Lista de composiciones de Jean Sibelius
El compositor finlandés Jean Sibelius (1865-1957) escribió más de 550 obras originales durante su carrera artística de ocho décadas. [1] Esta comenzó alrededor de 1875 con una breve miniatura para violín y violonchelo llamada Gotas de agua ( Vattendroppar ), [2] y terminó unos meses antes de su muerte a los 91 años con la orquestación de dos canciones anteriores, " Kom nu hit, död " ("Ven, muerte") y " Kullervon valitus " ("El lamento de Kullervo", extraído del Movimiento III de Kullervo ). [3]
Sin embargo, las décadas de 1890 a 1920 representan las décadas clave de la producción de Sibelius. [4] Después de Tapiola de 1926 , Sibelius no completó nuevas obras significativas, aunque trabajó infamemente hasta fines de la década de 1930 o principios de la de 1940 en su Octava Sinfonía , que nunca completó y probablemente destruyó alrededor de 1944. [5] Esta sequía creativa de treinta años, comúnmente conocida como el "Silencio de Järvenpää", [6] en referencia a la subregión de Helsinki en la que residían el compositor y su esposa, Aino , ocurrió en el apogeo de su celebridad internacional y nacional. [7]
Hoy en día, Sibelius es recordado principalmente como compositor para orquesta: sus sinfonías , poemas sinfónicos y conciertos solitarios son particularmente celebrados , aunque produjo obras viables en todos los géneros principales de la música clásica. [8] Si bien sus obras orquestales significaron mucho para él, Sibelius se negó a descartar sus miniaturas (piezas para piano, canciones , etc.) como insignificantes, viéndolas en cambio como "representativas de su yo más íntimo". [9]
Navegando por la obra de Sibelius
Oposiciones 1–116 de Sibelius
(desglosadas) por categoría
(desglosadas) por categoría
Obras orquestales [a] (23%)
Obras de cámara [b] (10%)
Instrumento solista [c] (34%)
Canciones [d] (25%)
Obras corales [e] (8%)
Funciona con y sin opus
La lista final de obras de Sibelius data de 1952 [10] y abarca desde la Op. 1 a la 116 , aunque la Op. 107 [f] no está asignada y la Op. 117 [g] tiene un estatus ambiguo. [11] Sin embargo, entre los 115 números activos hay muchas colecciones; desagregar estos números de obras múltiples revela que, contando de manera conservadora, alrededor de 342 composiciones comprenden la lista:
- 77 obras orquestales, que abarcan 59 números de opus [a]
- 35 obras de cámara, que abarcan 13 números de opus [b]
- 117 obras para instrumento solista (115 para piano, dos para órgano), que abarcan 20 números de opus [c]
- 86 canciones, que abarcan 16 números de opus [d]
- 27 obras para coro, que abarcan siete números de opus [e]
Cuando se ordena numéricamente, la lista de obras de Sibelius es un indicador imperfecto de su maduración estilística a lo largo del tiempo. Esto se debe a que Sibelius curó la colección de acuerdo con su evaluación siempre cambiante de su obra (muy autocrítico, se volvió especialmente ambivalente más adelante en su vida hacia su período temprano), [12] promocionando obras o degradándolas del catálogo y llenando las vacantes resultantes sin una estricta consideración por la cronología compositiva. [13] [h] Entre las piezas que en un momento tuvieron, pero luego perdieron, un lugar en la lista de obras de Sibelius se encuentran numerosas obras a gran escala de las décadas de 1880 y 1890, incluida su única ópera , tres cantatas , un melodrama y varias composiciones de varios movimientos para conjuntos de cámara . [17] [i] Sibelius también degradó sus dos primeras composiciones orquestales, la Obertura en mi mayor y la Escena de ballet , que originalmente estaban pensadas como movimientos de una sinfonía antes de que el compositor abandonara el proyecto. [21]
Para las obras sin opus, la convención desde finales de los años 1990 ha sido seguir el sistema de numeración suplementario JS del musicólogo finlandés Fabian Dahlström , que finalizó en 2003 con la publicación de Jean Sibelius : A Thematic Bibliographic Index of His Works . [22] Esta lista va desde JS 1 a 225 e incluye no solo las composiciones que Sibelius degradó de su lista de opus, sino también aquellas que nunca tuvieron un número de opus en ningún momento durante su carrera. [23]
Sibelius y sus editores
Sibelius vendió su música a varios editores a lo largo de su carrera. Como compositor relativamente desconocido en la década de 1890 y principios de 1900, trabajó con firmas nacionales en Helsinki, incluidas las operaciones homónimas de Axel E. Lindgren y Karl F. Wasenius , así como Helsingfors Nya Musikhandel , una empresa conjunta de Konrad G. Fazer y Robert E. Westerlund hasta que este último se retiró en 1904 para comenzar su propia firma . [24] [j] A medida que la reputación internacional de Sibelius crecía, las principales firmas alemanas lo llamaron, y él disfrutó no solo del prestigio sino también de la oportunidad de liberarse del engorroso proceso de publicación nacional. Sibelius firmó contratos con Robert Lienau Musikverlag de Berlín entre 1905 y 1909 y con Breitkopf & Härtel de Leipzig entre 1910 y 1918. [25] Sin embargo, la llegada de la Primera Guerra Mundial en 1914 interrumpió los negocios con Alemania y los pagos de regalías de Sibelius tuvieron que ser desviados a través de la neutral Dinamarca . Siempre endeudado, Sibelius produjo dúos para violín y piezas para piano mediocres y "de consumo diario" para RE Westerlund y AE Lindgren , [26] cada uno de los cuales carecía de los medios para imprimir las obras pero las consideraban una inversión astuta. [27] [k]
El fin de la guerra trajo poco alivio, ya que la hambruna y la guerra civil se apoderaron de la recién soberana Finlandia y las reparaciones arruinaron la economía alemana . Breitkopf & Härtel escribió al compositor en mayo de 1918 para expresar su pesar por no poder aceptar la Quinta Sinfonía debido a las circunstancias de la posguerra. [28] En la brecha intervino Edition Wilhelm Hansen en Copenhague, que contrató directamente a Sibelius en 1920 y, durante la siguiente media década, emergió como el editor líder de Sibelius. [29] [l] En 1926, Breitkopf & Härtel pudo reanudar su relación editorial con Sibelius, [29] aunque ahora tenía que compartir al compositor con Hansen y otros. En cualquier caso, Sibelius pasó la década de 1930 luchando con la Octava Sinfonía nunca realizada, y en la década de 1940 había caído en un cuasi retiro. Tras su muerte en 1957, muchas composiciones permanecieron en forma manuscrita y comenzó el proceso de publicación póstuma de sus obras . Durante las décadas siguientes, la familia Sibelius accedió a permitir varias primeras ediciones, realizadas por Hansen, Breitkopf & Härtel y Musiikki-Fazer . [30] [m]
Los manuscritos de Sibelius
La colección más grande y completa de manuscritos de Sibelius pertenece a la Biblioteca Nacional de Finlandia en la Universidad de Helsinki . La institución comenzó en serio su misión de adquirir el patrimonio literario del compositor en 1970, con la compra, a la casa de subastas londinense Sotheby's , de manuscritos que alguna vez habían pertenecido a A. E. Lindgren y, posteriormente, a R. E. Westerlund. [33] Sin embargo, los fondos de la Biblioteca Nacional aumentaron (y la necesidad de un catálogo complementario se volvió especialmente aguda) en 1982, cuando la familia Sibelius donó todos los papeles que aún estaban en su posesión. [33] La donación más que duplicó el catálogo de Sibelius: entre los casi 2000 manuscritos no solo había borradores, bocetos temáticos y pruebas de página relacionadas con composiciones conocidas, sino también obras de juventud hasta entonces desconocidas . [34]
En 1991, el musicólogo finlandés Kari Kilpeläinen publicó The Jean Sibelius Musical Manuscripts at Helsinki University Library : A Complete Catalogue , en el que cada manuscrito recibió un identificador de la Biblioteca Universitaria de Helsinki (HUL). [34] Además, los sistemas de numeración JS y HUL son compatibles; por ejemplo, la destruida Octava Sinfonía de Sibelius está numerada JS 190 por Dahlström, y los llamados Tres Fragmentos Tardíos que sobrevivieron y que se han conectado tentativamente con la Octava Sinfonía están etiquetados como HUL 1325, HUL 1326/9 y HUL 1327/2 por Kilpeläinen. [35] Una tercera adquisición notable ocurrió poco después de que Kilpeläinen publicara su libro, cuando en 1997 la Biblioteca Nacional obtuvo manuscritos que habían pertenecido a Edition Wilhelm Hansen. [33] Finalmente, en 2020, la institución adquirió una colección de 1200 páginas de Robert Lienau Musikverlag. [36] En 2021, el Comité Nacional de la UNESCO de Finlandia incluyó los Manuscritos musicales de Jean Sibelius de la Biblioteca Nacional en el Registro de la Memoria del Mundo del país , describiéndolos como un "tesoro cultural nacional cuidadosamente cuidado... [que] ha ampliado y dado forma de manera crucial a la imagen de cómo Sibelius compuso y produjo sus obras". [34]
