A SONG for PEACE (“DIO delle Nazioni”)

Description

Concert piece from the symphonic poem Finlandia, Op. 26

by Jean Sibelius

arr. Picarband

It is a famous theme from the symphonic poem Finlandia, Op. 26, by Finnish composer Jean Sibelius (1865-1957). The melody became a symbol of Finland’s struggle for independence from Russia and was inspired by the patriotic text by poet Veikko Antero Koskenniemi in 1941.

The proposal was immediately considered a sort of unofficial national anthem, a call for independence, solemn and at times sad, but ultimately revealing signs of hope.

The proposed transcription for band opens with musical phrases charged with a melancholy harmony, composed of alternating sections. In dialogue, this first instrumental ensemble describes the indignation of the oppressed population, underscored by some interventions from the percussion.

A rising motif follows, opening onto a new theme—that of commitment, reaction, and hope. The sounds become more robust and proudly lead to various cadences, and the thematic development gradually becomes more engaging, with more robust chords, sforzatos, and martial blasts that lead to a first suspended coda.

Signifying that the path to achieving PEACE is always fraught with uncertainties and difficulties.

At this point, a modulating cadence moves from piano to forte, using four chords played by the entire ensemble, before gently and progressively gliding toward a second coda in the major key, inviting the vocal entrance of the well-known theme from the symphonic poem FINLAND.

This part can be performed with a solo voice (even microphoned) or with equal or mixed voices, i.e., a CHORUS prepared to sing in unison, with the possibility of splitting into various voices at will at the finale, as suggested in the score.

The text I have prepared is in both Italian and English, the latter of which I have translated and adapted to the melodic line chosen for this band adaptation.

We then arrive at the famous section called “Hymn to Finland,” which I propose chorally with an inviting “GOD of the Nations.” The passionate melody is accompanied by the reed sections with balanced brass interventions.

The melancholy and majestic lyricism of this section culminates with the entrance of the entire band: the melodic development, presented thus far, now takes on greater intensity and radiance, offering a glimpse of hope for a bright future of freedom.

At the final diminuendo, I have allowed myself to add a coda with the choral voices dividing to form a chord of auspiciousness, of invocation and peaceful stability, necessary in this rather tormented humanity, in search of good harmony.

Indeed, the final chordal notes, to be performed plainly with the instruments and choral voices, are intended to be an example, a wish for an “all together” of good will toward a longed-for tranquility to be extended throughout the world.

A SONG for PEACE, to be performed with thoughts turned to our GOD of Nations.

Carlo Pirola

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