PB 5586 - Sibelius, Tapiola op. 112

PB 5586 Breitkopf & Härtel Partitur-Bibliothek

Urtext Jean Sibelius Werke

Sibelius – TAPIOLA

Tondichtung für großes Orchester Tone Poem for large Orchestra op. 112

ISMN 979-0-004-21396-4

www.breitkopf.com

9 790004 213964 PB 5586

Partitur Score

JEAN SIBELIUS 1865–1957

TAPIOLA Tondichtung für großes Orchester Tone Poem for large Orchestra op. 112

herausgegeben von | edited by

Kari Kilpeläinen Urtext der Gesamtausgabe Jean Sibelius Werke Urtext from the Complete Edition Jean Sibelius Works

Partitur-Bibliothek 5586 Printed in Germany

Vorwort Das Tongedicht Tapiola op. 112 (1926) ist das letzte große Orchester­ werk, das Sibelius abschloss und veröffentlichte.1 Zuvor hatte er die Symphonien Nr. 6 (1923) und 7 (1924) sowie die Schauspielmusik zu Stormen („Der Sturm“, 1925) komponiert. Nach Tapiola setzte er einige Jahre lang die Kompositionsarbeit an der 8. Symphonie fort. Dieses Werk wurde nie vollendet oder zumindest nicht veröffentlicht.

Der Beginn von Tapiola kann auf den 4. Januar 1926 datiert werden, als Sibelius ein Telegramm des Dirigenten Walter Damrosch von der Symphony Society of New York erhielt. Damrosch hatte eine Anfrage: Er wollte ein symphonisches Gedicht, das im November aufgeführt werden sollte. Sibelius telegrafierte sein Einverständnis sofort, und schon am 11. Januar schickte ihm Damrosch einen Brief, in dem er schrieb, die Direktoren der Gesellschaft und er seien erfreut über die positive Antwort und sie würden die Partitur mit Spannung erwar­ ten. „Es ist selbstverständlich, dass die Wahl des Themas und seine Form Ihnen völlig überlassen bleibt; ich würde bloß empfehlen, dass die Dauer ungefähr fünfzehn und nicht länger als zwanzig Minuten betragen sollte.“ Drei Tage später schrieb der Geschäftsführer der Society, George Engles, an Sibelius: „Würden Sie bitte das Werk so schicken, […] dass ich es möglichst bis 15. Sept. habe. Ich wäre Ihnen auch dankbar, wenn Sie eine Programmnotiz beilegen könnten.“ Am 20. März 1926 brach Sibelius nach Rom auf, um dort zu kom­ ponieren. Die Kompositionsarbeit an Tapiola muss jedoch schon wäh­ rend der Wintermonate begonnen haben, weil Sibelius bei der Abreise bereits Skizzen mit sich führte. In Rom scheint er mit dem Werk gut vorangekommen zu sein – trotz einiger kleinerer Störungen, die seine Nerven reizten, so der schreckliche Tisch, den er in seinem Hotelzim­ mer hatte, „unmögliche Tinte“ und einen Pianisten als Nachbarn, der „Liszts Rhapsodie misshandelte“.

Sibelius reiste von Italien zurück über Berlin, wo er Ende April Dr. Hellmuth von Hase traf, den Inhaber von Breitkopf & Härtel (Leipzig), den früheren Verleger seiner Werke. Nach langen Verhandlungen er­ klärte sich Breitkopf bereit, Tapiola herauszubringen. Sibelius schrieb darauf an seine Frau Aino: „Tapiola ist schon fait accompli; […] ich arbeite ständig daran, aber langsam. […] Ein wichtiger Umstand ist, dass ich kein Klavier habe, was im Moment das Beste ist. […] ich muss Tapiola bis Ende Juni fertig stellen.“ Am 5. Juni schrieb Damrosch an Sibelius und teilte ihm mit, er warte sehnsüchtig darauf, dass der Komponist die Partitur sende. Er hoffe, die Partitur so bald wie möglich zu bekommen, um sich mit dem Werk vertraut zu machen und „eine Aufführung zu geben, die des Schöp­ fers würdig sei“. Da der Titel „Tapiola“ einem amerikanischen Publi­ kum nichts sagen würde, fragte er Sibelius, ob er folgende Erläuterung akzeptieren würde: „,TAPIOLA‘, ein wilder Wald im Norden, in dem der Gott der Wälder und seine Waldnymphen hausen.“ Dies ging wohl auf die Erklärung zurück, die ihm Sibelius geschickt hatte und die dieser dann voll und ganz akzeptierte.

