{"id":8171,"date":"2022-05-31T13:57:01","date_gmt":"2022-05-31T10:57:01","guid":{"rendered":"https:\/\/turunmusiikkijuhlat.fi\/sibelius"},"modified":"2024-05-22T09:45:25","modified_gmt":"2024-05-22T06:45:25","slug":"sibelius","status":"publish","type":"page","link":"https:\/\/turunmusiikkijuhlat.fi\/sv\/sibelius","title":{"rendered":"Sibelius och \u00c5bo"},"content":{"rendered":"[vc_row type=”full_width_background” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” bg_color=”#1c4754″ scene_position=”center” top_padding=”5%” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” advanced_gradient_angle=”0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” gradient_type=”default” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” advanced_gradient_angle=”0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” gradient_type=”default”][vc_custom_heading text=”SIBELIUS OCH \u00c5BO” font_container=”tag:h1|text_align:center|color:%23ffffff” use_theme_fonts=”yes”][vc_custom_heading text=”Om nationaltons\u00e4ttarens anknytning till Sibeliusmuseums hemstad” font_container=”tag:h5|text_align:center|color:%23bc9634″ use_theme_fonts=”yes”][\/vc_column][\/vc_row][vc_row type=”full_width_background” full_screen_row_position=”middle” column_margin=”80px” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” bg_color=”#1c4754″ scene_position=”center” top_padding=”5%” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” advanced_gradient_angle=”0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” gradient_type=”default” shape_type=””][vc_column column_padding=”padding-5-percent” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color=”#ffffff” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” font_color=”#1c4754″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” advanced_gradient_angle=”0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” gradient_type=”default”][vc_column_text]Alla vill ha en bit av Jean Sibelius (1865\u20131957). Och varf\u00f6r inte \u2013 i \u00f6ver ett sekel har han varit en av de internationellt mest k\u00e4nda finl\u00e4ndarna, betydligt l\u00e4ngre \u00e4n de idrottshj\u00e4ltar som p\u00e5 toppen av sin karri\u00e4r blir internationellt ryktbara. Sibelius spelas, sjungs och bandas p\u00e5 skiva g\u00e5ng p\u00e5 g\u00e5ng, och \u00e4nda till de senaste \u00e5ren har hans symfonier h\u00e5llit sig p\u00e5 toppen bland finl\u00e4ndska verk som kammar hem de allra st\u00f6rsta upphovsr\u00e4ttsers\u00e4ttningarna, mer \u00e4n The Rasmus och Darudes megahits[1]<\/sup><\/a>.<\/p>\n

Tavastehus har all anledning att gl\u00e4djas \u00f6ver sin st\u00e4llning som Sibelius f\u00f6delsestad, Tr\u00e4sk\u00e4nda som hans mest l\u00e5ngvariga hemstad och Helsingfors som det centrum d\u00e4r Sibelius mest k\u00e4nda verk uruppf\u00f6rdes.<\/p>\n

Men Sibelius har ocks\u00e5 musikaliska r\u00f6tter i \u00c5bo. H\u00e4r spelade hans farmorsfar Mathias \u00c5kerberg violin och cello i Musikaliska s\u00e4llskapet i \u00c5bos unga orkester \u2013 numera \u00c5bo filharmoniska orkester \u2013 i slutet av 1700-talet. Framf\u00f6r allt levde och verkade hans farbror Pehr Sibelius h\u00e4r, tons\u00e4ttarens n\u00e4rmaste manliga f\u00f6rebild efter att han f\u00f6rlorat sin far i sin tidigaste barndom. I deras intensiva brevv\u00e4xling som p\u00e5gick \u00e4nda till Pehrs d\u00f6d 1890 skrev den unge tons\u00e4ttaren bl.a. \u201dmen Farbror \u00e4r ju i min pappas st\u00e4lle h\u00e4r p\u00e5 jorden”[2]<\/sup><\/a>.<\/a>[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”left-right” column_element_direction_desktop=”default” column_element_spacing=”default” centered_text=”true” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color=”#1c4754″ background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” font_color=”#ffffff” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” advanced_gradient_angle=”0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” animation_type=”parallax” animation_movement_type=”default” column_parallax_intensity=”1″ bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” gradient_type=”default”][image_with_animation image_url=”7816″ image_size=”full” animation_type=”entrance” animation=”None” animation_movement_type=”transform_y” hover_animation=”none” alignment=”center” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”75%” max_width_mobile=”default”][vc_column_text]Jean Sibelius 1899
\n(Sibeliusmuseum, \u00c5bo)[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_background” full_screen_row_position=”middle” column_margin=”80px” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” bg_color=”#1c4754″ scene_position=”center” top_padding=”2%” bottom_padding=”5%” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” advanced_gradient_angle=”0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” gradient_type=”default” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” font_color=”#1c4754″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” advanced_gradient_angle=”0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” gradient_type=”default”][\/vc_column][vc_column column_padding=”padding-4-percent” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” bottom_margin=”-9%” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color=”#bc9634″ background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” advanced_gradient_angle=”0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” gradient_type=”default”][vc_custom_heading text=”Konserter p\u00e5 Sibeliusmuseet” font_container=”tag:h4|text_align:left|color:%23ffffff” use_theme_fonts=”yes”][nectar_cta btn_style=”underline” heading_tag=”p” button_color=”default” text_color=”#1c4754″ button_border_thickness=”0px” link_type=”regular” alignment=”left” alignment_tablet=”default” alignment_phone=”default” display=”block” display_tablet=”inherit” display_phone=”inherit” icon_family=”none” text=”12.08.2024″ link_text=”Songs of Judith” url=”\/sv\/tapahtuma\/songs-of-judith”][\/vc_column][\/vc_row][vc_row type=”full_width_background” full_screen_row_position=”middle” column_margin=”80px” equal_height=”yes” content_placement=”middle” column_direction=”default” column_direction_tablet=”column_reverse” column_direction_phone=”column_reverse” scene_position=”center” top_padding=”8%” bottom_padding=”10%” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” advanced_gradient_angle=”0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” gradient_type=”default” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” font_color=”#1d4754″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” advanced_gradient_angle=”0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” gradient_type=”default”][vc_custom_heading text=”FARBROR PEHRS G\u00c4ST OCH BREVV\u00c4N” font_container=”tag:h3|text_align:left|color:%231c4754″ use_theme_fonts=”yes”][vc_row_inner equal_height=”yes” content_placement=”top” column_margin=”100px” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” top_padding=”3%” text_align=”left” row_position=”default” row_position_tablet=”inherit” row_position_phone=”inherit” overflow=”visible” pointer_events=”all”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” font_color=”#1c4754″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” advanced_gradient_angle=”0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” gradient_type=”default”][vc_column_text max_width=”700″]Pehr Sibelius var verksam som bok- och fr\u00f6handlare i \u00c5bo och k\u00e4nd f\u00f6r sin goda vilja d\u00e5 det g\u00e4llde aff\u00e4rer. Han s\u00e4gs omsorgsfullt ha sorterat bort de fr\u00f6n som inte grott bland fr\u00f6na han hade till salu, \u00e4ven om han med lite nonchalans hade kunnat \u00f6ka vinsten han fick fr\u00e5n f\u00f6rs\u00e4ljningen.[3]<\/sup><\/a>\u00a0Pehrs stora passioner var \u00e4nd\u00e5 astronomin \u2013 farbror Pehrs teleskop syns bl.a. i den 10-\u00e5rige Sibelius julkortsteckning \u2013 och musiken.<\/p>\n

Pehr var en ivrig amat\u00f6rmusiker som tog teorilektioner av den tyske tons\u00e4ttaren Conrad Greve som var verksam i \u00c5bo. Han samlade ocks\u00e5 instrument: vid sin d\u00f6d \u00e4gde han tre violiner, en cello, tv\u00e5 horn och tv\u00e5 taffelpianon.[4]<\/sup><\/a> F\u00f6rutom att spela f\u00f6r sig sj\u00e4lv fick han musikalisk stimulans som medlem av \u00c5bo handelsmansk\u00f6r och som en st\u00e4ndig g\u00e4st vid konserter, som \u00c5bo p\u00e5 den tiden fick njuta av oftare \u00e4n andra orter i Finland.<\/p>\n

Ibland f\u00f6rs\u00f6kte sig Pehr ivrigt p\u00e5 att komponera: en trest\u00e4mmig, till st\u00e4mf\u00f6ringen r\u00e4tt klumpig komposition fr\u00e5n 1853 har bevarats, en s\u00e4ttning av de f\u00f6rsta stroferna fr\u00e5n dikten Aamu (Morgon). \u00c4ven om f\u00f6rs\u00f6ken var korta och hj\u00e4lpl\u00f6sa bidrog de till brorsonens upplevelse av att sl\u00e4kten hade musikaliska r\u00f6tter. Jean Sibelius sparade sin samling av farbrors Pehrs bevarade kompositionsskisser livet ut.<\/p>\n

