New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-06-07
THE THEMES OF SlBELiUS.

II is fortunate for Sibelius and for
music that he turned to such treasure
house for inspiration. Concerning his
themes something must now be said.
We are thrown on surmise concern
ing the order in which Mr.. Sibelius
COMPOSED the music which he designed
10 illustrate episodes from the "kale-
vala." but two of them. The Swan OF
Tuonela" and "Lemminkainen's Journey
Homeward." have the same opus num-
Der and arc connected by the story OF
which they are based. "Pohjola
Daughter" if there is evidence in its
opus number. is a later work, but it,
too. is associated by poetical bond
with the orchestral works just named
and also with three lyrical pieces for
pianoforte" which are grouped under
the pretty title "kyllikki." y fourth
work. evidently one Of magnitude, since
it employs solo voices and chorus as
well as orchestra. has little or nothing
10 DO with the adventures Of the heroes
who Journey into the dark Northland 10
win wife This il entitled "kullerVo'
and its poetic foundation is the tale when
occupies Runes 81 to 60 OF the epic.
It's savageYy is in such strong contrast
10 the crea ter part Of the poem that
il is impossible not to see in it relic
Of more primitive life than yhat pct
urcd as a rule by the singers OF the
"Kalevala" and louder echo of the
heroic period OF early Aryan legend.
In fact IL contains elements which as
sociafe IL with the old hero tales deal
inc with the Perseus, Theseus, Sieg-
fried and Wolf-Dietrich type. What its
music is like we do not know, for it has
not been published and We have no
record of performance; but its story
is one of wicked violence, vengeance
inviting incest aud remorseful death.
Before the birth of Kullcrvo his uncle
has laid waste the land Of his brother,
father Of the hero and carried off the
mother. After Kulleryo grows up the
wicked uncle attempts TO get rid OF
him by abandoning him in a boat and
other devices but in raln. Then he
sells him In slavery 10 llmarinen, whose
wife ill-treats him. He requites her
cruelty by giving her ana all her cattle
10 the bears and wolves. Unwittingly
he carries off his own sister. who de-
stroys herself on learning Of their re-
lationship. Eventually lie accompishes
the death of his uncle and all his
uncles clan, but, finding none of his
own kindred alive. he goes into the for
est and remOrsciully falls upon his own
sword.
THE TRAIN OF INCIDENTS.
II - easy to connect the other episodes
which Sibelius has drawn from the
"Kalevala" for musical treatment so as
10 present the sequence of incidents in n
manner which helps TO eXpound the music,
though the order i'm which they were COM
posed may have TO be ignored II must
be said at the outset. however, that the
music seems TO present itself TO the In
structed not as programme music OF the
narrative sort. but rather as delineative
OF the personages under the influence %
one or several Of the incidents which they
inspire or in which they take part. They
are character sketches and mood pictures,
but also musical representations of vast
symbols symbols OF primordial passions.
powers and agencies; Of nature, stormy,
sinister, misty, mystical OF primeval
darkness, dampness and cold; OF the war
Of the elements; OF human lust and
strength and cunning, and OF the mys-
terlous forces which control all things.
We are permitted to see something more
than maiden lovelincss in the "PohJola's
Daughter" II we were not. the gloomy
colors OF Sibelius's palette would be out OF
place. Into the picture there enters some
Of the struggle and strife Of which che
aaS us sAyssS y4s ~ alaslrei drew