Society for Music Theory

Review
Reviewed Work(s): Symphonic Unity: The Development of Formal Thinking in the
Symphonies of Sibelius by Veijo Murtomäki
Review by: David Loeb
Source: Music Theory Spectrum, Vol. 17, No. 1 (Spring, 1995), pp. 124-128
Published by: {oupl} on behalf of the Society for Music Theory
Stable URL: http://www.jstor.org/stable/745767
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Veijo Murtomaki. Symphonic Unity: The Development of
Formal Thinking in the Symphonies of Sibelius. Helsinki:
University of Helsinki, 1993.
Reviewed by David Loeb
The works of few composers have engendered the extent
of ambivalence with which the musical community regards
those of Sibelius. Most of his symphonies, the violin concerto,
and many of his tone poems have enjoyed frequent well-
received performances. These and other compositions by Si-
belius have also been extensively recorded. Despite this ap-
parent success, scholars outside of his native Finland have
virtually ignored Sibelius; one might almost say that scholars
appear to regard him as beneath contempt, as a figure so
much behind the spirit of his time as to be meaningless. While
some Finnish scholars have taken his work seriously, ex-
tremely little of their work has been translated into other
Western languages. Thus a comprehensive study of the Si-
belius symphonies in English must be welcomed as a salutary
change. In his recent book Professor Murtomaki (of the Si-
belius Academy) has given us a thoroughly penetrating and
original analytic view of the seven numbered symphonies of
Sibelius. He leads us with insight through the extant studies
(mostly in Finnish) to his own conclusions concerning the
formal and unifying aspects of each of these works, and in
the process demonstrates how Sibelius's thinking concerning
these aspects evolved during a quarter-century of symphonic
endeavors.1 It seems quite possible that this book will achieve
the status of "definitive"; certainly anyone seriously inter-
ested in the subject matter will find many useful ideas and
much material for further thought.
'Murtomaki acknowledges that recent scholars have challenged the con-
cept of unity, but takes the sensible position that Sibelius clearly accepted the
idea of unity and consciously and conscientiously strove to achieve it.
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The author uses Schenker graphs extensively, although he
states quite clearly that he regards such analyses not as ends
in themselves, but rather as highly useful means to demon-
strate the various ways Sibelius achieved unity in his sym-
phonies. These graphs vary in scope from representations of
brief passages to a single graph encompassing the entire Sev-
enth Symphony. Murtomaki integrates the ideas from these
graphs with other aspects to present very comprehensive
views of unity. Most of these other aspects concern thematic
and formal relationships, but he also includes interesting
interpretations of rhythm, tempo relationships, and orches-
tration.
After a customary introduction which establishes the field
of inquiry and a methodology, and includes a summary of
previous research, the first main chapter offers a historical
survey of symphonic form from the standpoint of how com-
posers achieved a sense of unity. It seems the least successful
part of the book, providing a not entirely welcome reminder
of the study's origin as a doctoral thesis. As such, it consists
largely of a succession of observations taken from many
sources. Occasionally these authorities have led the author
astray: he cites Mendelssohn's Fourth as the first symphony
in a major key to end with a minor-key movement; but Haydn
uses the same key relationship in some late string quartets,
which provides a precedent which Mendelssohn possibly
knew (the difference in medium is not pertinent to this issue).
And in his discussion of the unifying aspects of Schumann's
D-minor Symphony he does not clearly state its unique char-
acter of having two thematic ideas which reappear in different
guises throughout the work. The author does better with his
own historical observations; in particular, his demonstration
of specific connections between the first symphonies of Boro-
din and Sibelius (an influence which Sibelius denied!) reveals
a deep understanding of repertoire beyond the Sibelius
works.
 Reviews 125

