Overture From The Tempest Op.109 No.1 comes from an hour-long score of incidental music for orchestra by Finnish composer Jean Sibelius. In 1925 Sibelius was commissioned by the Danish Royal Theatre to create incidental music for Shakespeare's The Tempest. The resulting 34 miniatures represent Sibelius at his most modernistic and it is both rousing and powerful yet elsewhere light gentle and airy fully reflecting the breadth and depth of Shakespeare’s characters.

Jean Sibelius completed this work in February 1923 and conducted the premiere in Helsinki on February 19 of that same year. His first reference to the work in 1918 described it as 'wild and passionate in character. Dark with pastoral contrasts. Probably in 4 movements...intensifying in a dark orchestral swell [until] the main theme is drowned.' At the same time he cautioned that his plan could change — and how it did! — 'depending on the way my musical thinking develops. I am always a slave to my themes and obey their demands.'

Jean Sibelius' Humoresque II Op.87 No.2 is a work for Solo Violin 2 Horns Timpani and Strings. Composed in 1917.

This pocket sized book contains Humoresques I - II Op.87 Nos.1/2 the first two of Jean Sibelius' Humoresques for Violin solo and Orchestra. This handy study score can be easily referenced. Duration 3 minutes.

Sinfonische Fantasie-The tone poem Pohjola’s Daughter Op.49 - a ‘Symphonic Fantasy for Large Orchestra’ - was written by Finnish composer Jean Sibelius in 1906. The story is a variation of Orpheus in the Underworld depicting a hero (Väinämöinen) who spotted the beautiful ‘daughter of the North’ (Pohjola) seated on a rainbow. The hero asked her to join him but she agreed with the condition that he should be able to perform a number of difficult tasks – most notably building a boat from fragments of her distaff. However the hero’s attempt was in vain as he was thwarted by evil spirits and injured himself withan axe. He gave up the challenge and continued his journey alone.A study score for Prokofiev’s popular Kalevala-inspired symphonic poem Pohjola’s Daughter Op.49 which is ideal for study and perusal usage.

The Incidental music to Shakespeare's The Tempest by Jean Sibelius (1925-26) arranged by Jouni Kaipainen (2008).Parts are available for hire: hire@ewh.dk

Par SIBELIUS JEAN. The study score to Jean Sibelius' Symphony No. 3 In C Op. 52./ Répertoire / Divers

Composed in 1898 Sibelius’ first symphony does not closely resemble the brass-heavy compositional style of his later symphonic works such as Finlandia for which he is well known. Instead the symphony reflects the lyrical style of works by Tchaikovsky and Brahms. Although Sibelius later denied having been influenced by either Tchaikovsky or Brahms the lyrical style and fewer use of Brass signifies that the piece emulates the symphonies of both composers.Sibelius’ Symphony No.1 in E Minor Op.29 is characterised by its use of string and woodwind solos; a Clarinet solo opens the first movement while Violin Viola and Cello solos featurein the later movements. Although classified originally as ‘Romantic’ some music historians argue that this piece composed at the turn of 20th Century should in fact be classified as ‘Modern’ as it certainly is a forward-looking and ground-breaking work.Available here is the miniature score of Sibelius’ first symphony which is ideal for study and perusal usage.

Sibelius completed this work in February 1923 and conducted the premiere at Helsinki on February 19 of that same year. His first reference to the work in 1918 described it as wild and passionate in character. Dark with pastoral contrasts. Probably in 4 movements...intensifying in a dark orchestral swell [until] the main theme is drowned. At the same time he cautioned that his plan could change — and how it did! — depending on the way my musical thinking develops. I am always a slave to my themes and obey their demands.

Par SIBELIUS JEAN. The Suite is a student exercise, first performed 13. 4. 1889 at a musical soirée at the Helsinki Music Institute. Ferruccio Busoni, who was teacher of piano at the Institute at the time, described the first performance as follows: “We sharpened our concentration as we realised that we were about to hear something quite beyond the usual standard for student works…”. In the A major suite, colour comes to the fore for the first time as a major element in Sibelius’s music. The emphasis on sonic texture is joined – somewhat unusually for such an early work – by a fairly bold handling of rhythm and harmony. Unfortunately only the first three movements of the suite have survived in tact. The concept of the missing Gigue has survived, however, and is included in this publication./ Répertoire / Trio à Cordes