Which I quickly remedied while reading this article:
Wildly popular a century ago as an icon of Finnish nationalism in a late-Romantic vein, Jean Sibelius was largely dismissed by music aficionados after World War II as something of a conservative lightweight. So why is the Bard Music Festival this month featuring his work in a series of concerts titled “Sibelius and His World”?
Because his condemnation, much like his popularity, was based on reductive assumptions colored by politics. Sibelius’s aesthetic paradoxes mirror those of his biography, and his iconoclastic work deserves close, fresh, sustained, and open-minded attention. A modernist in traditional musical trappings, a globalist whose work spoke in a nationalist dialect, an innovator whose pleasing tonalities snuck his inventions into the popular ear, Sibelius is as underappreciated today as he was perhaps overlionized between the world wars.
[. . .]
Like many of his Finnish contemporaries, as a young man Sibelius embraced the idea and dream of Finland. The notion of the distinct Finnish nation was redefined along the lines of a mythic and literary heritage embodied in the epic The Kalevala. Ironically, the generational embrace of the Finnish language was somewhat awkward for him, because Swedish was his primary and dominant language. Nonetheless Sibelius, more than any other artist, managed to define and embody the spirit and aspirations of an emergent national movement. By 1914 he had become recognized worldwide as the standard-bearer of Finland. For the rest of his life (and to this day), Sibelius’s primary reputation has been as that nation’s granitelike icon.
Ah, “Finlandia”, followed by the “Karelia Suite” and the “Lemminkäinen Suite”. Lovely.
