström 2003, pp. 621–622; SibEd., v. 6 2008, p. 4.
- ^ Dahlström 2003, p. 536; SibEd., v. 6 2008, p. 5; SibEd., v. 9 2009, p. 4.
- ^ Dahlström 2003, p. 579–580; SibEd., v. 6 2008, p. 5.
- ^ Dahlström 2003, p. 502; SibEd., v. 6 2008, p. 5.
- ^ Dahlström 2003, p. 503; SibEd., v. 6 2008, p. 5.
- ^ Dahlström 2003, pp. 622–623; SibEd., v. 6 2008, p. 5.
- ^ a b Dahlström 2003, p. 549; SibEd., v. 9 2009, p. 6.
- ^ Dahlström 2003, p. 505; SibEd., v. 6 2008, p. 5.
- ^ Dahlström 2003, p. 517; SibEd., v. 9 2009, p. 6.
- ^ Dahlström 2003, pp. 610–611; SibEd., v. 6 2008, p. 6.
- ^ Dahlström 2003, p. 500; SibEd., v. 9 2009, p. 7.
- ^ Dahlström 2003, p. 626; SibEd., v. 9 2009, p. 7.
- ^ Dahlström 2003, pp. 538–539; SibEd., v. 9 2009, p. 7.
- ^ Barnett 2007, pp. 58–59, 65, 214–215.
- ^ Dahlström 2003, pp. 8–9; SibEd., v. 9 2009, pp. 6, 12.
- ^ Dahlström 2003, p. 10; SibEd., v. 9 2009, pp. 6, 12.
- ^ Barnett 2007, p. 68.
- ^ Dahlström 2003, pp. 530–531; SibEd., v. 9 2009, p. 10.
- ^ Dahlström 2003, pp. 599–600; SibEd., v. 9 2009, p. 11.
- ^ Barnett 2007, p. 127.
- ^ Dahlström 2003, p. 648; SibEd., v. 9 2009, p. 12.
- ^ Barnett 2007, p. 134.
- ^ Dahlström 2003, p. 81; SibEd., v. 9 2009, p. 13.
- ^ Barnett 2007, p. 249.
- ^ Dahlström 2003, pp. 348–349; SibEd., v. 6 2008, p. 9.
- ^ Dahlström 2003, p. 350; SibEd., v. 6 2008, p. 9.
- ^ Dahlström 2003, pp. 344–345; SibEd., v. 6 2008, p. 8.
- ^ Dahlström 2003, pp. 345–346; SibEd., v. 6 2008, p. 8.
- ^ Dahlström 2003, pp. 341–342; SibEd., v. 6 2008, p. 8; SibEd., v. 9 2009, p. 13.
- ^ Dahlström 2003, p. 344; SibEd., v. 6 2008, p. 8; SibEd., v. 9 2009, p. 13.
- ^ Dahlström 2003, pp. 342–343; SibEd., v. 6 2008, pp. 8, 12; SibEd., v. 9 2009, p. 13.
- ^ Dahlström 2003, p. 346; SibEd., v. 6 2008, p. 8.
- ^ Dahlström 2003, pp. 346–347; SibEd., v. 6 2008, p. 8.
- ^ Dahlström 2003, p. 347; SibEd., v. 6 2008, p. 8.
- ^ Dahlström 2003, pp. 347–348; SibEd., v. 6 2008, p. 8.
- ^ Dahlström 2003, p. 343; SibEd., v. 6 2008, p. 8; SibEd., v. 9 2009, p. 13.
- ^ Dahlström 2003, p. 351; SibEd., v. 6 2008, p. 9.
- ^ Dahlström 2003, pp. 351–352; SibEd., v. 6 2008, p. 9.
- ^ Dahlström 2003, p. 352; SibEd., v. 6 2008, p. 9.
- ^ Dahlström 2003, p. 353; SibEd., v. 6 2008, p. 9.
- ^ Barnett 2007, pp. 298–299.
- ^ Dahlström 2003, pp. 431–432; SibEd., v. 6 2008, p. 9.
- ^ Dahlström 2003, pp. 440–441; SibEd., v. 6 2008, p. 10.
- ^ Dahlström 2003, p. 441; SibEd., v. 6 2008, p. 10.
- ^ Dahlström 2003, p. 442; SibEd., v. 6 2008, p. 10.
- ^ Dahlström 2003, pp. 442–443; SibEd., v. 6 2008, p. 10.
- ^ Dahlström 2003, p. 443; SibEd., v. 6 2008, p. 10.
- ^ Dahlström 2003, p. 488; SibEd., v. 6 2008, p. 10.
- ^ Dahlström 2003, p. 489; SibEd., v. 6 2008, p. 10.
- ^ Dahlström 2003, pp. 489–490; SibEd., v. 6 2008, p. 10.
- ^ Dahlström 2003, p. 490; SibEd., v. 6 2008, p. 10.
- ^ Dahlström 2003, p. 491; SibEd., v. 6 2008, p. 10.
- ^ Dahlström 2003, pp. 491–492; SibEd., v. 6 2008, p. 10.
- ^ Dahlström 2003, p. 492; SibEd., v. 6 2008, p. 10.
- ^ Dahlström 2003, p. 599; SibEd., v. 10 2010, p. 14.
- ^ Dahlström 2003, pp. 223–224; SibEd., v. 6 2008, p. 7.
- ^ Dahlström 2003, p. 339; SibEd., v. 6 2008, p. 8; SibEd., v. 9 2009, p. 13.
- ^ Dahlström 2003, p. 340; SibEd., v. 6 2008, p. 8; SibEd., v. 9 2009, p. 13.
- ^ Dahlström 2003, p. 315; SibEd., v. 6 2008, p. 8.
- ^ Barnett 2007, pp. 207, 209, 223–224.
- ^ Dahlström 2003, p. 294–295, 560; SibEd., v. 13 2011, p. 10.
- ^ Dahlström 2003, p. 627; SibEd., v. 9 2009, p. 4.
- ^ a b SibEd., v. 9 2009, p. 5.
- ^ Barnett 2007, p. 105.
- ^ Dahlström 2003, pp. 529, 579.
- ^ Dahlström 2003, p. 579; SibEd., v. 9 2009, p. 11.
- ^ Dahlström 2003, p. 529; SibEd., v. 9 2009, p. 11.
- ^ Dahlström 2003, pp. 469–470; SibEd., v. 13 2011, pp. 3, 9–10.
