Sibelius in 1918, the year in which he first conceived of the work which became the Seventh Symphony.
The Symphony No. 7 in C major, Op. 105, was the final published symphony of Jean Sibelius. Completed in 1924, the Seventh is notable for being a one-movement symphony, in contrast to the standard symphonic formula of four movements. It has been described as “completely original in form, subtle in its handling of tempi, individual in its treatment of key and wholly organic in growth”  and “Sibelius’s most remarkable compositional achievement”.
After Sibelius finished its composition on March 2, 1924, the work was premiered in Stockholm on March 24 as Fantasia sinfonica No. 1, a “symphonic fantasy”. The composer was apparently undecided on what name to give the piece, and only granted it status as a symphony after some deliberation. For its publication on February 25, 1925, the score was titled “Symphony No. 7 (in one movement)”.
The form of the Seventh symphony is startlingly original. Since the time of Joseph Haydn, a movement in a symphony would typically be unified by an approximately constant tempo and would attain variety by use of contrasting themes in different keys. Sibelius turned this scheme on its head. The Seventh symphony is unified by the key of C (every significant passage in the work is in C major or C minor), and variety is achieved by an almost constantly changing tempo, as well as by contrasts of mode, articulation and texture. Sibelius had done something similar in the Fifth symphony‘s first movement, which combines elements of a standard symphonic first movement with a faster scherzo. However, the Seventh symphony contains much wider variety within one movement.
*Adagio – Poco a poco meno lento al … (bb. 222-257) *Allegro molto moderato – Un pochett. affrettando (bb. 258-285)
*Allegro moderato – Poco a poco meno moderato (bb. 286-408) *Vivace (bb. 409-448) *Presto – Poco a poco rallentando al … (bb. 449-475) *Adagio (bb. 476-495)
*Largamente molto – Affettuoso (bb. 496-521)