EIGHT DAYS OF SIBELIUS – DAY 2
Sibelius is not exactly the first composer anyone would associate with ballet.
So I was astonished to learn, quite recently, that a couple of his (non-dance) scores were picked up by London’s Sadler’s Wells Theatre Ballet and choreographed in the late 1940s. Specifically, the suite “Belshazzar’s Feast” was used in “Khadra,” choreographed by Celia Franca, and the tone poem “En saga” was used in “Sea Change,” choreographed by John Cranko. Both were early in their careers. In Franca’s case, it was the first ballet she ever choreographed. She went on to found the National Ballet of Canada. Likewise, “Sea Change” was the first major project for Cranko, who would soon achieve world fame. Later, he would direct the Stuttgart Ballet. You can learn more – a lot more – about both ballets, with photos, here:
Sibelius did actually compose music for a ballet-pantomime, “Scaramouche,” in 1912-13. When he agreed to the project, on scenario by the Danish playwright Poul Knudsen, it was with the understanding that he would only be supplying a few dance numbers. When he learned that he was expected to compose a full hour of music, he despaired. Furthermore, he detected immediately that the libretto had basically been cribbed from Arthur Schnitzler’s “The Veil of Pierrette,” a recent success with music by Ernst von Dohnanyi. Attempts to annul or even alter the contract proved to be futile. Sibelius, a meticulous composer, feared that his international reputation was on the line. At one point, in frustration, he smashed a telephone.
In the end, he was able to complete the work to his satisfaction and the music was met with acclaim; the ballet-pantomime, not so much. It was revived in Copenhagen about ten years later and was savaged by the critics, who had not forgotten about Schnitzler. Sibelius’ music, however, was again praised. That said, the fact that the individual cues are tied so closely to the action have caused the score to be dragged into the depths of obscurity. It has, however, been recorded several times.
Of course, one of Sibelius’ best-known pieces, “Valse triste,” also happens to be a dance – a “sad waltz.” Originally one of six numbers that comprise the incidental music for a 1903 play, “Kuolema,” or “Death,” by the composer’s brother-in-law, Arvid Järnefelt, the work underscores the opening scene. A son attends his dying mother, who is swept up in a dream of the dance. At the end of the scene, she is claimed by Death in the form of her late husband. Its morbid origin aside, the work proved to be what is now known as an ear-worm and became an international hit. The composer encountered it everywhere, arranged for every conceivable instrument, played in cafes and by salon orchestras.
Unfortunately, Sibelius had essentially sold the work to his publisher outright, and he received few royalties. He would spend many fruitless hours, in between symphonies, crafting the occasional piece of light music, hoping to recapture lightning in a bottle. Alas, it proved to be a will o’ the wisp. Works like the “Suite mignonne” and “Suite champêtre,” while unquestionably charming, were not a patch on the maddening ubiquity of “Valse triste.”
“Valse triste” itself was to be choreographed a number of times, including, in tandem with “Scenes with Cranes” (also distilled from “Kuolema”), by Peter Martins for New York City Ballet.
Trip the light fantastic with Twinkletoes Sibelius!
“Valse triste”
“Suite mignonne” and “Suite champêtre”
“Belshazzar’s Feast”
“En saga”
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