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 along the seashore

 
 
 
During a span of 30 years, Sibelius undertook altogether five journeys to Italy, among which the extensive sojourn in Rapallo in the spring of 1901 proved to be the most creative to his artistic work: he composed the Symphony No. 2 in D major, Op. 43, that is his most performed symphony. During this trip, his wife Aino, and his daughters Eva and Ruth had joined him, and they lived together at "Pension Suisse" at Rapallo.
Sibelius wrote to his friend Axel Carpelan about his first impressions on 4th February 1901:

‘Finally I have found a resort by the Mediterranean, a garden full of roses in bloom, camellias, plane trees, cypresses, palms and almond trees in bloom; oranges, lemons, mandarins...᾿.
 
The Second Symphony had at an early staged been sketched like a five-movement composition, but also like a festive piece featuring Don Juan. But it ended up like a four-movement symphony, without any programme. Sibelius᾿ granddaughter Satu Jalas has stressed the classical, central European aspect of the overall musical language.
 
In Finland, many listeners didn᾿t accept the idea of the Symphony No. 2 (1901–02) being absolute music: the monumental symphonic waves of phrases in D minor of the finale, ultimately ending up in triumphant D major were thought of as a political allegory, depicting Finland᾿s fight for independence under the Russian Czarist empire. These particular years around the turn of the century were called "The years of oppression", because the Russians tried to suppress autonomous laws in Finland, aiming at integrating Finland totally as a Russian area. As we know, the Czarist regime collapsed in 1917, and the Bolshevik leader Vladimir Lenin was urged to sign Finland᾿s independence the same year.
 
In this process, Sibelius᾿s music had a strong function, strengthening an independent Finnish profile. The famous patriotic orchestral piece Finlandia (1899–1900) also served this purpose.
 
 
 

and scent of violets in the forests

 

Sibelius enjoyed the Ligurian landscapes, and he reported home about his walks of discovery in a letter on 6th March 1901, again to Baron Carpelan:

‘Right now it is the time of violets – in the forests you feel the scent of them. I have been to the surroundings of Rapallo, to Sta Marguerita, Sta Miguela and Portofino, where the wonderful blue, sun lightened Mediterranean is garlanded by flowers. Sorry that you can᾿t be here to enjoy with me all the beauty given by the nature. Above all the walk from here to Zoagli and Chiavari – one of the most beautiful parts of Italy. The road follows the sea shore.᾿
 
Axel Carpelan was an important friend for Sibelius, the only one he really liked write to. Carpelan indeed, made possible the 1901's travel covering its expenses.
 
Like in real life, Sibelius᾿s music contains dark shadows alternating with the most amazing, optimistic melodies in major – for example in his famous waltz Valse triste (1903–04). Sibelius is supposed to have enjoyed Italian melodies – he made choral settings of the cheerful Napolitan canzonas Oje Carulì and Trippole trappole (1897–98). Travelling home from Rapallo, he took the opportunity to meet with  Pietro Mascagni in Wien.
 
Alas, Sibelius did never conclude his Symphony No. 8, which has been a topic of many speculations, but his ultimate major symphonic poem Tapiola, Op. 112, he composed during his last trip to Italy in 1926, mainly in Rome and Capri shows again some mediterranean lights. As the title suggests, however, the connection with finnish climate and legend is really strong and cover the whole piece. The composer notes in the score a quartain to explain the program:
 
 
"Widespread they stand, the Northland's dusky forests,
ancient, mysterious, brooding savage dreams;
within them dwells the Forest's mighty God,
and wood-sprites in the gloom weave magic secrets."
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