En Finlandia, hay manuscritos adicionales en el Museo Sibelius de la Universidad Åbo Akademi de Turku , la Academia Sibelius (el alma mater del compositor, anteriormente el Instituto de Música de Helsinki), la Orquesta Filarmónica de Helsinki (que estrenó la mayoría de sus obras orquestales) y los Archivos Nacionales de Finlandia . [37] No es legalmente posible exportar los manuscritos de Sibelius desde Finlandia sin permiso, que en cualquier caso las autoridades finlandesas probablemente no darían. [38] Fuera de Finlandia, Breitkopf & Härtel posee la colección más notable de manuscritos de Sibelius. [39]
Estudios destacados de la obra
Además del exhaustivo libro de Dahlström de 2003, cabe destacar dos estudios adicionales de la obra de Sibelius. En primer lugar, un proyecto de colaboración en curso que involucra a la Biblioteca Nacional, Breitkopf & Härtel y la Sociedad Sibelius de Finlandia es la publicación de la edición crítica de Jean Sibelius Works (JSW) , cuyo enfoque textual utiliza " los manuscritos musicales autógrafos de Sibelius , copias hechas de ellos, partes instrumentales, así como primeras ediciones y sus pruebas... la correspondencia del compositor, su diario, recibos de copistas, cuentas de editores y reseñas de periódicos". [40] Iniciada en 1996, la JSW está proyectada en 52-60 volúmenes y cubrirá todas las composiciones completadas de Sibelius (y arreglos), muchas de las cuales permanecen en manuscrito y, por lo tanto, recibirán primeras ediciones. El editor en jefe actual es el musicólogo finlandés Timo Virtanen. [41] [n]
Un segundo estudio importante es el proyecto de grabación The Sibelius Edition del sello sueco BIS , para el cual el biógrafo de Sibelius, Andrew Barnett, trabajó como asesor del proyecto. [43] Lanzada entre 2007 y 2011, esta serie de 13 volúmenes, que buscaba registrar cada "nota [Sibelius] puesta en papel" sobreviviente, comprende más de 80 horas de música en 68 discos y también incluye las versiones originales de las obras revisadas por el compositor. [44] [o]
Tabla de composiciones
Sellos postales finlandeses en honor a Sibelius, un icono cultural [45]
La siguiente tabla es una lista completa de las obras de Jean Sibelius , compilada con referencia a dos fuentes: primero, Jean Sibelius : A Thematic Bibliographic Index of His Works de Dahlström de 2003 ; y segundo, las listas de canciones de los 13 volúmenes de The Sibelius Edition de BIS . La tabla contiene seis parámetros ordenables: género, título, año de composición, número de catálogo (ya sea Op. o JS), instrumentación y autor del texto (si corresponde). El orden predeterminado es, primero, por género y, segundo, por año de composición. Finalmente, para facilitar la visualización, la tabla está dividida en subsecciones codificadas por colores, de la siguiente manera:
|
|
|
| Género | Título | Año(s) compuesto(s) | Catalogar | Instrumentación | Texto [p] | Notas |
|---|---|---|---|---|---|---|
Obras orquestales | ||||||
| Sinfonía |
| 1891–1892 (se retiró en 1893) | Op. 7 | S , B , coro , orquesta. | Kalevala , Runas XXXV–VI | [q] [47] |
| 1898-1899, rev. 1900 | Op.39 | orquesta. | – | [r] [49] | |
| 1901–1902 | Op. 43 | [s] [51] | |||
| 1904–1907 | Op.52 | [t] [53] | |||
| 1909–1911 | Op.63 | [u] [56] | |||
| 1914-1915, rev. 1916 y 1917-1919 | Op.82 | [v] [58] | |||
| 1914–1923 | Op. 104 | [w] [61] | |||
| Sinfonía n.º 7 en do mayor , en un movimiento | 1914–1924 | Op. 105 | [x] [64] | |||
| Sinfonía n.º 8 | 1924- finales de la década de 1930-1945 (abandonado) | JS 190 | Orquesta (proyectada) | [y] | ||
| Concertante |
| 1903–1904, rev. 1905 | Op. 47 | vl. , orq. | [z] [67] | |
| Serenata n.º 1 en re mayor | 1912 | Op.69a | [aa] [70] | |||
| Serenata n.º 2 en sol menor | 1912–1913 | Op. 69b | [aa] [71] | |||
| Melodía seria n.º 1: Cantique | 1914 ( arr. 1916) | Op.77/1 | vl. (o vc. ), orq. | [a] [73] | ||
| Melodía seria n.º 2: Devoción | 1915 ( arr. 1916) | Op.77/2 | [a] [74] | |||
| Humoresque No. 1 en re menor | 1917, rev. 1940 | Op.87/1 | vl. , orq. | [ac] [76] | ||
| Humoresque No. 2 en re mayor | 1917 | Op.87/2 | [ac] [77] | |||
| Humoresque No. 3 en sol menor | Op.89a | vl. , estr. | [ac] [78] | |||
| Humoresque No. 4 en sol menor | Op.89b | [ac] [79] | ||||
| Humoresque No. 5 en mi bemol mayor | Op.89c | vl. , orq. | [ac] [80] | |||
| Humoresque No. 6 en sol menor | 1918 | Op.89d | [ac] [81] | |||
| 1929 | JS 185 [g] | vl. , estr. | [anuncio] [83] | ||
| Poema tonal | En saga ( Satu ) | 1890–1892, rev. 1902 | Op. 9 | orquesta. | [ae] [85] | |
| Canción de primavera ( Vårsång ) | 1894, rev. 1895 | Op. 16 | [de] [87] | |||
| La ninfa del bosque ( Skogsrået ) | 1894–1895 | Op. 15 | – ( V. Rydberg ) | [ag] [89] | ||
| El cisne de Tuonela ( Tuonelan joutsen ) | 1893–1895, rev. 1897 y 1900 | Op. 22/2 | – ( Kalevala ) | [Ah] [92] | ||
| El regreso de Lemminkäinen ( Lemminkäinen palaa kotitienoille ) | 1895, rev. 1897 y 1900 | Op. 22/4 | [Ah] [93] | |||
| Lemminkäinen y las doncellas de la isla ( Lemminkäinen ja saaren neidot ) | 1895, rev. 1897 y 1939 | Op. 22/1 | [Ah] [94] | |||
| Lemminkäinen en Tuonela ( Lemminkäinen Tuonelassa ) | Op. 22/3 | [Ah] [95] | ||||
| Finlandia , de la Prensa Celebraciones Música | [1899], arreglo 1900 | Op. 26 | – | [ai] [97] | ||
| La hija de Pohjola ( Pohjolan tytär ) | 1903–1906 | Op. 49 | – ( Kalevala ) | [aj] [100] | ||
| Paseo nocturno y amanecer ( Öinen ratsastus ja auringonnousu ) | 1908 | Op.55 | – | [101] | ||
| La dríada ( Driadi ) | 1910 | Op. 45/1 | [ak] [103] | |||
| El Bardo ( Barden ) | 1913, rev. 1913 | Op.64 | [al] [105] | |||
| Luonnotar | 1913 | Op.70 | S , orquesta. | Kalevala , Runo I | [aj] [106] | |
| Las Oceánides ( Aallottaret ) | 1913-1914, rev. 1914 y 1914 | Op.73 | orquesta. | – | [al] [107] | |
| Kuutar ( La diosa de la luna ) | 1919 – principios de la década de 1920 (abandonado) | – | Orquesta (proyectada) | – ( Kalevala ) | [en] | |
| Tapiola | 1926 | Op. 112 | orquesta. | [soy] [109] | ||
| Ópera | La construcción del barco ( Veneen luominen ) | 1893–1894 (abandonado) | – | solistas, coro , orquesta (proyectado) | J. Sibelius y JH Erkko; Kalevala,RunosVIIIyXVI | [un] |
| La doncella en la torre ( Jungfrun i tornet ), balada finlandesa dramatizada en un acto | 1896 (retirado en 1896) | JS 101 | S , A , T , B , coro , orquesta. | R. Hertzberg | [aa] [112] | |
| Escenario | El rey Christian II ( Kuningas Kristian II ), obra en cinco actos | 1898, rev. 1898 | Op. 27 | B , orquesta. | A. Pablo | [ap] [114] |
| Muerte ( Kuolema ), obra en 3 actos | 1903 | JS 113 | Mz , B , estr. , perc. | A. Järnefelt | [aq] [117] | |
| Pelléas et Mélisande ( Pelléas och Mélisande ), obra en 5 actos | 1904–1905 | JS 147 | Sra. , orq. | M. Maeterlinck – B. Gripenberg , trad. ( sv ) | [es] [119] | |
| El banquete de Belsasar ( Belsazars gästabud ), obra en 4 actos | 1906 | JS 48 | H. Procopé | [como] [120] | ||
| Canzonetta , añadida a Muerte ( Kuolema ) | 1906, rev. 1911 | Op.62/1 | est. | – ( A. Järnefelt ) | [aq] [121] | |
| Swanwhite ( Svanevit ), obra en 3 actos | 1908 | JS 189 | orquesta + órgano | – ( A. Strindberg ) | [en] [123] | |
| El lenguaje de los pájaros ( Die Sprache der Vögel ) | 1911 | JS 62 | orquesta. | – ( A. Pablo ) | [es] [125] | |
| Valse romanticique , añadido a Muerte ( Kuolema ) | Op. 62/2 | – ( A. Järnefelt ) | [aq] [121] | |||
| Scaramouche , ballet-pantomima en 2 actos | 1912–1913 | Op.71 | orq. + pf. | P. Knudsen | [av] [127] | |
| Everyman ( Jedermann o Jokamies ), obra en 1 acto | 1916 | Op.83 | Mz , T , B , coro , orquesta + partitura , órgano | H. von Hofmannsthal – H. Jalkanen , trad. ( fi ) | [aw] [129] | |
| La tempestad ( Stormen ), obra en 5 actos | 1925, rev. 1927 | JS 182 | S , Mz , T , T , B , coro , orquesta + armonio | W. Shakespeare – E. Lembcke , trad. ( da , 1926) – P. Cajander , trad. ( fi , 1927) | [hacha] [131] | |
| Escenario ( arr. ) | Suite Rey Christian II ( Kuningas Kristian II )
| [1898], arreglo 1898 | → Opus 27 | orquesta. | – ( A. Pablo ) | [ap] [132] |
| Obertura de La doncella en la torre ( Jungfrun i tornet ) | [1896], arr. 1900 (marcas de partitura) | → JS 101 | – ( R. Hertzberg ) | [a] | ||
| Valse triste , de La muerte ( Kuolema ) | [1903], arreglo 1904 | Op. 44/1 | – ( A. Järnefelt ) | [aq] [133] | ||
Suite Pelléas et Mélisande ( Pelléas och Mélisande )
| [1905], arreglo 1905 | Op. 46 | – ( M. Maeterlinck ) | [es] [134] | ||
| Escena con Grullas ( Kurkikohtaus ), de La Muerte ( Kuolema ) | [1903], arreglo 1906 | Op. 44/2 | – ( A. Järnefelt ) | [aq] [135] | ||
Suite del banquete de Belsasar ( Belsazars gästabud )
| [1906], arreglo 1907 | Op.51 | – (H. Procopé ) | [como] [136] | ||
Suite Swanwhite ( Svanevit )
| [1908], arreglo 1908 | Op.54 | – ( A. Strindberg ) | [en] [137] | ||
| El preludio de la tempestad ( Stormen ) | [1925], arreglo 1927 | Op. 109/1 | – ( W. Shakespeare ) | [hacha] [138] | ||
La tempestad, suite nº 1 ( Stormen )
| [1925], arreglo 1927, rev. 1929 | Op. 109/2 | [hacha] [139] | |||
La tempestad, suite nº 2 ( Stormen )
| [1925], arreglo 1927 | Op. 109/3 | [hacha] [140] | |||
