En saga
En saga (Finnish title: ; sometimes translated to English as A Fairy Tale, A Saga, or A Legend), Op. 9, is a single-movement tone poem for orchestra written in by the Finnish composer Jean Sibelius. The piece, which likely began as a septet or octet for flute, clarinet, and string ensemble before evolving into an orchestral tone poem, premiered on 16 February 1893 in Helsinki with Sibelius conducting the Helsinki Orchestral Society. A decade later in 1902, Sibelius substantially revised "En saga" in response to an invitation from Ferruccio Busoni to conduct the piece in Berlin; the tone  poem thus stands alongside the "Lemminkäinen Suite", the Violin Concerto, "The Oceanides", and the Fifth Symphony as one of Sibelius' most overhauled works. The Berlin concert, which occurred a fortnight after Robert Kajanus had premiered the revised piece in Helsinki on 2 November, finally brought Sibelius the German breakthrough he had long desired. Uncommonly for a Sibelius tone poem, "En saga" is without program or literary source. Nevertheless, the adventurous, evocative character of the music has encouraged many listeners to venture their own interpretations, among them a fantasy landscape (such as that by the Finnish painter Akseli Gallen-Kallela), a  hunting expedition, a bard's storytelling, and the essence of Finnish people. Sibelius routinely declined to state a program, although in the 1930s, he conceded that, if one must find an inspiration, the tone poem owed its nature not to the "Kalevala", the national epic of Finland, but rather to Iceland's "Eddas". By the 1940s, however, Sibelius had reverted to his previous position, describing the work instead as "the expression of a certain state of mind"—one with an unspecified, "painful" autobiographical component—for which "all literary interpretations [were therefore] totally alien". Critics have largely praised "En saga" as a  masterpiece of "astonishing power and originality" that, stylistically, exhibits Sibelius's "personal brand of musical primitivism". Moreover, the revised version of the tone poem is often described as being of superior craftsmanship relative to the youthful rawness of its predecessor. The first (and to date only) recording of the original version was made in 1995 by Osmo Vänskä and the Lahti Symphony Orchestra. A typical performance of the final version of the piece lasts about 18 minutes, some 4 minutes fewer than its predecessor. History. Composition. Although the creative origins of "En saga" remain somewhat uncertain, it appears as though  the material that would become "En saga" may have begun as, and thus evolved from, a septet or octet for flute, clarinet, and string ensemble that the composer had begun in 1890–91, during which time he was a student in Vienna under Robert Fuchs and Karl Goldmark. (This chamber piece, however, has never been found.) Following the success of the choral symphony "Kullervo" in 1891, Robert Kajanus, founder and chief conductor of the Helsinki Orchestral Society, requested from Sibelius a purely orchestral piece, albeit one "in a more popular style" that would not make "too great demands on [the general  public's] powers of concentration and comprehension"; in the 1930s, Sibelius told his biographer, Karl Ekman, that the result of this invitation was the orchestral tone poem "En saga". Later in life, however, Sibelius dismissed Kajanus's influence, telling a second biographer, Eric Ringbom, in the 1950s that "En saga" actually had not been the result Kajanus's offer: "... Nothing came of it. Instead I completed the orchestral work I had already started and to which I gave the name "En saga" ... I did not comply with his request ... to write 'a short "Da capo" piece'". That Sibelius's statements  to Ekman and to Ringbom are inconsistent is, perhaps, a sign either that Sibelius wished to downplay the influence of his on-again-off-again friend/rival decades after the latter's death (Kajanus had died in 1933) or that he was eager to dispel any notion that "En saga" was of less seriousness than his other compositions. The autograph manuscript of the original 1892 version of "En saga" does not survive, although a manuscript and complete set of orchestral parts are preserved in the Helsinki Philharmonic Orchestra collection. The copyist for these documents remains unknown; although surviving invoices indicate  that two copyists Sibelius typically employed, August Österberg and Ernst Röllig, each copied the score, in July 1895 and December 1898, respectively, neither the surviving manuscript nor the orchestral parts are in the hand of either man. Most likely the documents were produced