D\u00e5 den unge Janne (som Johan Julius Christian kallades, senare antog han artistnamnet Jean) inledde sina musikstudier i Tavastehus, riktades hans f\u00f6rfr\u00e5gningar om st\u00f6d oftast till farbror Pehr i \u00c5bo. Tidigare hade han n\u00e4rmast \u00f6nskat sig frim\u00e4rken, men i ett brev daterat i april 1881 ber det 15-\u00e5riga musikerfr\u00f6et om en violin. Den godhj\u00e4rtade Janne hade l\u00e5nat sin egen violin till en fattig skolkamrat och beh\u00f6vde d\u00e4rmed ett ers\u00e4ttande instrument f\u00f6r att kunna inleda sina spellektioner h\u00f6sten d\u00e4rp\u00e5.[5]<\/sup><\/a><\/p>\n

D\u00e5 violinen anl\u00e4nt beh\u00f6vdes ocks\u00e5 noter fr\u00e5n \u00c5bobutikernas utbud. F\u00f6rst bad Janne farbror skicka Hennings Violinskola, men senare \u00e4ven kammarmusikverk som syskontrion, violinisten Janne, cellisten Kitti (lillebror Christian) och systern Linda spelade hemma. Pehr hj\u00e4lpte ocks\u00e5 till d\u00e5 Jannes violin m\u00e5ste skickas till landets ledande violinreparat\u00f6r Wasenius i \u00c5bo. D\u00e5 den unge tons\u00e4ttaren bes\u00f6kte sin farbror f\u00f6rde han s\u00e4kerligen givande diskussioner om musik och om sina egna m\u00f6jligheter inom branschen.[\/vc_column_text][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” font_color=”#1c4754″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” advanced_gradient_angle=”0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” gradient_type=”default”][vc_column_text max_width=”700″]St\u00f6rst intryck under den tid han tillbringade hos Pehr gjorde \u00e4nd\u00e5 antagligen en isande kall jullovsnatt p\u00e5 en obebyggd del vid Humlegatan. Vid sina m\u00e4tningar hade Pehr tydligen kommit fram till att en asteroid skulle falla ner p\u00e5 en viss tomt. Pehr hade hyrt denna och till och med byggt ett staket runt den. Dit tog han med sig sin unge brorson f\u00f6r att v\u00e4nta p\u00e5 denna astronomiskt betydande h\u00e4ndelse. Ingen meteor syntes till men \u00e4nnu \u00f6ver 70 \u00e5r senare mindes m\u00e4startons\u00e4ttaren det hela, han ber\u00e4ttade f\u00f6r Einari Marvia \u201djag kommer s\u00e5 bra i h\u00e5g, att jag fr\u00f6s s\u00e5 f\u00f6rbaskat.[6]<\/sup><\/a><\/p>\n

Meteorepisoden m\u00e5ste ha infallit senast i b\u00f6rjan av 1880-talet men den sp\u00f6kade l\u00e4nge i Sibelius inre. I juli 1889 beskriver han i ett brev till farbror Pehr tredje satsen i den violinsonat han precis komponerat: \u201dDet \u00e4r folk om midsommar afton ute p\u00e5 \u00e4ngen, de sjunga och leka. Under detta sl\u00e5r en meteor ned ibland dem. De blifva h\u00e4pna, men forts\u00e4tta med lekandet, som icke mera vill g\u00e5 s\u00e5 ledigt som f\u00f6rut ty alla \u00e4ro allvarsammare. Till slut blifver st\u00e4mningen dystert praktfull [meteoren!] och \u00e4fven lekande glad.”[7]<\/sup><\/a> \u00c4ven om den 23-\u00e5rige Sibelius violinsonat i F-dur (JS 178) skrevs under studietiden i Helsingfors finns allts\u00e5 en liten fl\u00e4kt av \u00c5bointryck med!<\/p>\n

\u00c4nnu n\u00e4rmare koppling till Egentliga Finland har Sibelius tidiga triokompositioner. Vid sommarvistet farbror Pehr ordnat i Haftr\u00e4sk by i Korpo sk\u00e4rg\u00e5rd skrev Sibelius den 20 minuter l\u00e5nga pianotrion \u201dHaftr\u00e4sk\u201d i a-moll (JS 207), som syskontrion spelade sommaren 1886. Farbror Pehr hade \u00e4ven ordnat sommarvistet i Korpo 1887. \u00c4ven under den sommaren skrevs en pianotrio, denna g\u00e5ng i ljus D-dur. Den halvtimme l\u00e5nga kompositionen, d\u00e4r man redan kan ana tons\u00e4ttarens spirande beg\u00e5vning, \u00e4r hans mest omfattande verk hittills och numera bekant under namnet \u201dKorpotrion\u201d (JS 209).<\/p>\n

H\u00f6sten 1889 inledde Sibelius sina kompositionsstudier i Berlin och under vintern slutf\u00f6rdes ett storverk, den omfattande pianokvintetten i g-moll (JS 159). I maj 1890 framf\u00f6rdes dess f\u00f6rsta och tredje sats vid Helsingfors musikinstituts konsert, men helheten uruppf\u00f6rdes f\u00f6rst 11.10.1890 i \u00c5bo. Verket omfattar dramatiska v\u00e4ndningar och pianopartiet spelades av Sibelius goda v\u00e4n Adolf Paul, sedermera k\u00e4nd som f\u00f6rfattare.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row type=”full_width_background” full_screen_row_position=”middle” column_margin=”80px” equal_height=”yes” content_placement=”middle” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” bg_color=”#1c4754″ scene_position=”center” constrain_group_1=”yes” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” advanced_gradient_angle=”0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” gradient_type=”default” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” top_margin=”-15%” top_margin_tablet=”-5%” top_margin_phone=”-5%” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” font_color=”#ffffff” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” advanced_gradient_angle=”0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”parallax” animation_movement_type=”default” column_parallax_intensity=”1″ bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” gradient_type=”default”][image_with_animation image_url=”7846″ image_size=”full” animation_type=”entrance” animation=”None” animation_movement_type=”transform_y” hover_animation=”none” alignment=”” img_link_large=”yes” img_link_caption=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default”][vc_column_text]Pehr Sibelius
\n(Sibeliusmuseum, \u00c5bo)[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” font_color=”#ffffff” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” advanced_gradient_angle=”0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”parallax” animation_movement_type=”default” column_parallax_intensity=”-1″ bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” gradient_type=”default”][image_with_animation image_url=”7849″ image_size=”full” animation_type=”entrance” animation=”None” animation_movement_type=”transform_y” hover_animation=”none” alignment=”center” img_link_large=”yes” img_link_caption=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default”][vc_column_text]Linda, Christan och Janne Sibelius
\n(Sibeliusmuseum, \u00c5bo)[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” top_margin=”-8%” top_margin_tablet=”0″ top_margin_phone=”0″ column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” font_color=”#ffffff” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” advanced_gradient_angle=”0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”parallax” animation_movement_type=”default” column_parallax_intensity=”1″ bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” gradient_type=”default”][image_with_animation image_url=”7891″ image_size=”full” animation_type=”entrance” animation=”None” animation_movement_type=”transform_y” hover_animation=”none” alignment=”center” img_link_large=”yes” img_link_caption=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default”][vc_column_text]Jean Sibelius i Berlin 1889
\n(Sibeliusmuseum, \u00c5bo)[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_background” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” bg_color=”#1c4754″ scene_position=”center” top_padding=”5%” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” advanced_gradient_angle=”0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” gradient_type=”default” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][divider line_type=”No Line” custom_height=”30″][\/vc_column][\/vc_row][vc_row type=”full_width_background” full_screen_row_position=”middle” column_margin=”80px” equal_height=”yes” content_placement=”middle” column_direction=”default” column_direction_tablet=”column_reverse” column_direction_phone=”column_reverse” bg_color=”#1c4754″ scene_position=”center” top_padding=”3%” bottom_padding=”10%” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” advanced_gradient_angle=”0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” gradient_type=”default” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” font_color=”#1d4754″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” advanced_gradient_angle=”0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” gradient_type=”default”][vc_custom_heading text=”TIDIGA FRAMG\u00c5NGAR SOM DIRIGENT” font_container=”tag:h3|text_align:left|color:%23ffffff” use_theme_fonts=”yes”][vc_row_inner equal_height=”yes” column_margin=”100px” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” top_padding=”3%” text_align=”left” row_position=”default” row_position_tablet=”inherit” row_position_phone=”inherit” overflow=”visible” pointer_events=”all”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” font_color=”#ffffff” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” advanced_gradient_angle=”0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” gradient_type=”default”][vc_column_text]Under de f\u00f6ljande decennierna koncentrerades Sibelius karri\u00e4r och liv till Helsingfors, men hans v\u00e4xande rykte som komposit\u00f6r-dirigent fick honom att resa Finland runt och ge konserter. Som dirigent kom han f\u00f6rsta g\u00e5ngen till \u00c5bo 15. och 17.2.1894. Konserterna h\u00f6lls i Brandk\u00e5rshuset (numera FBK:s hus) och i Akademihusets solennitetssal och p\u00e5 programmet fanns b\u00e5de den tv\u00e5 \u00e5r tidigare slutf\u00f6rda tondikten En saga (op. 9) och hans Suite till historiska motiv, tabl\u00e5musik i \u00e5tta satser, som ocks\u00e5 inneh\u00f6ll den pinf\u00e4rska Karelia-musiken, skriven f\u00f6r Wiborgs Nations Festlotteri i Helsingfors.<\/p>\n

