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          FIN [1865-1957]Group: Anti-modernism, National Short description: Natural, forest, national. Calls Wagner pompous and vulgar. Sibelius progressively stripped away formal markers of sonata form in his work and, instead of contrasting multiple themes, he focused on the idea of continuously evolving cells and fragments culminating in a grand statement. His later works are remarkable for their sense of unbroken development, progressing by means of thematic permutations and derivations. Self-contained structure is in stark contrast to the symphonic style of Gustav Mahler. While thematic variation played a major role in the works of both composers, Mahler style made use of disjunct, abruptly changing and contrasting themes, while Sibelius sought to slowly transform thematic elements. Severity of symphonic style and the profound logic that created an inner connection between all the motifs. Similarities to Bruckner: unmixed timbral palette and sombre brass chorales of Sibelius orchestration, a fondness for pedal points, and in the underlying slow pace of the music. New chord patterns, including naked tritones, bare melodic structures to build long movements of music, in a manner similar to Joseph Haydn use of built-in dissonances. Often alternate melodic sections with noble brass chords that would swell and fade away, or he would underpin his music with repeating figures which push against the melody and counter-melody. Melodies often feature powerful modal implications (Dorian mode in Symphony 6). Influence of Renaissance polyphony. Often varied his movements in a piece by changing the note values of melodies, rather than the conventional change of tempi. Often draw out one melody over a number of notes, while playing a different melody in shorter rhythm. For example, his Seventh Symphony comprises four originally sketched movements fused into telescopical and partly parallel functions without pause, where every important theme is in C major or C minor; the variation comes from the time and rhythm. His harmonic language was often restrained, even iconoclastic, compared to many of his contemporaries who were already experimenting with musical Modernism. Celestial timbres.  Played 60 of 35 tracks for this composer (total 1405 answers). Played blocks map:
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