The Finnish composer Jean Sibelius (1865–1957) wrote over 550 original works during his eight-decade artistic career. This began around 1875 with a short miniature for violin and cello called Water Droplets (Vattendroppar), and ended a few months before his death at age 91 with the orchestration of two earlier songs, "Kom nu hit, död" ("Come Away, Death") and "Kullervon valitus" ("Kullervo's Lament", excerpted from Movement III of Kullervo). However, the 1890s to the 1920s represent the key decades of Sibelius's production. After 1926's Tapiola, Sibelius completed no new works of significance, although he infamously labored until the late-1930s or the early-1940s on his Eighth Symphony, which he never completed and probably destroyed c. 1944. This thirty-year creative drought—commonly referred to as the "Silence of Järvenpää", in reference to the sub-region of Helsinki in which the composer and his wife, Aino, resided—occurred at the height of his international and domestic celebrity. Today, Sibelius is remembered principally as a composer for orchestra: particularly celebrated are his symphonies, tone poems, and lone concerto, although he produced viable works in all major genres of classical music. While his orchestral works meant the most to him, Sibelius refused to dismiss his miniatures (piano pieces, songs, etc.) as insignificant, seeing them instead as "represent[ative of] his innermost self".

Navigating Sibelius's oeuvre

Works with and without opus

Sibelius's final opus list dates to 1952 and ranges from '''Opp. 1 to 116''', albeit with Op. 107 unassigned and Op. 117 holding ambiguous status. Among the 115 active numbers, however, are many collections; disaggregating these multi-work numbers reveals that—counting conservatively—about 342 compositions comprise the list: When ordered numerically, Sibelius's opus list is an imperfect indicator of his stylistic maturation over time. This is because Sibelius curated the collection according to his ever-changing assessment of his oeuvre (highly self-critical, he became especially ambivalent later in life towards his early period), promoting works to or demoting them from the catalogue and filling the resulting vacancies without a strict regard for compositional chronology. Among the pieces that at one point held, but later lost, a place on Sibelius's opus list are numerous large-scale works from the 1880s and 1890s, including his only opera, three cantatas, a melodrama, and several multi-movement compositions for chamber ensembles. Sibelius also demoted his first two orchestral compositions, the Overture in E major and Ballet Scene, which were originally intended as movements in a symphony before the composer abandoned the project. For works without opus, the convention since the late-1990s has been to follow the supplemental JS numbering system of the Finnish musicologist Fabian Dahlström, which he finalized in 2003 with the publication of Jean Sibelius: A Thematic Bibliographic Index of His Works. This list runs from JS 1 to 225 and includes not only compositions Sibelius demoted from his opus list but also those that never held an opus number at any point during his career.

Sibelius and his publishers

Sibelius sold his music to several publishers over the course of his career. As a relatively unknown composer in the 1890s and early 1900s, he worked with domestic firms in Helsinki, including the eponymous operations of Axel E. Lindgren and Karl Fredrik Wasenius, as well as Helsingfors Nya Musikhandel, a joint venture of Konrad Fazer and Robert Emil Westerlund until the latter withdrew in 1904 to begin R. E. Westerlund oy. As Sibelius's international reputation grew, the major German firms came calling, and he relished not only the prestige but also the opportunity to free himself from the cumbersome domestic publishing process. He contracted with Berlin's Robert Lienau Musikverlag from 1905 to 1909 and with Leipzig's Breitkopf & Härtel from 1910 to 1918. The arrival of the First World War in 1914, however, disrupted business with Germany, and Sibelius's royalty payments had to be rerouted through neutral Denmark. Ever in debt, Sibelius churned out undistinguished, "bread-and-butter" violin duos and piano pieces for R. E. Westerlund and A. E. Lindgren, each of whom lacked the means to print the works but viewed them as shrewd investments. The end of the war brought little relief, as famine and civil war gripped newly-sovereign Finland and reparations wrecked the German economy. Breitkopf & Härtel wrote to the composer in May 1918 to express its regret that it could not accept the Fifth Symphony due to the post-war circumstances. Into the breach stepped Edition Wilhelm Hansen in Copenhagen, which directly contracted with Sibelius in 1920 and, over the next half decade, emerged as Sibelius's leading publisher. In 1926, Breitkopf & Härtel was able to resume its publishing relationship with Sibelius, although it now had to share the composer with Hansen and others. At any rate, Sibelius spent the 1930s battling with the never-realized Eighth Symphony, and by the 1940s he had drifted into quasi retirement. Following his death in 1957, many compositions remained in manuscript, and the process of publishing his works posthumously began. Over the following decades, the Sibelius family agreed to allow several first editions variously by Hansen, Breitkopf & Härtel, and Musiikki-Fazer.