- ^ a b Dahlström 2003, pp. 591–592; SibEd., v. 13 2011, p. 3.
- ^ Dahlström 2003, pp. 470–471; SibEd., v. 13 2011, pp. 3, 9–10.
- ^ SibEd., v. 13 2011, p. 8.
- ^ Dahlström 2003, p. 522; SibEd., v. 6 2008, p. 11.
- ^ a b c SibEd., v. 6 2008, p. 11.
- ^ Dahlström 2003, p. 533.
- ^ Dahlström 2003, p. 533; SibEd., v. 6 2008, p. 11.
- ^ Barnett 2007, pp. 28–29.
- ^ Dahlström 2003, p. 632; SibEd., v. 4 2008, p. 6.
- ^ Barnett 2007, p. 44.
- ^ Dahlström 2003, p. 585; SibEd., v. 4 2008, p. 8.
- ^ Dahlström 2003, pp. 536–537; SibEd., v. 10 2010, p. 14.
- ^ a b c d Barnett 2007, p. ?.
- ^ Dahlström 2003, p. 521; SibEd., v. 4 2008, p. 3.
- ^ Dahlström 2003, p. 535; SibEd., v. 4 2008, p. 3.
- ^ Dahlström 2003, p. 495; SibEd., v. 4 2008, p. 3.
- ^ Dahlström 2003, p. 493; SibEd., v. 4 2008, p. 3.
- ^ Dahlström 2003, p. 581; SibEd., v. 4 2008, p. 3.
- ^ Dahlström 2003, p. 506; SibEd., v. 4 2008, p. 6.
- ^ a b Dahlström 2003, p. 516; SibEd., v. 4 2008, p. 6.
- ^ Dahlström 2003, p. 515; SibEd., v. 4 2008, p. 8.
- ^ Dahlström 2003, p. 501; SibEd., v. 4 2008, p. 8.
- ^ SibEd., v. 4 2008, p. 8.
- ^ SibEd., v. 4 2008, p. 7.
- ^ Dahlström 2003, p. 590; SibEd., v. 4 2008, p. 8.
- ^ Dahlström 2003, p. 504; SibEd., v. 4 2008, p. 8.
- ^ Dahlström 2003, p. 580; SibEd., v. 4 2008, p. 8.
- ^ Dahlström 2003, p. 571; SibEd., v. 4 2008, p. 9.
- ^ Dahlström 2003, p. 498; SibEd., v. 4 2008, p. 9.
- ^ Dahlström 2003, p. 648; SibEd., v. 4 2008, p. 9.
- ^ Dahlström 2003, pp. 513–514; SibEd., v. 4 2008, p. 8.
- ^ Dahlström 2003, p. 495; SibEd., v. 4 2008, p. 8.
- ^ Dahlström 2003, pp. 535; SibEd., v. 4 2008, p. 9.
- ^ Dahlström 2003, pp. 542–544; SibEd., v. 4 2008, p. 9.
- ^ Dahlström 2003, pp. 502–503; SibEd., v. 4 2008, p. 9.
- ^ Dahlström 2003, p. 493; SibEd., v. 4 2008, p. 9.
- ^ a b c Barnett 2007, p. 397.
- ^ Dahlström 2003, pp. 611–612; SibEd., v. 4 2008, p. 9.
- ^ a b c d Dahlström 2003, pp. 611–612; SibEd., v. 4 2008, p. 10.
- ^ Dahlström 2003, p. 601; SibEd., v. 4 2008, p. 10.
- ^ Dahlström 2003, p. 627.
- ^ Dahlström 2003, pp. 15, 666.
- ^ a b c d e f Dahlström 2003, pp. 15–17; SibEd., v. 4 2008, p. 11.
- ^ Dahlström 2003, p. 39.
- ^ Dahlström 2003, pp. 38–40; SibEd., v. 4 2008, p. 12.
- ^ Dahlström 2003, pp. 98, 666.
- ^ Dahlström 2003, pp. 98–99; SibEd., v. 4 2008, p. 13.
- ^ Dahlström 2003, p. 99; SibEd., v. 4 2008, p. 13.
- ^ Dahlström 2003, p. 503; SibEd., v. 4 2008, p. 12.
- ^ Dahlström 2003, p. 572; SibEd., v. 4 2008, p. 12.
- ^ Dahlström 2003, p. 650; SibEd., v. 4 2008, p. 12.
- ^ Dahlström 2003, pp. 100–101; SibEd., v. 4 2008, p. 13.
- ^ Dahlström 2003, pp. 102–103; SibEd., v. 4 2008, pp. 13–14.
- ^ Dahlström 2003, pp. 99–100; SibEd., v. 4 2008, pp. 12–13.
- ^ Dahlström 2003, p. 101; SibEd., v. 4 2008, p. 13.
- ^ Dahlström 2003, pp. 103–104; SibEd., v. 4 2008, pp. 12–13.
- ^ Dahlström 2003, p. 575; SibEd., v. 4 2008, p. 12.
- ^ Dahlström 2003, p. 589.
- ^ Dahlström 2003, p. 566; SibEd., v. 4 2008, p. 12.
- ^ Dahlström 2003, p. 104; SibEd., v. 4 2008, p. 13.
- ^ Dahlström 2003, pp. 105–106; SibEd., v. 4 2008, p. 13.
- ^ a b c Dahlström 2003, pp. 540–542; SibEd., v. 4 2008, p. 16.
- ^ a b c Dahlström 2003, pp. 541–542; SibEd., v. 4 2008, p. 16.
- ^ Dahlström 2003, p. 106; SibEd., v. 4 2008, p. 13.
- ^ Dahlström 2003, p. 193.
- ^ Dahlström 2003, pp. 193–194; SibEd., v. 4 2008, p. 18.
- ^ Dahlström 2003, p. 499.
- ^ Dahlström 2003, pp. 268, 666.
- ^ Dahlström 2003, p. 268; SibEd., v. 10 2010, p. 4.
- ^ a b Dahlström 2003, p. 269; SibEd., v. 10 2010, p. 4.
- ^ Dahlström 2003, pp. 269–270; SibEd., v. 10 2010, p. 4.
- ^ Dahlström 2003, p. 270; SibEd., v. 10 2010, p. 4.
- ^ Dahlström 2003, pp. 270–271; SibEd., v. 10 2010, p. 4.
- ^ a b Dahlström 2003, p. 271; SibEd., v. 10 2010, p. 4.
- ^ a b Dahlström 2003, p. 272; SibEd., v. 10 2010, p. 4.
