FREE ESSAY ON A TECHNICAL ESSAY ON THE COMPOSITION TECHNIQUES USED IN SIBELIUS SYMPHONY #2

A TECHNICAL ESSAY ON THE COMPOSITION TECHNIQUES USED IN SIBELIUS SYMPHONY #2

The second symphony written by composer Jean Sibelius {1865-1957} is one of the best
examples in classical music of advanced compositional techniques such as melodic
variation, tonal transitions, imitation, and suspension. Written in basic four-movement
form (Allegretto, Tempo Andante/ma rubato, Vivacissimo, and Finale), Symphony #2 provides
the listener with a fluidity of motion, which constantly engages the ear. The first
movement in Sibelius Symphony #2 is written in the key of D major, uses A-B-A form, sets
the tonal foundation for the rest of the symphony by incorporating sub-dominant and
dominant chord progressions, and demonstrates ingenious suspension and transition
techniques.
The most noticeable and repeated element of Allegretto is the dominant and sub-dominant
chord progression of I (tonic), IV (sub-dominant), V (dominant). First used by all
strings in the opening measures of the movement, this progression is continually being
played by the low strings (Cellos and Basses). 
Sibelius writes this movement in A-B-A form so of course each section of this movement
has certain characteristics. The first section of the movement (A) opens with the strings
playing an expressive style known as Coll`e while stating I, IV, V, I. The oboe plays the
melodic material throughout this section, with the flute playing a legato accompaniment
line. Also characteristic of section A is the use of 4's to carry the melodic line
(horns, oboe, flute, and clarinet). The transition from section A to section B, and the
transition from Major to Minor, is made by the clarinet. In section B the melodic line is
at first carried by the flute with the oboe and/or clarinet, then the strings take over
until a dramatic pause at measure . After the 2 ? beats of rest the strings come back
once again with a dominant chord (V). The melody is then tossed around between the
woodwinds and strings until after a brief cut-time section the strings first state the
pitsicato ascending chromatic pattern, which is used throughout the piece in chord
suspension and transition. My favorite part in movement one then comes next. Sibelius
builds and prolongs resolution by continuing the ascending chromatic pattern underneath
the horn repeatedly playing the leading tone to V, which seems to have some sort of
resolution even though it isn't root. He then holds a German V chord and then resolves to
root before going on. The rest of section B is a collage of imitation, Coll`e style i,
iv, v (minor), chromatic patterns, chords I, IV, V, and prolonging resolution and
"resolving" with dominant chords. After a whirlwind of string trills in cut time the
horns, trumpets, and trombones make the transition from minor back to major, which
results in the return to A material (known as A^1). In this section a variation on the
oboe part in A is restated with oboe, clarinet, and flute as well as 4's being used for
transition. After that, the strings go back and forth either re-stating the Coll`e style
phrases from the beginning of the piece or playing chromatic patterns. Sibelius also uses
the leading tone-to-dominant resolution technique from section B in the brass and
woodwinds to build tension until he holds the dominant and resolves to tonic. The first
movement then ends the same way it started, with the strings playing I, IV, V, I with
Coll`e style. The third movement of Sibelius Symphony #2 is written in A-B form, has an
odd-meter, and makes a wonderful transition into Finale (the two are basically connected)
all while demonstrating the musical genius of Jean Sibelius. 
The most interesting trait about Vivacissimo is how greatly the A material differs from
the B material. The A material of the third movement is in the key of B Flat Major, uses
themes stated in the first movement but is in 6/8 to give it a triple feel
(characteristic of a third movement in a symphony), and incorporates two different
melodic lines. The first of the melodic lines is the strings playing sixteen note runs in
a ascending and descending chromatic pattern. During these runs the lower-end strings and
higher-end strings have a question-answer pattern, almost fugue like. The second melodic
line is carried by the oboe, bassoon, flute, and clarinet playing a variation of the 4's
played in the opening movement. An interesting composition technique used by Sibelius in
the A material is he writes the woodwinds to play a trill going from V to IV while the
brass play tonic. The B material is written in 12/4 and is in the key of G Flat Major and
the melodic line is moved throughout the strings and woodwinds. The melody in section B
is a richly textured legato style with notes that line up to make beautiful harmonies.
The return to A material (A^1) is nearly identical to A (including the V-IV woodwind
trills) except that the brass is utilized in making chord transitions and suspensions.
The second B section (B^1) is also very similar to B except that the horns are used to
build up to bridge material. The Bridge material added to section B^1 is a succession of
ascending and descending chromatic patterns in the woodwinds and strings used to support
the entrance of the horns, trombones, and trumpets which make the transition from G Flat
Major to D Major for Finale.