List of compositions by Jean Sibelius#Chamber works

{{See also|Jean Sibelius#Music}}

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| caption = {{vpad|1em}}{{center|{{large|Sibelius's Opp. 1–116}}
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| label1 = Orchestral works{{efn|name=orchestral}}

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| label2 = Chamber works{{efn|name=chamber}}

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| label3 =Solo instrument{{efn|name=solo}}

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| label4 = Songs{{efn|name=songs}}

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Sibelius's final opus list dates to 1952{{sfn|Dahlström|2003|p=695}} and ranges from Opp. 1 to 116, albeit with Op. 107{{efn|name=Op. 107}} unassigned and Op. 117{{efn|name=Op. 117}} holding ambiguous status.{{sfn|Dahlström|2003|pp=444, 492, 617–618, 686–687}} Among the 115 active numbers, however, are many collections; disaggregating these multi-work numbers reveals that—counting conservatively—about 342 compositions comprise the list:

• 77 orchestral works, spanning 59 opus numbers{{efn|The opus numbers for orchestral works are: Opp. 6 (one), 7 (one; choral symphony aggregated), 9 (one), 10 (one), 11 (one; suite aggregated), 14 (one), 15 (two; tone poem and melodrama), 16 (one), 19 (one), 22 (one; suite aggregated), 25 (one; suite aggregated), 26 (one), 27 (one; incidental music aggregated), 28 (one), 29 (one), 30 (one), 31 (three), 32 (one), 33 (one), 39 (one), 42 (one), 43 (one), 44 (two), 45 (two), 46 (one; suite aggregated), 47 (one), 48 (one), 49 (one), 51 (one; suite aggregated), 52 (one), 53 (one), 54 (one; suite aggregated), 55 (one), 59 (one), 62 (two), 63 (one), 64 (one), 66 (one; suite aggregated), 69 (two), 70 (one), 71 (one; through-composed score aggregated), 73 (one), 77 (two), 82 (one), 83 (one; through-composed score aggregated), 87 (two), 89 (four), 91 (two), 92 (one), 93 (one), 95 (one), 96 (three), 98 (one; two suites aggregated), 100 (one; suite aggregated), 104 (one), 105 (one), 109 (three; two suites aggregated and a prelude), 110 (one), and 112 (one). Finally, to avoid double counting opus numbers, this count excludes two orchestral works Sibelius subsequently arranged from Opp. 4 (one) and 5 (one).|name=orchestral}}
• 35 chamber works, spanning 13 opus numbers{{efn|The opus numbers for chamber works are: Opp. 2 (two pieces), 4 (one), 8 (one; incidental music aggregated), 20 (one), 56 (one), 78 (four), 79 (six), 80 (one), 81 (five), 102 (one), 106 (five), 115 (four), and 116 (three). Finally, to avoid double counting opus numbers, this count excludes a duo for violin and piano that Sibelius subsequently arranged from Op. 71.|name=chamber}}
• 117 works for solo instrument (115 for piano, two for organ), spanning 20 opus numbers{{efn|The opus numbers for solo piano are: Opp. 5 (six pieces), 12 (one), 24 (ten), 34 (ten), 40 (ten), 41 (one; suite aggregated), 58 (ten), 67 (three), 68 (two), 74 (four), 75 (five), 76 (thirteen), 85 (five), 94 (six), 97 (six), 99 (eight), 101 (five), 103, (five), and 114 (five). Finally, to avoid double counting opus numbers, this count excludes the two piano pieces Sibelius subsequently arranged from Op. 71. Only one opus number, 111, includes works for organ (two).|name=solo}}
• 86 songs, spanning 16 opus numbers{{efn|The opus numbers for the songs are: Opp. 1 (five songs), 3 (one), 13 (seven), 17 (seven), 35 (two), 36 (six), 37 (five), 38 (five), 50 (six), 57 (eight), 60 (two), 61 (eight), 72 (six, albeit with two lost), 86 (six), 88 (six), and 90 (six). This count excludes the following songs from orchestral works Sibelius subsequently transcribed for voice and piano: Opp. 7 (one, from Kullervo), 27 (one, from King Christian II), 33 (one, The Rapids-Rider's Brides), 46 (one, from Pelléas et Mélisande), and 70 (one, Luonnotar).|name=songs}}
• 27 works for choir, spanning seven opus numbers{{efn|The opus numbers for choral works are: Opp. 18 (six songs), 21 (one), 23 (ten; song cycle disaggregated), 65 (two), 84 (five), 108 (two), and 113 (one; through-composed score, aggregated, that also includes the "{{lang|fi|Finlandia-hymni|italics=no}}" ("Finlandia Hymn") that Sibelius subsequently arranged from Op. 26). Finally, to avoid double counting opus numbers, this count excludes "{{lang|fi|Nejden andas|italics=no}}" ("The Landscape Breathes"), which Sibelius arranged from Op. 30 (one).|name=choral}}

When ordered numerically, Sibelius's opus list is an imperfect indicator of his stylistic maturation over time. This is because Sibelius curated the collection according to his ever-changing assessment of his oeuvre (highly self-critical, he became especially ambivalent later in life towards his early period),{{sfn|Levas|1986|pp=101–102}} promoting works to or demoting them from the catalogue and filling the resulting vacancies without a strict regard for compositional chronology.{{sfnm|1a1=Barnett|1y=2007|1p=374|2a1=Tawaststjerna|2y=2008c|2pp=41–47}}{{efn|The 1952 list superseded several earlier personal catalogues, the first of which dates to 1896.{{sfn|Barnett|2007|p=374}} For a detailed discussion of Sibelius's various personal catalogues, see Erik Tawaststjerna's Sibelius, Vol. III: 1914–1957, pp. 41–47,{{sfn|Tawaststjerna|2008c|pp=41–47}} as well as {{ill|Fabian Dahlström|lt=Fabian Dahlström's|fi|Fabian Dahlström}} "Die Opuszahlen" in Jean Sibelius: {{lang|de|Thematisch-bibliographisches Verzeichnis seiner Werke}}, which traces Sibelius's cataloguing changes both numerically by opus (pp. 680–687) and alphabetically by name of composition (pp. 687–692).{{sfn|Dahlström|2003|pp=680–692}}}} Among the pieces that at one point held, but later lost, a place on Sibelius's opus list are numerous large-scale works from the 1880s and 1890s, including his only opera, three cantatas, a melodrama, and several multi-movement compositions for chamber ensembles.{{sfn|Dahlström|2003|pp=689–691}}{{efn|Notable demotions include:{{bulleted list

|String Quartet in A minor (JS 183, 1889) → {{abbr|WoO|Without opus}} in 1911{{sfn|Dahlström|2003|p=691}}

|Violin Sonata in F major (JS 178, 1889) → {{abbr|WoO|Without opus}} in 1897{{sfn|Dahlström|2003|p=691}}

|Piano Quintet in G major (JS 159, 1890) → {{abbr|WoO|Without opus}} in 1915{{sfn|Dahlström|2003|p=690}}

|Overture in E major (JS 145, 1891) → {{abbr|WoO|Without opus}} in 1915{{sfn|Dahlström|2003|p=691}}

|Ballet Scene (JS 163, 1891) → {{abbr|WoO|Without opus}} in 1914 → promoted in 1915 → WoO again by 1931{{sfn|Dahlström|2003|p=690}}

|Nights of Jealousy (JS 125, 1893) → {{abbr|WoO|Without opus}} in 1915 → promoted 1925 → WoO again by 1931{{sfn|Dahlström|2003|p=689}}

|Promotional Cantata of 1894 (JS 105) → {{abbr|WoO|Without opus}} by 1911{{sfn|Dahlström|2003|p=690}}

|Coronation Cantata (1896) → {{abbr|WoO|Without opus}} by 1910{{sfn|Dahlström|2003|p=689}}

|The Maiden in the Tower (JS 101, 1896) → {{abbr|WoO|Without opus}} in 1914{{sfn|Dahlström|2003|p=689}}

|Promotional Cantata of 1897 (JS 106) → {{abbr|WoO|Without opus}} in 1905{{sfn|Dahlström|2003|p=690}}}}}} Sibelius also demoted his first two orchestral compositions, the Overture in E major and Ballet Scene, which were originally intended as movements in a symphony before the composer abandoned the project.{{sfnm|1a1=Barnett|1y=2007|1pp=66–67|2a1=Tawaststjerna|2y=2008a|2pp=88–93}}