- ^ Dahlström 2003, pp. 330, 666.
- ^ Dahlström 2003, p. 331; SibEd., v. 10 2010, p. 8.
- ^ Dahlström 2003, p. 299, 666.
- ^ a b c Dahlström 2003, pp. 299–302; SibEd., v. 10 2010, p. 5.
- ^ Dahlström 2003, pp. 302, 666.
- ^ a b Dahlström 2003, pp. 302–303; SibEd., v. 10 2010, p. 5.
- ^ Dahlström 2003, pp. 186, 666.
- ^ Dahlström 2003, pp. 186–187; SibEd., v. 4 2008, p. 18.
- ^ Dahlström 2003, pp. 187–188; SibEd., v. 4 2008, p. 18.
- ^ Dahlström 2003, p. 188; SibEd., v. 4 2008, p. 18.
- ^ Dahlström 2003, pp. 189–190; SibEd., v. 4 2008, p. 18.
- ^ Dahlström 2003, pp. 147, 666.
- ^ a b Dahlström 2003, p. 150; SibEd., v. 4 2008, p. 17.
- ^ Dahlström 2003, pp. 188–189; SibEd., v. 4 2008, p. 18.
- ^ Dahlström 2003, p. 613; SibEd., v. 10 2010, p. 6.
- ^ Dahlström 2003, p. 631; SibEd., v. 10 2010, p. 6.
- ^ Dahlström 2003, p. 190; SibEd., v. 4 2008, p. 18.
- ^ Dahlström 2003, pp. 190–191; SibEd., v. 4 2008, p. 18.
- ^ Dahlström 2003, pp. 147–148; SibEd., v. 4 2008, p. 17.
- ^ Dahlström 2003, p. 148; SibEd., v. 4 2008, p. 17.
- ^ Dahlström 2003, pp. 148–149; SibEd., v. 4 2008, p. 17.
- ^ Dahlström 2003, pp. 323, 666.
- ^ Dahlström 2003, p. 323; SibEd., v. 10 2010, p. 6.
- ^ a b Dahlström 2003, p. 324; SibEd., v. 10 2010, p. 6.
- ^ Dahlström 2003, p. 325; SibEd., v. 10 2010, p. 6.
- ^ Dahlström 2003, pp. 325, 666.
- ^ Barnett 2007, pp. 245, 284, 288.
- ^ Dahlström 2003, pp. 325–326; SibEd., v. 10 2010, p. 7.
- ^ Dahlström 2003, pp. 326–327; SibEd., v. 10 2010, p. 7.
- ^ Dahlström 2003, p. 327–328; SibEd., v. 10 2010, pp. 7, 15.
- ^ Dahlström 2003, p. 328; SibEd., v. 10 2010, p. 7.
- ^ Dahlström 2003, pp. 331–332; SibEd., v. 10 2010, p. 8.
- ^ a b Dahlström 2003, p. 333; SibEd., v. 10 2010, p. 8.
- ^ Dahlström 2003, p. 335; SibEd., v. 10 2010, p. 8.
- ^ a b Dahlström 2003, p. 337; SibEd., v. 10 2010, p. 8.
- ^ Dahlström 2003, pp. 402, 666.
- ^ Dahlström 2003, p. 403; SibEd., v. 10 2010, p. 9.
- ^ Dahlström 2003, p. 149; SibEd., v. 4 2008, pp. 16–17.
- ^ Dahlström 2003, pp. 328–329; SibEd., v. 10 2010, pp. 7, 15.
- ^ Dahlström 2003, pp. 329, 407–408; SibEd., v. 10 2010, p. 7.
- ^ Dahlström 2003, p. 191; SibEd., v. 4 2008, p. 18.
- ^ Dahlström 2003, p. 192; SibEd., v. 4 2008, p. 18.
- ^ Dahlström 2003, pp. 192–193; SibEd., v. 4 2008, p. 18.
- ^ Dahlström 2003, p. 151; SibEd., v. 4 2008, p. 17.
- ^ Dahlström 2003, p. 152; SibEd., v. 4 2008, p. 17.
- ^ Dahlström 2003, pp. 152–153; SibEd., v. 4 2008, p. 17.
- ^ Dahlström 2003, pp. 153–154; SibEd., v. 4 2008, p. 17.
- ^ Dahlström 2003, p. 332; SibEd., v. 10 2010, p. 8.
- ^ Dahlström 2003, pp. 334–335; SibEd., v. 10 2010, p. 8.
- ^ Dahlström 2003, pp. 335–336; SibEd., v. 10 2010, p. 8.
- ^ Dahlström 2003, pp. 368, 666.
- ^ Dahlström 2003, pp. 368–369; SibEd., v. 10 2010, p. 9.
- ^ Dahlström 2003, p. 369; SibEd., v. 10 2010, p. 9.
- ^ Dahlström 2003, p. 330; SibEd., v. 10 2010, p. 8.
- ^ Dahlström 2003, p. 334; SibEd., v. 10 2010, p. 8.
- ^ Dahlström 2003, p. 368; SibEd., v. 10 2010, p. 9.
- ^ a b Dahlström 2003, p. 370; SibEd., v. 10 2010, p. 9.
- ^ Dahlström 2003, p. 574; SibEd., v. 10 2010, p. 9.
- ^ Dahlström 2003, p. 396–398; SibEd., v. 10 2010, p. 9.
- ^ Dahlström 2003, p. 336; SibEd., v. 10 2010, p. 8.
- ^ Dahlström 2003, p. 402; SibEd., v. 10 2010, p. 9.
- ^ Dahlström 2003, pp. 403–404; SibEd., v. 10 2010, p. 9.
- ^ Dahlström 2003, p. 404; SibEd., v. 10 2010, p. 10.
- ^ Dahlström 2003, pp. 404–405; SibEd., v. 10 2010, p. 10.
- ^ Dahlström 2003, p. 405; SibEd., v. 10 2010, p. 10.
- ^ Dahlström 2003, p. 521; SibEd., v. 10 2010, p. 10.
- ^ Dahlström 2003, p. 631; SibEd., v. 10 2010, p. 10.
- ^ Dahlström 2003, pp. 414, 666.
- ^ Dahlström 2003, p. 414; SibEd., v. 10 2010, p. 11.
- ^ Dahlström 2003, pp. 414–415; SibEd., v. 10 2010, p. 11.
- ^ Dahlström 2003, p. 415; SibEd., v. 10 2010, p. 11.