| Oratorio | Marjatta | 1905 (abandonado) | – | solistas, coro , orquesta (proyectado) | J. Finne ; Kalevala , Runo L. | [sí] |
| Cantata | Cantata para las ceremonias de graduación universitaria de 1894 ( Kantaatti tohtorinja maisterinvihkijäisissä 1894 )
| 1894 (sobrevive parcialmente) | JS 105 | S , B , coro , orquesta. | K. Leino | [az] [143] |
Cantata para la coronación de Nicolás II ( Kantaatti iloja onnentoivotusjuhlassa 1896 )
| 1896 | JS 104 | coro , orquesta | P. Cajander | [ba] [145] | |
Cantata para las ceremonias de graduación universitaria de 1897 ( Kantaatti tohtorinja maisterinvihkijäisissä 1897 )
| 1897 (sobrevive parcialmente) | JS 106 | S , B , coro , orquesta. | AV Koskimies | [bb] [148] | |
| El origen del fuego ( sintedad Tulen ) | 1902, rev. 1910 | Op. 32 | B , coro m , orq. | Kalevala , Runa XLVII | [a.c.] [150] | |
| La Reina Cautiva ( Vapautettu kuningatar ) | 1906 ( arr. c. 1910 ) | Op. 48 | chor. (o mchor. ), orq. | P. Cajander | [bd] [152] | |
| Mi propia tierra ( Oma maa ) | 1918 | Op. 92 | coro , orquesta | SK Bergh | [ser] [153] | |
| Canción de la Tierra ( Jordens sång ) | 1919 | Op. 93 | J. Hemmer | [bf] [154] | ||
| Himno de la Tierra ( Maan virsi ) | 1920 | Op. 95 | E. Leino | [155] | ||
| La canción de Väinämöinen ( Väinön virsi ) | 1926 | Op. 110 | Kalevala , Runa XVIII | [156] | ||
| Melodrama | La ninfa del bosque ( Skogsrået ) | 1894–1895 | → Opus 15 | Nar. , orq. + pf. | V. Rydberg | [ag] [157] |
| La rotura del hielo en el río Oulu ( Islossningen i Uleå älv ) | 1899 | Op.30 | Nar. , coro , orquesta. | Z. Topelius | [bg] [159] | |
| Nieve en el bosque | 1900 | Op. 29 | Nar. , coro , orquesta. | V. Rydberg | [bh] [162] | |
| El retrato de la condesa ( Grevinnans konterfej ) | 1906 | JS88 | Nar. , estr. | Z. Topelius | [bi] [163] | |
| Una pista de esquí solitaria ( Ett ensamt skidspår ) | [1925], arreglo 1948 | JS77b (en inglés) | Nar. , arpa, str. | B. Gripenberg | [bj] [165] | |
| Canción de orquesta | " Serenata " ("Serenata") | 1894–1895 | JS 168 | B , orquesta. | E.J. Stagnelius | [libro] [166] |
| " Koskenlaskijan morsiamet " ("Las novias del jinete de los rápidos") | 1897 | Op. 33 | B , orquesta. | A. Oksanen | [bl] [167] | |
| " Se'n har jag ej frågat mera " ("Desde entonces no he hecho más preguntas") | [1891–1892], arreglo 1903 | → Op. 17/1 | voz, orquesta | J. L. Runeberg | [bm] [168] | |
| " På verandan vid havet " ("En un balcón junto al mar") | [1903], arreglo 1903 | → Op. 38/2 | V. Rydberg | [bn] [169] | ||
| " I natten " ("En la noche") | [1903], arreglo 1903 | → Op. 38/3 | [bn] [170] | |||
| " Höstkväll " ("Tarde de otoño") | [1903], arreglo 1904 | → Op.38/1 | voz, orq. (o est. ) | [bn] [171] | ||
| " Arioso " | 1911 | → Opus 3 | S , est. | J. L. Runeberg | [en] [172] | |
| " Hertig Magnus " ("Duque Magnus") | [1909], arreglo 1912 | → Op. 57/6 | voz, orquesta | E. Josephson | [pb] [173] | |
| " Der Rabe " ("El cuervo") | 1910 (abandonado) | – | S , orq. (proyectada) | E. Poe – [ Desconocido ], trad. ( de ) | [tú] | |
| " Våren flyktar hastigt " ("La primavera está volando") | [1891], arreglo 1913 | → Op. 13/4 | voz, orquesta | J. L. Runeberg | [bq] [174] | |
| " Soluppgång " ("Amanecer") | [1902], arreglo 1913 | → Op. 37/3 | T. Hedberg | [br] [175] | ||
| " Demanten på marssnön " ("El diamante en la nieve de marzo") | [1900], arreglo 1917 | → Op. 36/6 | J.J. Wecksell | [bs] [176] | ||
| " Otro caso " | 1919, rev. 1920 | Op. 96b | S , S , orquesta. | H. Procopé | [b] [178] | |
| " Kullervon valitus " ("El lamento de Kullervo"), de Kullervo | [1892, arreglos 1892-1893, 1917-1918], arreglos 1957 | → Opus 7 | B , orquesta. | Kalevala , Runa XXXV | [q] [179] | |
| " Kom nu hit, död " ("Ven, muerte") | [1909], arreglo 1957 | → Op.60/1 | B , str. + arpa | W. Shakespeare – CA Hagberg , trad. ( sv ) | [bu] [180] | |
| Misceláneo ( – voz ) | Obertura en mi mayor | 1891 | JS 145 | orquesta. | – | [bv] [183] |
| Escena de ballet ( Scène de ballet ) | JS 163 | [bv] [184] | ||||
| Música de esgrima ( Fäktmusik ) | 1891 (perdido) | JS80 | Orquesta (probable) | [bw] [187] | ||
| Marcha del circo ( Zirkusmarsch ) | JS 223 | [bw] [188] | ||||
| Obertura de Karelia | [1893], arreglo 1893 | Op. 10 | orquesta. | [bx] [189] | ||
| Op. 11 | [bx] [190] | ||||
| Presto , del Cuarteto de cuerdas en si bemol mayor | [1890], arreglo 1894 | → Op. 4/3 | est. | [por] [191] | ||
| Impromptu , de los Seis Impromptus | [1893], arreglo 1894 | → Opus 5/5–6 | [bz] [192] | |||
| Menueto | 1894 | JS 127 | orquesta. | [ca] [194] | ||
| Marcha de la Coronación ( Kröningsmarsch ), de la Cantata para la Coronación de Nicolás II | [1896], arreglo 1896 | → JS 104 | [ba] [195] | |||
Música para la Prensa Jornadas de Celebraciones ( Musiikkia Sanomalehdistön päivien juhlanäytäntöön )
| 1899 | JS 137 | [cb] [198] | |||
| Marcha del Regimiento de Pori ( Porilaisten marssi ), arreglo [II] del original | arr. 1900 | JS 152 | [cc] [200] | |||
| Obertura en la menor | 1902 | JS 144 | [disco compacto] [201] | |||
| Casación | 1904, rev. 1905 | Op.6 | [es] [203] | |||
| Romance en do mayor | 1904 | Op. 42 | est. | [cfr] [205] | ||
| Musik zu einer Szene ( Música para una escena ) | Op. 45/2 | orquesta. | [cg] [207] | |||
| Intermezzo de danza ( Tanssi-Intermezzo ) | [1904, rev./trad . 1904], arr . 1907 | Op. 45/2 | [cg] [208] | |||
| Cortejo | 1905 | JS 54 | [209] | |||
| Pan y Eco ( Pan och Echo ) | 1906 | Op.53 | [ch] [211] | |||
| En memoria | 1909, rev. 1910 | Op.59 | [ci] [213] | |||
Rakastava (El amante)
| [1894], arr. 1911, rev. 1912 | Op. 14 | estr. , perc. | – ( Canteletar ) | [cj] [214] | |
Escenas históricas I , de la Prensa Celebraciones Música
| [1899], arreglo 1911 | Op. 25 | orquesta. | – | [ck] [217] | |
Escenas históricas II
| 1912 | Op.66 | [cl] [219] | |||
| Vals lírico | [1914, rev. 1919 y 1919], arr. 1920 | Op. 96a | [cm] [220] | |||
| Marcha académica ( Promootiomarssi ) | 1919 | JS 155 | [es] [222] | |||
| Valse caballeresco | 1921–1922, rev. 1922 | Op. 96c | [co] [224] | |||
| 1921 | Op. 98a | str. + flautas | [cp] [226] | ||
| 1922 | Op. 98b | est. | [cq] [228] | ||
| Op. 100 | str. + arpa | [cr] [230] | |||
| Morceau romántico | 1925 | JS 135a | orquesta. | [cs] [232] | ||
| Andante festivo | [1922], arreglo 1938 | JS 34b | str. + timbales | [cont.] [234] | ||
| Misc. ( + voz ) | Señor, tú eres una roca ( Herr du bist ein Fels ) | 1889–1890, rev. 1889–1890 | HUL1260 | coro , orquesta | [ Desconocido ] | [cu] [236] |
| Señor, muéstranos tu misericordia ( Herr erzeige uns deine Gnade ) | HUL1263 | |||||
| 1893 (parcialmente destruido) | JS 115 | B , 2 cantantes folklóricos masculinos, orquesta. | Kalevala , Runo XIV ; Svenska fornsånger , vol. II | [bx] [238] | |
Rakastava ( El amante )
| [1894], arreglo 1894 | JS 160b | T , coro , estr. | Kanteletar , Libro I: 173–74, 122 | [cj] [239] | |
| Una canción para Lemminkäinen ( Laulu Lemminkäiselle ) | [1895–1896], arreglo 1896 | Op.31/1 | mchor. , orq. | Y. Weilin | [Ah] [240] | |
| Sandalias | 1898, rev. 1915 | Op. 28 | J. L. Runeberg | [cv] [242] | ||
| Canción de los atenienses ( Athenarnes sång ) | 1899 | Op. 31/3 | mchor. , bchor. , orq. | V. Rydberg | [cw] [244] | |
| Improvisado | 1902, rev. 1910 | Op. 19 | fchor. , orq. | [cx] [246] | ||
| ¿Tienes coraje? ( ¿Har du mod? ) | 1904, rev. 1911, 1912 y 1913-1914 | Op. 31/2 | mchor. , orq. | J.J. Wecksell | [cy] [248] | |
| Marcha Jäger ( Jääkärien marssi ) | [1917], arreglo 1918 | → Opus 91a | H. Nurmio | [es] [250] | ||
| Marcha Scout ( Partiolaisten marssi ) | [1918], arreglo 1918 | → Op. 91b | coro , orquesta | J. Finne | [de] [252] | |
| Procesional , de la Música Ritual Masónica | [1927], arreglo 1938 | → Op. 113/6 | coro , orquesta | V. Rydberg – M. Kernochan, trad. ( es ) | [db] [254] | |
| " Koskenlaskijan morsiamet " ("Las novias del jinete de los rápidos") | [1897], arreglo 1943 | → Opus 33 | mchor. , orq. | A. Oksanen | [255] | |
Trabajos de cámara | (↑ volver arriba) | |||||
| Escenario | Ljunga Virginia
| 1885 (sobrevive parcialmente) | HUL 0542–46 | pf. ( 4 manos ), vl. , vc. | W. von Konow | [dc] [257] |
| Scherzo en mi menor | 1887 (sobrevive parcialmente) | JS 165 | [dc] [258] | |||
El lagarto ( Ödlan )
| 1909 | Op. 8 | vl. solo , 2vl . , va. , vc. , db. | – ( M. Lybeck ) | [dd] [260] | |
| Melodrama | El duende del agua ( Näcken ) en la bemol mayor | 1888 | JS 138 | Nar. , S , pf. , vl. , vc. | G. Wennerberg | [de] [262] |
| Noches de celos ( Svartsjukans nätter ) | 1893 | JS 125 | Nar. , S ( voc. ), PF. , vl. , vc. | J. L. Runeberg | [bz] [264] | |
| Septeto de metales | Obertura en fa menor | 1889 | JS 146 | Torviseitsikko | – | [265] |
| Allegro en sol menor | JS 25 | torviseitsikko , perc. | [266] | |||
| Andantino | 1890 | JS 45 | Torviseitsikko | [267] | ||
| Menueto | ||||||
| Preludio ( Príncipe ) | 1891 | JS83 | torviseitsikko , perc. | [268] | ||
| Tierra | 1899 | JS200 | torviseitsikko , perc. | – ( Kalevala ) | [269] | |