Sibelius's manuscripts

The largest and most comprehensive collection of Sibelius's manuscripts is owned by the National Library of Finland at the University of Helsinki. The institution began in earnest its mission to acquire the composer's literary estate in 1970, with the purchase—from the London auction house Sotheby's—of manuscripts that had once belonged to A. E. Lindgren and, thereafter, R. E. Westerlund. The National Library's holdings ballooned (and the need for a supplemental catalogue became especially acute), however, in 1982, when the Sibelius family donated all papers still in its possession. The gift more than doubled Sibelius's catalogue: among the nearly 2,000 manuscripts were not only drafts, thematic sketches, and page proofs related to known compositions, but also hitherto unknown juvenilia. In 1991, the Finnish musicologist Kari Kilpeläinen published The Jean Sibelius Musical Manuscripts at Helsinki University Library: A Complete Catalogue, in which each manuscript received a Helsinki University Library (HUL) identifier. The JS and HUL numbering systems, moreover, are compatible; for example, Sibelius's destroyed Eighth Symphony is numbered JS 190 by Dahlström, with the surviving so-called Three Late Fragments that have been tentatively connected to the Eighth Symphony labeled as HUL 1325, HUL 1326/9, and HUL 1327/2 by Kilpeläinen. A third notable acquisition occurred shortly after Kilpeläinen published his book, when in 1997 the National Library obtained manuscripts that had belonged to Edition Wilhelm Hansen. Finally, in 2020, the institution purchased a 1,200-page collection from Robert Lienau Musikverlag. In 2021, the UNESCO National Committee of Finland inducted the National Library's Jean Sibelius Musical Manuscripts into the country's Memory of the World Register, describing it as a "carefully nurtured national cultural treasure ... [that] has crucially expanded and shaped the image of how Sibelius composed and produced his works". Within Finland, additional manuscripts are held by the Sibelius Museum at Åbo Akademi University in Turku, the Sibelius Academy (the composer's alma mater, formerly the Helsinki Music Institute), the Helsinki Philharmonic Orchestra (which premiered most of his orchestral works), and the National Archives of Finland. It is not legally possible to export Sibelius's manuscripts from Finland without permission, which in any case the Finnish authorities would probably not give. Outside of Finland, Breitkopf & Härtel possesses the most notable collection of Sibelius manuscripts.

Notable surveys of the oeuvre

In addition to Dahlström's comprehensive 2003 book, two additional surveys of Sibelius's oeuvre are of note. First, an ongoing collaborative project involving the National Library, Breitkopf & Härtel, and the Sibelius Society of Finland is the publication of the Jean Sibelius Works (JSW) critical edition, the text-critical approach of which utilizes "Sibelius's autograph musical manuscripts, copies made of them, instrumental parts, as well as first editions and their proofs ... the composer's correspondence, his diary, scribes' receipts, publishers' accounts, and newspaper reviews". Began in 1996, the JSW is projected at 52–60 volumes and will cover all of Sibelius's completed compositions (and arrangements), many of which remain in manuscript and, therefore, will receive first editions. The current editor-in-chief is the Finnish musicologist Timo Virtanen. A second important survey is The Sibelius Edition recording project by the Swedish label BIS, for which the Sibelius biographer Andrew Barnett served as project advisor. Released from 2007 to 2011, this 13-volume series, which sought to record every surviving "note [Sibelius] put down to paper", comprises 80+ hours of music over 68 discs and also includes the original versions of works the composer revised.

Table of compositions

The table below is a complete list of works by Jean Sibelius, compiled with reference to two sources: first, Dahlström's 2003 Jean Sibelius: A Thematic Bibliographic Index of His Works; and second, the track listings for all 13 volumes of BIS's The Sibelius Edition. The table contains six sortable parameters: genre, title, year of composition, catalogue number (either Op. or JS), instrumentation, and text author (if applicable). The default ordering is, first, by genre and, second, by year of composition. Finally, to aid visualization, the table is divided into color-coded subsections, as follows: {| class="wikitable sortable sticky-header" style="margin-right: 0; font-size: 95%" ! scope="col" | Genre ! scope="col" | Title ! scope="col" | Year(s) composed ! scope="col" | Catalogue ! scope="col" | Instrumentation ! scope="col" | Text ! scope="col" class="unsortable" style="width:3.5em" | Notes

Orchestral works

1. Introduction (Johdanto). Allegro moderato
2. Kullervo's Youth (Kullervon nuoruus). Grave
3. Kullervo and His Sister (Kullervo ja hänen sisarensa). Allegro vivace
4. Kullervo Goes to War (Kullervon sotaanlähtö). Alla marcia
5. Kullervo's Death (Kullervon kuolema). Andante
6. Andante, ma non troppo – Allegro energico
7. Andante (ma non troppo lento)
8. Scherzo. Allegro
9. Finale (Quasi una fantasia). Andante – Allegro molto
10. Allegretto
11. Tempo andante, ma rubato
12. Vivacissimo –
13. Finale. Allegro moderato
14. Allegro moderato
15. Andantino con moto, quasi allegretto
16. Moderato – Allegro (ma non tanto)
17. Tempo molto moderato, quasi adagio
18. Allegro molto vivace
19. Il tempo largo
20. Allegro
21. Tempo molto moderato – Allegro moderato
22. Andante mosso, quasi allegretto
23. Allegro molto – Largamente assai
24. Allegro molto moderato
25. Allegretto moderato
26. Poco vivace
27. Allegro molto
28. Allegro moderato
29. Adagio di molto
30. Allegro (ma non tanto) (a) At the Seashore (På stranded vid havet)

