One of the greatest of Scandinavian composers and a truly original figure in twentieth-century music, Jean Sibelius (1865–1957) put his native country — Finland — on the musical map. According to Grove's Dictionary of Music and Musicians, he was "in the fullest sense of the term a musical patriot [who] enriched Finnish music, both officially and spontaneously, with a large number of works likely to form Finland's national art treasures." Like the composer's other symphonic music, the Fifth Symphony is entirely personal in content and form, taking on its character from the composer's life experiences, and distinguished by a simplicity and lucidity that have made it one of Sibelius's most popular works. Neither "deliberately modern nor studiedly archaic," notes Grove's, "it is simply, in its most characteristic manifestations, unlike any other music."
Sibelius may well have experienced this world as nothing more than a vale of tears, but his 5th emerged from that twilit soul of his like a brief vision of some almost attainable other place. Radiant and pure, it is a lone ray of sunlight piercing through a small gap in life’s layers of darkening overcast, a view across a shimmering lake, distant swans flying high above. It is one of my absolute favourite pieces of music. The extraordinary closing 5 minutes are so beautiful it hurts.
History says, don’t hope On this side of the grave. But then, once in a lifetime The longed-for tidal wave Of justice can rise up, And hope and history rhyme.
So hope for a great sea-change On the far side of revenge. Believe that a farther shore Is reachable from here. Believe in miracles And cures and healing wells.
Call miracle self-healing: The utter, self-revealing Double-take of feeling. If there’s fire on the mountain And lightning and storm And a god speaks from the sky
That means someone is hearing The outcry and the birth-cry Of new life at its term. It means once in a lifetime That justice can rise up And hope and history rhyme.