Dessa verk har sedermera inte framf\u00f6rts i samma form som d\u00e5: Sibelius omarbetade En saga till en ny version 1902 och Karelia-musiken \u00e4r numera k\u00e4nd som tv\u00e5 separata verk: Karelia-uvertyren op. 10 och Karelia-sviten i tre satser op. 11. Ocks\u00e5 de f\u00f6r den senare konserten skrivna str\u00e5korkesterarrangemangen f\u00f6rblev unika: Scherzo, en bearbetning av tredje satsen i B-durstr\u00e5kkvartetten (op. 4) och Impromptu, sammanst\u00e4lld av tv\u00e5 pianostycken. Orkestern var tydligen p\u00e5tagligt f\u00e5talig: \u00c5bo Underr\u00e4ttelsers recensent ber\u00f6mde dess spel, men konstaterade att \u201d\u00e4nnu b\u00e4ttre hade den lyckats, om str\u00e5korkestern hade varit talrikare besatt, ty nu kom den icke alltid till full giltighet. De sv\u00e5righeter, orkestern hade att \u00f6fvervinna, voro heller icke sm\u00e5, ty herr S. \u00e4r icke den, som ryggar tillbaka f\u00f6r s\u00e5dana.”[8]<\/sup><\/a><\/p>\n

Vid den f\u00f6rsta konserten h\u00f6rdes n\u00e5got \u00e4n mer exceptionellt. Enligt informationen i programbladet spelade man n\u00e4mligen \u00e4nnu inte Scherzo och Impromptu f\u00f6r str\u00e5korkester 15.2., d\u00e4remot tv\u00e5 satser ur Pjotr Tjajkovskijs Serenad C-dur (op. 48). Med undantag f\u00f6r detta tillf\u00e4lle k\u00e4nner man inte till att Sibelius n\u00e5gonsin skulle ha dirigerat andra tons\u00e4ttares verk, eventuellt med undantag f\u00f6r n\u00e5got undervisningsuppdrag. Att han valde att hedra just Tjajkovskij var knappast n\u00e5gon slump: \u201dJag vet nog att det finns mycket likadant i den d\u00e4r mannen som i mig\u201d, skrev Sibelius om sin redan bortg\u00e5ngna kollega \u00e5r 1900.[9]<\/sup><\/a><\/p>\n

Tre \u00e5r senare, 29. och 30.11.1897, \u00e5terv\u00e4nde Sibelius till \u00c5bo. D\u00e5 hade han med sig Tuonelas svan och Lemmink\u00e4inen drager hem\u00e5t (op. 22), b\u00e4gge kommande klassikerverk ur Lemmink\u00e4inensviten, samt det lilla orkesterstycket V\u00e5rs\u00e5ng (op. 16) och Skogsr\u00e5et (op. 15a), som l\u00e4nge var helt bortgl\u00f6md. Den sistn\u00e4mnda var i sin ursprungliga form en historisk kuriositet: ett melodrama f\u00f6r recitat\u00f6r, piano, str\u00e5kar och tv\u00e5 valthorn, de sistn\u00e4mnda s\u00e4kert inspirerade av de naturhorn Sibelius farbror Pehr \u00e4gde. Jakthornens klanger dominerar ocks\u00e5 orkesterversionens inledande takter.[\/vc_column_text][nectar_single_testimonial testimonial_style=”small_modern” text_color=”#bc9634″ color=”Default” quote=”F\u00f6rst p\u00e5 2010-talet ins\u00e5g dirigenten Tuomas Hannikainen vad man i sj\u00e4lva verket h\u00f6rt vid \u00c5bokonserten.”][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” font_color=”#ffffff” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” advanced_gradient_angle=”0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” gradient_type=”default”][vc_column_text]\u00c5bo Underr\u00e4ttelser prisade de symfoniska dikterna som str\u00e5lande bevis p\u00e5 herr Sibelius s\u00e4regna konstn\u00e4rskap, d\u00e5 de b\u00e5de i melodisk, harmonisk och kontrapunktisk bem\u00e4rkelse bj\u00f6d p\u00e5 s\u00e5 m\u00e5nga speciella och nya inslag, att man takt f\u00f6r takt f\u00f6ljde dem med allt st\u00f6rre intresse.[10]<\/sup><\/a> \u00c5bo Tidnings recensent tycktes ha h\u00f6rt rykten om den unge revolution\u00e4re tons\u00e4ttaren redan p\u00e5 f\u00f6rhand och upplevde att salen \u201dvarit beredd p\u00e5 att f\u00e5 h\u00f6ra ett och annat, som st\u00e4lts \u2013 rent ut sagdt \u2013 p\u00e5 skandal. Skandalen uteblef och i st\u00e4llet konstatera vi en storartad framg\u00e5ng f\u00f6r komposit\u00f6ren.”[11]<\/sup><\/a><\/p>\n

F\u00f6r \u00c5bokonserterna i april 1900 f\u00e4rdigst\u00e4llde Sibelius till och med ett nytt verk, som sedermera gl\u00f6mdes bort i \u00f6ver ett \u00e5rhundrade. P\u00e5 basis av konsertprogrammen trodde man n\u00e4mligen att han n\u00f6jt sig med att dirigera endast den tre minuter l\u00e5nga uvertyren till sin opera Jungfrun i tornet (JS 101, f\u00e4rdigst\u00e4lld 1896). F\u00f6rst p\u00e5 2010-talet ins\u00e5g dirigenten Tuomas Hannikainen vad man i sj\u00e4lva verket h\u00f6rt vid \u00c5bokonserten. Sibelius anteckningar i operapartituret och orkesterst\u00e4mmorna visade synnerligen noggrant, hur han sammanfogat orkesterpartier fr\u00e5n olika delar av operan till en 10 minuter l\u00e5ng helhet. Denna konsertuvertyr uppf\u00f6rdes p\u00e5 nytt av kammarorkestern Avanti! 2021 och kan gott och v\u00e4l ses som ett betydande verk i stil med de olika satserna i Lemmink\u00e4inensviten och som ett centralt exempel p\u00e5 Sibelius 1890-talsproduktion.<\/p>\n

Det \u00e4r en g\u00e5ta varf\u00f6r Jungfrun i tornet-uvertyren sedermera blev utan flera framf\u00f6randen (med undantag f\u00f6r ett framf\u00f6rande i Ule\u00e5borg strax efter uruppf\u00f6randet). \u00c5tminstone berodde det inte p\u00e5 \u00c5bopublikens reaktioner. Tons\u00e4ttare V\u00e4in\u00f6 Pesola mindes h\u00e4ndelserna i en artikel och \u00e5terber\u00e4ttade dem f\u00e4rgstarkt (p\u00e5 bred finsk \u00c5bodialekt, \u00f6vers.anm.):<\/p>\n

\u201dVi fick ett smakprov p\u00e5 stora v\u00e4rldens konserter d\u00e5 Sibelius kom f\u00f6r att ge en kompositionskonsert. Vi stackare hade inte pengar att k\u00f6pa biljetter och fick inga fribiljetter heller, men vi v\u00e4ntade p\u00e5 utsidan och iakttog de v\u00e4ldoftande mamseller och fina herrar som kom till konserten med h\u00e4st och vagn. Och ute p\u00e5 gatan kikade vi sedan in genom f\u00f6nstren och emellan\u00e5t h\u00f6rde vi lite h\u00f6gre ljud d\u00e4r inifr\u00e5n. N\u00e4sta dag l\u00e4ste vi sedan sorgsna i tidningen om hur fin konserten hade varit.”[12]<\/sup><\/a><\/p>\n

