Sibelius’s only balletic pantomime, Scaramouche, composed in 1913, remains one of his least-known works, even though it is one of his longest dramatic scores and belongs to his period of compositional re-evaluation. This article explores the pantomime in the context of its first production, performed in 1922 in Denmark and 1924 in Sweden. It argues that the pantomime’s reception both illuminates the importance of dance as a formative ‘modern’ genre within the Nordic countries during this period, and demonstrates that the score is defined by stylistic plurality, which was key to its theatrical success. The article calls for increased musicological attention to Nordic theatrical music, a genre that was extremely popular among early twentieth-century Nordic composers. It provided musicians with musical spaces that were more liberating than the concert hall or the opera house for the purposes of cultivating their musical language.

中文翻译：

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Scaramouche，Scaramouche：舞台上的西贝柳斯

西贝柳斯唯一的芭蕾舞哑剧，斯卡拉穆什创作于 1913 年，尽管这是他最长的戏剧作品之一，并且属于他的作曲重新评估时期，但它仍然是他最不为人知的作品之一。本文探讨哑剧的第一部作品，该作品于 1922 年在丹麦上演，1924 年在瑞典上演。它认为哑剧的受欢迎程度既说明了舞蹈在这一时期作为一种形成性的“现代”流派在北欧国家中的重要性，也表明该乐谱是由风格多元化定义的，这是其戏剧成功的关键。这篇文章呼吁增加对北欧戏剧音乐的音乐学关注，这是一种在 20 世纪早期北欧作曲家中非常流行的流派。