The observations occur within the following chapter,

(including some problematic English) interferes with com-
which discusses the first two symphonies as works poisedof the author's ideas. The most serious error oc-
prehension
curs orig-
between the Romantic tradition and the more distinctly in the comparison of melodic elements from the last
inal works which followed. The author deftly balances
movementtheof the Sixth Symphony (Example 113) in which the
indisputable connections between these two symphonies (and notes of the second measure are all one step too
last three
high.
a panoply of precedents) with the purely original elements
Occasionally
that (equally indisputably) Sibelius had already found. The the author uses Schenkerian notation in a
observations on modal relationships become especiallymisleading
usefulrather than helpful manner. In Example 5 (con-
for the discussion of the more pervasive appearance cerning
of suchthe C-major Third Symphony first movement) the
relationships in the later symphonies. author wishes to stress the tones B, DOt, and F# which of
course all resolve upwards. However, by giving these tones
The next five chapters, each devoted to a single symphony,
form the real heart of the book. Here the author has found large downward stems linked by a solid beam he uninten-
the essence of Sibelius's search for symphonic unity and has tionally suggests the outlining of a large-scale B-major chord.
taken great interest in describing the sense of a graduallyThe graph might create the wrong impression, especially
evolving quest for unity, which culminated in the single-since a B-major chord does occur in a manner suggesting a
movement Seventh Symphony. Murtomaki shows most con- greater importance than it actually possesses, a point which
vincingly how no further progress in this direction was pos-the author states perfectly clearly in verbal form.
sible; the platitude that Sibelius stopped composing because In some longer graphs the author emphasizes harmonic
he had achieved his aims becomes for once an eloquently and events with the consequence that on occasion large swaths of
logically demonstrated conclusion. The author treats this melodic lines appear in undifferentiated noteheads. If Mur-
matter with commendable delicacy. tomaki felt more detailed analysis unnecessary, he might have
The final chapter at first glance might appear to be an reduced melodic elements to a greater degree (particularly in
almost superfluous summary, but in actuality (perhaps in the some of the graphs of the Fifth Symphony). In general the
manner of some of Sibelius's truncated recapitulations) author shows sensitivity to varying structural levels and shows
rounds off the book very well, providing a highly useful over-them unambiguously.
view. A few of his analytic readings seem likely to provoke dis-
Critics of a book of this scope will inevitably find a con- agreement. Perhaps the most controversial instance is Ex-
siderable number of details with which they disagree; this ample 115, his graph of the end of the Sixth Symphony. The
instance is no exception. Nevertheless, even if one accepts all final cadence has no leading tone; a cadential 6 chord moves
of the following points as valid; they ought not alter the to a natural seventh degree in the bass and then to the final
overall impression of the high value which the book certainly tonic. He reads this natural seventh as the root of a tVII,
has. which lends support to his otherwise sound presentation of
Since the art of proofreading has deteriorated to its present the work's Dorian character. However, this reading not only
sorry state, one should commend the production staff for ignores harmonic tradition, it also disregards the continued
having kept printing errors to a minimum. None of them presence of the fifth degree in the upper voices. It seems far

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126 Music Theory Spectrum

more plausible (and perfectly consistent modally) to regard Eulenspiegel than that of Tristan. (His graph, Example 17, is
the progression as V6-5 in which the 5 becomes inverted not altogether clear in this respect.) The author notes the
through bass arpeggiation. Certainly a minor V chord (and rhetorical pauses in the second movement of the Second Sym-
a structural one at that) provides ample confirmation of phony that separate first and second themes in the exposition
Dorian here! In fact, one finds at the end of the first system and recapitulation, but does not indicate that these pauses
of the graph a V6-5 progression moving to I-the author follow half-diminished seventh chords used in quite different
himself has provided a precedent for the same reading later. ways. In the exposition the chord becomes retrospectively a
Near the end of Example 124, which is an otherwise highly VII07/V of the new key (although the following 6 is in fact
impressive analysis of the entire Seventh Symphony, a strong consonant, not cadential), while in the recapitulation the half-
residual sense of minor results in a succession of statements diminished seventh chord is actually an apparent seventh, in
of a lowered third degree. Since these precede the final me- which the bass resolves downwards (through a chromatic
lodic 2-1 descent, they can logically represent only a de- passing tone supporting a French sixth) to a 6 chord (which
scending chromatic passing tone from 3 or a chromatic upper initially seems consonant but actually becomes cadential-
neighbor to 2, but the symbols used fail to convey either another interesting double function reversing the roles of the
reading. exposition). The author notes instances of minor tonic chords
In describing Wagner's influence on Sibelius, Murtomaki with added major sixths (in the last two symphonies); ver-
refers to Sibelius's use of "Tristan" chords, without differ- tically these are also half-diminished seventh chords even if
entiating their diverse functions. Many twentieth-century their function is totally different. (Sibelius used added-sixth
composers have found particular sonorities especially attrac- tonic chords extensively in his Humoresque, Op. 89 No. 2,
tive and used them extensively. In lesser hands this awkward, for violin and string orchestra, which preceded the Sixth Sym-
artificially imposed unity stultifies, but with greater talents the phony. It also contains an extraordinary sequence of added-
diverse usages constitute a most attractive unifying aspect. sixth chords which descend conjunctly to the recapitulation,
Wagner himself in the climax of the Tristan Prelude gives his which itself starts with an added-sixth tonic chord as did the
notorious chord a double function (as the augmented sixth beginning.) Finally, the main idea of the slow movement of
from the opening becomes a II07 of bV before becoming an the Sixth Symphony uses several different kinds of half-
augmented sixth once again). Sibelius uses half-diminished diminished seventh chords. (Example 99 could have shown
seventh chords in a most impressive array of functions. Mur- this more clearly.) Two of them resolve to chords which have
tomaki notes the VII07-I cadences in minor in the Sixth Sym- a local I6 function; one of them is an apparent half-diminished
phony, correctly relating them to the symphony's Dorian seventh resolving to a I6, while at the end of the passage a
character (although he does not note the same progression half-diminished seventh moves up a major seventh in parallel
appearing sequentially in Tapiola, nor a related motion to V motion. Of course we must understand that as the inversion
in the Seventh Symphony, even though they would further of a descending semitone, but the transfer of register catches
support his idea of a linkage between these three works). our attention. (Sibelius repeats the succession just to make
When he mentions Tristan chords in the first movement of sure.) It also brings the initial melody tone back to its original
the Fourth Symphony, he does not specify that these aug- register (this also does not appear clearly in the graph). Since
mented sixths resolve more in the manner of Strauss's Til this last chord turns out to be identical to the first, one can