Am 27. Juli schrieb Damrosch, der darüber informiert worden war, dass er eine gedruckte Partitur anstelle von Sibelius’ Autograph erhal­ ten werde, an Breitkopf, er wolle die Uraufführung von Tapiola auf den 29. Oktober ansetzen. „Wenn Sie so freundlich wären, mir die Partitur nach Drucklegung baldmöglichst zu schicken und die Orchesterstim­ men spätestens Anfang Oktober, wäre ich Ihnen sehr dankbar.“ „Kaum möglich“, antwortete der Verlag am 10. August, da sich die Partitur noch bei Sibelius befinde. Daher bat der Verlag Damrosch, die Urauf­ führung zu verschieben. Am selben Tag telegrafierte Breitkopf an Sibelius: „Sendet möglichst bald Partitur Tapiola.“ Am 27. August schickte Sibelius Breitkopf das Manuskript zu. Da­ nach jedoch überkamen ihn Zweifel an dem Werk, die er seinem Tage­ buch am 10. September anvertraute: „Ich habe wegen Tapiola gelitten.

B et H haben die Komposition bekommen – aber sie verzögern die Vorbereitungen […]. Zu meinem Unglück habe ich diesen ,Auftrag‘ an­ genommen. […] Bin ich für solche Sachen auf die Welt gekommen?!

Friseure, (Kunst-)Maler und so ähnlich sind für so was geschaffen.

Aber ein Komponist von meinem Talent – kaum! – Ich bin sicher im ,Niedergang‘! Kann nicht allein sein. Trinke Whisky.“ Wenige Tage später traf Sibelius eine dramatische Entscheidung, die ebenfalls im Tagebuch überliefert ist: „Telegraphiere Tapiola zu­ rück und ändere beträchtlich. Großartig mit deinen 60 Jahren!“ Am 16. September erhielt Breitkopf deshalb die Nachricht: „bitte tapiola manuscript oder kopie zurueck“. Und am nächsten Tag: „bitte nicht an tapiola arbeiten weil grosser sprung […].“ Die Partitur war schon ge­ stochen und die Orchesterstimmen fast fertig; nun sollte die Arbeit an den Stimmen ruhen.

Am 26. September schickte Sibelius dem Verlag die Partitur und die Korrekturabzüge zurück – ohne einen „Sprung“ gemacht zu haben.

Andere Korrekturen waren wohl ausgeführt. Er schrieb auch zur Ver­ besserung des lyrischen Mottos, das er in deutscher Sprache formu­ liert hatte und das anschließend durch den Verlag überarbeitet worden war: „Das Gedicht im Anfang finde ich sehr schön. Vom Herzen danke ich ihnen.“ Am 18. Oktober waren die Stimmen nach den Wünschen, die Sibelius eingetragen hatte, gestochen und korrigiert. Damrosch erhielt die Materialien vermutlich vor Mitte November.