Chamber works

1. Moderato quasi andantino – Cantabile – Recitativo
2. Prestissimo
3. Largo
4. Andantino
5. Allegretto
6. Allegro – Più vivo quasi Presto – Allegro con fuoco – [Moderato]
7. Adagio – Più adagio
8. Grave – Adagio
9. Grave – Allegro
10. Intermezzo. Moderato
11. Andante
12. Scherzo. Vivacissimo
13. Moderato – Vivace
14. Andante molto – Allegro moderato
15. Adagio
16. Menuetto
17. Grave – Rondo. Vivacissimo
18. Allegro
19. Andante molto
20. Scherzo. Allegretto
21. Vivace
22. Andante – Allegro
23. Adagio ma non tanto
24. Vivace
25. Allegro
26. Allegro
27. Andante sostenuto
28. Presto
29. Allegro
30. Andante – Allegro molto moderato
31. Vivace
32. Adagio di molto
33. Allegretto (ma pesante)
34. Allegro
35. Andante – Allegro
36. Adagio
37. Vivace
38. Allegro con brio
39. Andante
40. Menuetto
41. Allegro maestoso
42. Andantino
43. Scherzo. Vivace
44. Rondo
45. Allegro moderato
46. Fantasia. Andante – Andantino –
47. Finale. Vivace
48. Allegro
49. Andante
50. Lento – Allegro con brio
51. Prélude. Vivace
52. Andante con moto
53. Menuetto
54. Air. Andante sostenuto
55. Gigue. Allegretto
56. Un poco lento – Più mosso quasi presto
57. Andantino
58. Tempo di menuetto
59. Rondo. Presto
60. Un poco adagio – Andante
61. Vivace
62. Andantino
63. Vivacissimo
64. Moderato
65. Quasi presto
66. Allegro molto moderato – Quasi adagio
67. Allegro molto
68. Più lento quasi andantino
69. Allegro brillante
70. [Allegro]
71. Andante
72. Vivace
73. Moderato
74. Tempo di valse moderato
75. Alla polacca
76. Alla marcia –
77. Leggiero
78. Lento – Allegro
79. Andantino
80. Lento – Allegretto
81. Allegro moderato
82. Adagio di molto
83. Allegro (ma non tanto)

Works for solo instrument

1. Moderato
2. Molto moderato
3. Andante
4. Tempo I
5. Allegro molto
6. Andantino
7. Vivacissimo
8. Largamente – Allegro
9. Andantino
10. Comodo
11. Allegro
12. Largo
13. Allegro moderato
14. Allegro
15. Andantino
16. Allegro
17. Andante – Allegro moderato
18. Andante – Allegretto

Songs

Choral works

• "Credo in unum Deum" [versions 1–2] ("I Believe in One God") • "Allt hvad anda hafver" [versions 1–2] ("Let Every Thing that Hath Breath") • "Gloria Deo in excelsis" [versions 1–2] ("Glory Be to God on High") • "Kyrie eleison" ("Lord, Have Mercy") • "Säll är den som fruktar Herren" ("Blessed is the Man Who Feareth the Lord") • "Morgonens och aftonens portar" ("The Gates of Morning and Evening") • "Svara mig Gud när jag ropar" ("O Lord, Give Ear to My Supplications") • "Der König träumte" ("The King Saw a Dream") • "Der Mensch ist in seinem Leben wie Gras" ("As for Man, His Days are as Grass") • "Die Toten werden dich, Herr, nicht loben" ("The Dead Praise Not the Lord") • "Die Wasser sahen dich" ("The Waters Saw Thee") • "Er ist unser Herrscher" [versions 1–3] ("He Is Our Sovereign") • "Gelobet sei dem Herrn" ("May the Lord Be Praised") • "Halleluja Halleluja" • "Halleluja Amen" • "Herr Gott, mein Heiland" [versions 1–4] ("O Lord God of My Salvation") • "Ich gehe hinein zum Altar des Gottes" ("Then Will I Go unto the Alter of God") • "Ich will deines Namens gedenken" ("I Will Make Thy Name Remembered") • "Mein Herr, ich rufe dich an" [versions 1–2] ("My Lord, I Call upon You") • "[Gott] Sei mir gnädig" [versions 1–2] ("Be Merciful unto Me") • "Sende dein Licht und deine Wahrheit" ("O Send Out Thy Light and Thy Truth") • "Dies ist der Tag des Herren" ("This is the Day which the Lord Hath Made") • "Was betrübst du dich meine Seele" ("Why Art Thou Cast Down, O My Soul?") (b) "Tuule, tuuli, leppeämmin" ("Blow, Wind, More Gently")

1. "Ecce novum gaudium" ("Behold a New Joy")
2. "Angelus emittitur" ("An Angel is Sent Out")
3. "In stadio laboris" ("In Athletic Strife") V.A. Koskenniemi (1940)
4. "Ecce novum gaudium" ("Behold a New Joy")
5. "Angelus emittitur" ("An Angel is Sent Out")
6. "In stadio laboris" ("In Athletic Strife")

Preliminary versions and fragments

Notes, references, and sources

Sources