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Updated: May 19, 2025
Still, the honesty, the grimness and savagery and lack of sensuality, are Sibelius's own. The adagio is steeped in his proper pathos, the pathos of brief, bland summers, of light that falls for a moment, gentle and mellow, and then dies away. Something like a memory of a girl sitting amid the simple flowers in the white northern sunshine haunts the last few measures.
It is as if, for all his physical robustness, he has not quite the spiritual indefatigability of the major artist. He has not that inventive heat that permits the composer of indisputably the first rank to realize himself unflaggingly in all his independence and intensity. Too often Sibelius's individuality is cluttered and muffled by that of other men.
But it is only with his Fourth Symphony, dubbed "futuristic" because of the unusual boldness and pithiness of its style, the absence of a general tonality, the independence of the orchestral voices, that Sibelius's gift attains absolute expression.
The coloring is the refinement of all his color; the rhythms have a freedom toward which Sibelius's rhythms have always aspired; the mournful melody of the adagio is well-nigh archetypical. All his life Sibelius has been searching for the tone of this music, desiring to speak with its authority, and concentrate the soul and tragedy of a people into a single and eternal moment.
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