The triumphant final movement, Allegro molto, contains a particularly beautiful example of what Sibelius meant by writing in his diary on April 10, 1915: 'In the evening with the symphony. The movement is a kind of Sampo, the mythical machine of the Finnish national epic Kalevala that creates wealth and prosperity to anybody holding it. In a way it is, but its purpose in the Symphony is to mediate between the two outer movements by gradually generating, in seven 'rotations,' the main elements of the finale, its woodwind first theme and the 'swan hymn,' here in pizzicato strings. The high point of the movement is the gradual and almost imperceptible transition from the hollow space of slow and somber music to the lithe and vivid scherzo that finally adopts a hectic character in an ever-faster stretto.Īfter the intriguing first movement, the second, Andante mosso, quasi allegretto, may appear simplistic. The exposition and development consist of three relatively short 'rotations' and lead to a very large 'recapitulatory space' with a scherzo character. The three areas of sonata form - exposition, development, and recapitulation - are still there, but their dimensions and mutual relationship depart radically from the customary.

The result is an original transformation of the sonata principle that has no precedent in the tradition. The first movement, Tempo molto moderato Allegro moderato (ma poco a poco stretto), was born out of a fusion of two originally independent movements.

No sound in sibelius 5