| Canción de los atenienses ( Athenarnes sång ) | → Op. 31/3 | mchor. , bchor. , torviseitsikko , perc. | V. Rydberg | [cw] [270] | ||
| Quinteto | Andante – Allegro | 1888–1889 | JS 31 | pf. , 2 vl. , va. , vc. | – | [df] [272] |
| [Vivace] | 1890 | HUL0517 | [dg] [274] | |||
| JS 159 | [dg] [275] | ||||
| Cuarteto | Cuarteto para piano en re menor
| 1884 | JS 157 | pf. , vl. , va. , vc. | [dh] [277] | |
| Muy moderado – Scherzo | 1885 | JS 134 | 2 vl. , va. , vc. | [de] [279] | ||
| JS 184 | [de] [280] | ||||
| Cuarteto de armonio en sol menor | 1887 | JS 158 | armonio, pf. , vl. , vc. | [Disco] [282] | ||
| [ Cuatro temas ] | HUL0796/2 | 2 vl. , va. , vc. | [dk] [284] | |||
| Alla marcia en mi menor | 1888 | JS 16 | [dk] [285] | |||
| Presto en fa mayor | JS 154 | [dk] [286] | ||||
| Tema y variaciones en sol menor | JS 197 | [dk] [287] | ||||
| Allegretto en re mayor | JS 20 | [288] | ||||
| Andantino en do mayor | JS 39 | [dl] [290] | ||||
| Tema y variaciones en do sostenido menor | 1888 (sobrevive parcialmente) | JS 195 | 2 vl. , va. , vc. | [dm] [292] | ||
| [ Treinta y tres piezas pequeñas ] | 1888–1889 | HUL0618 | 2 vl. , va. , vc. | [293] | ||
| Moderato – Allegro appassionato en do sostenido menor | JS 131 | [dn] [295] | ||||
| Andante molto sostenuto en si menor | JS 37 ( fragmento ) | [dn] [296] | ||||
| Andante – Allegro molto en re mayor | JS 32 | [dn] [297] | ||||
| [Allegro] en sol menor | HUL0620 | [dn] [293] | ||||
| Allegro en mi menor | JS 28 | [298] | ||||
| Adagio en fa menor | 14 de julio | [299] | ||||
| Allegretto en la mayor | JS 17 | [300] | ||||
| Más lento en fa mayor | JS 149 | [301] | ||||
| Fuga para Martin W. ( Fuga för Martin W. ) | 1889 | JS85 | [hacer] [303] | |||
| JS 183 | [hacer] [304] | ||||
| Allegretto en si bemol mayor | HUL0621 | [por] [306] | ||||
| 1889–1890 | Op. 4 | [por] [307] | |||
| Adagio en re menor | 1890 | JS 12 | [por] [308] | |||
| Cuarteto para piano en do menor | 1891 (sobrevive parcialmente) | JS 156 | pf. , vl. , va. , vc. | [dp] [310] | ||
| 1908–1909 | Op.56 | 2 vl. , va. , vc. | [cd] [312] | ||
| Andante festivo | 1922 | JS 34a | [cont.] [313] | |||
| Trío | [Menuetto] en re menor | C. 1882–1885 | HUL0538 | pf. , vl. , vc. | [dq] [315] | |
Trío en ' sol mayor '
| 1883 | JS 205 | pf. , 2 vl. | [dr] [317] | ||
| Menuetto en fa mayor | JS 126 | [dr] [318] | ||||
| [Andante] – Adagio – Allegro maestoso | C. 1883–1885 | HUL0539 | pf. , vl. , vc. | [ds] [315] | ||
Trío para piano en la menor
| 1884 | JS 206 | [dh] [320] | |||
| Allegro en re mayor | 1886 | JS 27 | [321] | |||
| JS 207 | [es] [323] | ||||
| Serenata en re menor | 1887 | JS 169 | 2 vl. , vc. | [de] [325] | ||
| Minueto y Allegro | JS 128 | [de] [326] | ||||
| JS 209 | pf. , vl. , vc. | [dv] [328] | |||
| Andantino en sol menor | JS 43 | [dw] [329] | ||||
| [Allegretto] en la bemol mayor | C. 1887–1888 | HUL0547 | [de] [330] | |||
| 1888 | JS 208 | [dx] [332] | |||
Suite en la mayor
| 1889 (sobrevive parcialmente) | JS 186 | [día] [334] | |||
| Andantino en La mayor | 1889 | JS 38 | [dz] [335] | |||
| La pomposa Marche d'Asis | 1891 (se perdieron otros arreglos) | JS 116 | [ea] [337] | |||
| Dúo | Gotas de agua ( Vattendroppar ) | C. 1875–1881 | JS 216 | vl. , vc. ( pizz. ) | [eb] [338] | |
| Castillos en el aire ( Luftslott ) | C. 1881 | JS65 | 2 vl. | [ce] [340] | ||
Sonata para violín en la menor
| 1884 | JS 177 | vl. , pág. | [341] | ||
| Andantino en do mayor | JS 40 | vc. , pf. | [342] | |||
| Andante grazioso en re mayor | 1884–1885 | JS 35 | vl. , pág. | [343] | ||
| [Moderato] – Presto – Tempo I en La menor | 1886 | JS 7 | [344] | |||
| [Andantino] en La menor | 1886–1887 | JS 8 | [345] | |||
| [Tempo de vals] en si menor | JS 89 ( fragmento ) | [ed] [346] | ||||
| [Mazurca] en la mayor | JS 4 | [347] | ||||
| [Andante molto] en do mayor | JS 49 | [348] | ||||
| [Aubade] en la mayor | JS 3 | [347] | ||||
| [ Menuetto ] en mi menor | JS 67 | [349] | ||||
| [Scherzino] en fa mayor | JS78 | [350] | ||||
| [Allegretto] en sol mayor | 1886–1887 , rev. 1886–1887 | JS86 | [ee] [351] | |||
| [Dúo] en mi menor | 1887 | JS68 | vl. , vc. | [352] | ||
| Andante cantabile en mi bemol mayor | JS30b | armonio, pf. | [353] | |||
| Andante cantabile en sol mayor | JS 33 | vl. , pág. | [354] | |||
| Andante molto en fa menor | JS 36 | vc. , pf. | [355] | |||
| Tempo de vals en sol menor | 1887 (sobrevive parcialmente) | JS 193 | [e] [356] | |||
| [Sonata Allegro Exposición] en si menor | 1887 | JS90 | vl. , pág. | [346] | ||
Suite en re menor
| 1887–1888 | JS 187 | [por ejemplo] [357] | |||
| [Lento] en mi bemol menor | JS76 | vl. (o vc. ), pf. | [358] | |||
| Moderato – Maestoso en mi bemol mayor | JS 132 | vl. , pág. | [359] | |||
| Allegretto en do mayor | 1888 | JS 19 | [360] | |||
| Allegretto en mi bemol mayor | JS 22 | [361] | ||||
Suite en mi mayor
| JS 188 | [362] | ||||
| [Andante] en si menor | JS 91 ( fragmento ) | vc. , pf. | [363] | |||
| [Andantino] en si menor | 1888–1889 | JS 92 ( fragmento ) | vc. , pf. | [363] | ||
| Allegro [Sonata Exposición] en La menor | JS 26 | vl. , pág. | [364] | |||
| Canon en sol menor | 1889 | JS50 | vl. , vc. | [365] | ||
Sonata para violín en fa mayor
| JS 178 | vl. , pág. | [366] | |||
| Adagio en fa sostenido menor | JS 15 | vc. , pf. | [367] | |||
| Tempo di valse ( Lulu Waltz ) en fa sostenido menor | JS 194 | [368] | ||||
Fantasía
| 1889 (sobrevive parcialmente) | JS79 (Juan 79) | [Eh] [369] | |||
| Romance en si menor | 1890, rev. 1911 | Op. 2/1 | vl. , pág. | [es] [371] | ||
| Epílogo ( Epílogo ) | 1891, rev. 1911 | Op. 2/2 | [es] [372] | |||
| Dúo en do mayor | 1891–1892 | JS66 | vl. , va. | [ej] [374] | ||
| Rondó en re menor | 1893 | JS 162 | va. , pf. | [dg] [375] | ||
| Canción de cuna ( Kehtolaulu ) | 1899 | JS 222 | canalón , vl. | [e] [377] | ||
| Malinconia (Melancolía) | 1900 | Op. 20 | vc. , pf. | [el] [379] | ||
| 1915 | Op.80 | vl. , pág. | [en] [381] | ||
| Mazurca en re menor | Op.81/1 | [es] [382] | ||||
| Recuerdo en re mayor | Op.79/1 | [eo] [383] | ||||
| Tiempo del Minuetto | Op.79/2 | [eo] [384] | ||||
| Impromptu en la menor | Op.78/1 | vl. (o vc. ), pf. | [ep] [385] | |||
| Rigaudon en re mayor | Op.78/4 | [ep] [386] | ||||
| Romance en fa mayor | 1915 , rev. 1915 | Op.78/2 | [ep] [387] | |||
| Danza característica | 1916 | Op.79/3 | vl. , pág. | [eo] [388] | ||
| Sérénade en re mayor | Op.79/4 | [eo] [389] | ||||
| Dance Idyll ( Tanz-Idylle ) en mi menor | 1917 | Op.79/5 | [eo] [390] | |||
| Berceuse en do sostenido menor | Op.79/6 | [eo] [391] | ||||
| Religioso en sol menor | Op.78/3 | vl. (o vc. ), pf. | [ep] [392] | |||
| Rondino en re mayor | Op.81/2 | vl. , pág. | [es] [393] | |||
| Vals en re mayor | Op.81/3 | [es] [394] | ||||
| Aubade en re mayor | 1918 | Op.81/4 | [es] [395] | |||
| Menuetto en re menor | Op.81/5 | [es] [396] | ||||
| Novela corta | 1922 | Op. 102 | [eq] [398] | |||
| Danza campeona n.º 1 | 1924 | Op. 106/1 | [er] [399] | |||
| Danza campeona n.º 2 | Op. 106/2 | [er] [400] | ||||
| Danza campeona n.º 3 | 1925 | Op. 106/3 | [er] [401] | |||
| Danza campeona n.º 4 | Op. 106/4 | [er] [402] | ||||
| Danza campeona n.º 5 | Op. 106/5 | [er] [403] | ||||
| En el páramo ( Auf der Heide ) | 1929 | Op. 115/1 | [es] [404] | |||
| Balada ( balada ) | Op. 115/2 | [es] [405] | ||||
| Humorístico | Op. 115/3 | [es] [406] | ||||
| Las campanas ( Die Glocken ) | Op. 115/4 | [es] [407] | ||||
| Escena de baile | Op. 116/1 | [y] [408] | ||||
| Danza característica | Op. 116/2 | [y] [409] | ||||
| Rondeau romántico | Op. 116/3 | [y] [410] | ||||
| A mi amado Aino ( Rakkaalle Ainolle ) | 1931 | JS 161 | pf. ( 4 manos ) | [411] | ||
| Dúo ( trad. ) |
| [1903–1904, rev. 1905], trad. 1905 | Op. 47 | vl. , pág. | [z] [412] | |
| Melodía seria n.º 1: Cantique | [1914 ( arr. 1916)], trad. 1915 (1916) | Op.77/1 | vl. (o vc. ), pf. | [ab] [413] | ||
| Melodía seria n.º 2: Devoción | [1915 ( arr. 1916)], trad. 1915 (1916) | Op.77/2 | [abr.] [414] | |||
| Scène d'amour ( Escena de amor ), de Scaramouche | [1913], trad. 1925 | Op.71 | vl. , pág. | [av] [415] | ||
Obras para instrumento solista | (↑ volver arriba) | |||||
| Carillón | Las campanas de la iglesia de Kallio ( Kallion kirkon kellosävel ) | 1912 | JS 102 | carillón | – | [es] [417] |
| Violonchelo | [Tema y variaciones] en re menor | 1887 | JS 196 | violonchelo | [418] | |
| Moderato en fa mayor | 1885–1889 | HUL1351 | [419] | |||
| [Mazurca] en sol menor | 1887–1889 | – | [419] | |||
| Canteles | Moderado | 1896–1898 | JS 130 | canalón | [ev] [422] | |
| Dolicísimo | JS 63 | [ev] [423] | ||||
| Órgano | Intrada | 1925 | Op. 111a | órgano | [ew] [424] | |
| Preludio | 1926 | Ley JS 153/1 | [ex] [425] | |||
| Postludio | Ley JS 153/2 | [ex] [425] | ||||
| Música lúgubre ( Surusoitto ) | 1931 | Op. 111b | [ew] [426] | |||
| Tema para improvisación | 1933 | – | [427] | |||
| Violín | [Estudio] en re mayor | 1886 | JS 55 | violín | [428] | |
| [Allegretto] en La mayor | 1891–1894 | HUL1088/2 | [429] | |||