in 1901 by an unidentified copyist for the conductor Georg Schnéevoigt, who conducted the original version of the tone poem during his concert tour of Riga. Revision. In 1902, the Italian composer, conductor, and pianist, Ferruccio Busoni, began a series of concerts (eventually 12 in all, from 1902 to 1909) with the Berlin Philharmonic at the Philharmonie 's Beethovensaal (Beethoven Hall). According to Della Couling, Busoni's biographer, the concerts courted controversy from the beginning: Busoni's decision to feature new, modern (largely non-German/Austrian) music in a city famous for its devotion to celebrated homegrown talent only reinforced the perception in Berlin that Busoni was a bit of a "maverick". In June, Busoni invited Sibelius, his longtime friend, to conduct "En saga" (he also suggested as substitutes both the Second Symphony and the tone poem "The Wood Nymph") at the beginning of November: Sibelius seems to have countered with a choral work (possibly the recently  completed cantata "The Origin of Fire"), since Busoni later replied, "Unfortunately I cannot give myself up to the uncertainty and inconvenience caused by singers ... Therefore, I believe we had better stick to the 'pure' orchestra". Although Sibelius remained undecided between the Second Symphony and "En saga" until October, he eventually opted for the tone poem in revised form. Sibelius took the decision to revise "En saga" while summering in Tvärminne (Hanko), as evidenced by a July 28 letter Axel Carpelan, Sibelius's friend and patron, wrote to his cousin after having visited the composer in Tvärminne. Nevertheless, delay ensued : Sibelius did not receive the manuscript in Tvärminne until (at least) September 24. Up against the November deadline, Sibelius raced to complete the revisions in a month, and to save time, he likely reused pages from the original manuscript that required little alteration. According to Wicklund, it is this technique that probably accounts for the fact that the autograph manuscript of the original version does not survive. Performances. The original version of the tone poem premiered on 16 February 1893 at Solemnity Hall of the University of Helsinki with Sibelius conducting the Helsinki Orchestral Society; the concert program also included  Grieg's "Peer Gynt Suite II" and Schumann's "Manfred", as well as songs by various composers, all of which Kajanus conducted. As noted above, both Kajanus and Schnéevoigt included "En saga" on various subsequent concert tours. German breakthrough. Although Sibelius had overhauled "En saga" expressly for the Busoni concert, the premiere of the revised version of the tone poem fell not to Berlin but to Helsinki on 2 November 1902, with Kajanus conducting the Helsinki Orchestral Society; the program also included Svendsen's Second Symphony and Bruch's Violin Concerto No. 1. While Finnish critics praised "En saga", there  was a palpable sense the Helsinki concert was merely a dress rehearsal for the big Berlin unveiling. The Berlin concert was indeed an important event for Sibelius: not only would it mark just the second time he had conducted abroad, but it would also give him the opportunity to present personally his art to a discerning Central European audience. Finnish critics sought to buoy Sibelius by writing that, in their opinion, "En saga" was worthy of performance abroad, while the Finnish newspapers promoted the forthcoming concert heavily. A few days later, the stakes became even clearer: the Berlin critics savaged  the first of Busoni's concerts on 8 November, the program of which included selections from Elgar's "The Dream of Gerontius", the Overture to Saint-Saëns' opera "Les Barbares", and Sinding's "Rondo Infinito". This was the environment into which Sibelius stepped as second on Busoni's 15 November program, which also included Delius's orchestral nocturne "Paris", Théophile Ysaÿe's Piano Concerto, and Ödön Mihalovich's ballad "The Death of Pan" ("my fellow competitors", as Sibelius referred to them in a 12–13 November letter to his wife, Aino). Sibelius was under constant stress: during the journey to Germany , he labored over the orchestral parts, many of which contained copy errors; upon arrival, he fumed over being second on the program and was annoyed that the promised rehearsals had both been scheduled for 13 November. Nevertheless, the rehearsals went well and the players reacted favorably to the tone poem: as Sibelius told Aino, "It is so beautiful... Busoni even embraced me". The Berlin critics' reaction to the second concert, however, was hostile. Otto Lessmann of "Allgemeine Musik-Zeitung" described the performance as "painful", noting acerbically, "If steps forward in art should be illustrated in such works, the muse would  viel her head"; while, Rudolph Buck opined in "Berliner Neueste Nachrichten", "After the complete fiasco of the second concert, the announcement that these orchestral concerts would be continued in the autumn of 1903 sounded little short of blasphemous". Nonetheless, it appears as though Sibelius emerged more or less unscathed; indeed, the consensus opinion was that "En saga" was "the only valuable work" on the program. The positive reviews in the wake of the concert clearly lifted Sibelius's spirits. Following the concert, a confident Sibelius recounted for his wife the quality of both his art and his conducting: As Tawaststjerna  notes, thanks to "En saga", at last the "ice had been broken for Sibelius in Germany", a success for which he had long hoped. Sibelius celebrated as Busoni's guest at a "lavish" dinner party. Orchestration. "En saga" is scored for the following instruments: Arrangement for septet. The creative origins of "En saga" remain somewhat uncertain, although Sibelius's statements to Ekman and Furuhjelm indicate the piece may have evolved from sketches for a septet or octet the composer had begun in 1890–91. To date, however, researchers have been unable to recover the pre-"En saga" chamber piece, either as a  completed manuscript or unfinished sketches (again, if such a composition ever existed). Gregory Barrett, professor of clarinet at the Northern Illinois University School of Music, has nonetheless sought to reclaim this (purported) "lost chamber masterpiece", arranging in 2003 the original 1892 orchestral tone poem for flute, clarinet, two violins, viola, cello, and string bass. Contemporary accounts that describe the Barrett septet as a "reconstruction" are inaccurate; because Sibelius's 1890–91 sketches do not survive, there is no way to know how similar Sibelius's own chamber piece was to the first orchestral version of "En saga" and, by extension, to  Barrett's chamber arrangement. It is for this reason that the Barrett septet is not included on the 13-volume BIS Complete Sibelius Edition, a 2007–11 project billed as having recorded every note Sibelius ever penned. On 14 June 2003, six musicians from the Lahti Symphony Orchestra joined Barrett (on clarinet) to premiere the septet at the Brahmssaal (Brahms Hall) of the Musikverein in Vienna, the city where Sibelius claimed to have composed his own (lost) pre-"En saga" septet/octet; the Austrian-Finnish Friendship Society sponsored the performance, while the Finnish Embassy hosted a reception after the concert. The Barrett  septet was first recorded in May 2008 at the Sigyn Hall in Turku, Finland, by the Turku Ensemble and released on 12 July 2011 by Pilfink Records. Many reviews note the conspicuous absence of the tone poem's brass and percussion, although one of the performers, flautist Ilari Lehtinen, has argued the septet compensates by making "the intimate aspects of the work sound more personal and more heart-rending". Writing for "Fanfare", Steven Ritter has praised the septet as "remarkable", noting that although "acute listeners will miss the brass and all the pomp and beauty of orchestral majesty that we  associate with Sibelius", Barrett's arrangement "has much to offer and loses little atmosphere". Carl Bauman, writing for the "American Record Guide", on the other hand, has argued the musical material "doesn’t fare nearly as well here as it does in its orchestration". Discography. "En saga" is one of Sibelius's more commonly recorded tone poems, although it trails more famous compositions such as "The Swan of Tuonela" and "Finlandia". The first recording was made in 1938 with Sir Thomas Beecham conducting the London Symphony Orchestra. To date, the only recording of the original 1892 version (22:23) is by  Osmo Vänskä and the Lahti Symphony Orchestra under the BIS label (BIS-CD-800); it was recorded in May 1995 and appears on the album with the original 1915 version of the Fifth Symphony. The album premiered to considerable acclaim. "Gramophone's" James McCarthy characterized the record as perspective-changing, noting that the original versions of the pieces provided "fascinating material for comparison" and allowed "a glimpse of two familiar masterpieces in the making". Kurt Moses, writing in the "American Record Guide", similarly commended the record for providing "rare insight into a composer's creative process", but cautioned that "while Sibelius  enthusiasts will love it [,] ... this is not a 'must buy' for everyone ... [and] is not a substitute for ... the final versions of these works".