- ^ Dahlström 2003, pp. 415–416; SibEd., v. 10 2010, p. 11.
- ^ a b Dahlström 2003, p. 416; SibEd., v. 10 2010, p. 11.
- ^ Dahlström 2003, pp. 422, 667.
- ^ Dahlström 2003, p. 422; SibEd., v. 10 2010, p. 12.
- ^ Dahlström 2003, pp. 422–423; SibEd., v. 10 2010, p. 12.
- ^ a b Dahlström 2003, p. 423; SibEd., v. 10 2010, p. 12.
- ^ a b Dahlström 2003, p. 424; SibEd., v. 10 2010, p. 12.
- ^ a b Dahlström 2003, p. 425; SibEd., v. 10 2010, p. 12.
- ^ Dahlström 2003, pp. 428, 667.
- ^ Dahlström 2003, pp. 428–429; SibEd., v. 10 2010, p. 12.
- ^ Dahlström 2003, p. 429; SibEd., v. 10 2010, p. 12.
- ^ a b Dahlström 2003, p. 430; SibEd., v. 10 2010, p. 12.
- ^ Dahlström 2003, p. 431; SibEd., v. 10 2010, p. 12.
- ^ Dahlström 2003, pp. 432, 667.
- ^ Dahlström 2003, pp. 432–433; SibEd., v. 10 2010, p. 13.
- ^ Dahlström 2003, p. 433; SibEd., v. 10 2010, p. 13.
- ^ a b Dahlström 2003, p. 434; SibEd., v. 10 2010, p. 13.
- ^ Dahlström 2003, p. 435; SibEd., v. 10 2010, p. 13.
- ^ Dahlström 2003, pp. 484, 667.
- ^ Dahlström 2003, pp. 484–485; SibEd., v. 10 2010, p. 14.
- ^ a b Dahlström 2003, p. 486; SibEd., v. 10 2010, p. 14.
- ^ Dahlström 2003, p. 487; SibEd., v. 10 2010, p. 14.
- ^ Dahlström 2003, pp. 487–488; SibEd., v. 10 2010, p. 14.
- ^ Dahlström 2003, pp. 37–38; SibEd., v. 4 2008, p. 11.
- ^ Dahlström 2003, p. 56; SibEd., v. 4 2008, p. 12.
- ^ Dahlström 2003, pp. 126–128; SibEd., v. 4 2008, p. 14.
- ^ Dahlström 2003, pp. 139–141; SibEd., v. 4 2008, p. 15.
- ^ Dahlström 2003, pp. 114–115; SibEd., v. 4 2008, p. 14.
- ^ Dahlström 2003, pp. 136–137; SibEd., v. 4 2008, p. 15.
- ^ Dahlström 2003, p. 202; SibEd., v. 4 2008, p. 19.
- ^ Dahlström 2003, pp. 215–218; SibEd., v. 10 2010, p. 3.
- ^ Dahlström 2003, pp. 208–209; SibEd., v. 4 2008, p. 19.
- ^ Dahlström 2003, p. 246; SibEd., v. 10 2010, p. 5.
- ^ Dahlström 2003, pp. 240–241; SibEd., v. 10 2010, p. 3.
- ^ Dahlström 2003, p. 206; SibEd., v. 4 2008, p. 19.
- ^ Dahlström 2003, p. 296; SibEd., v. 10 2010, p. 6.
- ^ Dahlström 2003, pp. 314–315; SibEd., v. 10 2010, p. 6.
- ^ Dahlström 2003, pp. 407–408; SibEd., v. 10 2010, pp. 10, 15.
- ^ Dahlström 2003, pp. 411–412; SibEd., v. 10 2010, p. 10.
- ^ Dahlström 2003, p. 412; SibEd., v. 10 2010, pp. 10, 15.
- ^ Dahlström 2003, pp. 418–419; SibEd., v. 10 2010, p. 11.
- ^ Dahlström 2003, pp. 420–421; SibEd., v. 10 2010, p. 11.
- ^ Dahlström 2003, pp. 427–428; SibEd., v. 10 2010, p. 12.
- ^ Dahlström 2003, p. 363; SibEd., v. 10 2010, p. 8.
- ^ Dahlström 2003, p. 582; SibEd., v. 10 2010, p. 14.
- ^ Dahlström 2003, pp. 466–467; SibEd., v. 10 2010, p. 13.
- ^ Dahlström 2003, pp. 602–603; SibEd., v. 7 2008, p. 3.
- ^ Dahlström 2003, pp. 533–534; SibEd., v. 7 2008, p. 3.
- ^ Dahlström 2003, p. 586–587; SibEd., v. 7 2008, p. 4.
- ^ Barnett 2007, pp. 41–42.
- ^ Dahlström 2003, p. 605; SibEd., v. 7 2008, p. 4.
- ^ Dahlström 2003, pp. 572–573; SibEd., v. 7 2008, p. 5.
- ^ a b SibEd., v. 7 2008, p. 4.
- ^ Dahlström 2003, pp. 42–43; SibEd., v. 7 2008, p. 5.
- ^ Dahlström 2003, pp. 45–46; SibEd., v. 7 2008, p. 5.
- ^ Dahlström 2003, pp. 61–62; SibEd., v. 7 2008, p. 6.
- ^ Dahlström 2003, pp. 43–44; SibEd., v. 7 2008, p. 5.
- ^ Dahlström 2003, pp. 47–48; SibEd., v. 7 2008, p. 5.
- ^ Dahlström 2003, p. 61; SibEd., v. 7 2008, p. 6.
- ^ Dahlström 2003, pp. 59–60; SibEd., v. 7 2008, p. 6.
- ^ Barnett 2007, p. 75.
- ^ Dahlström 2003, p. 640; SibEd., v. 7 2008, p. 5.
- ^ Dahlström 2003, pp. 40–41; SibEd., v. 7 2008, p. 5.
- ^ Dahlström 2003, pp. 41–42; SibEd., v. 7 2008, p. 5.
- ^ Dahlström 2003, p. 46; SibEd., v. 7 2008, p. 5.
- ^ Barnett 2007, pp. 115, 145, 166, 201, 230, 344, 348.
- ^ Dahlström 2003, pp. 2–3; SibEd., v. 7 2008, p. 13.
- ^ Dahlström 2003, pp. 62–63; SibEd., v. 7 2008, p. 6.
- ^ Dahlström 2003, pp. 65–66; SibEd., v. 7 2008, p. 6.
- ^ Dahlström 2003, pp. 612–613; SibEd., v. 7 2008, p. 7.