| Un músico feliz ( En glad musikant ) | 1924–1926 | JS70 | T. Rangström | [ey] [431] | ||
| Melodrama | Hacia el anhelo ( Trånaden )
| 1887 | JS 203 | Narrativa , piano | E.J. Stagnelius | [es] [433] |
| Oh, si hubieras visto ( O, om du sett ) | 1888 | JS 141 | E. Hackzell | [fa] [435] | ||
| Una pista de esquí solitaria ( Ett ensamt skidspår ) | 1925 | JS77a | B. Gripenberg | [bj] [436] | ||
| Piano ( original ) | Con moto, sempre una corda en re bemol mayor | 1885 | JS 52 | piano | – | [fb] [438] |
| [Andante] en mi bemol mayor | JS74 | [fc] [439] | ||||
| [Menuetto] en la menor | JS 5 | [fc] [440] | ||||
| [Tempo de valse] en La mayor | JS 2 | [fc] [441] | ||||
| Scherzo en mi mayor con Trío en mi menor (o con [Trío] en la mayor ) | 1885, arreglo 1886 | Artículo 134a(b) del Código Penal | [442] | |||
| Andante en mi bemol mayor | 1887 | JS 30a | [443] | |||
| [Aubade] en la bemol mayor | JS 46 | [444] | ||||
| Au crépuscule en fa sostenido menor | JS 47 | [444] | ||||
| Andantino en si mayor | 1888 | JS 44 | [fd] [445] | |||
| Allegretto en si bemol menor | JS 18 | [fd] [446] | ||||
| Allegro en fa menor | HUL0768/3 | [fd] [447] | ||||
[ Cinco piezas cortas ]
| HUL0797 | [fe] [448] | ||||
| Più lento – Tempo di valse en mi bemol mayor | JS150 | [449] | ||||
| Allegretto en sol menor | JS 24 | [450] | ||||
| Moderato – Presto en re menor | JS 133 | [451] | ||||
| Largo en la mayor | JS 117 | [452] | ||||
| Adagio en re mayor | JS 11 | [453] | ||||
| Vivace en re menor | JS 221 | [454] | ||||
| Andantino en mi mayor | JS 41 | [455] | ||||
| [Presto] en la menor | JS 6 | [456] | ||||
| [Polka] en mi bemol mayor | 1888–1889 | JS75 | [457] | |||
Florestán
| 1889 | JS82 | [458] | |||
| Allegretto en mi mayor | JS 21 | [459] | ||||
| Valse en la bemol mayor , À Betzy Lerche | JS 1 | [460] | ||||
| [Sonata Allegro Exposición] en re menor | JS 179a | [ff] [462] | ||||
| [Sonata Allegro Exposición] en fa menor | JS 179b | [fg] [463] | ||||
| [Sonata Allegro Exposición] en do mayor | JS 179c | [463] | ||||
| [Sonata Allegro] en mi mayor | JS 179d | [463] | ||||
| [Sonata Allegro Exposición] en do menor | JS 179e | [fh] [463] | ||||
| Scherzo en fa sostenido menor | 1891 | JS 164 | [464] | |||
| Tema y variaciones en do menor | 1891 (perdido) | JS 198 | piano | [465] | ||
| Impromptu n.º 1 en sol menor | 1893 | Op. 5/1 | piano | [es] [467] | ||
| Impromptu n.º 2 en sol menor | Op. 5/2 | [es] [467] | ||||
| Impromptu n.º 3 en la menor | Op. 5/3 | [es] [467] | ||||
| Impromptu n.º 4 en mi menor | Op. 5/4 | [es] [467] | ||||
| Impromptu n.º 5 en si menor | Op. 5/5 | [es] [467] | ||||
| Impromptu n.º 6 en mi mayor | Op. 5/6 | [es] [467] | ||||
| Op. 12 | [fj] [469] | ||||
| Impromptu en sol menor | 1895 | Op.24/1 | [fk] [471] | |||
| Romance en la mayor | Op.24/2 | [fk] [472] | ||||
| Allegretto en fa mayor | 1895–1896 | JS 23 | [473] | |||
| Lento en mi mayor | 1896–1897 | JS 119 | [474] | |||
| Allegretto en sol menor | 1897 | JS 225 | [475] | |||
| Romance en re menor | 1896–1898 | Op.24/4 | [fk] [476] | |||
| Idilio en fa mayor | 1897–1898, rev. 1904 | Op. 24/6 | [fk] [477] | |||
| Capricho en mi menor | 1898 | Op.24/3 | [fk] [478] | |||
| Vals en mi mayor | 1898 | Op. 24/5 | [fk] [479] | |||
| Andantino en fa mayor | 1899, rev. 1899 | Opera 24/7 | [fk] [480] | |||
| Marcha triste | 1899 | JS 124 | [481] | |||
| Pianokompositioner för barn ( Obras para piano para niños ), 21 bocetos | JS 148 | [482] | ||||
| Kavaljeren ( El caballero ) | 1900 | JS 109 | [483] | |||
| Nocturno | Op.24/8 | [fk] [484] | ||||
| Romance en re bemol mayor | 1901 | Op. 24/9 | [fk] [485] | |||
| Mi amada es hermosa, su boca como un berberecho de maíz ( Minun kultani kaunis on, sen suu kuin auran kukka ) | 1902–1903 | Ley JS 81/1 | [fl] [486] | |||
| Te amo con todo mi corazón ( Sydämestäni rakastan ) | Ley JS 81/2 | [fl] [486] | ||||
| Se acerca la noche ( Ilta tulee, ehtoo joutuu ) | Ley JS 81/3 | [fl] [486] | ||||
| Esa hermosa chica ( Tuopa tyttö, kaunis tyttö ) | Ley JS 81/4 | [fl] [487] | ||||
| El fratricidio ( Velisurmaaja ) | Ley JS 81/5 | [fl] [487] | ||||
| Recuerdo de boda ( Häämuistelma ) | Ley JS 81/6 | [fl] [487] | ||||
| Barcarola en sol menor | 1903 | Op.24/10 | [fk] [488] | |||
| 1904 | Op. 41 | – ( Kalevala ) | [fm] [490] | ||
| Adagio en mi mayor | 1907 | JS 13 | – | [491] | ||
| Ensueño | 1909 | Op. 58/1 | [fn] [493] | |||
| Scherzino | Op. 58/2 | [fn] [494] | ||||
| Aire variado | Op. 58/3 | [fn] [494] | ||||
| El pastor ( Der Hirt ) | Op. 58/4 | [fn] [495] | ||||
| La tarde ( Des Abends ) | Op. 58/5 | [fn] [496] | ||||
| Diálogo | Op. 58/6 | [fn] [497] | ||||
| Tiempo de minuetto | Op. 58/7 | [fn] [498] | ||||
| Canciones de pescadores ( Fischerlied ) | Op. 58/8 | [fn] [498] | ||||
| Serenata ( Ständchen ) | Op.58/9 | [fn] [499] | ||||
| Canción de verano ( Canción del verano ) | Op.58/10 | [fn] [499] | ||||
| Estudio en la menor | 1911 | Op.76/2 | [para] [501] | |||
| 1912 | Op.67/1 | [fp] [503] | |||
| Op.67/2 | [fp] [503] | ||||
| Op.67/3 | [fp] [503] | ||||
| Rondino n.º 1 en sol sostenido menor | Op.68/1 | [fq] [505] | ||||
| Rondino n.º 2 en do sostenido menor | Op.68/2 | [fq] [505] | ||||
| Valsette en mi menor | Op. 40/1 | [en] [507] | ||||
| Canto sin palabras en mi menor | 1913 | Op. 40/2 | [en] [508] | |||
| Humoresque en do mayor | Op. 40/3 | [en] [509] | ||||
| Berceuse en re mayor | Op. 40/5 | [en] [510] | ||||
| Ensoñación en mi menor | Op.34/6 | [fs] [512] | ||||
| Menuetto en do mayor | Op. 40/4 | [en] [513] | ||||
| español | JS 181 | [514] | ||||
| Al anhelo ( Hasta el fin ) | JS 202 | [515] | ||||
| Pensée mélodique en do mayor | 1914 | Op. 40/6 | [en] [516] | |||
| Rondoletto en la bemol mayor | Op. 40/7 | [en] [517] | ||||
| Vals en re bemol mayor | Op.34/1 | [fs] [518] | ||||
| Air de danse en mi mayor | Op. 34/2 | [fs] [519] | ||||
| Mazurca en la mayor | Op. 34/3 | [fs] [520] | ||||
| Boutade en la bemol mayor | Op.34/5 | [fs] [512] | ||||
| Égloga ( Ekloge ) | Op.74/1 | [pies] [522] | ||||
| Viento suave del oeste ( Sanfter Westwind ) | Op.74/2 | [pies] [523] | ||||
| En el baile ( Auf dem Tanzvergnügen ) | Op.74/3 | [pies] [523] | ||||
| En la Casa Vieja ( Im alten Heim ) | Op.74/4 | [pies] [524] | ||||
| Cuando florece el serbal ( När rönnan blommar ) | Op.75/1 | [cm] [527] | ||||
| El Abeto Solitario ( Den ensamma furan ) | Op.75/2 | [cm] [528] | ||||
| El álamo temblón ( Alambre temblón ) | Op.75/3 | [cm] [529] | ||||
| El abedul ( Björken ) | Op.75/4 | [cm] [530] | ||||
| Carillón | Op.76/3 | [fo] [531] | ||||
| Romance | Op.76/6 | [fo] [532] | ||||
| Arabesco en re bemol mayor | Op.76/9 | [fo] [533] | ||||
| Capricho | Op.76/12 | [fo] [534] | ||||
| Nouvelle en fa mayor | Op. 94/2 | [fu] [536] | ||||
| Copla en re mayor | 1914, rev. 1914 | Op. 34/4 | [fs] [537] | |||
| El abeto ( Granen ) | 1914, rev. 1919 | Op.75/5 | [cm] [538] | |||
| La lila ( Syringa ) | 1914 (retirada en 1919, revisada como Op. 96/1) | [cm] [539] | ||||
| Scherzando en la bemol mayor | 1915 | Op. 40/8 | [en] [540] | |||
| Pequeña sérénade en si bemol mayor | Op. 40/9 | [en] [541] | ||||
| Polonesa en do mayor | 1916 | Op. 40/10 | [en] [542] | |||
| Danza pastoral en la mayor | Op.34/7 | [fs] [543] | ||||
| Joueur de harpe en si bemol menor | Op.34/8 | [fs] [544] | ||||
| Reconocimiento en re mayor | Op.34/9 | [fs] [545] | ||||
| Recuerdo en la menor | Op.34/10 | [fs] [546] | ||||
| Humoresque en do sostenido menor | Op.76/4 | [fo] [547] | ||||
| Pieza infantil | Op.76/8 | [para] [548] | ||||
| Elegiaco en do sostenido menor | Op.76/10 | [fo] [549] | ||||
| Arlequinada | Op.76/13 | [fo] [534] | ||||
| El clavel ( Oeillet ) | Op.85/2 | [v] [551] | ||||
| El Iris ( Iris ) | Op.85/3 | [v] [552] | ||||
| Esquisse | 1917 | Op.76/1 | [para] [553] | |||
| Afecto | Op.76/7 | [para] [554] | ||||
| Campanillas azules ( Bellis ) | Op.85/1 | [v] [555] | ||||
| La Aquileja ( Columbine ) | Op.85/4 | [v] [556] | ||||
| La Campanula ( Campanula ) | Op.85/5 | [v] [556] | ||||
| Mandolina | JS 123 | [557] | ||||
| Marcha Scout ( Partiolaisten marssi ) | 1918 | Op. 91b | J. Finne | [de] [558] | ||
| Linnæa ( La flor gemela del norte ) | Op.76/11 | – | [fo] [559] | |||
| Consolación en do sostenido menor | 1919 | Op.76/5 | [fo] [532] | |||
| Danza en do mayor | Op. 94/1 | [fu] [560] | ||||
| Soneto en si bemol mayor | Op. 94/3 | [fu] [561] | ||||
| Pastor y pastora ( Berger et bergerette ) | Op. 94/4 | [fu] [562] | ||||
| Mélodie en si mayor | Op. 94/5 | [fu] [563] | ||||
| Gavota en do mayor | Op. 94/6 | [fu] [564] | ||||
| Con pasión | JS 53 | [565] | ||||
| Andantino ' A O. Parvianen ' (' Hasta O. Parvianen ') | JS 201 | [566] | ||||
| Humoresque I ( Humoreske I) | 1920 | Op. 97/1 | [fw] [568] | |||
| Canción ( Lied ) | Op. 97/2 | [fw] [569] | ||||
| Pequeño vals ( Kleiner Waltzer ) | Op. 97/3 | [fw] [570] | ||||
| Marcha humorística ( Humoristischer Marsch ) | Op. 97/4 | [fw] [571] | ||||
| Improvisado | Op. 97/5 | [fw] [572] | ||||