Da der ursprünglich geplante Premierentermin verschoben worden war, kam Tapiola am 26. Dezember 1926 zur Uraufführung. Sie fand im Mecca Temple in New York statt, wo Damrosch das New York Symphony Society Orchestra dirigierte. Nach dem Konzert telegrafier­ te er an Sibelius: „Tapiola enormer Erfolg [–] enthusiastische Glück­ wünsche.“ Der Erfolg hingegen scheint nicht so groß gewesen zu sein, wie es Damrosch darstellte. Schließlich ist unklar, wie gut die Auffüh­ rung eigentlich war. Während Olin Downes, ein großer Bewunderer von Sibelius’ Musik, damit offenbar zufrieden war, schrieb der Kritiker Edward Cushing, dass „das Orchesterspiel […] jämmerlich unausge­ glichen war und ihm die Wärme und die Intensität der Anspannung, die man einer wirkungsvollen Umsetzung von neuer und bedeutender Musik widmen sollte, fast völlig fehlte. […] Es war unter den obwalten­ den Umständen nur oberflächlich möglich, die Neuheit zu schätzen.“ Nach dem Konzert verfasste Downes eine positive Besprechung, allgemein aber war die Resonanz in den Zeitungen nicht allzu gut.

Insbesondere das Anfangsmotiv wurde kritisiert – als „banal“ und als „ein Unfruchtbares, dem es an präzisem Charakter zu fehlen scheint“.

Wenig später nahm auch Downes eine negative Haltung ein: „irgend­ wie enttäuschend […], ein Werk, mehr von Stil und Manier geprägt als von Eingebung“. Erst 1932, nach dem Dirigat Serge Koussevitzkys in Boston, begannen die Kritiker in den USA, das Werk mehr zu schätzen.

Robert Kajanus, der 1927 die finnische Erstaufführung von Tapiola dirigiert hatte, nahm das Werk 1932 in London auf. Sibelius äußerte in den 1940er Jahren, dass Kajanus Tapiola nicht gut genug gekannt hatte, als er nach London reiste. Nach Sibelius’ Meinung war Kajanus’ Aufnahme zu langsam und zu leblos, das Werk müsse „viel dramati­ scher gespielt werden“.

Die autographe Reinschrift der Partitur von Tapiola, die auch der Erstausgabe als Stichvorlage zugrunde lag, ist nicht erhalten, ebenso die ursprüngliche Form des von Sibelius formulierten Mottos. Zu den erhaltenen Primärquellen zählen die Erstausgaben der Partitur und der Orchesterstimmen sowie einige wenige Fragmente und Skizzen.

Darüber hinaus sind ein Handexemplar und einige Briefe überliefert, die Sibelius’ eigene Metronomangaben enthalten. Die erste Studien­ partitur erschien 1935.

Helsinki, Frühjahr 2017

Kari Kilpeläinen

1 Zu den Quellen und zu einer detaillierteren Darstellung der Entstehung und der ersten Aufführungen von Tapiola siehe Band I/16 der Jean Sibelius Works.

Preface The orchestral poem Tapiola op. 112 (1926) is the last large orchestral work Sibelius completed and published.1 Previously, he had composed the Sixth (in 1923) and Seventh (in 1924) Symphonies and the incidental music to Stormen (“The Tempest”, in 1925). After Tapiola, he continued the composition work at his Eighth for several years. This work, however, was never finished, or at least it was not published.

The beginning of Tapiola can be dated on 4 January 1926, when Sibelius received a telegram from the conductor Walter Damrosch of the Symphony Society of New York. Damrosch had a request: he wanted to have a symphonic poem to be performed next November.

Sibelius telegraphed his acceptance immediately, and already on 11 January Damrosch sent him a letter, in which he wrote that the directors of the society and he were delighted because of Sibelius’s affirmative answer; they were eagerly waiting for the score. “It is, of course, understood that the choice of your subject and its form, is left entirely with you, and I would merely suggest that its length be about fifteen minutes and certainly not longer than twenty minutes.” Three days later the manager of the Society, George Engles, wrote to Sibelius: “Will you please send the work […] so that I have it by Sept. 15th if possible. I would also be grateful for any program notes that you may care to send with it.”

On 20 March Sibelius left for Rome in order to compose there.

However, the beginning of the composition work of Tapiola must have taken place during the winter months, because when Sibelius left he already had sketches for the work with him. In Rome, the work seemed to be proceeding well in spite of some minor irritations which frayed his nerves, such as the terrible table he had in his hotel room, “impossible ink,” and a pianist who was “maltreating Liszt’s rhapsody” in the neighbourhood.

