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We talked about Sibelius for awhile, before I left to go out into the stinking rest of the ship. Grundy was sitting before the engines, staring at them. Wilcox had said the big ape liked to watch them move ... but he was supposed to be locked up. I stopped by Lomax's door; the shutter was open, and I could see the big man writhing about, but he was apparently unconscious.
And, certainly, the sense of the needfulness of his work, the sense of the large value set upon his best and purest attainments by life itself, must have been with Sibelius always, must have supplied him with a powerful incentive and made enormously for his achievements. He must have felt all the surge of the race driving him.
And well, there are ways of making a bit extra...." I nodded. So it's officially smuggling to carry a four-ounce Martian fur to Earth where it's worth a fortune, considering the legal duty. But most officers did it now and then. He put on Sibelius' Fourth while I finished the wine. "If this mess is ever over, Paul, or you get a chance, drop down," he said.
A new Kammersymphonie and a monodrama "Erwartung" remain unpublished. Jean Sibelius was born in Tavastehus, Finland, December 8th, 1865. He matriculated at the University of Helsingfors in 1885, but shortly after gave up all idea of studying law, and entered the Conservatory in 1886. Here he remained three years, studying composition with Wegelius. In 1889-90 he studied with Becken in Berlin.
And yet, one has but to turn to the symphonies of Sibelius to encounter music of another intensity, and gauge the richness of response that, at times, it is given him to make. It is as if the very dignity and grandeur of the medium itself sets him free.
And so he turns toward it as to a mirror. Like that of the hero of his tone-poem, his life is a long journey toward Finland. Contact with Finnish earth gives him back into his own hands. It is the North, the wind and the moorland and the sea, that gathers the fragments of his broken soul, and makes him whole again. It was with the sanction of a people that Sibelius came to his task.
No doubt, some of it is not the response entirely worthy of so high a stimulus. Few modern composers of eminence are as singularly uneven as Sibelius. Moods like that which mothered the amiable elegance of the "Valse Triste" and that which produced the hard and naked essentiality of the Fourth Symphony are almost foreign to each other. The creative power itself is extraordinarily fitful in him.
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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