- ^ Dahlström 2003, p. 602; SibEd., v. 7 2008, p. 7.
- ^ Dahlström 2003, pp. 156–158; SibEd., v. 7 2008, p. 7.
- ^ Dahlström 2003, pp. 159–160; SibEd., v. 7 2008, p. 7.
- ^ Dahlström 2003, pp. 160–161; SibEd., v. 7 2008, p. 7.
- ^ Dahlström 2003, pp. 166–167; SibEd., v. 7 2008, p. 8.
- ^ Dahlström 2003, pp. 161–162; SibEd., v. 7 2008, p. 8.
- ^ Dahlström 2003, pp. 162–163; SibEd., v. 7 2008, p. 8.
- ^ Dahlström 2003, pp. 163–164; SibEd., v. 7 2008, p. 8.
- ^ Dahlström 2003, pp. 172–174; SibEd., v. 7 2008, p. 8.
- ^ Dahlström 2003, pp. 6–9; SibEd., v. 7 2008, p. 13.
- ^ Dahlström 2003, pp. 168–169; SibEd., v. 7 2008, p. 8.
- ^ Dahlström 2003, pp. 169–170; SibEd., v. 7 2008, p. 8.
- ^ Dahlström 2003, pp. 171–172; SibEd., v. 7 2008, p. 8.
- ^ Dahlström 2003, pp. 66–67; SibEd., v. 7 2008, p. 6.
- ^ Dahlström 2003, pp. 175–176; SibEd., v. 7 2008, p. 9.
- ^ Dahlström 2003, pp. 177–178; SibEd., v. 7 2008, p. 9.
- ^ Dahlström 2003, pp. 179–180; SibEd., v. 7 2008, p. 9.
- ^ Dahlström 2003, pp. 181–182; SibEd., v. 7 2008, p. 9.
- ^ Dahlström 2003, pp. 182–183; SibEd., v. 7 2008, p. 9.
- ^ Dahlström 2003, pp. 64–65; SibEd., v. 7 2008, p. 6.
- ^ Dahlström 2003, p. 228; SibEd., v. 7 2008, p. 9.
- ^ Dahlström 2003, p. 229; SibEd., v. 7 2008, p. 9.
- ^ Dahlström 2003, pp. 230–231; SibEd., v. 7 2008, p. 10.
- ^ Dahlström 2003, p. 231; SibEd., v. 7 2008, p. 10.
- ^ Dahlström 2003, p. 232; SibEd., v. 7 2008, p. 10.
- ^ Dahlström 2003, p. 233; SibEd., v. 7 2008, p. 10.
- ^ Dahlström 2003, pp. 534–535; SibEd., v. 7 2008, p. 10.
- ^ Barnett 2007, p. 238–239, 251, 253; Layton 1993, p. 178.
- ^ Dahlström 2003, pp. 320–321; SibEd., v. 7 2008, p. 14.
- ^ Dahlström 2003, pp. 154–155; SibEd., v. 7 2008, p. 11.
- ^ Dahlström 2003, p. 155; SibEd., v. 7 2008, p. 11.
- ^ Barnett 2007, p. 196–197, 224.
- ^ Dahlström 2003, pp. 260–261; SibEd., v. 7 2008, p. 11.
- ^ Dahlström 2003, pp. 261–262; SibEd., v. 7 2008, p. 11.
- ^ Dahlström 2003, p. 262; SibEd., v. 7 2008, p. 11.
- ^ Dahlström 2003, p. 263; SibEd., v. 7 2008, p. 11.
- ^ Dahlström 2003, p. 264; SibEd., v. 7 2008, p. 11.
- ^ Dahlström 2003, p. 265; SibEd., v. 7 2008, p. 11.
- ^ Dahlström 2003, p. 266; SibEd., v. 7 2008, p. 11.
- ^ Dahlström 2003, p. 267; SibEd., v. 7 2008, p. 11.
- ^ Dahlström 2003, p. 3–6; SibEd., v. 7 2008, p. 13.
- ^ Barnett 2007, p. 201, 348–349; Layton 1993, p. 176.
- ^ a b Dahlström 2003, pp. 275–278; SibEd., v. 7 2008, pp. 12, 20.
- ^ Barnett 2007, pp. 201, 345–346.
- ^ Dahlström 2003, pp. 552–553; SibEd., v. 7 2008, pp. 17, 19.
- ^ Dahlström 2003, p. 281; SibEd., v. 7 2008, p. 12.
- ^ Dahlström 2003, pp. 280–281; SibEd., v. 7 2008, p. 12.
- ^ Dahlström 2003, p. 282; SibEd., v. 7 2008, p. 12.
- ^ Dahlström 2003, pp. 282–283; SibEd., v. 7 2008, p. 12.
- ^ Dahlström 2003, p. 283; SibEd., v. 7 2008, p. 12.
- ^ Dahlström 2003, p. 284; SibEd., v. 7 2008, p. 12.
- ^ Dahlström 2003, p. 285; SibEd., v. 7 2008, p. 12.
- ^ Dahlström 2003, pp. 284–285; SibEd., v. 7 2008, p. 12.
- ^ Barnett 2007, p. 215; Layton 1993, pp. 162–163.
- ^ Dahlström 2003, pp. 11–12; SibEd., v. 7 2008, p. 13.
- ^ Dahlström 2003, p. 1; SibEd., v. 7 2008, p. 13.
- ^ Dahlström 2003, p. 2; SibEd., v. 7 2008, p. 13.
- ^ Dahlström 2003, p. 628; SibEd., v. 11 2010, p. 17.
- ^ Dahlström 2003, p. 316.
- ^ Dahlström 2003, p. 317; SibEd., v. 7 2008, p. 14.
- ^ Dahlström 2003, p. 319; SibEd., v. 7 2008, p. 14.
- ^ Dahlström 2003, p. 318; SibEd., v. 7 2008, p. 14.
- ^ Dahlström 2003, p. 625; SibEd., v. 7 2008, p. 14.
- ^ Barnett 2007, p. 253.
- ^ Dahlström 2003, p. 632.
- ^ Dahlström 2003, p. 371; SibEd., v. 7 2008, p. 15.
- ^ Dahlström 2003, pp. 373–374; SibEd., v. 7 2008, p. 15.
- ^ Dahlström 2003, p. 372; SibEd., v. 7 2008, p. 15.
- ^ Dahlström 2003, p. 373; SibEd., v. 7 2008, p. 15.