| Humoresque II ( Humoreske II) | Op. 97/6 | [fw] [572] | ||||
| Pieza humorística | 1922 | Op. 99/1 | [fx] [574] | |||
| Esquisse | Op. 99/2 | [fx] [575] | ||||
| Recuerdo | Op. 99/3 | [fx] [576] | ||||
| Improvisado | Op. 99/4 | [fx] [576] | ||||
| Copla | Op. 99/5 | [fx] [577] | ||||
| Animoso | Op. 99/6 | [fx] [577] | ||||
| Momento de valse | Op. 99/7 | [fx] [578] | ||||
| Pequeña Marcha | Op. 99/8 | [fx] [578] | ||||
| romance | 1924 | Op. 101/1 | [fy] [580] | |||
| Canto de la noche | Op. 101/2 | [fy] [581] | ||||
| Escena lírica | Op. 101/3 | [fy] [582] | ||||
| Humorístico | Op. 101/4 | [fy] [582] | ||||
| Escena romántica | Op. 101/5 | [fy] [583] | ||||
| La iglesia del pueblo | Op. 103/1 | [fz] [585] | ||||
| El violinista | Op. 103/2 | [fz] [586] | ||||
| El remero | Op. 103/3 | [fz] [587] | ||||
| La tormenta | Op. 103/4 | [fz] [587] | ||||
| En estado de ánimo triste | Op. 103/5 | [fz] [588] | ||||
| Paisaje ( Maisema ) | 1929 | Op. 114/1 | [ga] [590] | |||
| Escena de invierno ( Talvikuva ) | Op. 114/2 | [ga] [591] | ||||
| Lago del bosque ( Metsälampi ) | Op. 114/3 | [ga] [591] | ||||
| Canción en el bosque ( Metsälaulu ) | Op. 114/4 | [ga] [592] | ||||
| Visión de primavera ( Kevätnäky ) | Op. 114/5 | [ga] [593] | ||||
| Piano ( trad. ) | Suite Karelia , números selectos
| [1893, arr. 1893], trad. c. 1893–1897 | → Opus 11 | – | [bx] [594] | |
| La ninfa del bosque ( Skogsrået ), solo la sección final | [1894–1895], trad. 1895 | → Opus 15 | – ( V. Rydberg ) | [ag] [595] | ||
Rey Christian II ( Kuningas Kristian II ), números seleccionados
| [1898], trad. 1898 | → Opus 27 | – ( A. Pablo ) | [ap] [596] | ||
| Canción de los atenienses ( Athenarnes sång ) | [1899], trad. 1899 | → Op. 31/3 | – ( V. Rydberg ) | [cw] [597] | ||
| Finlandia , de la Prensa Celebraciones Música | [1899, arr. 1900], trad. 1900 | → Opus 26 | – | [598] | ||
| ¿Tienes coraje? ( ¿Har du mod? ) | 1904, rev. 1911, 1912], trad. 1913 | → Op. 31/2 | J.J. Wecksell | [cy] [599] | ||
| Valse triste , de La muerte ( Kuolema ) | [1903, arr. 1904], trad. 1904 | → Op. 44/1 | – ( A. Järnefelt ) | [aq] [600] | ||
Suite Pelléas et Mélisande ( Pelléas och Mélisande )
| [1905, arr. 1905], trad. 1905 | → Opus 46 | – ( M. Maeterlinck ) | [es] [601] | ||
| Intermezzo de danza ( Tanssi-Intermezzo ) | [ 1904], rev./trad . 1904 | → Op. 45/2 | – | [cg] [602] | ||
| Pan y Eco ( Pan och Echo ) | [1906], trad. 1907 | → Opus 53 | [ch] [603] | |||
Suite del banquete de Belsasar ( Belsazars gästabud )
| [1906, arr. 1907], trad. 1907 | → Opus 51 | – (H. Procopé ) | [como] [604] | ||
| La dríada ( Driadi ) | [1910], trad. 1910 | → Op. 45/1 | – | [a] [605] | ||
| Las campanas de la iglesia de Kallio ( Kallion kirkon kellosävel ) | [1912], trad. 1912 | Op.65b | [es] [606] | |||
Scaramouche , seleccionar números
| [1912–1913], trad. 1914 | → Opus 71 | – ( P. Knudsen ) | [av] [607] | ||
| Vals lírico | 1914, rev. 1919 y 1919 | Op. 96a | – | [cm] [608] | ||
| Autrefois | [1919, rev. 1920], trad. 1920 | → Op. 96b | H. Procopé | [bt] [609] | ||
| Valse caballeresco | 1921–1922 , rev. 1922 | Op. 96c | – | [co] [610] | ||
| [1921], trad. 1921 | → Opus 98a | [cp] [611] | |||
| [1922], trad. 1922 | → Op. 98b | [cq] [612] | |||
| → Opus 100 | [cr] [613] | ||||
| [1916], trad. 1925 | → Opus 83 | – ( H. von Hofmannsthal ) | [aw] [614] | ||
| Morceau romántico | [1925], trad. 1925 | JS 135b | – | [cs] [615] | ||
La tempestad , suite núm. 1 y núm. 2 ( Stormen ), números selectos
| [1925, arr. 1927], trad. 1927 | → Opus 109 | – ( W. Shakespeare ) | [hacha] [616] | ||
Canciones | (↑ volver arriba) | |||||
| Canción | " Serenata " ("Serenata") | 1887–1888 | JS 167 | voz, pf. | J. L. Runeberg | [bk] [617] |
| " En visa " ("Una canción") | 1888 | JS71 | Baeckman | [618] | ||
| " Orgier " ("Orgías") | 1888–1889 | JS 143 | L. Stenbäck | [619] | ||
| " Skogsrået " ("La ninfa del bosque") | JS 171 | V. Rydberg | [es] [621] | |||
| " Likhet " ("Semejanza") | 1890 | JS 120 | J. L. Runeberg | [622] | ||
| " Jag kysser dig ej " ("Te beso y no me canso") | 1889–1891 | HUL1183 | [623] | |||
| " Löjet var utan hem " ("El ingenio estaba sin hogar") | 1890–1891 | HUL1286/2 | [623] | |||
| " Hjärtats morgon " ("La mañana del corazón") | 1891 | Op. 13/3 | [bq] [624] | |||
| " Drömmen " ("El sueño") | Op. 13/5 | [bq] [625] | ||||
| " Fågellek " ("El juego de los pájaros") | Op. 17/3 | KA Tavaststjerna | [bm] [626] | |||
| " Våren flyktar hastigt " ("La primavera vuela") | Op. 13/4 | J. L. Runeberg | [bq] [627] | |||
| " Jägargossen " ("El joven cazador") | Op. 13/7 | [bq] [628] | ||||
| " ¡Sov in! " ("¡Vete a dormir!") | 1891–1892 | Op. 17/2 | KA Tavaststjerna | [bm] [629] | ||
| " Se'n har jag ej frågat mera " ("Desde entonces no he hecho más preguntas") | Op. 17/1 | J. L. Runeberg | [bm] [630] | |||
| " Tule, tule kultani " ("Ven, ven, cariño") | 1892 | JS 211 | Tradicional | [gc] [632] | ||
| " Under strandens granar " ("Bajo los abetos") | Op. 13/1 | J. L. Runeberg | [bq] [633] | |||
| " Kyssens hopp " ("La esperanza del beso") | Op. 13/2 | [bq] [634] | ||||
| " Hasta Frigga " | Op. 13/6 | [bq] [635] | ||||
| " Det mörknar ute " ("Afuera está oscureciendo") | 1897 | Op. 1/3 | Z. Topelius | [dios] [637] | ||
| " Vilse " ("Extraviado") | 1898, rev. 1902 | Op. 17/4 | KA Tavaststjerna | [bm] [638] | ||
| " Illalle " ("Hasta la tarde") | 1898 | Op. 17/6 | AV Koskimies | [bm] [639] | ||
| " Souda, souda, sinisorsa " ("Nadar, agacharse, nadar") | 1899 | JS 180 | [640] | |||
| " Segelfahrt " ("Navegación") | JS 166 | J. Öhqvist | [641] | |||
| " Svarta rosar " ("Rosas Negras") | Op.36/1 | E. Josephson | [bs] [642] | |||
| " Men min fågel märks dock icke " ("Pero mi pájaro tarda mucho en volver a casa") | Op.36/2 | J. L. Runeberg | [bs] [643] | |||
| " Bollspelet vid Trianon " ("Tenis en Trianon") | Op.36/3 | G. Fröding | [bs] [644] | |||
| " Den första kyssen " ("El primer beso") | 1900 | Op.37/1 | J. L. Runeberg | [br] [645] | ||
| Säv, säv, susa "("Suspiro, suspiro, juncos") | Op. 36/4 | G. Fröding | [bs] [646] | |||
| " Marssnön " ("La nieve de marzo") | Op.36/5 | J.J. Wecksell | [bs] [647] | |||
| " Demanten på marssnön " ("El diamante en la nieve de marzo") | Op.36/6 | [bs] [648] | ||||
| " Flickan kom ifrån sun älsklings möte " ("La chica regresó a casa después de encontrarse con su amante" o "La cita") | 1901 | Op.37/5 | J. L. Runeberg | [br] [649] | ||
| " On hanget korkeat, nietokset " ("Altos son los ventisqueros") | Op. 1/5 | W. Joukahainen | [dios] [650] | |||
| " Lasse liten " ("Pequeña Lasse") | 1902 | Op.37/2 | Z. Topelius | [br] [651] | ||
| " Soluppgång " ("Amanecer") | Op. 37/3 | T. Hedberg | [br] [652] | |||
| " Var det en dröm? " ("¿Fue un sueño?") | Op. 37/4 | J.J. Wecksell | [br] [653] | |||
| " Lastu lainehilla " ("Driftwood") | Op. 17/7 | I. Calamnius | [bm] [654] | |||
| " Höstkväll " ("Tarde de otoño") | 1903 | Op.38/1 | V. Rydberg | [bn] [655] | ||
| " På verandan vid havet " ("En un balcón junto al mar") | Op.38/2 | [bn] [656] | ||||
| " I natten " ("En la noche") | Op.38/3 | [bn] [657] | ||||
| " Harpolekaren och Hans son " ("El Arpista y su hijo") | 1904 | Op. 38/4 | [bn] [658] | |||
| " Jag ville, jag vore i Indialand " ("Ojalá estuviera en la India") | Op.38/5 | G. Fröding | [bn] [659] | |||
| " En slända " ("Una libélula") | Op. 17/5 | O. Levertin | [bm] [660] | |||
| " Lenzgesang " ("Canción de primavera") | 1906 | Op.50/1 | A. Fitger | [ge] [661] | ||
| " Sehnsucht " ("Anhelo") | Op.50/2 | ER Blanco | [ge] [662] | |||
| " Im Feld ein Mädchen singt " ("En el campo canta una doncella") | Op. 50/3 | Señor Susman | [ge] [663] | |||
| " Aus banger Brust " ("De corazón angustiado") | Op. 50/4 | R. Dehmel | [ge] [664] | |||
| " Die stille Stadt " ("La ciudad silenciosa") | Op.50/5 | [ge] [665] | ||||
| " Rosenlied " ("Canción de las rosas") | Op.50/6 | A. Ritter | [ge] [666] | |||
| " Erloschen " ("Extinguido") | JS73 | G. Busse-Palma | [667] | |||
| " Hundra vägar " ("Cien maneras") | 1907 | Op.72/6 | J. L. Runeberg | [novia] [669] | ||
| " Jubal " | 1908 | Op.35/1 | E. Josephson | [gg] [670] | ||
| " Teodora " | Op.35/2 | B. Gripenberg | [gg] [671] | |||
| " Älven och snigeln " ("El río y el caracol") | 1909 | Op. 57/1 | E. Josephson | [bp] [673] | ||
| " En blomma stod vid vägen " ("Una flor en el camino") | Op. 57/2 | [pb] [674] | ||||
| " Kvarnhjulet " ("La rueda del molino") | Op. 57/3 | [pb] [675] | ||||
| " Maj " ("Mayo") | Op. 57/4 | [pb] [676] | ||||
| " Jag är ett träd " ("Soy un árbol") | Op. 57/5 | [pb] [677] | ||||
| " Hertig Magnus " ("Duque Magnus") | Op. 57/6 | [pb] [678] | ||||
| Vänskapens blomma "("La flor de la amistad") | Op. 57/7 | [pb] [679] | ||||
| " Näcken " ("El duende del agua") | Op. 57/8 | [pb] [680] | ||||
| " Giv mig ej glans, ej guld, ej prakt " ("No me des esplendor, oro ni pompa") | Op. 1/4 | Z. Topelius | [dios] [681] | |||
| " Kom nu hit, död " ("Ven, muerte") | 1909 ( arr. 1909) | Op.60/1 | voz, guitarra (o pf. ) | W. Shakespeare – CA Hagberg , trad. ( sv ) | [bu] [683] | |
