Full album available // Sibelius: Finlandia, En Saga, The Swan of Tuonela.. by Sir Malcolm Sargent
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Jean Sibelius (1865-1957) En Saga: Tone Poem, Op. 9

Wiener Philharmoniker
Conductor: Sir Malcolm Sargent
Recorded in 1963, at Vienna
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The epic dimension of Sibelius's orchestral pages is sublimated in this magnificent recording by a little-known conductor: Sir Malcolm Sargent. En Saga begins with a dreamlike figure from the strings. Soon after this the woodwinds play a lumbering, troll-like theme. Musicologists are undecided about which is the main theme and which the secondary theme of the work. However, already in these early bars of the work there are rhythms and repetitions which belong to the central thematic material. The thematic material is introduced more clearly, first of all from the bassoons, in C sharp minor.

The French horns join in while the strings continue their will-o'-the-wisp figuration in the background. The main theme, which has already been anticipated in the slower introduction, is presented in an allegro episode. After a powerful orchestral climax we hear important thematic material from the violas; this has been referred to as a subtheme. Its relationship with the theme presented by the bassoons is unmistakable.

There is yet a third theme which is very closely connected with those mentioned above. The musicologist Salmenhaara was unsure whether this should be called a final theme or merely a second subtheme. It is introduced by the violins.

Here we have the central thematic material from which Sibelius compiled his En Saga. Sibelius varies and develops his thematic material rather in the manner of Finnish rune-singers. In the original version there is even more thematic material, but in the later version the composition makes a stronger impression, compelled by its own inner logic. There are a few discontinuities in the original version, but the final version is an organic whole.

Tonally speaking, En Saga is an adventurous work; it begins in A minor and ends in E flat minor. Robert Layton has pointed out that even at this early stage in Sibelius's career En Saga is masterly in its handling of the orchestra. Sibelius shows himself to be a genuine orchestral composer in the manner of Berlioz. These conceptions could not originate at the piano or by orchestrating a piano version. In its 1902 version

En Saga quickly charmed the rest of the world, and Arturo Toscanini and Henry Wood added it to their repertoires. Even today, En Saga is one of Sibelius's most popular and most frequently recorded orchestral works.

Sibelius never explained the programme of his work - if there was any. To him En Saga was "an expression of a state of mind": "En Saga is psychologically one of my most profound works. I could almost say that the whole of my youth is contained within it. It is an expression of a state of mind. When I was writing En Saga I went through many things that were upsetting to me. In no other work have I revealed myself as completely as in En Saga. For this reason alone all interpretations of En Saga are, of course, completely foreign to my way of thinking." [ Ссылка ]

Album available // Sibelius: Symphonies Nos. 1,2,7 & Orchestral Works by Eugene Ormandy
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