Sibelius is the master of northern mists, melodies of austere simplicity, and dark timbres. In The Swan of Tuonela he paints an image of a mystical bird swimming the rivers of the land of death, the hell of Finnish mythology, whilst in En Saga, the story is just that of the music itself – an expression of a state of mind, the themes undergoing complex transformations. Rautavaara’s two Serenades are steeped in nostalgic reflection. The solo violin explores themes of love and life with yearning lines that swirl and soar over a gentle orchestral background. Adès’ single-movement journey maintains an almost constant mood throughout, not dissimilar to many of Sibelius’ own tone poems. Constantly changing harmonic colours are further enhanced by a shifting orchestral palette, conjuring the feeling of air itself. Sibelius’ last symphony shines with a unique radiance – a work of great confidence and affirmation. The culmination of a lifetime of work in the direction of concision, compression and organic unity within symphonic form, it is more a sort of giant rondo. Comprising one seamless tapestry of interrelated motifs, it builds from a few melodic scraps towards a final upward sweep and trombone hymn that seems to reach out to infinity.
Listen to Thomas on BBC Radio Four’s This Cultural Life where he talks about the influence his family had on him, and the moment he decided to pursue music as a composer rather than a pianist.