| " Hållilå, uti storm och i regn " ("Hey, Ho, el viento y la lluvia") | Op.60/2 | [bu] [683] | ||||
| Himno a Thaïs, la Inolvidable | 1909, rev. 1945-1948 | JS 97 | voz, pf. | A. Borgström | [gh] [685] | |
| " Vattenplask " ("Aguas que chapotean") | 1910 | Op. 61/2 | V. Rydberg | [gi] [686] | ||
| " Långsamt som kvällskyn " ("Lento como el cielo del atardecer") | Op.61/1 | KA Tavaststjerna | [gi] [687] | |||
| " När jag drömmer " ("Cuando sueño") | Op. 61/3 | [gi] [688] | ||||
| "Romeo" | Op. 61/4 | [gi] [689] | ||||
| " Romanos " ("Romance") | Op.61/5 | [gi] [690] | ||||
| " Dolce far niente " | Op.61/6 | [gi] [691] | ||||
| " Vårtagen " ("El hechizo de la primavera") | Op.61/8 | B. Gripenberg | [gi] [692] | |||
| " Fåfäng önskan " ("Deseos ociosos") | Op.61/7 | J. L. Runeberg | [gi] [693] | |||
| " Arioso " | 1911 | Op. 3 | S , pág. | [en] [695] | ||
| " Nu står jul vid snöig port " ("Ahora la Navidad está en la puerta nevada") | 1913 | Op. 1/1 | voz, pf. | Z. Topelius | [dios] [696] | |
| " Nu så kommer julen " ("Ahora llega la Navidad") | Op. 1/2 | [dios] [697] | ||||
| "Canción de otoño" | Ley JS 199/1 | S , A , pf. | R. W. Dixon | [gj] [698] | ||
| " Vi ses igen " ("Adiós") | 1914 (perdido) | Op.72/1 | voz, pf. | V. Rydberg | [novia] [699] | |
| " Orions bälte " ("Cinturón de Orión") | Op.72/2 | Z. Topelius | ||||
| " Kyssen " ("El beso") | 1915 | Op.72/3 | voz, pf. | V. Rydberg | [novia] [700] | |
| " Der Wanderer und der Bach " ("El vagabundo y el arroyo") | Op.72/5 | Señor Greif | [novia] [701] | |||
| " Kaiustar " ("La ninfa del eco") | Op.72/4 | Larin-Kyösti | [novia] [702] | |||
| " Tanken " ("El pensamiento") | JS 192 | 2 voces, pf. | J. L. Runeberg | [703] | ||
| " Tre trallande jäntor " ("Tres doncellas gorjeantes") | 1915 (perdido) | JS 204 | voz, pf. | G. Fröding | [gk] [705] | |
| " Vårförnimmelser " ("La llegada de la primavera") | 1916 | Op.86/1 | voz, pf. | KA Tavaststjerna | [gl] [706] | |
| " Och finns det en tanke? " (" ¿Y hay algún pensamiento? ") | Op.86/4 | [gl] [707] | ||||
| " Längtan heter min arvedel " ("El anhelo es mi herencia") | Op.86/2 | E. E. Karlfeldt | [gl] [708] | |||
| " Dold förening " ("Unión Oculta") | Op.86/3 | C. Snoilsky | [gl] [709] | |||
| " Sångarlön " ("La recompensa del cantante") | Op.86/5 | [gl] [710] | ||||
| " I systrar, I bröder, I älskande par " ("Hermanas, hermanos, parejas amorosas") | 1917 | Op.86/6 | Sr. Lybeck | [gl] [711] | ||
| " Blåsippan " ("La anémona azul") | Op.88/1 | FM Franzén | [gm] [713] | |||
| " De bägge rosorna " ("Las dos rosas") | Op.88/2 | [gm] [714] | ||||
| " Vitsippan " ("La anémona del bosque") | Op.88/3 | [gm] [715] | ||||
| " Sippan " ("La anémona") | Op.88/4 | J. L. Runeberg | [gm] [716] | |||
| " Törnet " ("La espina") | Op.88/5 | [gm] [717] | ||||
| " Blommans öde " ("El destino de la flor") | Op.88/6 | [gm] [718] | ||||
| " Norden " ("El Norte") | Op. 90/1 | [gn] [719] | ||||
| " Hennes budskap " ("Su mensaje") | Op. 90/2 | [gn] [720] | ||||
| " Morgonen " ("La mañana") | Op. 90/3 | [gn] [721] | ||||
| " Fågelfängaren " ("El cazador de pájaros") | Op. 90/4 | [gn] [722] | ||||
| " Sommarnatten " ("Noche de verano") | Op. 90/5 | [gn] [723] | ||||
| " Vem styrde hit din väg? " ("¿Quién te trajo aquí?") | Op. 90/6 | [gn] [724] | ||||
| " Mummon syntymäpäivänä " ("Canción de cumpleaños para la abuela") | 1919 | JS 136 | Anónimo | [ir] [726] | ||
| " Små flickorna " ("Chicas jóvenes") | 1920 | JS 174 | H. Procopé | [gp] [728] | ||
| " Narciso " | 1925 | JS 140 | B. Gripenberg | [gq] [730] | ||
| " Herran siunaus " ("La bendición del Señor") | JS 95 | B , órgano | Números 6 | [de] [731] | ||
| " Siltavahti " ("El guardián del puente") | [1928], arreglo 1928 | JS 170b | voz, pf. | W. Sola | [gs] [733] | |
| Canción ( trad. ) | " Kullervon valitus " ("El lamento de Kullervo"), de Kullervo | [1892], trad. 1892–1893, rev. 1917–1918 | → Opus 7 | Kalevala , Runo XXXV – F. von Schiefner , trad. ( de ) | [q] [734] | |
| " Koskenlaskijan morsiamet " ("Las novias del jinete de los rápidos") | [1897], trad. 1897–1899 | → Opus 33 | A. Oksanen | [bl] [736] | ||
| " Sången om korsspindeln " ("La canción de la araña del tonto"), del rey Christian II | [1898], trad. 1898 | → Op. 27/4 | A. Pablo | [ap] [737] | ||
| " De trenne blinda systrar " ("Las tres hermanas ciegas"), de Pelléas et Mélisande | [1905], trad. 1905 | → JS 147/6 | M. Maeterlinck – B. Gripenberg , trad. ( sv ) | [es] [738] | ||
| " Den judiska flickans sång " ("La canción de la muchacha judía"), de La fiesta de Belsasar | [1906], trad. 1907, rev. 1939 | → JS 48/2b | H. Procopé | [como] [739] | ||
| Luonnotar | [1913], trad. 1913 | → Opus 70 | S , pág. | Kalevala , Runo I | [aj] [740] | |
| " Otro caso " | [1919, rev. 1920], arr. 1920 | → Op. 96b | S , S , pf. | H. Procopé | [b] [741] | |
Obras corales | (↑ volver arriba) | |||||
| Coral ( a capp. ) | [Corales escritos para Martin Wegelius ] (ejercicios para estudiantes) [gt]
| 1887–1888 | – | coro. | Varios | [742] |
| " Ensam i dunkla skogarnas famn " ("Solo en el cierre del bosque oscuro") | 1888 | JS72 | E. de Qvanten | [743] | ||
| "När sig våren åter föder" ( " Cuando la primavera vuelva a nacer " ) | JS 139 | J. L. Runeberg | [744] | |||
| " Tanke, se hur fågeln svingar " ("Imagínate, mira cómo el pájaro se lanza en picado") | JS 191 | [745] | ||||
| " Hur blekt är allt " ("Qué pálido está todo") | JS 96 | [746] | ||||
| " Ack, hör du fröken Gyllenborg " ("Ah, ¿oye usted, señorita Gyllenborg"), balada popular de Pernå | 1888–1889 | JS 10 | Anónimo | [747] | ||
[Corales escritos para Albert Becker ] (ejercicios para estudiantes) [gt]
| – | Varios | [748] | |||
| " Työkansan marssi " ("Marcha de los trabajadores") | 1893 | JS 212 | JH Erkko | [gu] [750] | ||
| " Venematka " ("El viaje en barco") | 1893 ( arreglo 1914) | Op. 18/3 | mchor. (o chor. ) | Kalevala , Runo XL | [gv] [755] | |
| " Soitapas sorea neito " ("Juega, doncella bonita") | 1893–1894 | JS 176 | T , coro. | Kanteletar , Libro II:238 | [756] | |
Rakastava ( El amante )
| 1894 ( arreglo 1898 ) | Artículo 160a(c) | T , coro. (o S , B , coro. ) | Kanteletar , Libro I: 173–74, 122 | [cj] [758] | |
| " Laulun mahti " ("El poder de la canción"), arreglo de la canción de J. Vītols | 1895 | JS 118 | T , coro. | Aukselis – JJ Mikkola , trad. ( fi ) | [759] | |
| " Saarella palaa " ("Fuego en la isla") | 1895 ( arreglo 1898) | Op. 18/4 | mchor. (o chor. ) | Kanteletar , Libro I:186 | [gv] [760] | |
| " Juhlamarssi " ("Marcha festiva"), de la Cantata promocional de 1894 | [1894], arreglo hacia 1896 | → JS 105 | coro. | K. Leino | [az] [761] | |
| " Himno " ("Himno") | 1896, rev. 1898 | Op. 21 | coro. | F. Gustafsson | [762] | |
Canciones para coro mixto de la cantata promocional de 1897 ( Lauluja sekaköörille 1897 vuoden promotiooni kantaatista )
| [1897], arreglo 1898 | Op. 23 | S , B , coro. | AV Koskimies | [bb] [763] | |
| " Kuutamolla " ("A la luz de la luna") | 1898 | JS 114 | coro. | A. Kallas | [764] | |
Carminalia , una versión de tres canciones escolares
| JS 51a | coro. | Piae Canciones | [gw] [766] | ||
| " Min rastas raataa " ("Ocupado como un tordo") | JS 129 | Kanteletar , Libro I:219 | [gv] [767] | |||
| " Sortunut ääni " ("La voz quebrada") | 1898 ( arreglo 1898) | Op. 18/1 | mchor. (o chor. ) | Kanteletar , Libro I:57 | [gv] [768] | |
| " Sydämeni laulu " ("Canción de mi corazón") | 1898 ( arreglo 1904) | Op. 18/6 | mchor. (o chor. ) | A. Kivi | [gv] [769] | |
| " Aamusumussa " ("En la niebla de la mañana") | 1898 ( arr. c. 1913 ) | JS 9a(b) | chor. (o fchor. o cchor. ) | JH Erkko | [gx] [771] | |
| " Isänmaalle " ("A la Patria") | 1899 ( revisión y arreglo 1900), arreglo 1908 | Artículo 98a/b(c) | mchor. (o chor. ) | P. Cajander | [gv] [772] | |
| " Metsämiehen laulu " ("La canción del leñador") | 1899 | Op. 18/5 | coro. | A. Kivi | [gv] [773] | |
| " Terve, kuu " ("Salve, luna") | 1901 | Op. 18/2 | coro. | Kalevala , Runo XLIX | [gv] [774] | |
| " Kotikaipaus " ("Nostalgia") | 1902 | JS 111 | 3 voces femeninas | W. von Konow | [775] | |
| " Den 25 de octubre de 1902. Till Thérèse Hahl " ("... A Thérèse Hahl") [Versión I] | JS60 | coro. | N. Wasastjerna | [gy] [777] | ||
| " Den 25 de octubre de 1902. Till Thérèse Hahl " ("... A Thérèse Hahl") [Versión II] | JS 61 | [gy] [778] | ||||
| " Har du mod? " ("¿Tienes coraje?") | 1903–1904 | JS 93 | coro. | J.J. Wecksell | [cy] [779] | |
| " Veljeni vierailla mailla " ("Mis hermanos en el extranjero") | 1904 | JS 217 | J. Aho | [gv] [780] | ||
| " Ej med klagan " ("No con lamentación") | 1905 | JS 69 | coro. (o mchor. ) | J. L. Runeberg | [gz] [782] | |
| " Kansakoululaisten marssi " ("Marcha de los niños de la escuela primaria") | 1910 | JS 103 | coro. | O. Pekka | [ha] [784] | |
| " Kantat " ("Cantata") | 1911 | JS 107 | coro. | W. von Konow | [b] [785] | |
| " Män från slätten och havet " ("Hombres de tierra y mar") | Op.65a | coro. | E. Knape | [786] | ||