Sibelius returned home from Italy via Berlin where, at the end of April, he met Dr. Hellmuth von Hase, head of Breitkopf & Härtel (Leipzig), the earlier publisher of Sibelius’s works. After a long negotiation, Breitkopf agreed to publish Tapiola. Sibelius then wrote to his wife Aino: “Tapiola is already fait accompli [...] I am working at it steady although slowly. […] An important matter is that I do not have a piano which at the present stage of the work is best. […] I have to finish Tapiola by the end of June.”

On 5 June Damrosch wrote to Sibelius saying that he was eagerly waiting for the composer to send the score. He hoped to receive it as soon as possible in order to be able to familiarize himself with the work and to “give it a performance worthy of its creator.” Because the title “Tapiola” would not say anything to an American audience, he asked whether Sibelius would accept the following designation: “‘TAPIOLA’, a wild northern forest, wherein dwell the God of the forests and his wood-nymphs.” This was probably based on the explanation Sibelius had sent him and he fully accepted it.

On 27 July Damrosch, who had been informed that he would get a printed score instead of Sibelius’s autograph, wrote to Breitkopf that he would like to give the first performance of Tapiola on 29 October.

“If you will have the kindness to send me the orchestral score as soon as it is printed and the orchestral parts not later than the beginning of October I shall be most grateful.” “Hardly possible” the firm answered on 10 August, because the score was still with Sibelius. Therefore, the firm asked Damrosch to postpone the first performance. On the same day Breitkopf telegraphed Sibelius: “Send the score of Tapiola as soon as possible.”

Sibelius sent the manuscript to Breitkopf on 27 August. However, thereafter he began to have doubts about the work. On 10 September he wrote in his diary: “I have suffered because of Tapiola. B et H had got the composition – but they delay in preparing it [...]. Unfortunately I accepted this ‘commission’. […] Am I created for this kind of thing?!

Hair artists, painters and such are up to such things. But a composer

of my talent – hardly! – I sure am on the ‘decline’! Can not be alone. [I] drink whisky. […]”

A few days later Sibelius made a dramatic decision, of which he wrote in his diary: “Telegraph Tapiola back and change considerably. Magnificent at your 60 years!” Thus, on 16 September Breitkopf received a message: “Please, Tapiola manuscript or copy back.” And on the following day: “Please do not work on Tapiola because of a long leap […].” The score had already been engraved and the orchestral parts were almost finished; now the work on the parts had to be suspended.

On 26 September Sibelius sent the score and the proofs back to the publisher – without having done the “leap.” Other kinds of corrections were probably made. He also wrote about the publisher’s improvement of the German motto poem he had formulated: “I find the poem at the beginning very beautiful. I cordially thank you.” On 18 October the parts were engraved and corrected according to the requests Sibelius had made. Damrosch probably received the materials before the middle of November.

Because the originally planned date for the first performance had to be postponed, Tapiola premiered on 26 December 1926. The place was The Mecca Temple in New York where Damrosch conducted the New York Symphony Society Orchestra. After the concert he telegraphed Sibelius: “Tapiola enormous success [–] enthusiastic congratulations.” Nevertheless, the success seems not to have been as great as Damrosch claimed. It is also unclear how good the performance was. While Olin Downes, a great lover of Sibelius’s music, seemed to have accepted it, the critic Edward Cushing wrote that “the playing of the orchestra […] was lamentably uneven, and almost utterly devoid of the warmth, the intensity of effort that should be devoted to an effective projection of new and important music. […]

It was possible only superficially to estimate the novelty under the conditions that prevailed.”

After the concert, Downes wrote a positive review, but in general the reception in the newspapers was not too good. Especially the opening motif was criticized being a “commonplace” and “an unfertile one”, which “seemed to lack a definite character.” A little later Downes also took a negative stand: “somewhat disappointing […] a work of style and manner rather than inspiration.” It was only in 1932, after having been performed in Boston under Serge Koussevitzky, that U.S. critics began to find more merit in the work.