For works without opus, the convention since the late-1990s has been to follow the supplemental JS numbering system of the Finnish musicologist {{ill|Fabian Dahlström|fi}}, which he finalized in 2003 with the publication of Jean Sibelius: A Thematic Bibliographic Index of His Works.{{sfn|Barnett|2007|p=xvi}} This list runs from JS 1 to 225 and includes not only compositions Sibelius demoted from his opus list but also those that never held an opus number at any point during his career.{{sfn|Dahlström|2003|pp=ix–x, xxxix–xl, 680–692}}

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| caption1 = An autographed postcard of Sibelius ({{c.|1912}}), printed in Berlin by Breitkopf & Härtel

| image2 = JSibelius Valse triste Breifkopf & Härtel, 1st ed.jpg

| caption2 = Breitkopf & Härtel's first edition of Valse triste, Sibelius's most famous composition

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Sibelius sold his music to several publishers over the course of his career. As a relatively unknown composer in the 1890s and early 1900s, he worked with domestic firms in Helsinki, including the eponymous operations of Axel E. Lindgren and {{ill|Karl Fredrik Wasenius|lt=Karl F. Wasenius|fi|Karl Fredrik Wasenius}}, as well as {{ill|Helsingfors Nya Musikhandel|fi}}, a joint venture of {{ill|Konrad Fazer|lt=Konrad G. Fazer|fi|Konrad Fazer}} and {{ill|Robert Emil Westerlund|lt=Robert E. Westerlund|fi|Robert Emil Westerlund}} until the latter withdrew in 1904 to begin {{ill|R. E. Westerlund oy|lt=his own firm|fi|R. E. Westerlund (yritys)}}.{{sfn|Dahlström|2003|pp=xxiii–xxiv}}{{efn|Because Imperial Russia—and by extension the Grand Duchy of Finland—was not a member of the Berne Convention of 1886, these Finnish publishers in turn relied upon the Leipzig-based firm of Breitkopf & Härtel for copyright protection in the major European markets, as well as in the United States, the independent copyright regime of which Breitkopf & Härtel had the resources to navigate.{{sfn|Dahlström|2003|pp=xxiii–xxiv}}}} As Sibelius's international reputation grew, the major German firms came calling, and he relished not only the prestige but also the opportunity to free himself from the cumbersome domestic publishing process. He contracted with Berlin's Robert Lienau Musikverlag from 1905 to 1909 and with Leipzig's Breitkopf & Härtel from 1910 to 1918.{{sfn|Dahlström|2003|pp=xxiv–xxv}} The arrival of the First World War in 1914, however, disrupted business with Germany, and Sibelius's royalty payments had to be rerouted through neutral Denmark. Ever in debt, Sibelius churned out undistinguished, "bread-and-butter" violin duos and piano pieces for {{nowrap|R. E. Westerlund}} and {{nowrap|A. E. Lindgren}},{{sfn|Tawaststjerna|2008c|pp=1–8}} each of whom lacked the means to print the works but viewed them as shrewd investments.{{sfn|Dahlström|2003|p=xxv}}{{efn|Westerlund took on Lindgren's contracts upon the latter's death in 1919.{{sfn|Dahlström|2003|p=xxv}} Many of Westerlund's purchases from this period, in turn, were acquired later by Edition Wilhelm Hansen in Copenhagen. Some of these Edition Wilhelm Hansen acquired directly from Westerlund, whereas other Westerlund sold to the London-based firms of Augener & Co. and Wise Music Group, who then later sold them to Hansen.{{sfn|Dahlström|2003|pp=xxv–xxvi}}}}

The end of the war brought little relief, as famine and civil war gripped newly-sovereign Finland and reparations wrecked the German economy. Breitkopf & Härtel wrote to the composer in May 1918 to express its regret that it could not accept the Fifth Symphony due to the post-war circumstances.{{sfn|Dahlström|2003|pp=xxv–xxvi}} Into the breach stepped Edition Wilhelm Hansen in Copenhagen, which directly contracted with Sibelius in 1920 and, over the next half decade, emerged as Sibelius's leading publisher.{{sfn|Dahlström|2003|p=xxvi}}{{efn|During this time, Sibelius also signed with Carl Fischer Music in New York; Hansen, however, acquired the right to produce parallel editions.{{sfn|Dahlström|2003|pp=xxv–xxvi}}}} In 1926, Breitkopf & Härtel was able to resume its publishing relationship with Sibelius,{{sfn|Dahlström|2003|p=xxvi}} although it now had to share the composer with Hansen and others. At any rate, Sibelius spent the 1930s battling with the never-realized Eighth Symphony, and by the 1940s he had drifted into quasi retirement. Following his death in 1957, many compositions remained in manuscript, and the process of publishing his works posthumously began. Over the following decades, the Sibelius family agreed to allow several first editions variously by Hansen, Breitkopf & Härtel, and {{ill|Musiikki-Fazer|fi}}.{{sfn|Dahlström|2003|pp=xxvi–xxvi}}{{efn|In 1967, Fazer acquired Westerlund's remaining Sibelius editions; in 1994, Warner/Chappell Music Finland Oy purchased Fazer.{{sfn|Dahlström|2003|pp=xxvi–xxvi}}}}

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| image1 = Kansalliskirjasto - National Library of Finland, Helsinki (52890137262).jpg

| caption1 = The National Library of Finland in Helsinki has custodianship over the vast majority of Sibelius's manuscripts.

| image2 = JSibelius 1930s cigar.jpg

| caption2 = Sibelius, a cigar connoisseur,{{sfn|Levas|1986|pp=117–119}} places a hand on one of his scores ({{c.|1930}}).

| image3 = JSibelius 1915 atwork.jpg

| caption3 = Sibelius pictured (1915) in his study at Ainola; in this house, he composed most of his works, post-1904.{{sfn|Levas|1986|pp=7–8}}

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The largest and most comprehensive collection of Sibelius's manuscripts is owned by the National Library of Finland at the University of Helsinki. The institution began in earnest its mission to acquire the composer's literary estate in 1970, with the purchase—from the London auction house Sotheby's—of manuscripts that had once belonged to A. E. Lindgren and, thereafter, R. E. Westerlund.{{sfn|Dahlström|2003|p=xxi}} The National Library's holdings ballooned (and the need for a supplemental catalogue became especially acute), however, in 1982, when the Sibelius family donated all papers still in its possession.{{sfn|Dahlström|2003|p=xxi}} The gift more than doubled Sibelius's catalogue: among the nearly 2,000 manuscripts were not only drafts, thematic sketches, and page proofs related to known compositions, but also hitherto unknown juvenilia.{{sfn|UNESCO National Committee of Finland|2021}}

In 1991, the Finnish musicologist Kari Kilpeläinen published The Jean Sibelius Musical Manuscripts at Helsinki University Library: A Complete Catalogue, in which each manuscript received a Helsinki University Library (HUL) identifier.{{sfn|UNESCO National Committee of Finland|2021}} The JS and HUL numbering systems, moreover, are compatible; for example, Sibelius's destroyed Eighth Symphony is numbered JS 190 by Dahlström, with the surviving so-called Three Late Fragments that have been tentatively connected to the Eighth Symphony labeled as HUL 1325, HUL 1326/9, and HUL 1327/2 by Kilpeläinen.{{sfn|Virtanen|2014|pp=16–17}} A third notable acquisition occurred shortly after Kilpeläinen published his book, when in 1997 the National Library obtained manuscripts that had belonged to Edition Wilhelm Hansen.{{sfn|Dahlström|2003|p=xxi}} Finally, in 2020, the institution purchased a 1,200-page collection from Robert Lienau Musikverlag.{{sfn|Tiikkaja|2020|p=B4}} In 2021, the UNESCO National Committee of Finland inducted the National Library's Jean Sibelius Musical Manuscripts into the country's Memory of the World Register, describing it as a "carefully nurtured national cultural treasure ... [that] has crucially expanded and shaped the image of how Sibelius composed and produced his works".{{sfn|UNESCO National Committee of Finland|2021}}

Within Finland, additional manuscripts are held by the Sibelius Museum at Åbo Akademi University in Turku, the Sibelius Academy (the composer's alma mater, formerly the Helsinki Music Institute), the Helsinki Philharmonic Orchestra (which premiered most of his orchestral works), and the National Archives of Finland.{{sfn|Dahlström|2003|pp=xxi–xxii}} It is not legally possible to export Sibelius's manuscripts from Finland without permission, which in any case the Finnish authorities would probably not give.{{sfn|Virtanen|2020|p=23}} Outside of Finland, Breitkopf & Härtel possesses the most notable collection of Sibelius manuscripts.{{sfn|Dahlström|2003|p=xxii}}