Ocks\u00e5 tidningarnas kritiker var n\u00f6jda. Uusi Aura ber\u00f6mde sviten best\u00e5ende av musik fr\u00e5n sk\u00e5despelet Kristian II och sviten numera k\u00e4nd som Historiska bilder (op. 25), vars d\u00e5varande avslutning Finland vaknar senare fick det k\u00e4rnfulla namnet Finlandia (op. 26). \u201dDet skickliga framf\u00f6randet och den vid m\u00e5nga tillf\u00e4llen skira st\u00e4mningen v\u00e4ckte stort bifall i publiken.”[13]<\/sup><\/a> Till slut framf\u00f6rdes Atenarnes s\u00e5ng av en stor goss- och mansk\u00f6r och enligt \u00c5bo Underr\u00e4ttelser var denna \u201degnadt att samla kring sig intresset. Det var en v\u00e4ldig, af ungdomlig h\u00e4nf\u00f6relse brinnande skara af s\u00e5ngare, som i t\u00e4ta leder samlades p\u00e5 estraden och med en blomsterlyra hembar komposit\u00f6ren sin hyllning. Och d\u00e5 den eldande s\u00e5ngen, hundrast\u00e4mmig och beledsagad af orkester, lj\u00f6d genom salen fans d\u00e4r m\u00e5nget fuktigt \u00f6ga. S\u00e5ngen bisserades genast och \u2013 ’atenarne’ gjorde sin sak med heder.”[14]<\/sup><\/a>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row type=”full_width_background” full_screen_row_position=”middle” column_margin=”none” equal_height=”yes” content_placement=”middle” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” constrain_group_1=”yes” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” advanced_gradient_angle=”0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” gradient_type=”default” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” top_margin=”-15%” top_margin_tablet=”-5%” top_margin_phone=”-5%” column_element_direction_desktop=”default” column_element_spacing=”default” centered_text=”true” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” font_color=”#1c4754″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” advanced_gradient_angle=”0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” animation_type=”parallax” animation_movement_type=”default” column_parallax_intensity=”1″ bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” gradient_type=”default”][image_with_animation image_url=”8004″ image_size=”full” animation_type=”entrance” animation=”None” animation_movement_type=”transform_y” hover_animation=”none” alignment=”center” img_link_large=”yes” img_link_caption=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”75%” max_width_mobile=”default”][vc_column_text]Jean Sibelius 1896
\n(Sibeliusmuseum, \u00c5bo)[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” centered_text=”true” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” font_color=”#1c4754″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” advanced_gradient_angle=”0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” animation_type=”parallax” animation_movement_type=”default” column_parallax_intensity=”-1″ bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” gradient_type=”default”][image_with_animation image_url=”8001″ image_size=”full” animation_type=”entrance” animation=”None” animation_movement_type=”transform_y” hover_animation=”none” alignment=”center” img_link_large=”yes” img_link_caption=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”75%” max_width_mobile=”default”][vc_column_text]Konrad Into Nystr\u00f6m (senare I. K. Inha), Jean Sibelius och Eero J\u00e4rnefelt
\n(Sibeliusmuseum, \u00c5bo)[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_background” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” top_padding=”8%” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” advanced_gradient_angle=”0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” gradient_type=”default” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][divider line_type=”No Line” custom_height=”20″][\/vc_column][\/vc_row][vc_row type=”full_width_background” full_screen_row_position=”middle” column_margin=”80px” equal_height=”yes” content_placement=”middle” column_direction=”default” column_direction_tablet=”column_reverse” column_direction_phone=”column_reverse” scene_position=”center” top_padding=”3%” bottom_padding=”10%” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” advanced_gradient_angle=”0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” gradient_type=”default” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” font_color=”#1d4754″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” advanced_gradient_angle=”0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” gradient_type=”default”][vc_custom_heading text=”PRESENTATION SOM SYMFONIKER” font_container=”tag:h3|text_align:left|color:%231c4754″ use_theme_fonts=”yes”][vc_row_inner equal_height=”yes” column_margin=”100px” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” top_padding=”3%” text_align=”left” row_position=”default” row_position_tablet=”inherit” row_position_phone=”inherit” overflow=”visible” pointer_events=”all”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” font_color=”#1c4754″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” advanced_gradient_angle=”0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” gradient_type=”default”][vc_column_text]Under de f\u00f6rsta \u00e5ren p\u00e5 det nya \u00e5rhundradet \u00e5terv\u00e4nde Sibelius flera g\u00e5nger till \u00c5bo f\u00f6r att ge konserter. En betydande h\u00e4ndelse gick av stapeln 13. och 14.12.1902, d\u00e5 \u00c5boborna f\u00f6r f\u00f6rsta g\u00e5ngen h\u00f6rde en symfoni av Sibelius i sin hemstad \u2013 dock inte andra symfonin som precis slutf\u00f6rts utan symfonin nr 1 i e-moll (op. 39), f\u00e4rdigst\u00e4lld tv\u00e5 \u00e5r tidigare. F\u00f6r den r\u00e4tt stora orkestern kr\u00e4vdes f\u00f6rutom Musikaliska s\u00e4llskapet i \u00c5bo extra musiker fr\u00e5n Helsingfors filharmoniska s\u00e4llskap, och de andra verken p\u00e5 konserten, Impromptu (op. 19) och Sn\u00f6frid (op. 29), b\u00e4gge till text av Viktor Rydberg kr\u00e4vde k\u00f6r. \u201dK\u00f6ren liten men r\u00e4tt bra\u201d, konstaterade tons\u00e4ttaren i ett brev till Aino skickat fr\u00e5n hotel Phoenix.[15]<\/sup><\/a><\/p>\n

\u00c4ven kritikerna var n\u00f6jda, recensenten i Uusi Aura l\u00e4t till och med sin poetiska \u00e5dra fl\u00f6da: \u201dHuvudnumret var den ber\u00f6mda symfonin i E-moll, som nu f\u00f6r f\u00f6rsta g\u00e5ngen presenterades i \u00c5bo. Hur sv\u00e5rt det \u00e4n \u00e4r att vid en f\u00f6rsta genomlyssning bekanta sig med ett s\u00e5 stort m\u00e4sterverk som det ifr\u00e5gavarande, d\u00e4r tonv\u00e5gor, stundvis v\u00e4xande med j\u00e4ttekrafter mot h\u00f6jden, stundvis utmattade av sin frenesi lugnar sig i stilla melankoliskt mummel, s\u00e5 m\u00e5ste \u00e4ven den som h\u00f6r verket endast en g\u00e5ng f\u00f6rundras och beundra den passionerade, otyglade fantasikraft som framg\u00e5r ur b\u00e5de f\u00f6rsta satsen Allegro energico och den omfattande avslutningen, Finalen, liksom \u00e5 andra sidan den urfinska st\u00e4mning, stundvis skirt sorglig, stundvis djupt dystert, som visar sig upplyst av gl\u00f6dande blixtar i den s\u00e4llsamt underbara Andante cantabile-satsen.”[16]<\/sup><\/a><\/p>\n

Tv\u00e5 \u00e5r senare 26.3. 1904 klingade \u00e4ven andra symfonins (op. 43) toner, men endast finalen framf\u00f6rdes. D\u00e4remot fick man i sin helhet h\u00f6ra den pinf\u00e4rska violinkonserten i d-moll (op. 47), uruppf\u00f6rd endast en m\u00e5nad tidigare och i dess infernaliskt sv\u00e5ra originalversion spelad av Viktor Nov\u00e1\u010dek. Ungdoms\u00e5rens tondikt En saga \u00e5terv\u00e4nde ocks\u00e5 till \u00c5bo, nu omarbetad i sin slutliga version.[\/vc_column_text][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” advanced_gradient_angle=”0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” gradient_type=”default”][vc_column_text]Violinkonserten fick ett motstridigt mottagande vid uruppf\u00f6randet i Helsingfors men i \u00c5bo f\u00f6rstod man verket b\u00e4ttre, enligt Uusi Auras kritiker var det \u201den nydanande och egenartad tonskapelse i denna bransch”.[17]<\/sup><\/a> \u00c5bo Underr\u00e4ttelser k\u00e4nde till debatten som f\u00f6rts i Helsingfors och f\u00f6rsvarade Sibelius: \u201dEfter \u00e5h\u00f6randet av denna tonskapelse m\u00e5ste v\u00e4l fastsl\u00e5s, att densamma af flertalet bland \u00e5h\u00f6rarne v\u00e4l icke blef fullt f\u00f6rst\u00e5dd, en\u00e4r det \u00e4r en violinkonsert i den hypermoderna stilen, d\u00e4r violinst\u00e4mman icke ensamt \u00e4r dominerande \u00f6fver ett j\u00e4mf\u00f6relsevis enkelt orkesterackompagnemang \u2013 s\u00e5som i \u00e4ldre tidens violinkonserter \u2013 utan bildar med orkesterst\u00e4mmorna en polyfon tons\u00e4ttning, d\u00e4r orkestern i sin helhet och m\u00e5nga af de enskilda instrumenten s\u00e4rskildt f\u00f6r sig ofta ha mer att s\u00e4ga \u00e4n solo violinen.”[18]<\/sup><\/a><\/p>\n