Robert Kajanus, who conducted the first performance of Tapiola in Finland in 1927, recorded the work in London in 1932. In the 1940s Sibelius stated that Kajanus did not know Tapiola well enough when he went to London. In Sibelius’s view, Kajanus’s recording was too slow and too lifeless; the work “must be played much more dramatically.”

The autograph fair-copy score of Tapiola, which also served as the engraver’s copy for the first edition, is lost; so, too, is the initial form of the motto text formulated by Sibelius. Concerning the other primary sources, the first editions of the score and the orchestral parts as well as a few fragments and sketches survived. In addition to these, a Handexemplar score and some letters include Sibelius’s own metronome markings. The first study score was published in 1935.

Helsinki, Spring 2017

Kari Kilpeläinen

1 For the sources and a more detailed description of the genesis and the first performances of Tapiola, see Jean Sibelius Works I/16.

Besetzung Scoring 3 Flöten (3. auch Piccolo) 2 Oboen Englischhorn 2 Klarinetten Bassklarinette 2 Fagotte Kontrafagott

3 Flutes (3rd also Piccolo) 2 Oboes English horn 2 Clarinets Bass clarinet 2 Bassoons Double bassoon

4 Hörner 3 Trompeten 3 Posaunen

4 Horns 3 Trumpets 3 Trombones

Pauken

Timpani

Streicher Strings

Aufführungsdauer

Performing Time

etwa 20 Minuten

approx. 20 minutes

Studienpartitur PB 5587 käuflich lieferbar

Study score available for sale

Aufführungsmaterial mietweise erhältlich

Orchestral material on hire

Urtext der Gesamtausgabe Jean Sibelius Werke Serie I Band 17: Die Okeaniden op. 73 | Tapiola op. 112, herausgegeben von Kari Kilpeläinen Breitkopf & Härtel Der Kritische Bericht, auf den im Notenteil Bezug genommen wird, befindet sich in dieser Ausgabe (SON 620).

Urtext from the Complete Edition of Jean Sibelius Works Series I Volume 17: The Oceanides op. 73 | Tapiola op. 112, edited by Kari Kilpeläinen Breitkopf & Härtel The “Kritischer Bericht” (Critical Report), which is referred to in the music text, is found in this edition (SON 620).

An Walter Damrosch

Tapiola Tondichtung für großes Orchester

Jean Sibelius op. 112 herausgegeben von Kari Kilpeläinen

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Breitkopf PB 5586

dim. poco a poco

19 172

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Breitkopf PB 5586

20

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21 183

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22 208

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23 212

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Breitkopf PB 5586

]

24 216

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Sample page

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25 220

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Sample page

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Breitkopf PB 5586

26 224

Fl.

I II

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[ ]

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Breitkopf PB 5586

27 228

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Sample page *

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28

H

232

Picc.

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29 236

Picc.

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I

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31 244

Picc.

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33 253

Picc.

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34 256

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35 259

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dim. poco a poco Breitkopf PB 5586

36 264

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37 269

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[con sord.]

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39 308 mezza

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320

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41 353

L

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42 363

I II Fl. III

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senza sord.

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43 372

I II Fl. III

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44 380

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[ Breitkopf PB 5586

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45 388

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] Breitkopf PB 5586

46 397

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47 403

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48 410

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49 417

N

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Sample page

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50 430

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51 442

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52 447

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53 poco rallentando al

452

Picc.

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54 457

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55 462

Allegro moderato ( )

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56 473

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Fl.

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57 481

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Breitkopf PB 5586

58 489

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I II

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59 497

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60 502

Picc. [ ]

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dim. possibile

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dim. possibile

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espressivo div.

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61 509

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poco a poco senza sordini

62 8

535

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Breitkopf PB 5586

63

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Breitkopf PB 5586

PB 5586 Breitkopf & Härtel Partitur-Bibliothek

Urtext Jean Sibelius Werke

Sibelius – TAPIOLA

Tondichtung für großes Orchester Tone Poem for large Orchestra op. 112

ISMN 979-0-004-21396-4

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9 790004 213964 PB 5586

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