In addition to Dahlström's comprehensive 2003 book, two additional surveys of Sibelius's oeuvre are of note. First, an ongoing collaborative project involving the National Library, Breitkopf & Härtel, and the Sibelius Society of Finland is the publication of the Jean Sibelius Works (JSW) critical edition, the text-critical approach of which utilizes "Sibelius's autograph musical manuscripts, copies made of them, instrumental parts, as well as first editions and their proofs ... the composer's correspondence, his diary, scribes' receipts, publishers' accounts, and newspaper reviews".{{sfn|National Library of Finland, JSW project: Approach}} Began in 1996, the JSW is projected at 52–60 volumes and will cover all of Sibelius's completed compositions (and arrangements), many of which remain in manuscript and, therefore, will receive first editions. The current editor-in-chief is the Finnish musicologist Timo Virtanen.{{sfnm|1a1=Sibelius Society, JSW project|2a1=National Library of Finland, JSW project: History}}{{efn|The Jean Sibelius Works (JSW) critical edition has had three editors-in-chief, as follows: {{ill|Fabian Dahlström|fi}} (1996–2000), Glenda Dawn Goss (editor: 1998–2000; editor-in-chief: 2000–2004), and Timo Virtanen (acting editor-in-chief: 2004–2005; permanent editor-in-chief: 2006–present). In addition, {{ill|Esko Häkli|fi}} (chair of the editorial committee, 1996–2019), Kari Kilpeläinen (editor: 1996–2002 and 2005–2015), and Jukka Tiilikainen (editor: 1996–2003) were founding contributors.{{sfnm|1a1=National Library of Finland, JSW project: History|2a1=National Library of Finland, JSW project: Editors}}}}

A second important survey is The Sibelius Edition recording project by the Swedish label BIS, for which the Sibelius biographer Andrew Barnett served as project advisor.{{sfn|Barnett|2007|p=xii}} Released from 2007 to 2011, this 13-volume series, which sought to record every surviving "note [Sibelius] put down to paper", comprises 80+ hours of music over 68 discs and also includes the original versions of works the composer revised.{{sfnm|1a1=BIS Records, The Sibelius Edition|2a1=Grimley|2y=2021|2p=209}}{{efn|In addition, the Finnish labels {{ill|Finlandia Records|lt=Finlandia|fi|Finlandia Records|detail=1}} (which Warner Music acquired in 1994) and Ondine, as well as the budget label Naxos, have recorded not only Sibelius's orchestral works, but also the less well-known portions of his oeuvre, including his chamber works, songs, piano pieces, and choral music.{{citation needed|date=December 2023}}}}

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| footer = Finnish postage stamps honoring Sibelius, a cultural icon{{sfn|Levas|1986|pp=1–2, 84–85, 128–129, 131, 134}}

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The table below is a complete list of works by Jean Sibelius, compiled with reference to two sources: first, Dahlström's 2003 Jean Sibelius: A Thematic Bibliographic Index of His Works; and second, the track listings for all 13 volumes of BIS's The Sibelius Edition. The table contains six sortable parameters: genre, title, year of composition, catalogue number (either Op. or JS), instrumentation, and text author (if applicable). The default ordering is, first, by genre and, second, by year of composition. Finally, to aid visualization, the table is divided into color-coded subsections, as follows:

|

|

|}

{{sticky header}}

{| class="wikitable sortable sticky-header" style="margin-right: 0; font-size: 95%"

|-

! scope="col" | Genre

! scope="col" | Title

! scope="col" | Year(s) composed

! scope="col" | Catalogue

! scope="col" | Instrumentation

! scope="col" | {{nowrap|Text{{efn|For compositions that include words, this column provides the name of the text's author (e.g., poet, librettist, etc.) or, in cases where there is no author, the name of the text (e.g., the Kalevala or the Kanteletar). In addition, relevant text information is provided parenthetically for a subset of compositions {{em|without}} words, if they:

• were derived from an earlier work with words (e.g., the orchestral overture Sibelius arranged from his opera The Maiden in the Tower is listed as: {{nowrap|"– (R. Hertzberg)")}}
• were intended to accompany a literary source (e.g., the purely instrumental incidental music Sibelius wrote for Strindberg's play Swanwhite is listed as: {{nowrap|"– (A. Strindberg)")}}
• were inspired by a literary source (e.g., the tone poem Pohjola's Daughter, which wordlessly portrays a story from the Finnish national epic, is listed as: {{nowrap|"– (Kalevala)")}}}}}}

! scope="col" class="unsortable" style="width:3.5em" | Notes

|-

| colspan="5" style="background-color: #ADD8E6; border-style: solid none solid solid;" data-sort-value="ZZZZ1A"|

| colspan="2" style="background-color: #ADD8E6; text-align:right; border-style: solid solid solid none;" data-sort-value="ZZZZ1A"|

|-

| rowspan=9 style="background-color: #ADD8E6"|Symphony

| data-sort-value="Kullervo" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title={{sort|Kullervo|Kullervo}}

| expand=

|

| Introduction ({{lang|fi|Johdanto|italics=no}}). Allegro moderato

| Kullervo's Youth ({{lang|fi|Kullervon nuoruus|italics=no}}). Grave

| Kullervo and His Sister ({{lang|fi|Kullervo ja hänen sisarensa|italics=no}}). Allegro vivace

| Kullervo Goes to War ({{lang|fi|Kullervon sotaanlähtö|italics=no}}). Alla marcia

| Kullervo's Death ({{lang|fi|Kullervon kuolema|italics=no}}). Andante}}|indent=1}}

| {{nowrap|{{sort|1892|1891–1892}} (withdrawn 1893)}}

| {{sort|A7.1|Op. 7}}

| {{abbr|S|soprano}}, {{abbr|B|baritone}}, {{abbr|mchor.|male choir}}, {{abbr|orch.|orchestra}}

| Kalevala, {{nowrap|Runos XXXV–VI}}

| {{center|{{efn|In 1893, Sibelius withdrew Kullervo, saying he wanted to revise it; he never did so. Nevertheless, in 1892–1893, he excerpted Kullervo's concluding monologue from Movement III and arranged it for voice (in German, rather than the Finnish original) and piano as {{lang|de|Kullervos Wehruf}} (Kullervo's Lament); due to the differences between Finnish and German, he made alterations to the metre of the vocal line. Later in 1917–1918, he used the German arrangement to make new one in Finnish for voice and piano, changing the metre back ({{lang|fi|Kullervon valitus}}). Finally, in 1957, he arranged Kullervo's Lament for baritone and orchestra.{{sfn|Barnett|2007|pp=279, 348–349}}|name=Kullervo}}{{sfnm|1a1=Dahlström|1y=2003|1pp=21–24|2a1={{nowrap|SibEd., v. 3}}|2y=2007|2p=3}}}}

|-

| data-sort-value="Symphony1" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title=Symphony No. 1 in E minor

| expand=

|

| Andante, ma non troppo{{spaced ndash}}Allegro energico

| Andante (ma non troppo lento)

| Scherzo. Allegro

| Finale (Quasi una fantasia). Andante{{spaced ndash}}Allegro molto}}|indent=1}}

| {{sort|1899|1898–1899, {{abbr|rev.|revised}} 1900}}

| {{sort|A39|Op. 39}}

| rowspan=7|{{abbr|orch.|orchestra}}

| rowspan=22 style="background:#EFEFEF; color:#767676"|{{sort|zzz|–}}

| {{center|{{efn|From 1898–1899, Sibelius worked on his First Symphony (Op. 39). In 1900, in preparation for the Finnish music program at the Paris World Exhibition, he revised the symphony. (the original version does not survive, although a complete draft score made during the revision process is extant).{{sfn|Barnett|2007|pp=119, 124–126, 135, 357}}}}{{sfnm|1a1=Dahlström|1y=2003|1pp=183–186|2a1={{nowrap|SibEd., v. 12}}|2y=2011|2pp=3, 7}}}}

|-

| data-sort-value="Symphony2" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title=Symphony No. 2 in D major