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 Reviews 127

even read the entire passage as a prolonged half-diminished

tells us) having been composed after the Seventh Symphon
seventh chord, but that does not seem likely. Nevertheless,
and having a similarly large single-movement structure, cou
in conjunction with the other instances just cited, give
thisusshows
a richer picture of the last stages of the evolution
how strongly Sibelius realized how he could make the Sibelius's
mostthought regarding unity. The author makes sever
various and interesting uses of a sonority whichtantalizing
he found remarks about Tapiola; even without having de-
particularly attractive. Vague categorical labelsvoted such as chapter to this work he might nevertheless ha
a large
"Tristan chords" do not do justice to Sibelius's imagination.
shared with us some of his insights concerning this wo
Apart from possible errors or misjudgments, one wishes
within the framework of his final chapter without vitiati
the author had given more attention to certain matters. As focus of the book as an investigation of the sym
the central
phonies.He
previously implied, he rarely indicates double functions.
does discuss tonal ambiguity, but that is hardly the same
At this point I wish to remind the reader that even if on
thing. Relatively little attention is given to sequences, despite
accepts all of the previous criticisms as valid, they constitut
their frequent appearances in the symphonies. In discussing
only minor blemishes. The book as a whole accomplishes its
orchestration, the author asserts that Sibelius avoids thepurpose
stated ex- in exemplary fashion.
cesses of Romanticism and used asceticism in his orchestra- The book has certain less obvious virtues which deserve
tion, but gives little indication how Sibelius accomplished critical attention. While the author's primary concern with
this. A comparison with Brahms seems highly appropriate: matters of unity have naturally led him to concentrate on t
both composers avoided auxiliary winds, emphasized pure multiplicity of relationships between movements of the va
rather than mixed colors, used percussion other than timpaniious symphonies, he has also examined each individual move
very sparingly, and relied strongly on an extensive palette ofment carefully as an entity in itself and showed how Sibeliu
string textures. ideas on this level also evolved during his career. Especially
At the outset of the book, the author separates sympho-fine is the manner in which Murtomaki reveals how several
nies from symphonic poems and limits his investigation to the ostensibly enigmatic movements of varied character in fact
symphonies. As he indicates, these categories have significantturn out to be large binary structures. This offers a refreshing
differences (despite their obvious similarities) which often contrast with the substantial number of works by other com-
manifest themselves in matters of unity and form, which are posers of the time in which formal complexity rather than
his main concern. However, one might consider the possi-
simplicity seems to have been the composers' goal.
bility that symphonic poems themselves fall into two cate- Another highly attractive aspect of the book is the way the
gories: one consisting of works with a specifically narrativeauthor presents Sibelius in the context of contemporaneous
character in which the narrative determines the form, whichmusical events. As he shows us, at the time of the Fourth
will thus resemble symphonic form little or not at all; the Symphony Sibelius was a member in good standing of the
musical vanguard, while only thirteen years later, at the
other consisting of purely descriptive works in which the com-
poser has no predetermined constraints with respect to form completion of the Seventh Symphony, he had become (as
and unity, allowing a composer to utilize symphonic princi-some writers would have us believe) hopelessly outdated.
ples if so desired. Sibelius's final symphonic poem, Tapiola, Murtomaki demonstrates that when Sibelius used elements
certainly exemplifies that last possibility, and (as the author
such as whole-tone scales or parallel tritones, his usages were

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128 Music Theory Spectrum

fundamentally different from those of Debussy or Bart6k. In
the music of Sibelius these elements always function within
a tonal context; he never used such elements as a means to
break free from audible tonality. Nothing illustrates this with
greater clarity than Sibelius's own words quoted by the au-
thor. Responding to a question as to why he had not con-
tinued the line of the Fourth Symphony (in the context of the
more accessible Fifth), he replied "Beyond that lies chaos or
madness." Whether one agrees or not with this implicit con-
demnation of much of the new music of the time, we must
regard it as a manifesto of a composer who understood ex-
actly the nature and direction which determined his creative
activities. Let us not forget after all that he was a contem-
Not many of us would blithely dismiss the Well-Tempered
Clavier, Vol. 2, The Musical Offering, and The Art of the
Fugue (or any other work from Bach's last years) as hope-
lessly outdated in relation to other mid-eighteenth century
music. Why should we adopt a similarly flawed perspective
with respect to Sibelius? Fortunately for these composers,
most listeners do not judge what they hear according to chro-
nological preconceptions. The works of Sibelius continue to
enjoy a popularity that has been dispelled neither by critical
hostility nor neglect. Hopefully this fine book is an indication
that it is now safe for theorists to take Sibelius's compositions
seriously, and that work on this level will encourage other
scholars to examine some of the other fine works of Sibelius

porary of Mahler and Strauss, who (like Strauss) happened which have received even less attention than the symphonies.
to outlive many prominent composers of the following gen-
eration (Bart6k, Berg, and Webern).

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