'''Symphony No. 5 in E flat major''', op. 82  is a major work for orchestra in three movements by Jean Sibelius.

== History ==
Sibelius was commissioned to write the symphony by the Finnish government in honour of his 50th birthday, which had been pronounced a national holiday in Finland. It was originally composed in 1915 but revised in 1916 and again in 1919.  The first version was premiered by Sibelius himself with the Helsinki City Orchestra on his own 50th birthday, 8 December 1915.  The second version (only part of which has survived) was first performed by the Orchestra of Turun Soitannollinen Seura in Turku exactly one year later.  The final version, which is the most commonly performed today, was premiered by Sibelius with the Helsinki City Orchestra on 24 November 1919.  The first recording was made by Robert Kajanus with the London Symphony Orchestra for the HMV label in 1932. 

The Schoenberg continued pushing for more dissonant and chromatic harmonies in his Five Pieces for Orchestra, Op. 16; from Petrushka'', and ''Ravel and Debussy were at work developing and performing their Impressionistic forms; and in Fourth Symphony and, as James Hepokoski remarks, the composer “was beginning to sense his own eclipse as a contending modernist.” 

These events brought Sibelius to a crisis point in his career. It forced him to choose between changing his style to fill the more modern desires of audiences or continue composing as he felt best fit. The first version of his symphony kept his orchestral style (consonant sonorities, woodwind lines in parallel thirds, rich melodic development, etc.) while further developing his structural style. Hepokoski calls this structural development “sonata deformation” or the change and development of sonata form itself. The success of this change can be seen in the popularity of the Fifth Symphony across Europe throughout the war years and worldwide into the present day.

== Instrumentation ==
The symphony is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 french horns, 3 trumpets, 3 trombones, timpani and strings.

==Structure==
This symphony is unusual in its structure:

# Tempo molto moderato - Allegro moderato (ma poco a poco stretto) - Vivace molto - Presto - Più Presto
# Andante mosso, quasi allegretto - Poco a poco stretto - Tranquillo - Poco a poco stretto - Ritenuto al tempo I'''
# Allegro molto - Misterioso - Un pochettino largamente - Largamente assai - Un pochettino stretto'''

The form of the symphony is symmetrical when it comes to tempo: the first movement starts in a slow tempo but ends with the fast "scherzo". The second movement is neither really a slow movement, nor fast; it forms a calm "intermezzo". Then follows the third movement, which begins in a fast tempo but ends slowly. The duration is approximately 32 minutes.

== First movement ==

Sibelius had originally intended this to be two separate movements, but manages to link the slower introduction with the faster, waltz-like "scherzo" section to create a single form. The movement opens with a "horn call", containing much of the musical material of the work. 

Though written in Hepokoski (expositions, how to functionally describe the Trio, and the exact location of the beginning of the recapitulation and coda.

=== Differing analytical views ===
Gray, the first musicologist to write on the structure of the Fifth Symphony, makes no mention of development of this material. He explains the distinctly melodic section beginning at the ‘’Allegro moderato’’ as a Scherzo and Trio used as a substitute for the second half of the development. However, Layton disagrees with Abraham and considers the Scherzo to be the beginning of the recapitulation.

Most musicologists agreed with this formal analysis until Hepokoski's research, published in his 1993 text ‘’Sibelius: Symphony No. 5’’, offered an altogether different interpretation. He explains that the Symphony can only be analyzed in terms of what he has called “rotational form.”  Here, he maintains the same divisional sections of the movement – double exposition, Scherzo, and recapitulation – however he has created new vocabulary for its analysis. Hepokoski shows how Sibelius allows the material itself to determine form in many of his works, developing by the necessity of the music and not by a pre-ordained eighteenth or nineteenth century form. From here, Sibelius uses a circular form of rotation or strophe that passes through sections of material, further developing it with each rotation. Through this he maintains the general location of sectional changes as described by the earlier musicologists and agrees that the movement can roughly be analyzed in sonata form.

==== Fusion of movements ====
The first analytical point at which musicologists have disagreed is how to confront the clear separation of the first movement of Sibelius's Symphony No. 5 into two parts. In fact, in the first two versions of the work, Sibelius grouped his symphony into four movements with the ''Allegro moderato'' section of what is now the first movement separated to form a Scherzo movement. In the final 1919 version, the character changes at this point with what Gray describes as “superficial dissimilarity and independence of each other.”   Earlier musicologists like Parmet analyzed the movement as two separate parts while Gray stressed the separateness of these sections while acknowledging their coexistence in one movement. They did so because of the clear meter change from 12/8 to 3/4. Furthermore, after this meter change, where rehearsal letters should continue from N to the end of the alphabet, they return back to A, thus showing a clear sign for a beginning of a new movement at this point.

More recent musicologists however disagree with this separation into two movements on the basis that both sections are based on the same material and in combination allow for analysis in sonata form. Abraham cites as precedent the fusion of these sections in Sibelius's Symphony No. 2 and Symphony No. 3 where the Scherzo and Finale movements have been combined into one. Notationally there is source for this fusion as well. Though there is a change in meter at measure 114, the tempo and compound division of the beat do not change: four measures of the 3/4 ''Allegro moderato'' correspond to one measure of the previous section. The gradual accelerando, which begins at the end (the climax) of the opening ''Tempo molto moderato'' and which leads into the ''Allegro moderato'' Scherzo, continues uninterrupted to the end of the movement; indeed, without access to a score, it is difficult for the listener to identify exactly where the Scherzo section begins. Most importantly, the clear use and development of the same materials throughout indicate that this is indeed one movement. In fact, Sibelius himself most likely thought of it as one movement as he published and performed the first movement of his final 1919 version without break.

シベリウスの'''交響曲第5番''' 変ホ長調 作品82は、1915年に完成した交響曲。

==作曲の経緯==
この交響曲は1914年の秋には計画されていた。翌年の1915年はシベリウスの生誕50年にあたり、記念行事の中心に祝賀演奏会が行われることになり、その演奏会で初演される交響曲として作曲されたのである。同じ頃に交響曲第6番、第7番の楽想も着想されたが、記念演奏会という目的が定められたこの作品が優先して作曲された。この交響曲を作曲中の1915年4月、散歩の途中で近づいてくる春の気配にこの交響曲のインスピレーションを得たことを書き記している。

この作品の作曲中に第一次世界大戦が勃発し、国全体が経済的に困窮した。シベリウス自身も生活のため出版者の要求に応えて歌曲やピアノ曲を作曲せざるをえず、交響曲の作曲ははかどらなくなった。彼自身「ともかく現実的な仕事が先だ」と書いている。こうした停滞はあったものの、予定されていた1915年12月8日のコンサートには間に合わせることができた。初演はシベリウス自身の指揮により行われ、大成功を収めた。

しかし作曲者は満足しておらず、翌1916年の秋に改訂を行い、初版初演の1年後の誕生日である12月8日トゥルクにおいて自らの指揮で改訂稿の初演を行った。さらなる改訂を1917年に着手するが、フィンランド独立宣言前後の政情不安を避け避難するなどして、改訂の筆は進まなかった。第2改訂稿が完成したのは1919年秋になってからで、この年の11月24日ヘルシンキで作曲者自身により演奏された。結局、この稿が決定稿となり、この作品は最終稿に基づき演奏されるのが通例である。

==作品の概要==
===出版===
1921年コペンハーゲン、ハンセン社

===楽器編成===
フルート2、オーボエ2、クラリネット2、ファゴット2、ホルン4、トランペット3、トロンボーン3、ティンパニ、弦楽五部