Orkestern var tydligen inte helt fulltalig, eftersom den nerv\u00f6sa tons\u00e4ttaren i ett brev hem var uppr\u00f6rd \u00f6ver bristen p\u00e5 \u00e5tminstone andra fl\u00f6jt och tuba. D\u00e4remot led Sibelius ingen brist p\u00e5 s\u00e4llskapsliv i \u00c5bo: i staden bodde bl.a. hans barndomsv\u00e4n, intendenten vid \u00c5bo slott Walter von Konow med fru, som ofta umgicks med tons\u00e4ttaren vid hans g\u00e4stkonserter. Kv\u00e4llarna var ibland r\u00e4tt v\u00e5ta, Sibelius till\u00e4ggskommentar i ett brev till frun fr\u00e5n \u00c5bo 1902 var s\u00e4kert befogad: \u201dJag viftar inte! S\u00e5 var inte r\u00e4dd!”[19]<\/sup><\/a> I samband med konserten 1904 ber\u00e4ttade tons\u00e4ttaren att han tillsammans med den excentriska spr\u00e5kforskaren och kulturpersonligheten Sigurd Wettenhovi-Aspa var p\u00e5 v\u00e4g f\u00f6r att \u201dta ett bad\u201d och \u201ddricka mj\u00f6d\u201d.[20]<\/sup><\/a>[\/vc_column_text][nectar_single_testimonial testimonial_style=”small_modern” text_color=”#bc9634″ color=”Default” quote=”Ungdoms\u00e5rens tondikt En saga \u00e5terv\u00e4nde ocks\u00e5 till \u00c5bo, nu omarbetad i sin slutliga version.”][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row type=”full_width_background” full_screen_row_position=”middle” column_margin=”none” equal_height=”yes” content_placement=”middle” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” bg_color=”#1c4754″ scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” advanced_gradient_angle=”0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” gradient_type=”default” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” top_margin=”-15%” top_margin_tablet=”-5%” top_margin_phone=”-5%” column_element_direction_desktop=”default” column_element_spacing=”default” centered_text=”true” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” font_color=”#ffffff” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” advanced_gradient_angle=”0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” animation_type=”parallax” animation_movement_type=”default” column_parallax_intensity=”1″ bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” gradient_type=”default”][image_with_animation image_url=”8039″ image_size=”full” animation_type=”entrance” animation=”None” animation_movement_type=”transform_y” hover_animation=”none” alignment=”center” img_link_large=”yes” img_link_caption=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”75%” max_width_mobile=”default”][vc_column_text]Jean Sibelius 1900
\n(Sibeliusmuseum, \u00c5bo)[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” centered_text=”true” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” font_color=”#ffffff” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” advanced_gradient_angle=”0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” animation_type=”parallax” animation_movement_type=”default” column_parallax_intensity=”-1″ bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” gradient_type=”default”][image_with_animation image_url=”8042″ image_size=”full” animation_type=”entrance” animation=”None” animation_movement_type=”transform_y” hover_animation=”none” alignment=”center” img_link_large=”yes” img_link_caption=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”75%” max_width_mobile=”default”][vc_column_text]Jean Sibelius 1905
\n(Sibeliusmuseum, \u00c5bo)[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_background” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” bg_color=”#1c4754″ scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” advanced_gradient_angle=”0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” gradient_type=”default” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][divider line_type=”No Line” custom_height=”30″][\/vc_column][\/vc_row][vc_row type=”full_width_background” full_screen_row_position=”middle” column_margin=”80px” equal_height=”yes” content_placement=”middle” column_direction=”default” column_direction_tablet=”column_reverse” column_direction_phone=”column_reverse” bg_color=”#1c4754″ scene_position=”center” top_padding=”3%” bottom_padding=”10%” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” advanced_gradient_angle=”0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” gradient_type=”default” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” font_color=”#1d4754″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” advanced_gradient_angle=”0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” gradient_type=”default”][vc_custom_heading text=”DEN FIRADE M\u00c4STAREN GER KONSERTER” font_container=”tag:h3|text_align:left|color:%23ffffff” use_theme_fonts=”yes”][vc_row_inner equal_height=”yes” column_margin=”100px” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” top_padding=”3%” text_align=”left” row_position=”default” row_position_tablet=”inherit” row_position_phone=”inherit” overflow=”visible” pointer_events=”all”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” font_color=”#ffffff” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” advanced_gradient_angle=”0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” gradient_type=”default”][vc_column_text]Den 6 och 7 november 1907 presenterade Sibelius i \u00c5bo b\u00e5de symfonin nr 3 C-dur (op. 52), tondikten Pohjolas dotter (op. 49) samt sviten med scenisk musik fr\u00e5n Belzasars g\u00e4stabud (op. 51). \u00c5bo Underr\u00e4ttelsers recensent var n\u00e4rmast lyrisk \u00f6ver den nya symfonin: \u201dSibelius symfoni n:o 3 h\u00f6r till de h\u00e4rligaste bland \u2013 om den ej rentaf \u00e4r den h\u00e4rligaste af alla symfonier som skrifvits, \u00e4fven den st\u00f6rste symfonisten Beethovens v\u00e4rk inber\u00e4knade.”[21]<\/sup><\/a><\/p>\n

Vid denna tid var Sibelius ett efterfr\u00e5gat namn som dirigent f\u00f6r sina egna verk \u00e4ven utomlands. Orsaken till hans sporadiska blixtvisiter i \u00c5bo var stadens position som knutpunkt f\u00f6r trafiken p\u00e5 den tiden: reste man till Sverige och via Sverige till de andra nordiska l\u00e4nderna skedde det med b\u00e5t fr\u00e5n \u00c5bo. Att resa var inte heller lika smidigt som numera: i november 1912 rapporterar Sibelius till Aino att han vistats \u201di \u00c5bo ett dygn p\u00e5 grund av passet. Jag var ensam och mediterade.”[22]<\/sup><\/a><\/p>\n

I m\u00e5nadsskiftet februari-mars 1913 kom Sibelius \u00e4n en g\u00e5ng till staden f\u00f6r att ge konsert, denna g\u00e5ng dirigerade han sina senaste tondikter In memoriam (op. 59), Dryaden (op. 45\/1) och Nattlig ritt och soluppg\u00e5ng (op. 55). Den firade tons\u00e4ttaren var p\u00e5 f\u00f6rhand r\u00e4tt reserverad i f\u00f6rh\u00e5llande till om han skulle lyckas, i november 1912 skrev han i sin dagbok: \u201d\u00c4r os\u00e4ker om \u00c5bo. Tror ej att jag f\u00e5r folk.\u201d Efter konserten uttryckte han sedan sin l\u00e4ttnad i dagboken: \u201dKonserterat med framg\u00e5ng den 28 och 1 i \u00c5bo.”[23]<\/sup><\/a><\/p>\n

Jean Sibelius st\u00f6rsta musikaliska framg\u00e5ng i \u00c5bo torde vara uruppf\u00f6randet av den omarbetade versionen av symfoni nr 5 Ess-dur (op. 82), p\u00e5 tons\u00e4ttarens 51-\u00e5rsdag 8.12.1916 (ytterligare en konsert gavs 10.12.1916). Den omst\u00f6rtande symfonin, som i sin originalform fortfarande hade en r\u00e4tt traditionell form i fyra satser sysselsatte tons\u00e4ttarens tankar under h\u00f6sten: \u201dH\u00e5ller p\u00e5 med sinfoni V omarbetningen. Och har \u00e5ter hast. Men \u2013 den m\u00e5ste bli bra.”[24]<\/sup><\/a> Slutresultatet var n\u00e5got unikt, f\u00f6rsta satsen sammansmulten med Scherzot, vilket \u00c5bopubliken var f\u00f6rst i v\u00e4rlden med att bevittna.[\/vc_column_text][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” font_color=”#ffffff” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” advanced_gradient_angle=”0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” gradient_type=”default”][vc_column_text]F\u00f6r Musikaliska s\u00e4llskapet i \u00c5bo var det tydligt att arbetet med bearbetningen var betydelsefullt, i programbladet skriver man n\u00e4mligen att symfonin framf\u00f6rs \u201df\u00f6r f\u00f6rsta g\u00e5ngen\u201d. \u00c5 andra sidan skrev man ocks\u00e5 \u201df\u00f6r f\u00f6rsta g\u00e5ngen\u201d i samband med sviten Den \u00e4lskande f\u00f6r str\u00e5korkester, trots att den hade framf\u00f6rts \u00e4ven vid de senaste konserterna i \u00c5bo 1913! En st\u00e5ende favorit var En saga, som nu framf\u00f6rdes i \u00c5bo redan f\u00f6r tredje g\u00e5ngen under ledning av tons\u00e4ttaren. Signaturen F.I. I Turun Sanomat uttryckte sitt gillande: \u201dFemte symfonin, med sitt rika, konsekvent och m\u00e4sterligt utformade inneh\u00e5ll, sk\u00e4rpte lyssnarens sinne fr\u00e5n den f\u00f6rsta tonen till den sista. Inledningens morgonst\u00e4mning \u00f6vergick via dimma och motstridigheter mot middagens livsgl\u00e4dje, d\u00e4r allt, \u00e4ven naturen, klingar av lycka och sorgl\u00f6shet.\u201d Orkestern fick ber\u00f6m men med sm\u00e5 f\u00f6rbeh\u00e5ll: \u201dSporadiska misstag och mal\u00f6rer var f\u00f6rst\u00e5eliga med tanke p\u00e5 hur kr\u00e4vande de sv\u00e5ra uppdragen vid dessa konserter var f\u00f6r orkestern.”[25]<\/sup><\/a><\/p>\n