| expand=

|

| Allegretto

| Tempo andante, ma rubato

| Vivacissimo{{spaced ndash}}

| Finale. Allegro moderato}}|indent=1}}

| {{sort|1902|1901–1902}}

| {{sort|A43|Op. 43}}

| {{center|{{efn|From 1901–1902, Sibelius worked on his Second Symphony (Op. 43); two themes that eventually ended up in Movement II were briefly intended for projected works that never materialized: first, a theme labeled "Death" (related to Don Juan) was meant for 'Festival: Four Tone-Poems for Orchestra'; and second, a theme labeled "Christus" was related to a composition after Dante's Divine Comedy. Finally, in 1902, Sibelius made a few minor changes in preparing the symphony for publication.{{sfn|Barnett|2007|pp=143–148}}}}{{sfnm|1a1=Dahlström|1y=2003|1pp=196–198|2a1={{nowrap|SibEd., v. 12}}|2y=2011|2pp=3, 7}}}}

|-

| data-sort-value="Symphony3" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title=Symphony No. 3 in C major

| expand=

|

| Allegro moderato

| Andantino con moto, quasi allegretto

| Moderato{{spaced ndash}}Allegro (ma non tanto)}}|indent=1}}

| {{sort|1907|1904–1907}}

| {{sort|A52|Op. 52}}

| {{center|{{efn|The second movement of the Third Symphony contains material from 1905's abandoned oratorio Marjatta.{{sfn|Barnett|2007|pp=169–174, 182–185}}}}{{sfnm|1a1=Dahlström|1y=2003|1pp=243–245|2a1={{nowrap|SibEd., v. 12}}|2y=2011|2pp=4, 8}}}}

|-

| data-sort-value="Symphony4" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title=Symphony No. 4 in A minor

| expand=

|

| Tempo molto moderato, quasi adagio

| Allegro molto vivace

| Il tempo largo

| Allegro}}|indent=1}}

| {{sort|1911|1909–1911}}

| {{sort|A63|Op. 63}}

| {{center|{{efn|From late 1909–1911, Sibelius busied himself with his Fourth Symphony (Op. 63)—the first, germinal ideas appear to have been piano sketches from September 1909 called 'The Mountain' and 'Thoughts of a Wayfarer', which may have ended up in the symphony's first and third movements, respectively. Moreover, in November 1910, Sibelius began working on a new orchestral song, for the Finnish soprano Aino Ackté, based on Poe's poem The Raven. By December, however, he had abandoned the project; nevertheless, some of the material from "The Raven" eventually made its way into the finale of the Fourth. In late 1911, Sibelius made a few minor changes in preparing the symphony for publication.{{sfn|Barnett|2007|pp=200, 207–213}}{{sfn|Tawaststjerna|2008b|pp=132, 136, 160–163, 174, 195–197}}|name=Symphony4}}{{sfnm|1a1=Dahlström|1y=2003|1pp=288–290|2a1={{nowrap|SibEd., v. 12}}|2y=2011|2pp=4, 8}}}}

|-

| data-sort-value="Symphony5" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title=Symphony No. 5 in E-flat major

| expand=

|

| Tempo molto moderato{{spaced ndash}}Allegro moderato

| Andante mosso, quasi allegretto

| Allegro molto{{spaced ndash}}Largamente assai}}|indent=1}}

| {{sort|1915|1914–1915, {{abbr|rev.|revised}} 1916 & 1917–1919}}

| {{sort|A82|Op. 82}}

| {{center|{{efn|Sibelius's work on his Fifth (Op. 82), Sixth (Op. 104), and Seventh (Op. 105) symphonies overlapped, as he sorted his motifs and refined his symphonic ideals. In 1915, Sibelius completed the Symphony No. 5, which was then in four movements. However, in 1916, he substantially revised the piece, and by merging the first two movements, created a three-movement work. From 1918–1919, Sibelius undertook a second revision and produced the final, three-movement version of the Fifth. (Two ideas he considered but ultimately rejected were: first, to write an entirely new first movement; and second, to scrap Movements II–III.) The original 1915 version of the symphony is extant, while the intermediate 1916 version is—with the exception of a double bass part—lost.{{sfn|Barnett|2007|pp=246, 250, 254, 256–259, 264, 266, 275, 278, 281–282, 285–286}}}}{{sfnm|1a1=Dahlström|1y=2003|1pp=353–357|2a1={{nowrap|SibEd., v. 12}}|2y=2011|2p=5}}}}

|-

| data-sort-value="Symphony6" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title=Symphony No. 6 in D minor

| expand=

|

| Allegro molto moderato

| Allegretto moderato

| Poco vivace

| Allegro molto}}|indent=1}}

| {{sort|1923|1914–1923}}

| {{sort|A104|Op. 104}}

| {{center|{{efn|Sibelius's work on his Fifth (Op. 82), Sixth (Op. 104), and Seventh (Op. 105) symphonies overlapped, as he sorted his motifs and refined his symphonic ideals. The Symphony No. 6—at one point referred to as Fantasia I—also incorporated material from a 1919–1920 (eventually abandoned) Kalevala-themed project: a tone poem called The Moon Goddess ({{lang|fi|Kuutar}}; no catalogue number). Moreover, a theme initially intended for the symphony eventually made its way into the finale of the Violin Sonatina in E major (Op. 80).{{sfn|Barnett|2007|pp=249–250, 275, 278, 286, 289, 297, 299–300}}{{sfn|Tawaststjerna|2008c|pp=169, 177, 191, 243}}|name=Op. 105}}{{sfnm|1a1=Dahlström|1y=2003|1pp=435–437|2a1={{nowrap|SibEd., v. 12}}|2y=2011|2p=6}}}}

|-

| {{sort|Symphony7|Symphony No. 7 in C major, in one movement}}

| {{sort|1924|1914–1924}}

| {{sort|A105|Op. 105}}

| {{center|{{efn|Sibelius's work on his Fifth (Op. 82), Sixth (Op. 104), and Seventh (Op. 105) symphonies overlapped, as he sorted his motifs and refined his symphonic ideals. His initial plan ({{c.|1918}}) for what would become Op. 105 was a symphony in three movements; by 1922, this had evolved into a four-movement work and, by 1923, finally into a single-movement composition that eroded the traditional subdivisions of sonata form. The completed piece initially premiered under the ambivalent title of Fantasia sinfonica, but at some point in 1924–1925, Sibelius decided to 'promote' it to his Symphony No. 7.{{sfn|Barnett|2007|pp=278, 304–305, 307–309, 311}} Two different preliminary endings [HUL 0354 and HUL 0353] are extant.{{sfn|{{nowrap|SibEd., v. 12}}|2011|pp=9, 126}}}}{{sfnm|1a1=Dahlström|1y=2003|1pp=438–439|2a1={{nowrap|SibEd., v. 12}}|2y=2011|2pp=6, 9}}}}

|-

| style="background:#EFEFEF; color:#767676"|{{sort|Symphony8|Symphony No. 8}}

| style="background:#EFEFEF; color:#767676"|{{nowrap|{{sort|1945|1924–{{c.|late 1930s–1945}}}} (abandoned)}}

| style="background:#EFEFEF; color:#767676"|{{sort|JS190|JS 190}}

| style="background:#EFEFEF; color:#767676"|{{nowrap|{{abbr|orch.|orchestra}} (projected)}}

| {{center|{{efn|Manuscript destroyed by composer, likely in the 1940s; very few sketches survive.{{sfn|Dahlström|2003|p=624}}}}}}

|-

| rowspan=12 style="background-color: #ADD8E6"|Concertante

| data-sort-value="Violin Concerto1" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title=Violin Concerto in D minor

| expand=

|

| Allegro moderato

| Adagio di molto

| Allegro (ma non tanto)}}|indent=1}}

| {{sort|1904|1903–1904, {{abbr|rev.|revised}} 1905}}

| {{sort|A47.1|Op. 47}}

| rowspan=3|{{abbr|vl.|violin}}, {{abbr|orch.|orchestra}}

| {{center|{{efn|Sibelius heavily revised the Violin Concerto in 1905 (the original version is extant). That same year, he transcribed the piece for violin and piano.{{sfn|Barnett|2007|pp=160–161, 170–171}}|name=Op. 47}}{{sfnm|1a1=Dahlström|1y=2003|1pp=220–223|2a1={{nowrap|SibEd., v. 8}}|2y=2009|2pp=9, 14}}}}

|-

| Serenade No. 1 in D major

| {{sort|1912|1912}}

| {{sort|A69.1|Op. 69a}}

| {{center|{{efn|These works comprise the Op. 69 Two Serenades. Sibelius considered—but decided against—titling the D major serenade {{lang|sv|I gammalt hem}} (In the Old Home) and the G minor serenade Romance.{{sfn|Barnett|2007|pp=226–227, 229}}{{sfn|Tawaststjerna|2008b|p=229}}|name=Op. 69}}{{sfnm|1a1=Dahlström|1y=2003|1pp=303–304|2a1={{nowrap|SibEd., v. 8}}|2y=2009|2p=10}}}}

