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The Finnish composer Jean Sibelius (1865–1957) wrote over 550 original works during his eight-decade artistic career. [1] This began around 1875 with a short miniature for violin and cello called Water Droplets (Vattendroppar), [2] 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 ...
Concertante works by Jean Sibelius (1 C, 5 P) I. Incidental music by Jean Sibelius (12 P) M. Melodramas by Jean Sibelius (3 P) O. Operas by Jean Sibelius (2 P)
This is a list of musical compositions or pieces of music that have unusual time signatures. "Unusual" is here defined to be any time signature other than simple time signatures with top numerals of 2, 3, or 4 and bottom numerals of 2, 4, or 8, and compound time signatures with top numerals of 6, 9, or 12 and bottom numerals 4, 8, or 16.
Jean Sibelius (/ s ɪ ˈ b eɪ l i ə s /; Finland Swedish: [siˈbeːliʉs] ⓘ; born Johan Julius Christian Sibelius; [1] 8 December 1865 – 20 September 1957) was a Finnish composer of the late Romantic and early modern periods.
The Six Songs, Op. 36, [a] is a collection of Swedish-language art songs for vocal soloist and piano written from 1899 to 1900 by the Finnish composer Jean Sibelius. [b] As a group, Op. 36 is Sibelius's most popular song set; indeed, "Svarta rosor" is arguably the best-known song in his entire oeuvre. [3] " Säv, säv, susa", too, is oft ...
The Six Songs, Op. 50, [a] is a collection of German-language art songs for vocal soloist and piano written in 1906 by the Finnish composer Jean Sibelius. " Die stille Stadt " ("The Silent City") generally is considered the best of the set.
Pages in category "Concertante works by Jean Sibelius" The following 5 pages are in this category, out of 5 total. This list may not reflect recent changes. S.
The Six Humoresques, Opp. 87 and 89, [a] are concertante compositions for violin and orchestra written from 1917 to 1918 by the Finnish composer Jean Sibelius.Despite spanning two opus numbers (due to publishing technicalities), the composer—who originally considered calling the humoresques impromptus or lyrical dances—intended them as a suite.