Musikaliska s\u00e4llskapet i \u00c5bo hade redan \u00e5ret innan uppvaktat Sibelius p\u00e5 hans 50-\u00e5rsdag genom att utn\u00e4mna honom till s\u00e4llskapets f\u00f6rsta hedersmedlem. Nu firades denna h\u00e4ndelse med middag p\u00e5 Hamburger B\u00f6rs, och tons\u00e4ttarens gl\u00e4dje hittar ocks\u00e5 sin v\u00e4g till dagboken: \u201dConserterat i \u00c5bo \u2013 stor h\u00e4nf\u00f6relse.\u201d Gl\u00e4djande var \u00e4ven m\u00f6tet med mecenaten och hans l\u00e5ngvarige v\u00e4n, som flyttat till \u00c5bo: \u201dH\u00f6gintressanta stunder med Axel Carpelan denna underbara \u201dhj\u00e4rna + hj\u00e4rta\u201d!”[26]<\/sup><\/a> Carpelan \u00e5terv\u00e4nder till symfonin i sitt brev 15.12.1916: \u201dL\u00e4nge levde vi h\u00e4r i ett efterrus efter dina konserter. \u00d6verallt idel h\u00e4nf\u00f6relse och beundran. I mina \u00f6ron ljuda \u00e4nnu dina toner ur din ’femte’, s\u00e5 rik, ursprunglig och sk\u00f6n som ingen annan natursymfoni efter Ludvig den store.”[27]<\/sup><\/a>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row type=”full_width_background” full_screen_row_position=”middle” column_margin=”none” equal_height=”yes” content_placement=”middle” column_direction=”default” column_direction_tablet=”column_reverse” column_direction_phone=”column_reverse” scene_position=”center” constrain_group_1=”yes” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” advanced_gradient_angle=”0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” gradient_type=”default” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” centered_text=”true” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” font_color=”#1c4754″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” advanced_gradient_angle=”0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” animation_type=”parallax” animation_movement_type=”default” column_parallax_intensity=”-1″ bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” gradient_type=”default”][image_with_animation image_url=”8045″ image_size=”full” animation_type=”entrance” animation=”None” animation_movement_type=”transform_y” hover_animation=”none” alignment=”center” img_link_large=”yes” img_link_caption=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”75%” max_width_mobile=”default”][vc_column_text]Jean Sibelius 1915
\n(Sibeliusmuseum, \u00c5bo)[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” top_margin=”-15%” top_margin_tablet=”-5%” top_margin_phone=”-5%” column_element_direction_desktop=”default” column_element_spacing=”default” centered_text=”true” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” font_color=”#1c4754″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” advanced_gradient_angle=”0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” animation_type=”parallax” animation_movement_type=”default” column_parallax_intensity=”1″ bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” gradient_type=”default”][image_with_animation image_url=”8048″ image_size=”full” animation_type=”entrance” animation=”None” animation_movement_type=”transform_y” hover_animation=”none” alignment=”center” img_link_large=”yes” img_link_caption=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”75%” max_width_mobile=”default”][vc_column_text]Jean Sibelius och Armas J\u00e4rnefelt 1907
\n(Sibeliusmuseum, \u00c5bo)[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_background” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” advanced_gradient_angle=”0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” gradient_type=”default” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][divider line_type=”No Line” custom_height=”30″][\/vc_column][\/vc_row][vc_row type=”full_width_background” full_screen_row_position=”middle” column_margin=”80px” equal_height=”yes” content_placement=”middle” column_direction=”default” column_direction_tablet=”column_reverse” column_direction_phone=”column_reverse” scene_position=”center” top_padding=”3%” bottom_padding=”10%” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” advanced_gradient_angle=”0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” gradient_type=”default” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” font_color=”#1d4754″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” advanced_gradient_angle=”0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” gradient_type=”default”][vc_custom_heading text=”KANTATFEST I \u00c5BO” font_container=”tag:h3|text_align:left|color:%231c4754″ use_theme_fonts=”yes”][vc_row_inner equal_height=”yes” column_margin=”100px” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” top_padding=”3%” text_align=”left” row_position=”default” row_position_tablet=”inherit” row_position_phone=”inherit” overflow=”visible” pointer_events=”all”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” font_color=”#1c4754″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” advanced_gradient_angle=”0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” gradient_type=”default”][vc_column_text]Sibelius \u00e5terv\u00e4nde ytterligare en g\u00e5ng till \u00c5bo f\u00f6r att dirigera sin musik. D\u00e5 fick han i uppdrag att komponera \u00c5bo Akademis invigningskantat till en dikt av Jarl Hemmer, som f\u00f6rorsakade honom en del pl\u00e5gor under komponerandet i b\u00f6rjan av \u00e5r 1919: \u201dKantaten pinar mig, icke minst d\u00e5 de musik. Resurserna \u00e4ro om\u00f6jliga i \u00c5bo enligt [kapellm\u00e4staren vid Musikaliska s\u00e4llskapet i \u00c5bo Karl] Ekmans bref i dag.”[28]<\/sup><\/a> Efter kriget var l\u00e4get i orkestern d\u00e5ligt och bl.a. oboer saknades helt och h\u00e5llet \u2013 vid konserten ersattes deras partier i kantaten med klarinetter.<\/p>\n

S\u00e5 han \u00f6verl\u00e4mnade noterna till kantaten Jordens s\u00e5ng (op. 93) till orkestern i februari 1919 tr\u00e4ffade Sibelius Axel Carpelan f\u00f6r sista g\u00e5ngen. I dagboken gl\u00e4der han sig \u00e5t att ha tillbringad en \u201dstorartad stund\u201d med denne samt ha deltagit i en synnerligen behaglig middag hos \u00c5bo Akademis rektor Edward Westermarck i Ispois: \u201dSparkling Hoch m.m. Lefde lifvet.”[29]<\/sup><\/a> Sibelius lovade tr\u00e4ffa Carpelan en g\u00e5ng till under sitt bes\u00f6k i \u00c5bo men det blev inte av och han anklagade sig sj\u00e4lv i ett brev: \u201dTyv\u00e4rr \u00e4cklade mig mitt skamliga, nerv\u00f6sa v\u00e4sen till den grad att jag icke ville uts\u00e4tta dig f\u00f6r ett andra bes\u00f6k.\u201d Vad som \u00e4n hade h\u00e4nt i \u00c5bo \u00e5terkom Axel till det i sitt f\u00f6ljande brev: \u201dJanne! Gl\u00f6m ej att \u00c5bo \u00e4r en liten sm\u00e5stad. R\u00f6k ej \u2013 det skadar ju dig, drick ej h\u00e4ller \u2013 det verkar sammaledes \u2013 och kanske f\u00f6rsv\u00e5rar dina v\u00e4nners arbete f\u00f6r dig just nu. Skall sednare meddela vad jag syftar p\u00e5.”[30]<\/sup><\/a> Sibelius kallade i sin dagbok brevet \u201dunderbart\u201d och kvitterade sitt eget beteende med \u201dDabsterna i \u00c5bo!”[31]<\/sup><\/a>[\/vc_column_text][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” font_color=”#1c4754″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” advanced_gradient_angle=”0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” gradient_type=”default”][vc_column_text]Endast en m\u00e5nad senare var Axel d\u00f6d, bruten av sjukdom, och Sibelius var otr\u00f6stlig. I maj skrev han: \u201dDen olycksaliga \u00c5bo kantaten och dess uppf\u00f6rande! Men de som ville ha mig \u00e4ro ju mina v\u00e4nner, hvilka hj\u00e4lpt mig med r\u00e5d och d\u00e5d. Och sedan Axel Carpelans minne \u2013 han ville ju och \u00f6nskade det.”[32]<\/sup><\/a><\/p>\n