- ^ Dahlström 2003, p. 374; SibEd., v. 7 2008, p. 15.
- ^ Dahlström 2003, p. 375; SibEd., v. 7 2008, p. 15.
- ^ Barnett 2007, pp. 266, 269–270.
- ^ Dahlström 2003, pp. 378–379; SibEd., v. 7 2008, p. 15.
- ^ Dahlström 2003, pp. 379–380; SibEd., v. 7 2008, p. 15.
- ^ Dahlström 2003, pp. 380–381; SibEd., v. 7 2008, p. 15.
- ^ Dahlström 2003, pp. 381–382; SibEd., v. 7 2008, p. 15.
- ^ Dahlström 2003, p. 382; SibEd., v. 7 2008, p. 16.
- ^ Dahlström 2003, p. 383; SibEd., v. 7 2008, p. 16.
- ^ Dahlström 2003, pp. 387–388; SibEd., v. 7 2008, p. 16.
- ^ Dahlström 2003, pp. 388–389; SibEd., v. 7 2008, p. 16.
- ^ Dahlström 2003, pp. 389–390; SibEd., v. 7 2008, p. 16.
- ^ Dahlström 2003, p. 390; SibEd., v. 7 2008, p. 16.
- ^ Dahlström 2003, p. 391; SibEd., v. 7 2008, p. 16.
- ^ Dahlström 2003, p. 392; SibEd., v. 7 2008, p. 16.
- ^ Barnett 2007, p. 280.
- ^ Dahlström 2003, p. 582; SibEd., v. 7 2008, p. 16.
- ^ Barnett 2007, p. 292.
- ^ Dahlström 2003, p. 607; SibEd., v. 7 2008, p. 17.
- ^ Barnett 2007, p. 319.
- ^ Dahlström 2003, pp. 584–585; SibEd., v. 7 2008, p. 17.
- ^ Dahlström 2003, pp. 550–551; SibEd., v. 13 2011, p. 4.
- ^ Barnett 2007, p. 328.
- ^ Dahlström 2003, p. 605; SibEd., v. 7 2008, p. 17.
- ^ Dahlström 2003, pp. 24–25; SibEd., v. 7 2008, p. 16.
- ^ Barnett 2007, pp. 113, 344.
- ^ Dahlström 2003, p. 146; SibEd., v. 7 2008, p. 6.
- ^ Dahlström 2003; SibEd., v. 7 2008, p. 7.
- ^ Dahlström 2003, pp. 218–219; SibEd., v. 7 2008, p. 9.
- ^ Dahlström 2003, pp. 241–242; SibEd., v. 7 2008, pp. 17, 19.
- ^ Dahlström 2003, p. 307; SibEd., v. 7 2008, p. 14.
- ^ Dahlström 2003, p. 411; SibEd., v. 7 2008, p. 17.
- ^ Barnett 2007, pp. 41, 409; SibEd., v. 11 2010, p. 22.
- ^ Dahlström 2003, p. 534; SibEd., v. 11 2010, p. 11.
- ^ Dahlström 2003, p. 584; SibEd., v. 11 2010, p. 11.
- ^ Dahlström 2003, p. 624; SibEd., v. 11 2010, p. 11.
- ^ Dahlström 2003, p. 551; SibEd., v. 11 2010, p. 11.
- ^ Dahlström 2003, p. 498; SibEd., v. 11 2010, p. 11.
- ^ Barnett 2007, pp. 53, 410–411; SibEd., v. 11 2010, pp. 23–25.
- ^ Barnett 2007, pp. 83–84.
- ^ Dahlström 2003, pp. 640–641; SibEd., v. 11 2010, p. 12.
- ^ Barnett 2007, pp. 82, 99, 120, 122, 126–127, 144, 166, 245–246.
- ^ Layton 1993, pp. 222–223; Dahlström 2003, pp. 688–689, 692.
- ^ Barnett 2007, pp. 122, 124, 136, 166, 189.
- ^ Barnett 2007, pp. 83, 356, 411.
- ^ Dahlström 2003, pp. 71–73; SibEd., v. 11 2010, pp. 3, 14.
- ^ Dahlström 2003, p. 608; SibEd., v. 11 2010, p. 12.
- ^ Barnett 2007, pp. 89–90, 122, 216–218.
- ^ Dahlström 2003, pp. 48–49, 51–52; SibEd., v. 11 2010, pp. 3, 14.
- ^ Dahlström 2003, pp. 571–572; SibEd., v. 11 2010, p. 6.
- ^ Dahlström 2003, pp. 73–74; SibEd., v. 11 2010, pp. 4, 14.
- ^ Dahlström 2003, p. 564; SibEd., v. 11 2010, p. 12.
- ^ Dahlström 2003, pp. 82–83; SibEd., v. 11 2010, pp. 4, 27.
- ^ Dahlström 2003, pp. 92–97; SibEd., v. 11 2010, p. 13.
- ^ Dahlström 2003, p. 570; SibEd., v. 11 2010, p. 4.
- ^ Barnett 2007, p. 412.
- ^ Dahlström 2003, pp. 518–521; SibEd., v. 11 2010, p. 14.
- ^ Dahlström 2003, p. 578; SibEd., v. 11 2010, p. 15.
- ^ Dahlström 2003, pp. 68–69; SibEd., v. 11 2010, pp. 3, 14.
- ^ Dahlström 2003, pp. 76–77; SibEd., v. 11 2010, pp. 4, 14.
- ^ Barnett 2007, pp. 112, 228.
- ^ Dahlström 2003, pp. 496–497; SibEd., v. 11 2010, pp. 16, 20.
- ^ Dahlström 2003, pp. 553–555; SibEd., v. 11 2010, pp. 6, 15, 28.
- ^ Dahlström 2003, pp. 74–75; SibEd., v. 11 2010, p. 4.
- ^ Dahlström 2003, pp. 70–71; SibEd., v. 11 2010, p. 3.
- ^ Dahlström 2003, p. 568; SibEd., v. 11 2010, p. 19.
- ^ Barnett 2007, p. 152.
- ^ Dahlström 2003, pp. 526–527; SibEd., v. 11 2010, p. 16.
- ^ Dahlström 2003, p. 527; SibEd., v. 11 2010, p. 16.
- ^ Dahlström 2003, pp. 549–550; SibEd., v. 11 2010, p. 6.
- ^ Dahlström 2003, p. 645; SibEd., v. 11 2010, p. 6.
- ^ Barnett 2007, p. 171.
