The Piano Trio in C (1888) was composed for the Sibelius family trio, consisting of Jean, his brother Christian and sister Linda. It is nicknamed the "Lovisa Trio" after its place of birth. The first movement, Allegro, is predominantly bright and bold, displaying (according to the notes), march-like themes which were to occupy Sibelius' music in the 1890s. I particularly enjoy this movement, especially as delivered here in bright and forward atmosphere by the performers. A dreamy Andante follows, and then the confident and cheery Allegro con brio.

The 5½-minute Fugue for Martin Wegelius (derived from Sibelius' title "Fuga for Martin W") was understandably thought by scholars as a piece for the composer's teacher, but turned out to be a sketch for the finale of his (Sibelius') A minor String Quartet. A powerfully wrought sketch this is, dark-toned but energetic in its unrelenting momentum, all adding to a distinct sense of progressive development - as a fugue should be.

The quiet musings of the Duo in C major (?1891-2, or as Sibelius noted "1886?") is almost startling in its relaxed concentration. For an unbroken 5½ minutes, the lullabying duet of violin and cello converse quietly in a fine example of concentrated music which does not tax the mind.

The 11-minute Adagio in D minor (1890) is believed to have been originally intended to be the slow movement of Sibelius' B major String Quartet. With its shifting harmonies, interweaving lines and overal sense of organic movement and fusion, it already shows the hallmarks of Sibelius' later styles. In it one can hear the embryonic ghosts of the Rakastava Suite (1893, orch. 1911) as well as the melancholia of so many of the composer's slow symphonic movements. It is emotional in character, yes, but I also hear something decidedly more calculated, more "architectural" than pure/lyric Romanticism. This perhaps is the mark which distinguishes Sibelius as more than just a "Romantic" - it is only the beginning for one of the 20th century's greatest symphonic thinkers.

Even as a boy, Sibelius immersed himself in the embrace of nature, chasing butterflies through the grass, taking frequent nature walks and "explaining" to his friends the sprites, goblins and other fairy creatures that live in the forests. Gifted with perfect pitch, Sibelius could even tell exactly what notes the birds were singing.

At around age 10, he composed his first piece of music, Vattendroppar or "Water Drops", scored for violin and cello pizzicato. Remarkably for a kid's first work, it is in a minor key.

All praise to Ondine for possessing the ironic sense to place this - the first utterance of a great composer - at the end of this survey of Sibelius' early chamber music. This tiny 44-second work humbly hints of and ultimately signifies the tremendous future of Mother Nature's greatest tone-poet:

It is snowing outside - but spring is already showing its face. Nature is coming to life: that life which I so love, now and always, whose essence shall pervade everything which I compose.

The Symphonies
The First Symphony An Inktroduction
The First Symphony Survey of Recordings

The Fifth Symphony An Inktroduction
The Fifth Symphony Survey of Recordings

The Seventh Symphony An Inktroduction
The Seventh Symphony Survey of Recordings

Lahti/Vänskä Cycle: Nos.1 & 4 | 2 & 3 | 5 & 5 | 6 & 7, Tapiola

The Bournemouth Symphony/Berglund Cycle (1970s)

Iceland/Sakari Cycle: Nos. 1 & 3 | 2 | 4 & 5 | 6 & 7 | Four Legends

More Symphonies reviews at the Inkvault

Kullervo This Way Lies the Future: An Inktroduction with further links

The Violin Concerto Original and Final Versions on BIS