|-

| Serenade No. 2 in G minor

| {{sort|1913|1912–1913}}

| {{sort|A69.2|Op. 69b}}

| {{center|{{efn|name=Op. 69}}{{sfnm|1a1=Dahlström|1y=2003|1p=305|2a1={{nowrap|SibEd., v. 8}}|2y=2009|2p=10}}}}

|-

| Serious Melody No. 1: Cantique

| {{sort|1914|1914 ({{abbr|arr.|arranged}} 1916)}}

| {{sort|A77.1|Op. 77/1}}

| rowspan=2|{{abbr|vl.|violin}} (or {{abbr|vc.|cello}}), {{abbr|orch.|orchestra}}

| {{center|{{efn|These works, Cantique and Devotion, comprise the Op. 77 Two Serious Melodies. They are also known by their Latin subtitles, respectively as: {{lang|lt|Laetare anima mea|italics=no}}" ("Rejoice My Soul") and "{{lang|lt|Ab imo pectore|italics=no}}" ("From My Very Heart"). In 1915, Sibelius transcribed the melodies for violin and piano. The year after, he arranged them for cello and orchestra and made transcriptions for cello and piano.{{sfn|Barnett|2007|pp=248, 251, 260}}|name=Op. 77}}{{sfnm|1a1=Dahlström|1y=2003|1p=338|2a1={{nowrap|SibEd., v. 8}}|2y=2009|2pp=10, 15}}}}

|-

| Serious Melody No. 2: Devotion

| {{sort|1915|1915 ({{abbr|arr.|arranged for cello}} 1916)}}

| {{sort|A77.3|Op. 77/2}}

| {{center|{{efn|name=Op. 77}}{{sfnm|1a1=Dahlström|1y=2003|1pp=339–340|2a1={{nowrap|SibEd., v. 8}}|2y=2009|2pp=10, 15}}}}

|-

| Humoresque No. 1 in D minor

| {{sort|1917|1917, {{abbr|rev.|revised}} 1940}}

| {{sort|A87.1|Op. 87/1}}

| rowspan=2|{{abbr|vl.|violin}}, {{abbr|orch.|orchestra}}

| {{center|{{efn|Although published over two opus numbers (Opp. 87/1–2 and 89/1–4), Sibelius intended the Six Humoresques to be played as a suite. In 1940, he revised No. 1's instrumentation after the 1917 version was lost (this version was rediscovered in 1982 and is now extant).{{sfn|Barnett|2007|pp=266–268, 270–271, 279, 343}}|name=Op. 87}}{{sfnm|1a1=Dahlström|1y=2003|1pp=376–377|2a1={{nowrap|SibEd., v. 8}}|2y=2009|2pp=11, 15}}}}

|-

| Humoresque No. 2 in D major

| rowspan=4|{{sort|1917|1917}}

| {{sort|A87.2|Op. 87/2}}

| {{center|{{efn|name=Op. 87}}{{sfnm|1a1=Dahlström|1y=2003|1pp=377–378|2a1={{nowrap|SibEd., v. 8}}|2y=2009|2p=11}}}}

|-

| Humoresque No. 3 in G minor

| {{sort|A89.1|Op. 89a}}

| rowspan=2|{{abbr|vl.|violin}}, {{abbr|str.|strings}}

| {{center|{{efn|name=Op. 87}}{{sfnm|1a1=Dahlström|1y=2003|1p=384|2a1={{nowrap|SibEd., v. 8}}|2y=2009|2p=11}}}}

|-

| Humoresque No. 4 in G minor

| {{sort|A89.2|Op. 89b}}

| {{center|{{efn|name=Op. 87}}{{sfnm|1a1=Dahlström|1y=2003|1p=385|2a1={{nowrap|SibEd., v. 8}}|2y=2009|2p=11}}}}

|-

| Humoresque No. 5 in E-flat major

| {{sort|A89.3|Op. 89c}}

| rowspan=2|{{abbr|vl.|violin}}, {{abbr|orch.|orchestra}}

| {{center|{{efn|name=Op. 87}}{{sfnm|1a1=Dahlström|1y=2003|1pp=385–386|2a1={{nowrap|SibEd., v. 8}}|2y=2009|2p=11}}}}

|-

| Humoresque No. 6 in G minor

| {{sort|1918|1918}}

| {{sort|A89.4|Op. 89d}}

| {{center|{{efn|name=Op. 87}}{{sfnm|1a1=Dahlström|1y=2003|1pp=386–387|2a1={{nowrap|SibEd., v. 8}}|2y=2009|2p=11}}}}

|-

| data-sort-value="Suite Violin" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title=Suite for Violin and String Orchestra in D minor

| expand=

|

1. Country Scenery
2. Serenade: Evening in Spring
3. In the Summer|indent=1}}

| {{sort|1929|1929}}

| {{sort|JS185|JS 185}}{{efn|name=Op. 117}}

| {{abbr|vl.|violin}}, {{abbr|str.|strings}}

| {{center|{{efn|In 1929, Sibelius composed the Suite for Violin and String Orchestra (JS 185). Upon its rejection by a publisher, however, Sibelius began—but did not complete—a revision.{{sfn|Barnett|2007|pp=329–331}}}}{{sfnm|1a1=Dahlström|1y=2003|1pp=492, 617–618|2a1={{nowrap|SibEd., v. 8}}|2y=2009|2p=13}}}}

|-

| rowspan=16 style="background-color: #ADD8E6"|Tone poem

| {{lang|sv|En saga}} ({{lang|fi|Satu}})

| {{sort|1892|1890–1892, {{abbr|rev.|revised}} 1902}}

| {{sort|A9|Op. 9}}

| rowspan=12|{{abbr|orch.|orchestra}}

| {{center|{{efn|Sibelius composed {{lang|sv|En saga}} (Op. 9)—sometimes translated as A Fairy Tale, A Saga, or A Legend—in 1892–1893. Some scholars believe the piece began as a chamber work for flute, clarinet, and string sextet or septet from 1890–1891, although the original sketches do not survive. In 1902, Sibelius substantially revised {{lang|sv|En saga}}; the original 1893 version is extant.{{sfn|Barnett|2007|pp=75–76, 79–80, 151–152}}}}{{sfnm|1a1=Dahlström|1y=2003|1pp=28–29|2a1={{nowrap|SibEd., v. 1}}|2y=2007|2pp=3–4}}}}

|-

| Spring Song ({{lang|sv|Vårsång}})

| {{sort|1894|1894, {{abbr|rev.|revised}} 1895}}

| {{sort|A16|Op. 16}}

| {{center|{{efn|In 1894, Sibelius composed an {{lang|fi|Improvisaatio}} (Improvisation) for orchestra. However, in 1895, he withdrew and revised the piece, changing the key from F major to D major and renaming it Spring Song ({{lang|sv|Vårsång}}). Scholars formerly believed that a second revision to Spring Song had occurred in 1902, but more recent scholarship has established that a second revision never took place. The original 1894 version is extant.{{sfn|Barnett|2007|pp=93–94, 98}}}}{{sfnm|1a1=Dahlström|1y=2003|1pp=56–58|2a1={{nowrap|SibEd., v. 1}}|2y=2007|2pp=4–5}}}}

|-

| {{sort|Wood Nymph|The Wood Nymph}} ({{lang|sv|Skogsrået}})

| {{sort|1895|1894–1895}}

| {{sort|A15.1|Op. 15}}

| style="background:#EFEFEF; color:#767676"|{{sort|Rydberg|– (V. Rydberg)}}

| {{center|{{efn|The Wood Nymph (Op. 15), to which Sibelius gave the subtitle "{{lang|fr|Ballade pour l'orchestre|italics=no}}", refers to two thematically-related compositions: first, a tone poem for orchestra; and second, a melodrama for narrator, piano, two horns, and strings. Sibelius claimed to have completed the melodrama first, which he then expanded into the longer tone poem. Musicologists, however, suspect the reverse is true: that the tone poem came first and then was condensed into the melodrama. Scholars also suspect that some of {{em|The Wood Nymph}}'s material may have originated from Sibelius's discarded opera project, The Building of the Boat. The tone poem was thought lost until its rediscovery in the early 1990s by Kari Kilpeläinen. Finally, in 1895, Sibelius arranged the coda for solo piano as {{lang|sv|Ur Skogsrået}}.{{sfn|Barnett|2007|pp=}}|name=Op. 15}}{{sfnm|1a1=Dahlström|1y=2003|1p=55|2a1={{nowrap|SibEd., v. 1}}|2y=2007|2p=4}}}}

