Sibelian Formal Principles in the First Movement of Malcolm Arnold’s Fifth Symphony

Malcolm Arnold’s symphonies have persistently divided critical opinion because of their problematic relationship with traditional genre expectations. This is especially the case in works that eschew sonata-style tonal conflicts and formal markers in favour of theme- and timbre-driven processes. In these respects, Sibelius, rather than members of the Austro-German symphonic tradition, was an important model for Arnold’s individual approach to symphonic composition. This article applies four formal principles (content-based forms, teleological genesis, rotational form and klang meditation), which James Hepokoski has explicitly identified with Sibelius’s later symphonic style, to the first movement of Arnold’s Fifth – one of his most admired and yet most unconventional symphonic structures. The resulting analysis shows a complex and yet accessible movement that generates its own unique tension and dramatic interest. Far from being the feeble work of a symphonic lightweight, it is an impressively realized landmark of the genre in the late twentieth century.