\u00c5bo Akademis invigningsfestligheter 11. och 12.10.1919 f\u00f6rl\u00f6pte festligt. Tons\u00e4ttarens upplevelse var positiv: \u201dKantaten gjort stor lycka i \u00c5bo. Festen of\u00f6rgl\u00f6mlig. De ber\u00f6mda skandinaviska vetenskapsm\u00e4nnen tillg\u00e4ngliga och angen\u00e4ma. Middagar, luncher etc. Allt enast\u00e5ende.”[33]<\/sup><\/a> Om n\u00e5gon form av \u00e5nger tidigare f\u00f6rekommit i fr\u00e5ga om festande bromsade den inget nu. Festen p\u00e5 Hamburger B\u00f6rs ledde enligt den svenska journalisten Kjell Str\u00f6mberg till \u201dett improviserat h\u00f6glitter\u00e4rt och musikaliskt symposium i m\u00e4starens hotellsvit. Den slutade ett gott stycke in p\u00e5 morgontimmarna, och vi andra var nog ganska tr\u00f6tta, ty ingenting saknades i dryckesv\u00e4g, men sj\u00e4lv ber\u00e4ttade den illustre v\u00e4rden outtr\u00f6ttligt historier fr\u00e5n sitt framfarna liv p\u00e5 ett oefterh\u00e4rmligt s\u00e4tt. Till slut slog han sig ned vid flygeln \u2013 inflyttad f\u00f6r alla eventualiteter \u2013 och spelade upp f\u00f6r oss den fantastiska finalen till sin nyss fullbordade femte symfoni, varvid han stundom sj\u00f6ng med av sina lungors fulla kraft.”[34]<\/sup><\/a>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row type=”full_width_background” full_screen_row_position=”middle” column_margin=”none” equal_height=”yes” content_placement=”middle” column_direction=”default” column_direction_tablet=”column_reverse” column_direction_phone=”column_reverse” bg_color=”#1c4754″ scene_position=”center” constrain_group_1=”yes” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” advanced_gradient_angle=”0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” gradient_type=”default” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” centered_text=”true” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” font_color=”#ffffff” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” advanced_gradient_angle=”0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” animation_type=”parallax” animation_movement_type=”default” column_parallax_intensity=”-1″ bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” gradient_type=”default”][image_with_animation image_url=”8062″ image_size=”full” animation_type=”entrance” animation=”None” animation_movement_type=”transform_y” hover_animation=”none” alignment=”center” img_link_large=”yes” img_link_caption=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”75%” max_width_mobile=”default”][vc_column_text]Finsk s\u00e5ngfest i Helsingfors 1921
\n(Sibeliusmuseum, \u00c5bo)[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” top_margin=”-15%” top_margin_tablet=”-5%” top_margin_phone=”-5%” column_element_direction_desktop=”default” column_element_spacing=”default” centered_text=”true” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” font_color=”#ffffff” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” advanced_gradient_angle=”0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” animation_type=”parallax” animation_movement_type=”default” column_parallax_intensity=”1″ bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” gradient_type=”default”][image_with_animation image_url=”8065″ image_size=”full” animation_type=”entrance” animation=”None” animation_movement_type=”transform_y” hover_animation=”none” alignment=”center” img_link_large=”yes” img_link_caption=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”75%” max_width_mobile=”default”][vc_column_text]Jean Sibelius 1923
\n(Sibeliusmuseum, \u00c5bo)[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_background” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” bg_color=”#1c4754″ scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” advanced_gradient_angle=”0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” gradient_type=”default” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][divider line_type=”No Line” custom_height=”30″][\/vc_column][\/vc_row][vc_row type=”full_width_background” full_screen_row_position=”middle” column_margin=”80px” equal_height=”yes” content_placement=”middle” column_direction=”default” column_direction_tablet=”column_reverse” column_direction_phone=”column_reverse” bg_color=”#1c4754″ scene_position=”center” top_padding=”3%” bottom_padding=”10%” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” advanced_gradient_angle=”0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” gradient_type=”default” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” font_color=”#1d4754″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” advanced_gradient_angle=”0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” gradient_type=”default”][vc_custom_heading text=”\u00c4NNU EN K\u00d6RS\u00c5NG \u2013 OCH SEDAN \u00c4NNU EN” font_container=”tag:h3|text_align:left|color:%23ffffff” use_theme_fonts=”yes”][vc_row_inner equal_height=”yes” column_margin=”100px” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” top_padding=”3%” text_align=”left” row_position=”default” row_position_tablet=”inherit” row_position_phone=”inherit” overflow=”visible” pointer_events=”all”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” font_color=”#ffffff” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” advanced_gradient_angle=”0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” gradient_type=”default”][vc_column_text]Efter detta gav Sibelius inga fler konserter i \u00c5bo. Werner Karsten, som in\u00f6vat k\u00f6ren f\u00f6r kantaten Jordens s\u00e5ng fick honom \u00e4nd\u00e5 att komponera ett nytt verk f\u00f6r sin mansk\u00f6r Musices Amantes. I dagboken skrev Sibelus: \u201dKomponerat \u201dLiknelse\u201d [egentligen Likhet] af Runeberg f\u00f6r M.A. i \u00c5bo. En manskvartett i den gamla goda stilen \u2013 den har tilltalat mig i dess patos.”[35]<\/sup><\/a> Ett mer prosaiskt exempel p\u00e5 vad som h\u00e4nf\u00f6rde Sibelius framg\u00e5r i ett brev han skickade Karsten: \u201dHedersbror! H\u00e4rhos den nya kompositionen. M\u00e5tte den sk\u00e4nka Dig och din stolta k\u00f6r n\u00f6je. – Gl\u00f6m ej de f\u00f6r mig of\u00f6rgl\u00f6mliga cigarrerna.”[36]<\/sup><\/a><\/p>\n

Tyv\u00e4rr insjuknade Karsten, vilket f\u00f6rhindrade honom b\u00e5de fr\u00e5n att dirigera verket och fr\u00e5n att f\u00f6rdjupa sig ordentligt i cigarrleveransen. I februari 1922 skrev han \u00e4nd\u00e5: \u201dBetr\u00e4ffande cigarrerna skall jag \u00e5terkomma, men f\u00f6r att Du icke m\u00e5tte helt undvara af \u00c5bo-cigarrerna s\u00e4nder jag per post 4 askar a 25 st. hvaraf jag \u00e4nnu \u00f6fverkommit en ask ’cabinet’, de \u00f6vriga ’Rita’, hvilka ju ingalunda \u00e4ro att f\u00f6rakta s\u00e4rskildt som ’middagscigarr’. M\u00e5tte de dock v\u00e4l smaka.”[37]<\/sup><\/a> Till slut blev Karsten tillr\u00e4ckligt frisk f\u00f6r att dirigera k\u00f6r och Likhet (JS121) uruppf\u00f6rdes slutligen \u00f6ver fyra \u00e5r efter att s\u00e5ngen skrevs, i Solennitetssalen i gamla Akademihuset i \u00c5bo 13.3.1926.<\/p>\n

Av Sibelius epokg\u00f6rande m\u00e4sterverk fick femte symfonin trots allt inte sin slutliga form i \u00c5bo, eftersom tons\u00e4ttaren omarbetade sitt verk en g\u00e5ng till. Men i denna stad f\u00e4rdigst\u00e4lldes, i en form som godk\u00e4ndes av tons\u00e4ttaren, den allra mest k\u00e4nda, framf\u00f6rda och \u00e4lskade Sibeliuskompositionen \u2013 om \u00e4n inte av Sibelius sj\u00e4lv.[\/vc_column_text][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” font_color=”#ffffff” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” advanced_gradient_angle=”0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” gradient_type=”default”][vc_column_text]R\u00e4tt snabbt efter att Finlandia (op. 26) blivit k\u00e4nd som en sj\u00e4lvst\u00e4ndig tondikt b\u00f6rjade man sammanst\u00e4lla ord att sjungas till den avslutande hymnsatsen. Dylika sj\u00e4lvst\u00e4ndiga s\u00e5ngversioner f\u00f6rekom speciellt i USA, s\u00e5 till den grad att hymnen togs f\u00f6r en amerikansk folkmelodi. \u00c5r 1938 tog amerikafinl\u00e4ndaren Yrj\u00f6 Sj\u00f6blom mod till sig f\u00f6r att fr\u00e5ga om tons\u00e4ttaren kunde auktorisera dylika s\u00e5ngversioner och fick svaret: ”Den \u00e4r inte avsedd att sjungas. Den har ju gjorts f\u00f6r orkester. Men om v\u00e4rlden vill sjunga, kan det inte hj\u00e4lpas.”[38]<\/sup><\/a><\/p>\n

Samma \u00e5r gav Sibelius \u00e4ven W\u00e4in\u00f6 Solas text sin v\u00e4lsignelse, och till den skrev han till och med ett arrangemang f\u00f6r mansk\u00f6r. Denna text anv\u00e4nds fortfarande som en del av Sibelius samling Musique religieuse (op. 113), ursprungligen komponerad som frimurarmusik. Solas text d\u00f6g \u00e4nd\u00e5 inte f\u00f6r Ylioppilaskunnan Laulajats dirigent Martti Turunen, som bad en av v\u00e5ra mest respekterade poeter V.A. Koskenniemi skriva en ny version. Utg\u00e5ngspunkten var Koskenniemis majest\u00e4tiska midsommarhymn (Juhannushymni), som han bearbetade och slutf\u00f6rde dikten Finlandia f\u00f6r samlingen Latuja lumessa (Sp\u00e5r i sn\u00f6n) som utkom 1940 och till\u00e4gnades veteranerna fr\u00e5n vinterkriget.<\/p>\n