|-

| The Swan of Tuonela ({{lang|fi|Tuonelan joutsen}})

| {{nowrap|{{sort|1895|1893–1895, {{abbr|rev.|revised}} 1897 & 1900}}}}

| {{sort|A22.2|Op. 22/2}}

| rowspan=4 style="background:#EFEFEF; color:#767676"|{{sort|Kalevala|– (Kalevala)}}

| {{center|{{efn|From 1895–1896, Sibelius composed the four-movement Lemminkäinen Suite ({{lang|fi|Lemminkäis-sarjaan}}, Op. 22). Surviving sketches indicate that Sibelius rescued some material from his discarded 1893 opera project, The Building of the Boat; for example, the opera's overture evolved into {{em|Lemminkäinen's}} The Swan of Tuonela. The original ordering of the Lemminkäinen Suite was as follows: Lemminkäinen and the Maidens of the Island (which is occasionally mistranslated as Lemminkäinen and the Maidens of Saari){{sfn|Johnson|1959|p=71–72}} was No. 1; Lemminkäinen in Tuonela was No. 2; The Swan of Tuonela was No. 3, and Lemminkäinen's Return (sometimes translated as Lemminkäinen's Homeward Journey) was No. 4. In 1897, Sibelius revised the entire suite, and in 1900, he again revised The Swan of Tuonela and Lemminkäinen's Return for publication in 1901. Lemminkäinen and the Maidens of the Island and Lemminkäinen in Tuonela were neglected for four decades until 1939, when Sibelius revised them for publication (although they were not published until 1954) and reversed the order of The Swan of Tuonela and Lemminkäinen in Tuonela (now Ops. 22/2 and 22/3, respectively). The original the 1895–1896 versions of all but The Swan of Tuonela are extant; the 1897 version of The Swan of Tuonela is lost, while the 1897 versions of Lemminkäinen and the Maidens of the Island and Lemminkäinen in Tuonela are not performable; the 1897 Lemminkäinen's Return is extant. The thematic material (a fanfare) that forms the basis of A Song for Lemminkäinen comes from the original, 1895–1896 ending of Lemminkäinen's Return (Op. 22/4). Upon revising the piece (either in 1897 or 1900), Sibelius transplanted this final section into the song for male choir and orchestra.{{sfn|Barnett|2007|pp=95, 100–104, 114, 139, 341}}|name=Lemminkäinen}}{{sfnm|1a1=Dahlström|1y=2003|1pp=84–87, 89–90|2a1={{nowrap|SibEd., v. 1}}|2y=2007|2p=5}}}}

|-

| Lemminkäinen's Return ({{lang|fi|Lemminkäinen palaa kotitienoille}})

| {{nowrap|{{sort|1895|1895, {{abbr|rev.|revised}} 1897 & 1900}}}}

| {{sort|A22.4|Op. 22/4}}

| {{center|{{efn|name=Lemminkäinen}}{{sfnm|1a1=Dahlström|1y=2003|1pp=84–87, 91–92|2a1={{nowrap|SibEd., v. 1}}|2y=2007|2pp=3, 5}}}}

|-

| Lemminkäinen and the Maidens of the Island ({{lang|fi|Lemminkäinen ja saaren neidot}})

| rowspan=2|{{nowrap|{{sort|1895|1895, {{abbr|rev.|revised}} 1897 & 1939}}}}

| {{sort|A22.1|Op. 22/1}}

| {{center|{{efn|name=Lemminkäinen}}{{sfnm|1a1=Dahlström|1y=2003|1pp=84–89|2a1={{nowrap|SibEd., v. 1}}|2y=2007|2pp=3, 5}}}}

|-

| Lemminkäinen in Tuonela ({{lang|fi|Lemminkäinen Tuonelassa}})

| {{sort|A22.3|Op. 22/3}}

| {{center|{{efn|name=Lemminkäinen}}{{sfnm|1a1=Dahlström|1y=2003|1pp=84–87, 90–91|2a1={{nowrap|SibEd., v. 1}}|2y=2007|2pp=3, 5}}}}

|-

| {{sort|Finlandia1|Finlandia, from the Press Celebrations Music}}

| {{sort|1900|[1899], {{abbr|arr.|arranged}} 1900}}

| {{sort|A26.1|Op. 26}}

| style="background:#EFEFEF; color:#767676"|{{sort|zzz|–}}

| {{center|{{efn|Extracted by the composer from the sixth tableau, {{lang|fi|Suomi herää}} (Finland Awakes), of JS 137.{{sfn|Barnett|2007|p=376}}}}{{sfnm|1a1=Dahlström|1y=2003|1pp=113–114|2a1={{nowrap|SibEd., v. 1}}|2y=2007|2pp=4–5}}}}

|-

| Pohjola's Daughter ({{lang|fi|Pohjolan tytär}})

| {{sort|1906|1903–1906}}

| {{sort|A49|Op. 49}}

| style="background:#EFEFEF; color:#767676"|{{sort|Kalevala|– (Kalevala)}}

| {{center|{{efn|Pohjola's Daughter ({{lang|fi|Pohjolan tytär}}, Op. 49), to which Sibelius gave the subtitle {{lang|de|Symphonische Fantasie}} (Symphonic Fantasy), was composed in 1906. However, some of its themes trace to an earlier project on the subject of Luonnotar from 1903–1905; that 'Luonnotar' (for which a fragment is extant) grew out of the abandoned oratorio Marjatta (without catalogue number) and, by 1906, evolved into the Op. 49 tone poem. It is thematically unrelated to the later Luonnotar (Op. 70) tone poem for soprano and orchestra from 1913; that same year, Sibelius arranged Luonnotar for soprano and piano.{{sfn|Barnett|2007|pp=172–173, 176–177, 232–233}}{{sfn|Tawaststjerna|2008b|pp=37, 51–52}}|name=Luonnotar}}{{sfnm|1a1=Dahlström|1y=2003|1pp=226–227|2a1={{nowrap|SibEd., v. 1}}|2y=2007|2p=6}}}}

|-

| Nightride and Sunrise ({{lang|fi|Öinen ratsastus ja auringonnousu}})

| {{sort|1908|1908}}

| {{sort|A55|Op. 55}}

| rowspan=3 style="background:#EFEFEF; color:#767676"|{{sort|zzz|–}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1pp=256–257|2a1={{nowrap|SibEd., v. 1}}|2y=2007|2p=6}}}}

|-

| {{sort|Dryad|The Dryad}} ({{lang|fi|Dryadi}})

| {{sort|1910|1910}}

| {{sort|A45.1|Op. 45/1}}

| {{center|{{efn|In 1910, Sibelius arranged The Dryad for solo piano.{{sfn|Barnett|2007|p=203}}|name=Dryad}}{{sfnm|1a1=Dahlström|1y=2003|1pp=205–206|2a1={{nowrap|SibEd., v. 1}}|2y=2007|2p=6}}}}

|-

| {{sort|Bard|The Bard}} ({{lang|sv|Barden}})

| {{sort|1913|1913, {{abbr|rev.|revised}} 1913}}

| {{sort|A64|Op. 64}}

| {{center|{{efn|The Oceanides ({{lang|fi|Aallottaret}}, Op. 73) survives in three forms: first, a three-movement preliminary orchestral suite in E-flat major that dates to 1913 (No. 1 is lost, while Nos. 2–3 are extant); second, the initial ("Yale") version of the tone poem in D-flat major that dates to 1914; and third, the revised version of the tone poem in D major that Sibelius undertook en route to America. Barnett (2007) has also speculated that the lost first movement from the "pre-Oceanides suite" may be the missing first version of the tone poem The Bard ({{lang|sv|Barden}}, Op. 64), which Sibelius had written—and also revised—in 1913.{{sfn|Barnett|2007|pp=234–235, 239}}|name=Oceanides}}{{sfnm|1a1=Dahlström|1y=2003|1pp=291–292|2a1={{nowrap|SibEd., v. 1}}|2y=2007|2p=6}}}}

|-

| {{lang|fi|Luonnotar}}

| {{sort|1913|1913}}

| {{sort|A70.1|Op. 70}}

| {{abbr|S|soprano}}, {{abbr|orch.|orchestra}}

| Kalevala, Runo I

| {{center|{{efn|name=Luonnotar}}{{sfnm|1a1=Dahlström|1y=2003|1pp=306–307|2a1={{nowrap|SibEd., v. 1}}|2y=2007|2p=7}}}}