| " Kallion kirkon kellosävel " ("Las campanas de la iglesia de Kallio") | [1912], arreglo 1912 | Op.65b | coro. | H. Klemetti | [787] | |
| " Uusmaalaisten laulu " ("Canción del pueblo de Uusimaa ") | 1912 | Artículo 214a(b) | coro. (o mchor. ) | K. Terhi | [788] | |
| " Soi kiitokseksi Luojan " ("Te alabamos, nuestro Creador"), de las Canciones para coro mixto de la Cantata promocional de 1897 | [1897], arreglo 1913 | → Op.23/6a | fchor. (o cchor. ) | AV Koskimies | [bb] [789] | |
| " Terve ruhtinatar " ("Salve, Princesa"), de la Cantata para la Coronación de Nicolás II | [1896], arreglo hacia 1913 | → JS 104 | P. Cajander | [ba] [790] | ||
| " Nejden andas " ("El paisaje respira"), de La rotura del hielo en el río Oulu | [1899], arreglo hacia 1913 | → Opus 30 | Z. Topelius | [bg] [791] | ||
| "El sol está bajo sobre el lago" | 1913 | Ley JS 199/2 | coro. | W. Scott | [gj] [792] | |
| " Herr Lager och Skön fager " ("El señor Lager y la bella") | 1914 | Op.84/1 | coro. | G. Fröding | [hc] [793] | |
| " På berget " ("En la montaña") | 1915 | Op.84/2 | B. Gripenberg | [hc] [795] | ||
| " Evige Eros " ("Eros Eterno") | Op.84/4 | B , coro. | [hc] [796] | |||
| " Ett drömackord " ("Un acorde de ensueño") | Op.84/3 | coro. | G. Fröding | [hc] [797] | ||
| " Till havs " ("Hacia el mar") | 1917, rev. 1917 | Op.84/5 | J. Reuter | [hc] [798] | ||
| " Drömmarna " ("Los sueños") | 1917 | JS 64 | coro. | [799] | ||
| " Fridolins dårskap " ("La locura de Fridolin") | JS84 | coro. | E. E. Karlfeldt | [800] | ||
| " Ute hörs stormen " ("Afuera la tormenta arrecia") | 1918 | Ley JS 224/1 | coro. | G. Schybergson | [801] | |
| " Brusande rusar en våg " ("El rugido de una ola") | Ley JS 224/2 | [802] | ||||
| " Jone havsfärd " ("El viaje de Jonás") | JS100 | E. E. Karlfeldt | [803] | |||
| " Viipurin Laulu-Veikkojen kunniamarssi " ("Marcha de Honor de los Hermanos Cantores de Viipuri ") [Versión I] | 1920 | JS 219 | E. Eerola | [804] | ||
| " Likhet " ("Semejanza") | 1922 | JS 121 | coro. | J. L. Runeberg | [805] | |
| " Koulutie " ("El camino a la escuela") | 1924 | JS 112 | coro. | VA Koskenniemi | [806] | |
| " Humoreski " ("Humoresque") | 1925 | Op. 108/1 | coro. | Larin-Kyösti | [807] | |
| " Ne pitkän matkan kulkijat " ("Vagabundos del largo camino") | Op. 108/2 | [807] | ||||
| " Skolsång " ("Canción de la escuela") | JS 172 | coro. | N. Runeberg | [808] | ||
| " Den höga himlen " ("El cielo elevado") | 1927 | JS 58a | S. Korpela – J. Tegengren , trad. ( sv ) | [alta definición] [810] | ||
| " Siltavahti " ("El guardián del puente") | 1928 | JS 170a | coro. | W. Sola | [gs] [811] | |
| " On lapsonen syntynyt meille " ("Nos ha nacido un niño") | 1929 | JS 142 | coro. | AV Jaakkola | [812] | |
| " Viipurin Laulu-Veikkojen kunniamarssi " ("Marcha de Honor de los Hermanos Cantores de Viipuri") [Versión II] | JS220 | coro. | E. Eerola | [813] | ||
| " Giv mig ej glans, ej guld, ej prakt " ("No me des esplendor, oro ni pompa") | [1909], arreglo 1935 ( arreglo 1942) | → Op. 1/4 | mchor. (o S , fchor. ) | Z. Topelius | [Dios mío] [814] | |
| " Finlandia-hymnin " ("Himno de Finlandia"), de Finlandia | [1899], arr. 1938 y 1940 ( arr. 1948) | → Opus 26 | mchor. (o chor. ) | W. Sola (1938) VA Koskenniemi (1940) | [él] [816] | |
| Coral ( acomp. ) | " Oje Carulì " ("Oh Caroline"), arreglo de una canción de MP Costa | 1887–1888 (sobrevive parcialmente) | Ley JS 99/1 | B , coro. , pf. | San Giacomo | [hf] [817] |
| " Trippole trappole " , arreglo de una canción popular española adaptada por GL Cottrau | Ley JS 99/2 | coro , pf. | Tradicional | |||
| " Upp genom luften " ("A través del aire") | 1888 | JS 213 | Nacido en el apocalipsis | [818] | ||
| " Vi kysser du fader min fästmö här? " ("¿Por qué, oh padre, besas a mi novia?") | 1889–1890 | JS 218 | J. L. Runeberg | [819] | ||
Carminalia , una versión de tres canciones escolares
| [1898] , arreglo 1898 | Artículo 51b(c) | coro , órgano o harm. (o piano) | Piae Canciones | [gw] [820] | |
| El origen del fuego ( sintedad Tulen ) | [1902, rev. 1910], arr. 1910 | → Opus 32 | B , coro. , pf. | Kalevala , Runa XLVII | [a.c.] [821] | |
| Improvisado | [1902, rev. 1910], arr. 1910 | Op. 19 | coro. , pf. | V. Rydberg | [cx] [822] | |
| " Har du mod? " ("¿Tienes coraje?") | [1904], arr. 1904, rev. y arr. 1911 | → Op. 31/2 | , pf . | J.J. Wecksell | [cy] [823] | |
| "Una captura de caballería" | 1913 | Ley JS 199/3 | F. MacLeod | [gj] [792] | ||
| " Jääkärien marssi " ("Marcha Jäger") | 1917 | Op. 91a | , pf . | H. Nurmio | [es] [825] | |
| " Partiolaisten marssi " ("Marcha Scout") | [1918, arreglo 1918], arreglo 1921 | → Op. 91b | coro , pf. | J. Finne | [de] [826] | |
| " Skyddskårsmarsch " ("La marcha de Skyddskår") | 1925 | JS 173 | mchor. , pf. ( ad lib. ) | N. Runeberg | [827] | |
| " Palmusunnuntaina " ("El Domingo de Ramos") | JS 110/1 | B , coro , órgano | Salmos 23 , 111 , 42 | [de] [829] | ||
| " Pyhainpaivana tai hautajaisjumalanpalveluksissa " ("En el día de Todos los Santos") | JS 110/2 | Apocalipsis 14 , Salmo 126 | [de] [829] | |||
| " Kristillisissa nuorisojuhlissa " ("Para ceremonias juveniles cristianas") | JS 110/3 | Eclesiastés 12 , Gloria Patri | [de] [829] | |||
| " Karjalan osa " ("El destino de Karelia") | 1930 | JS 108 | , pf . | A. Nurminen | [hg] [831] | |
| " Partiolaisten marssi " ("Marcha Scout") [también conocida como "La canción mundial de la Asociación Mundial de las Niñas Scouts y las Guías"] | [1918, arreglo 1918], arreglo 1952 | → Op. 91b | coro. , pf. | G. Ewart | [de] [832] | |
| " Giv mig ej glans, ej guld, ej prakt " ("No me des esplendor, oro ni pompa") | [1909], arreglo 1954 | → Op. 1/4 | cchor. , órgano | Z. Topelius | [Dios mío] [833] | |
Música ritual masónica ( Vapaamuurareiden rituaalimusiikkia )
| 1927, rev. 1936, 1946 y 1948 | Op. 113 | T , mchor. , órgano (o daño ) . | Varios | [db] [834] | |
| " Suur' olet Herra " ("El cielo elevado") | [1927], arreglo 1945 | JS 58b | coro , órgano | S. Korpela – J. Tegengren , trad. ( sv ) | [alta definición] [835] | |
Versiones preliminares y fragmentos | (↑ volver arriba) | |||||
| Orquesta. ( frag. ) | [ Luonnotar ] , predecesor de La hija de Pohjola | 1903 –1905 | HUL0163 | orquesta. | – | [aj] [836] |
[Suite para orquesta], predecesora de The Oceanides
| 1913-1914 | – | [al] [837] | |||
| Cámara ( frag. ) | Den lilla sjöjungfrun (La Sirenita) | 1887–1888 (abandonado, sobrevive parcialmente) | JS 59 | Nar. , 2 vl. , va. , vc. (probable) | HC Andersen – KJ Backman , trad. ( sv ) | [dl] [838] |
Trío de cuerdas en sol menor
| 1893–1894 | JS 210 | vl. , va. , vc. | – | [hh] [840] | |
| [Marzo] , versión preliminar de la Marcha Scout ( Partiolaisten marssi ) | 1897–1899 | HUL0504 | torviseitsikko , perc. | [de] [841] | ||
| Violín ( frag. ) | [Mazurca] en do mayor | 1883 | HUL0536a/2 | violín | [429] | |
| Impromptu en sol menor | 1884 | HUL0525/3 | [429] | |||
| Canción ( frag. ) | " Medan nordanvinden gnyr " ("Mientras ruge el viento del norte") | 1888 | HUL1283 | 2 voces, vc. | Anónimo | [842] |
| "Då världar ännu skapade ej voro " ( " Cuando los mundos aún no eran creados ") | JS 56 | voz, vc. (?), pf. | [hola] [844] | |||
| " Solen slog himlen röd " ("El sol enrojeció el cielo") | HUL1179 | voz, pf. | E. Josephson | [845] | ||
| " Höstkväll " ("Tarde de otoño") | 1888–1889 | HUL1180 | V. Rydberg | [846] | ||
| "Flickan gick en vintermorgan" ("The Maiden Went Out One Winter Morning") | 1890–1892 | HUL 1186 | J.L. Runeberg | [846] | ||
| "Den första kyssen" ("The First Kiss") | 1891–1892 | JS 57 | [847] | |||
| "Frihet" ("Freedom") | – | K.A. Tavaststjerna | [848] | |||
| "Drick, De förflyga de susande pärlorna" ("Drink, the Fizzling Pearls are Flying Away") | F.M. Franzén | [848] | ||||
| "Romans" ("Romance") | 1905 | K.A. Tavaststjerna | [849] | |||
| "Och skull ditt hjärta jag fångat" ("And If I had Captured Your Heart") | 1908–1910 | [Unknown] | [849] | |||
| Song (prelim.) | [preliminary version of "Säv, säv, susa"] | 1900 | JS 42 | G. Fröding | [bs][850] | |
| [preliminary version of "Soluppgång"] | 1902 | JS 87 | T. Hedberg | [br][851] | ||
| [preliminary version of "Vänskapens blomma"] | 1909 | JS 215 | E. Josephson | [bp][852] | ||
| Choral (frag.) | "Heitä, koski, kuohuminen" ("Rapids, Cease Your Foaming") | 1893 | JS 94 | mchor. | Kalevala, Runo XL | [gv][853] |
| "Listen to the Water Mill" | 1905–1906 | JS 122 | chor. | S. Doudney | [854] | |
| Unknown | March of the Pori Regiment (Porilaisten marssi), arrangement [I] of the original | arr. 1892 (lost) | JS 151 | chamber ensemble | – | [cc][855] |
| "The American Millers' Song" | [Unknown] (lost) | JS 29 | voice, pf. (probable) | [Unknown] | [hj][856] | |
| Snöfallet (The Snowfall) | 1927 (lost) | JS 175 | [hk][857] | |||
Notes, references, and sources
Notes
- ^ 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. 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
- 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.