Men inte ens i bearbetad form passade denna Finlandia-hymnens melodi, och \u2013 om man ska tro poetens hustru \u2013 berodde detta p\u00e5 att Koskenniemi var fullst\u00e4ndigt omusikalisk. Senare ber\u00e4ttade poeten om hur hymnens slutliga text uppstod: \u201dD\u00e5 jag skrev den fick jag god hj\u00e4lp av k\u00f6rledaren, magister Martti Turunen, som bl.a. vid flera tillf\u00e4llen visslade hymnmelodin i mitt \u00f6ra, per telefon mellan Helsingfors och \u00c5bo! Han s\u00e5g ocks\u00e5 till att f\u00e5 l\u00e5nga och korta stavelser p\u00e5 \u201dr\u00e4tta\u201d st\u00e4llen samt f\u00f6rmedlade Sibelius v\u00e4lsignelse f\u00f6r min text.”[39]<\/sup><\/a>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row type=”full_width_background” full_screen_row_position=”middle” column_margin=”60px” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” constrain_group_1=”yes” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” advanced_gradient_angle=”0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” gradient_type=”default” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” top_margin=”-10%” top_margin_tablet=”-5%” top_margin_phone=”-5%” column_element_direction_desktop=”default” column_element_spacing=”default” centered_text=”true” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” font_color=”#1c4754″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” advanced_gradient_angle=”0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” animation_type=”parallax” animation_movement_type=”default” column_parallax_intensity=”1″ bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” gradient_type=”default”][image_with_animation image_url=”8070″ image_size=”full” animation_type=”entrance” animation=”None” animation_movement_type=”transform_y” hover_animation=”none” alignment=”center” img_link_large=”yes” img_link_caption=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default”][vc_column_text]Jean Sibelius 1955
\n(Sibeliusmuseum, \u00c5bo)[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” centered_text=”true” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” font_color=”#1c4754″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” advanced_gradient_angle=”0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” animation_type=”parallax” animation_movement_type=”default” column_parallax_intensity=”-1″ bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” gradient_type=”default”][image_with_animation image_url=”8076″ image_size=”full” animation_type=”entrance” animation=”None” animation_movement_type=”transform_y” hover_animation=”none” alignment=”center” img_link_large=”yes” img_link_caption=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”75%” max_width_mobile=”default”][vc_column_text]Jean Sibelius 1945
\n(Santeri Levas)[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_background” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” advanced_gradient_angle=”0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” gradient_type=”default” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][divider line_type=”No Line” custom_height=”30″][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”80px” equal_height=”yes” content_placement=”middle” column_direction=”default” column_direction_tablet=”column_reverse” column_direction_phone=”column_reverse” scene_position=”center” top_padding=”5%” bottom_padding=”5%” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” id=”l\u00e4hteet” advanced_gradient_angle=”0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” gradient_type=”default” shape_type=””][vc_column column_padding=”padding-10-percent” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”left-right” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” font_color=”#1d4754″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” advanced_gradient_angle=”0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” gradient_type=”default”][vc_column_text css=”” text_direction=”default”]F\u00f6rutom de verk som n\u00e4mns i fotnoterna har jag anv\u00e4nt mig av Vesa Sir\u00e9ns bok Aina poltti sikaria. Jean Sibelius aikalaisten silmin (Otava 2012) som utnyttjar ett brett urval samtida k\u00e4llor. D\u00e4rut\u00f6ver \u00e4r jag ytterst tacksam f\u00f6r den hj\u00e4lp jag f\u00e5tt med tidningsurklipp och konsertprogram av Sanna Linjama-Mannermaa, amanuens vid Sibeliusmuseum i \u00c5bo.<\/p>\n

\u00c5bo 26.4.2022
\nLauri M\u00e4ntysaari[\/vc_column_text][toggles style=”minimal”][toggle color=”Accent-Color” heading_tag=”h4″ heading_tag_functionality=”default” title=”K\u00c4LLOR”][vc_column_text]\n

    \n
  1. Se bl.a. nyheten i Iltalehti 6.12. 2019: https:\/\/www.iltalehti.fi\/viihdeuutiset\/a\/054c7579-8fd5-4b2a-a390-808a5f7cff13<\/a><\/li>\n
  2. Glenda D. Goss: The H\u00e4meenlinna Letters, brev nr 37, s. 160.<\/li>\n
  3. Goss, s. 16.<\/li>\n
  4. Erik Tawaststjerna: Jean Sibelius I (\u00e5ren 1865-1893), s. 30.<\/li>\n
  5. Goss, brev nr 11, s. 134<\/li>\n
  6. Einari Marvia: \u201dKymmenen vuoden takainen k\u00e4ynti Ainolassa\u201d. Pieni musiikkilehti 1965\/6, s. 33-36.<\/li>\n
  7. Goss, brev nr 54, s. 181.<\/li>\n
  8. \u00c5bo Underr\u00e4ttelser 16.2. 1894.<\/li>\n
  9. Citat fr\u00e5n webbplatsen www.sibelius.fi<\/a>, texten om I symfonin.<\/li>\n
  10. \u00c5U-citatet enligt P\u00e4iv\u00f6 Saarilahtis artikel \u201dJean Sibelius Turussa\u201d, Turun Sanomat 8.12. 1955.<\/li>\n
  11. \u00c5bo Tidning 30.11. 1897.<\/li>\n
  12. V\u00e4in\u00f6 Pesola: ”Turu orkkesterpeli kuulemas.” Suomen musiikkilehti 1926.<\/li>\n
  13. Uusi Aura 8.4.1900.<\/li>\n
  14. \u00c5bo Underr\u00e4ttelser 8.4.1900.<\/li>\n
  15. Suvisirkku Talas, red.: Tulen synty. Aino ja Jean Sibeliuksen kirjeenvaihtoa 1892-1904, s. 304.<\/li>\n
  16. Uusi Aura 14.12.1902.<\/li>\n
  17. Uusi Aura 29.3.1904.<\/li>\n
  18. \u00c5bo Underr\u00e4ttelser 27.3.1904.<\/li>\n
  19. Talas, s. 304.<\/li>\n
  20. Talas, s. 322.<\/li>\n
  21. \u00c5bo Underr\u00e4ttelser 7.11.1907.<\/li>\n
  22. Talas, red.: Syysilta. Aino ja Jean Sibeliuksen kirjeenvaihtoa 1905-1931, s. 224.<\/li>\n
  23. Jean Sibelius (red. Fabian Dahlstr\u00f6m): Dagbok 1909-1944, s. 157 (10.11. 1912) och s. 167.<\/li>\n
  24. Sibelius: Dagbok 1909-1944, s. 253 (23.10. 1916).<\/li>\n
  25. Turun Sanomat 12.12.1916.<\/li>\n
  26. Sibelius: Dagbok 1909-1944, s. 254 (17.12. 1916).<\/li>\n
  27. Citat i kommentaren till Sibelius dagbok, s. 454.<\/li>\n
  28. Sibelius: Dagbok 1909-1944, s. 282 (14.1. 1919).<\/li>\n
  29. Sibelius: Dagbok 1909-1944, s. 283 (9.2. 1919).<\/li>\n
  30. Citat i Erik Tawaststjerna: Jean Sibelius IV (\u00e5ren 1914-1919), s. 300.<\/li>\n
  31. Sibelius: Dagbok 1909-1944, s. 284 (16.2. 1919).<\/li>\n
  32. Sibelius: Dagbok 1909-1944, s. 287 (8.5. 1919).<\/li>\n
  33. Sibelius: Dagbok 1909-1944, s. 291 (18.10. 1919).<\/li>\n
  34. Kjell Str\u00f6mberg: En gammal parisares minnen. Stockholm 1969, s. 60. Citat ur Tawaststjerna: Jean Sibelius IV, s. 322.<\/li>\n
  35. Sibelius: Dagbok 1909-1944, s. 312 (22.1. 1922).<\/li>\n
  36. Citat ur kommentaren till Sibelius dagbok, s. 479.<\/li>\n
  37. Citat ur kommentaren till Sibelius dagbok, s. 479.<\/li>\n
  38. Citat fr\u00e5n webbplatsen www.sibelius.fi<\/a>, texten om Finlandia.<\/li>\n
  39. Citat Sakari Ylivuori: Sibeliuksen lampaanviulu, s. 130.<\/li>\n<\/ol>\n[\/vc_column_text][\/toggle][\/toggles][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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