|-

| {{sort|Oceanides|The Oceanides}} ({{lang|fi|Aallottaret}})

| {{sort|1914|1913–1914, {{abbr|rev.|revised}} 1914 & 1914}}

| {{sort|A73|Op. 73}}

| {{abbr|orch.|orchestra}}

| style="background:#EFEFEF; color:#767676"|{{sort|zzz|–}}

| {{center|{{efn|name=Oceanides}}{{sfnm|1a1=Dahlström|1y=2003|1pp=321–323|2a1={{nowrap|SibEd., v. 1}}|2y=2007|2pp=6–7}}}}

|-

| style="background:#EFEFEF; color:#767676"|{{lang|fi|Kuutar}} (The Moon Goddess)

| style="background:#EFEFEF; color:#767676"|{{nowrap|{{sort|1919|1919}}–early 1920s (abandoned)}}

| style="background:#EFEFEF; color:#767676"|{{sort|zzz|–}}

| style="background:#EFEFEF; color:#767676"|{{nowrap|{{abbr|orch.|orchestra}} (projected)}}

| rowspan=2 style="background:#EFEFEF; color:#767676"|{{sort|Kalevala|– (Kalevala)}}

| {{center|{{efn|name=Op. 105}}}}

|-

| {{lang|fi|Tapiola}}

| {{sort|1926|1926}}

| {{sort|A112|Op. 112}}

| {{abbr|orch.|orchestra}}

| {{center|{{efn|Although Sibelius's final tone poem, {{lang|fi|Tapiola}} (Op. 112), takes its inspiration from the Kalevala, it does not depict an actual story from within its runos—indeed, Sibelius (with his wife's assistance) suggested the English translation should be The Forest, rather than the literal translation of The Realm of Tapio. Sibelius considered making cuts to Tapiola prior to its November premiere, but was unable to do so because the publisher had already been engraved the piece.{{sfn|Barnett|2007|pp=319, 321–323}}}}{{sfnm|1a1=Dahlström|1y=2003|1pp=471–473|2a1={{nowrap|SibEd., v. 1}}|2y=2007|2p=6}}}}

|-

| rowspan=2 style="background-color: #ADD8E6"|Opera

| style="background:#EFEFEF; color:#767676"|{{sort|Building of the Boat|The Building of the Boat}} ({{lang|fi|Veneen luominen}})

| style="background:#EFEFEF; color:#767676"|{{nowrap|{{sort|1894|1893–1894}} (abandoned)}}

| style="background:#EFEFEF; color:#767676"|{{sort|zzz|–}}

| style="background:#EFEFEF; color:#767676"|soloists, {{abbr|chor.|mixed chorus}}, {{nowrap|{{abbr|orch.|orchestra}} (projected)}}

| style="background:#EFEFEF; color:#767676"|{{sortname|J.|Sibelius|Jean Sibelius}} & {{ill|J. H. Erkko|lt=J.H. Erkko|fi}};
Kalevala, {{nowrap|Runos VIII & XVI}}

| {{center|{{efn|The Building of the Boat was Sibelius's plan for a Wagnerian grand opera. By September 1894, however, he had abandoned the project and began to rework most of its material into the Lemminkäinen Suite (and perhaps, too, The Wood Nymph, Op. 15). For example, the opera's overture became The Swan of Tuonela (Op. 22/2).{{sfnm|1a1=Tawaststjerna|1y=2008a|1pp=141–143, 158|2a1=Barnett|2y=2007|2pp=83, 88, 94–95, 101–103}}}}}}

|-

| {{sort|Maiden in the Tower1|The Maiden in the Tower}} ({{lang|sv|Jungfrun i tornet}}), dramatized Finnish ballad in 1 act

| {{nowrap|{{sort|1896|1896}} (withdrawn 1896)}}

| {{sort|JS101.1|JS 101}}

| {{abbr|S|soprano}}, {{abbr|A|alto}}, {{abbr|T|tenor}}, {{abbr|B|baritone}}, {{abbr|chor.|mixed choir}}, {{abbr|orch.|orchestra}}

| {{sortname|R.|Hertzberg|Rafael Hertzberg}}

| {{center|{{efn|In 1896, Sibelius withdrew The Maiden in the Tower (for which a rehearsal score for soloists, mixed choir, and piano accompaniment is also extant), saying he wanted to revise it; he never did.{{sfn|Barnett|2007|pp=108–109}} In the 2010s, a 12-minute, derivative concert overture for orchestra—marked by Sibelius and "hiding among the [original 1896] orchestral parts"—was "discovered" by {{ill|Tuomas Hannikainen|fi}}. It is not to be confused with the actual 3-minute overture of the opera.{{CN|date=January 2024}}|name=JS 101}}{{sfnm|1a1=Dahlström|1y=2003|1pp=556–560|2a1={{nowrap|SibEd., v. 3}}|2y=2007|2p=6}}}}

|-

| rowspan=11 style="background-color: #ADD8E6"|Stage

| {{sort|King Christian II1|King Christian II ({{lang|sv|Kuningas Kristian II}}), play in 5 acts}}

| {{sort|1898|1898, {{abbr|rev.|revised}} 1898}}

| {{sort|A27.1|Op. 27}}

| {{abbr|B|baritone}}, {{abbr|orch.|orchestra}}

| {{sortname|A.|Paul|Adolf Paul}}

| {{center|{{efn|The incidental music for King Christian II was originally in four numbers for the 24 February 1898 premiere: 1) Elegie, 2) Musette, 3) Menuetto, and 4) Fool's Song of the Spider ({{lang|sv|Sången om korsspindeln|italics=no}}). No. 3 is a reworking of an earlier orchestral work—Menuetto (JS 127)—that dates to 1894, while No. 4 is an orchestral song for baritone. In the summer of 1898, Sibelius added three additional movements: 5) Nocturne, 6) Serenade, and 7) Ballade; shortly thereafter, he arranged a five-movement concert suite for orchestra (also Op. 27). Moreover, in 1898, Sibelius arranged Nos. 1–4 from the theatre score for solo piano, as well as No. 4 as a song for baritone and piano.{{sfn|Barnett|2007|pp=116, 119}}|name=Op. 27}}{{sfnm|1a1=Dahlström|1y=2003|1pp=121–125|2a1={{nowrap|SibEd., v. 5}}|2y=2008|2p=3}}}}

|-

| Death ({{lang|fi|Kuolema}}), play in 3 acts

| {{sort|1903|1903}}

| {{sort|JS113|JS 113}}

| {{abbr|Mz|mezzo-soprano}}, {{abbr|B|baritone}}, {{abbr|str.|strings}}, {{abbr|perc.|percussion}}

| {{sortname|A.|Järnefelt|Arvid Järnefelt}}

| {{center|{{efn|Nos. 2—Moderato (Paavali's Song)–and 3—Moderato assai{{spaced ndash}}Moderato (Elsa's Song){{spaced ndash}}Poco adagio—from the incidental music for Kuolema (Sibelius) are orchestral songs for baritone and mezzo-soprano, respectively. Sibelius excerpted and revised the score to produce two concert pieces for orchestra: in 1904, No. 1—Tempo di valse lente{{spaced ndash}}Poco risoluto—as {{lang|fr|Valse triste}} (Op. 44/1); and in 1906, the outer sections of No. 3 (Moderato assai and Poco adagio) with No. 4—Andante—as Scene with Cranes (Op. 44/2). In 1904, he also transcribed {{lang|fr|Valse triste}} for solo piano. Finally, for a 1911 production of the play, he wrote two new numbers for a revised version of Järnefelt's play: Canzonetta (Op. 62/1)—originally titled {{lang|de|Rondo der Liebenden}} (Rondo of the Lovers) and written in 1906—and {{lang|fr|Valse romantique}} (Op. 62/1)—originally titled {{lang|fr|Vals-intermezzo}}.{{sfn|Barnett|2007|pp=157–159, 209–210}}{{sfn|Tawaststjerna|2008b|p=165}}|name=Kuolema}}{{sfnm|1a1=Dahlström|1y=2003|1pp=198–200, 569|2a1={{nowrap|SibEd., v. 5}}|2y=2008|2p=3}}}}

|-

| {{sort|Pelléas et Mélisande1|{{lang|fr|Pelléas et Mélisande}} ({{lang|sv|Pelléas och Mélisande}}), play in 5 acts}}

