The coordination of tonal, modal and “modernistic” elements in Il tempo largo from Sibelius’s Fourth Symphony: A Schenkerian view

Abstract

This study argues that the overall progression in Il tempo largo embodies an
archetypal tonal background, the 5 -Ursatz in C-sharp minor (Ex. 6), whereas modal
and “modernistic” features emerge locally within this background. At the opening,
“modernism” results from a complex chromatic transformation of a tonal model, an
auxiliary cadence to A major (Ex. 2). The modal episodes involve the cancellation of tonal tensions, first temporarily through the ingenious reinterpretation of the V7
that supports Urlinie 4, and then permanently to mark the closing 1 (Ex. 4). The
expressive significance of the modal and “modernistic” elements is discussed,
observing how such significance is highlighted rather than impaired by the tonal
background. Finally, the first movement of the Sixth Symphony is briefly discussed
to demonstrate that modality may operate in Sibelius’s music even without a tonal
background.