- ^ Dahlström 2003, pp. 532–533; SibEd., v. 11 2010, pp. 6, 16, 29.
- ^ Barnett 2007, p. 207.
- ^ Dahlström 2003, p. 560; SibEd., v. 11 2010, p. 19.
- ^ Dahlström 2003, p. 565; SibEd., v. 11 2010, p. 19.
- ^ Dahlström 2003, pp. 293–294; SibEd., v. 11 2010, p. 16.
- ^ Dahlström 2003, pp. 295–296; SibEd., v. 11 2010, p. 16.
- ^ Dahlström 2003, p. 642–643; SibEd., v. 11 2010, pp. 7, 17.
- ^ Dahlström 2003, pp. 97–98; SibEd., v. 11 2010, p. 20.
- ^ Dahlström 2003, p. 562; SibEd., v. 11 2010, p. 20.
- ^ Dahlström 2003, p. 134; SibEd., v. 11 2010, pp. 20, 29.
- ^ a b Dahlström 2003, p. 629; SibEd., v. 11 2010, p. 17.
- ^ Dahlström 2003, p. 364; SibEd., v. 11 2010, p. 7.
- ^ Barnett 2007, pp. 244, 248–249, 252–254, 268.
- ^ Dahlström 2003, p. 365; SibEd., v. 11 2010, p. 7.
- ^ Dahlström 2003, p. 366; SibEd., v. 11 2010, p. 8.
- ^ Dahlström 2003, pp. 365–366; SibEd., v. 11 2010, p. 7.
- ^ Dahlström 2003, p. 367; SibEd., v. 11 2010, pp. 8, 29.
- ^ Dahlström 2003, pp. 529–530; SibEd., v. 11 2010, p. 17.
- ^ Dahlström 2003, pp. 544–545; SibEd., v. 11 2010, p. 8.
- ^ Dahlström 2003, p. 649; SibEd., v. 11 2010, p. 8.
- ^ Dahlström 2003, pp. 649–650; SibEd., v. 11 2010, p. 8.
- ^ Dahlström 2003, p. 556; SibEd., v. 11 2010, p. 8.
- ^ Dahlström 2003, pp. 646–647; SibEd., v. 11 2010, p. 9.
- ^ Dahlström 2003, p. 573; SibEd., v. 11 2010, p. 8.
- ^ Dahlström 2003, p. 569; SibEd., v. 11 2010, p. 17.
- ^ a b Dahlström 2003, pp. 444–445; SibEd., v. 11 2010, p. 9.
- ^ Dahlström 2003, p. 606; SibEd., v. 11 2010, p. 18.
- ^ Barnett 2007, pp. 326, 345.
- ^ Dahlström 2003, p. 524; SibEd., v. 11 2010, p. 18.
- ^ Dahlström 2003, p. 604; SibEd., v. 11 2010, p. 10.
- ^ Dahlström 2003, p. 586; SibEd., v. 11 2010, p. 18.
- ^ Dahlström 2003, p. 647; SibEd., v. 11 2010, p. 9.
- ^ Dahlström 2003; SibEd., v. 11 2010, pp. 10, 30.
- ^ Barnett 2007, p. 416.
- ^ Dahlström 2003, pp. 115–121; SibEd., v. 11 2010, pp. 10, 18, 30.
- ^ Dahlström 2003, p. 555; SibEd., v. 11 2010, p. 12.
- ^ Dahlström 2003, p. 641; SibEd., v. 11 2010, p. 11.
- ^ Dahlström 2003, p. 646; SibEd., v. 11 2010, p. 18.
- ^ Dahlström 2003, pp. 518–521; SibEd., v. 11 2010, pp. 19, 27.
- ^ Dahlström 2003, pp. 144–145; SibEd., v. 11 2010, p. 7.
- ^ Dahlström 2003, p. 80; SibEd., v. 11 2010, pp. 19, 28.
- ^ Dahlström 2003, pp. 136–138; SibEd., v. 11 2010, pp. 7, 28.
- ^ Barnett 2007, p. 232.
- ^ Dahlström 2003, pp. 393–395; SibEd., v. 11 2010, p. 9.
- ^ Dahlström 2003, pp. 396–398; SibEd., v. 11 2010, p. 17.
- ^ Dahlström 2003, pp. 606–607; SibEd., v. 11 2010, p. 9.
- ^ Barnett 2007, p. 313.
- ^ a b c Dahlström 2003, pp. 567–568; SibEd., v. 13 2011, p. 3.
- ^ Barnett 2007, p. 333.
- ^ Dahlström 2003, pp. 565–566; SibEd., v. 11 2010, p. 10.
- ^ Dahlström 2003, pp. 396–398; SibEd., v. 11 2010, p. 21.
- ^ Dahlström 2003.
- ^ Dahlström 2003, p. 473–483; SibEd., v. 13 2011, pp. 4–5, 11–12.
- ^ Dahlström 2003, p. 525.
- ^ SibEd., v. 13 2011, p. 6.
- ^ SibEd., v. 8 2009, p. 8.
- ^ Dahlström 2003, p. 526; SibEd., v. 13 2011, p. 6.
- ^ Barnett 2007, p. 393.
- ^ Dahlström 2003, pp. 639–640; SibEd., v. 9 2009, p. 11.
- ^ SibEd., v. 9 2009, p. 12.
- ^ SibEd., v. 7 2008, p. 3.
- ^ Barnett 2007, p. 41.
- ^ Dahlström 2003, p. 523; SibEd., v. 7 2008, p. 3.
- ^ Barnett 2007, p. 404; SibEd., v. 7 2008, p. 3.
- ^ a b Barnett 2007, p. 404; SibEd., v. 7 2008, p. 4.
- ^ Dahlström 2003, pp. 523–524; SibEd., v. 7 2008, p. 5.
- ^ a b Barnett 2007, p. 405.
- ^ a b Barnett 2007, p. 406.
- ^ Dahlström 2003, p. 514; SibEd., v. 7 2008, p. 7.
- ^ Dahlström 2003, pp. 546–547; SibEd., v. 7 2008, p. 19.
- ^ Dahlström 2003, p. 644; SibEd., v. 7 2008, p. 11.
- ^ Dahlström 2003, p. 550; SibEd., v. 11 2010, p. 4.
- ^ Dahlström 2003, p. 574; SibEd., v. 11 2010, p. 16.
- ^ Dahlström 2003, p. 590.
- ^ a b Barnett 2007, p. 418; Dahlström 2003, p. 506.
