Sibelius’ “Valse triste”: A Fleeting Dream-Vision

Described in an early review as “evocative of a fleeting dream-vision,” Jean Sibelius’ Valse triste (“Sad Waltz”), Op. 44 was originally conceived as incidental music. It accompanied a haunting scene from the 1903 Symbolist play, Kuolema (“Death”), by the composer’s brother-in-law, Arvid Järnefelt. A program note from the original production offers the following description:

It is night. The son, who has been watching beside the bedside of his sick mother, has fallen asleep from sheer weariness. Gradually, a ruddy light is diffused through the room: there is a sound of distant music: the glow and the music steal nearer until the strains of a valse melody float distantly to our ears. The sleeping mother awakens, rises from her bed and, in her long white garment, which takes the semblance of a ball dress, begins to move silently and slowly to and fro. She waves her hands and beckons in time to the music, as though she were summoning a crowd of invisible guests. And now they appear, these strange visionary couples, turning and gliding to an unearthly valse rhythm. The dying woman mingles with the dancers; she strives to make them look into her eyes, but the shadowy guests one and all avoid her glance. Then she seems to sink exhausted on her bed and the music breaks off. Presently she gathers all her strength and invokes the dance once more, with more energetic gestures than before. Back come the shadowy dancers, gyrating in a wild, mad rhythm. The weird gaiety reaches a climax; there is a knock at the door, which flies wide open; the mother utters a despairing cry; the spectral guests vanish; the music dies away. Death stands on the threshold.

As the brief waltz unfolds, the strings rarely rise above an eerie whisper. Phrases evade resolution and deliver harmonic surprises akin to a shapeshifting ghost. The final bars fade into the intimate voices of a string quartet.

Sibelius considered the piece to be trivial, and relinquished the rights for a small fee. Valse triste captivated audiences as a concert piece, to the financial benefit of the publisher.

Recordings

  • Sibelius: Valse triste, Op. 44, Paavo Berglund, Bournemouth Symphony Orchestra Amazon

About Timothy Judd

A native of Upstate New York, Timothy Judd has been a member of the Richmond Symphony violin section since 2001. He is a graduate of the Eastman School of Music where he earned the degrees Bachelor of Music and Master of Music, studying with world renowned Ukrainian-American violinist Oleh Krysa.

The son of public school music educators, Timothy Judd began violin lessons at the age of four through Eastman’s Community Education Division. He was a student of Anastasia Jempelis, one of the earliest champions of the Suzuki method in the United States.

A passionate teacher, Mr. Judd has maintained a private violin studio in the Richmond area since 2002 and has been active coaching chamber music and numerous youth orchestra sectionals.

In his free time, Timothy Judd enjoys working out with Richmond’s popular SEAL Team Physical Training program.

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