![]() ![]() The dynamic contrasts Sibelius has written throughout this work is a large reason as to why it is so effective. The music then starts to be developed, with the upper strings moving up even higher in their register, and the cello starting to play some of its lower notes. ![]() ![]() The nuanced chromatic shifts also support this idea, with the resolutions portraying a sense of relief for the instruments.Īfter a small silent pause, the opening is repeated once more to reinstate the chief melodic material. The idea that each instrument moves in the hopes of uniting again creates even more of a heart-wrenching atmosphere when they finally do come together. There is an emphasis on long chords here, with the slow melodic movement eventually ending up on a long held chord played by everyone. Whilst the upper strings are in unison in terms of their movement, the cello offers an answer to the melody, creating a very intimate line of communication between the instruments. The work stayed to close to the composer’s heart, and was played, in its original form, at his funeral in 1957.īeginning with the upper strings playing the first, very delicate, theme the cello enters in its upper register, which creates a glorious atmosphere from the start. In 1939, Sibelius conducted his new version of the work for a full string orchestra and timpani, which became the only recording of Sibelius as a conductor. By the mid-1930s Sibelius had re-orchestrated the work for a full string orchestra and timpani. It was from here that the composer began taking the steps to produce a new version of the work. Sibelius chose to use two string quartets combined to add some extra layers into the work. In 1929, the composer’s niece, Riittaa Sibelius, got married, and requested Andante Festivo to be performed at the ceremony. He wanted more richness and majesty to seep through the glorious melodies in the work. It has been suggested that the sketches that Andante Festivo is based on came from some very early sketches for an oratorio.Īlthough the original string quartet version exhibits some unparalleled beauty in Sibelius’ writing, the composer was not satisfied enough with the outcome. Instead of the larger scale work that was requested, Sibelius decided to work with a small ensemble, and soon settled with a string quartet. Although Sibelius was very keen on chamber music in his youth, after around 1891, he began to completely neglect the genre, and only made some exceptions (for example his String Quartet in D minor ‘ Voces intimae’ – composed in 1909).ĭuring the run up to Christmas 1922, Walter Parvianien commissioned Sibelius to compose a festive cantata for the 25 year celebration of the Säynästsalo sawmills. The ideals and artistry of chamber music was often frowned upon by his tutor Martin Wegelius, and so Sibelius ended up keeping a lot of this music secret. Although now fondly remembered and respected for his orchestral music, Sibelius also composed many works for chamber groups, especially in his youth. For the purposes of references in this blog, I will be referring to the original string quartet version. Originally scored for string quartet in 1922, Sibelius’ poignant work Andante Festivo is also known for its re-orchestration for string orchestra and timpani. I must also lavish praise on Lucy Russell for her outstanding playing on this track. 'I haven’t heard sonics like these since the 1950s, except perhaps on Ornette Coleman’s two Sound Museum CDs, which also had a retro feel…. - David Balakrishnan (founder of the Turtle Island String Quartet, 2012) Masterfully brought to focus by the Fitzwilliam String Quartet, enriched and enlivened by jazz violin wizard Mads Tolling, and highlighted by the composer’s own hard swinging virtuosic saxophone playing, the new record of Uwe Steinmetz and the Fitzwilliam String Quartet is a must-listen for anyone with ears for what’s happening in contemporary cross-genre music making." "Beautiful, evocative, compelling, dense at times while deeply tinged in heart and soul, Uwe Steinmetz’s brilliant original compositions and visionary arrangements of classical masterworks are eminently suited for the lens of the modern day string quartet form.
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