- ^ a b Barnett 2007, p. 418; Dahlström 2003, p. 607.
- ^ Dahlström 2003, pp. 686–687, 688–690.
- ^ Dahlström 2003, pp. 484–485, 492, 617–618, 687.
Sources
edit- Books
- Barnett, Andrew (2007). Sibelius. New Haven, Connecticut: Yale University Press. ISBN 978-0-300-16397-1.
- Dahlström, Fabian [in Swedish] (2003). Jean Sibelius: Thematisch-bibliographisches Verzeichnis seiner Werke [Jean Sibelius: A Thematic Bibliographic Index of His Works] (in German). Wiesbaden: Breitkopf & Härtel. ISBN 3-7651-0333-0.
- Grimley, Daniel (2021). Jean Sibelius: Life, Music, Silence. Reaktion Books. ISBN 978-1-78914-466-6.
- Johnson, Harold (1959). Jean Sibelius (1st ed.). New York: Alfred A. Knopf. ISBN 9780313204708. OCLC 603128.
- Korhonen, Kimmo [in Finnish] (2007) [2003]. Inventing Finnish Music: Contemporary Composers from Medieval to Modern. Translated by Mäntyjärvi, Jaakko [in Finnish] (2nd ed.). Jyväskylä, Finland: Finnish Music Information Center (FIMIC) & Gummerus Kirjapaino Oy. ISBN 978-9-525-07661-5.
- Layton, Robert (1993) [1965]. Sibelius. (The Master Musicians Series) (4th ed.). New York: Schirmer Books. ISBN 0028713222.
- Levas, Santeri (1986) [1972]. Jean Sibelius: A Personal Portrait. Translated by Young, Percy (2nd ed.). Porvoo and Juva, Finland: Werner Söderström oy. ISBN 978-951-01360-89.
- Tawaststjerna, Erik (2008a) [1965/1967; trans. 1976]. Sibelius: Volume I, 1865–1905. Translated by Layton, Robert. London: Faber and Faber. ISBN 978-0-571-24772-1.
- Tawaststjerna, Erik (2008b) [1972; trans. 1986]. Sibelius: Volume II, 1904–1914. Translated by Layton, Robert. London: Faber and Faber. ISBN 978-0-571-24773-8.
- Tawaststjerna, Erik (2008c) [1978/1988; trans. 1997]. Sibelius: Volume III, 1914–1957. Translated by Layton, Robert. London: Faber and Faber. ISBN 978-0-571-24774-5.
- Liner notes
- "Volume 1: Tone Poems". The Sibelius Edition (CD booklet). Andrew Barnett (project advisor). BIS. 2007. BIS–CD–1900/02.
{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link) - "Volume 2: Chamber Music I". The Sibelius Edition (CD booklet). Andrew Barnett (project advisor). BIS. 2007. BIS–CD–1903/05.
{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link) - "Volume 3: Voice & Orchestra". The Sibelius Edition (CD booklet). Andrew Barnett (project advisor). BIS. 2007. BIS–CD–1906/08.
{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link) - "Volume 4: Piano Music I". The Sibelius Edition (CD booklet). Andrew Barnett (project advisor). BIS. 2008. BIS–CD–1909/11.
{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link) - "Volume 5: Theatre Music". The Sibelius Edition (CD booklet). Andrew Barnett (project advisor). BIS. 2008. BIS–CD–1912/14.
{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link) - "Volume 6: Violin & Piano". The Sibelius Edition (CD booklet). Andrew Barnett (project advisor). BIS. 2008. BIS–CD–1915/17.
{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link) - "Volume 7: Songs". The Sibelius Edition (CD booklet). Andrew Barnett (project advisor). BIS. 2008. BIS–CD–1918/20.
{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link) - "Volume 8: Orchestral Works". The Sibelius Edition (CD booklet). Andrew Barnett (project advisor). BIS. 2009. BIS–CD–1921/23.
{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link) - "Volume 9: Chamber Music II". The Sibelius Edition (CD booklet). Andrew Barnett (project advisor). BIS. 2009. BIS–CD–1924/26.
{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link) - "Volume 10: Piano Music II". The Sibelius Edition (CD booklet). Andrew Barnett (project advisor). BIS. 2010. BIS–CD–1927/29.
{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link) - "Volume 11: Choral Music". The Sibelius Edition (CD booklet). Andrew Barnett (project advisor). BIS. 2010. BIS–CD–1930/32.
{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link) - "Volume 12: Symphonies". The Sibelius Edition (CD booklet). Andrew Barnett (project advisor). BIS. 2011. BIS–CD–1933/35.
{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link) - "Volume 13: Miscellaneous Works". The Sibelius Edition (CD booklet). Andrew Barnett (project advisor). BIS. 2011. BIS–CD–1936/38.
{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link) - Barnett, Andrew (2013). The Unknown Sibelius: Rarities and First Recordings (CD booklet). BIS. BIS–2065.
- Virtanen, Timo (2014). Sibelius: Complete Symphonies / Three Late Fragments (CD booklet). John Storgårds & BBC Philharmonic. Chandos. CHAN 10809.
- Websites
- "The Sibelius Edition". bis.se. BIS Records. Archived from the original on 27 July 2023. Retrieved 10 August 2023 – via Wayback Machine.
- Tiikkaja, Samuli (8 December 2020). "Kansalliskirjasto sai ostettua Lienaun Sibelius-käsikirjoitukset". Helsingin Sanomat (in Finnish). p. B 4. Archived from the original on 7 December 2020. Retrieved 10 December 2020.
- "Jean Sibelius Works: Editors". kansalliskirjasto.fi. National Library of Finland. Retrieved 26 December 2023.
- "Jean Sibelius Works: History of the JSW project". kansalliskirjasto.fi. National Library of Finland. Retrieved 26 December 2023.
- "Jean Sibelius Works: The text-critical approach of Sibelius's works". kansalliskirjasto.fi. National Library of Finland. Retrieved 26 December 2023.
- "The critical edition: Jean Sibelius Works". sibeliussociety.fi. Sibelius Society of Finland. Retrieved 31 March 2023.
- "Jean Sibelius's music manuscript archives edition". maailmanmuisti.fi. UNESCO National Committee of Finland. 2021. Retrieved 31 March 2023.
- Virtanen, Timo (26 February 2020). "Nationalskatter i farozonen". Hufvudstadsbladet (in Swedish). p. 23. Archived from the original on 26 February 2020. Retrieved 9 March 2020.