| {{sort|1905|1904–1905}}

| {{sort|JS147/1|JS 147}}

| rowspan=2|{{abbr|Mz|mezzo-soprano}}, {{abbr|orch.|orchestra}}

| {{sortname|M.|Maeterlinck|Maurice Maeterlinck}}
{{nowrap|– B. Gripenberg, {{abbr|trans.|translation}} (sv)}}

| {{center|{{efn|No. 6—The Three Blind Sisters ({{lang|sv|De trenne blinda systrar}})—from the incidental music for Pelléas et Mélisande (Sibelius) is an orchestral song for mezzo-soprano; in 1905, Sibelius arranged it for voice and piano (JS 147/6). Moreover, in 1905, Sibelius derived a nine-movement concert suite for orchestra (Op. 46); he also transcribed it for solo piano the same year (except No. 2a).{{sfn|Barnett|2007|pp=165, 167–168}}|name=Pelléas}}{{sfnm|1a1=Dahlström|1y=2003|1pp=209–212, 589|2a1={{nowrap|SibEd., v. 5}}|2y=2008|2p=6}}}}

|-

| {{sort|Belshazzar's Feast1|Belshazzar's Feast ({{lang|sv|Belsazars gästabud}}), play in 4 acts}}

| {{sort|1906|1906}}

| {{sort|JS48|JS 48}}

| {{sort|Procopé|{{ill|Hjalmar Procopé (poet)|lt=H. Procopé|fi|Hjalmar Procopé (runoilija)}}}}

| {{center|{{efn|No. 2b— The Jewish Girl's Song ({{lang|sv|Den judiska flickans sång}})—from the incidental music for Belshazzar's Feast is an orchestral song for mezzo-soprano; in 1907 (revised 1939), Sibelius arranged it for voice and piano (JS 48/2b). Moreover, from 1906–1907, Sibelius derived a four-movement concert suite for orchestra (Op. 51); he also transcribed it for solo piano the same year.{{sfn|Barnett|2007|pp=}}|name=Belshazzar}}{{sfnm|1a1=Dahlström|1y=2003|1pp=234–237, 516|2a1={{nowrap|SibEd., v. 5}}|2y=2008|2p=12}}}}

|-

| Canzonetta, added to Death ({{lang|fi|Kuolema}})

| {{sort|1906|1906, {{abbr|rev.|revised}} 1911}}

| {{sort|A62.1|Op. 62/1}}

| {{abbr|str.|strings}}

| style="background:#EFEFEF; color:#767676"|{{sort|Järnefelt|– (A. Järnefelt)}}

| {{center|{{efn|name=Kuolema}}{{sfnm|1a1=Dahlström|1y=2003|1pp=286–288|2a1={{nowrap|SibEd., v. 5}}|2y=2008|2p=17}}}}

|-

| {{sort|Swanwhite1|Swanwhite ({{lang|sv|Svanevit}}), play in 3 acts}}

| {{sort|1908|1908}}

| {{sort|JS189|JS 189}}

| {{abbr|orch.|orchestra}} + organ

| style="background:#EFEFEF; color:#767676"|{{sort|Strindberg|– (A. Strindberg)}}

| {{center|{{efn|A fragment for an alternative version of No. 9—Largo—is extant. In 1908, Sibelius derived from the incidental music for Swanwhite a seven-movement concert suite (Op. 54).{{sfn|Barnett|2007|pp=187–189}}|name=Swanwhite}}{{sfnm|1a1=Dahlström|1y=2003|1pp=247–251, 623|2a1={{nowrap|SibEd., v. 5}}|2y=2008|2pp=4–5}}}}

|-

| {{sort|Language of the Birds|The Language of the Birds}} ({{lang|de|Die Sprache der Vögel}})

| rowspan=2|{{sort|1911|1911}}

| {{sort|JS62|JS 62}}

| rowspan=2|{{abbr|orch.|orchestra}}

| style="background:#EFEFEF; color:#767676"|{{sort|Paul|– (A. Paul)}}

| {{center|{{efn|Publisher: {{abbr|MFz|Musiikki-Fazer}} (1997). Sibelius composed a wedding march for Act III of The Language of the Birds (although no production of the play appears to have used the piece).{{sfn|Barnett|2007|pp=213–214}}}}{{sfnm|1a1=Dahlström|1y=2003|1p=528|2a1={{nowrap|SibEd., v. 5}}|2y=2008|2p=14}}}}

|-

| {{lang|fr|Valse romantique}}, added to Death ({{lang|fi|Kuolema}})

| {{sort|A62.2|Op. 62/2}}

| style="background:#EFEFEF; color:#767676"|{{sort|Järnefelt|– (A. Järnefelt)}}

| {{center|{{efn|name=Kuolema}}{{sfnm|1a1=Dahlström|1y=2003|1pp=286–288|2a1={{nowrap|SibEd., v. 5}}|2y=2008|2p=17}}}}

|-

| {{sort|Scaramouche1|Scaramouche, ballet-pantomime in 2 acts}}

| {{sort|1913|1912–1913}}

| {{sort|A71.1|Op. 71}}

| {{abbr|orch.|orchestra}} + {{abbr|pf.|piano}}

| {{sortname|P.|Knudsen|Poul Knudsen (writer)}}

| {{center|{{efn|Sibelius derived three additional works from Scaramouche: {{lang|fr|Danse élégiaque}} and {{lang|fr|Scène d'amour}} were arranged in 1914 for solo piano, and in 1925, the Sibelius arranged (or perhaps more accurately, revised as "almost a new piece") the latter for violin and piano.{{sfn|Barnett|2007|p=237, 313}} The twenty-minute 'Scaramouche Suite' is a sanctioned excerption by the composer's son-in-law, Jussi Jalas, that maintains Sibelius's original orchestration.|name=Op. 71}}{{sfnm|1a1=Dahlström|1y=2003|1pp=308–313|2a1={{nowrap|SibEd., v. 5}}|2y=2008|2pp=15–16}}}}

|-

| {{sort|Everyman1|Everyman ({{lang|de|Jedermann}} or {{lang|fi|Jokamies}}), play in 1 act}}

| {{sort|1916|1916}}

| {{sort|A83|Op. 83}}

| {{abbr|Mz|mezzo-soprano}}, {{abbr|T|tenor}}, {{abbr|B|baritone}}, {{abbr|chor.|mixed choir}}, {{abbr|orch.|orchestra}} + {{abbr|pf.|piano}}, organ

| {{sortname|H. von|Hofmannsthal|Hugo von Hofmannsthal}}
{{nowrap|– {{ill|Huugo Jalkanen|lt=H. Jalkanen|fi|Huugo Jalkanen}}, {{abbr|trans.|translation}} (fi)}}

| {{center|{{efn|In 1925, Sibelius considered excerpting a suite from Everyman, but never did so. In the end, in 1925, he merely arranged for solo piano Nos. 2 (Largo), 4 (Tempo commodo), and 8 (Allegretto{{spaced ndash}}Allegro) as, respectively, {{lang|it|Episodio|italics=no}}, {{lang|it|Canzone|italics=no}}, and {{lang|it|Scéna|italics=no}}.{{sfn|Barnett|2007|pp=262–264, 314}}|name=Everyman}}{{sfnm|1a1=Dahlström|1y=2003|1pp=358–362|2a1={{nowrap|SibEd., v. 5}}|2y=2008|2p=7}}}}

|-

| {{sort|Tempest1|The Tempest}} ({{lang|sv|Stormen}}), play in 5 acts

| {{sort|1925|1925, {{abbr|rev.|revised}} 1927}}

| {{sort|JS182|JS 182}}

| {{abbr|S|soprano}}, {{abbr|Mz|mezzo-soprano}}, {{abbr|T|tenor}}, {{abbr|T|tenor}}, {{abbr|B|baritone}}, {{abbr|chor.|mixed choir}}, {{abbr|orch.|orchestra}} + harmonium

| {{sortname|W.|Shakespeare|William Shakespeare}}
{{nowrap|– {{ill|Edvard Lembcke|lt=E. Lembcke|da}}, {{abbr|trans.|translation}} (da, 1926)}}
{{nowrap|– P. Cajander, {{abbr|trans.|translation}} (fi, 1927)}}

| {{center|{{efn|In 1925, for the Royal Danish Theatre, Sibelius completed the incidental music to Shakespeare's The Tempest (JS 182, Danish-language translation by {{ill|Edvard Lembcke|da}}). In 1927, a production at the Finnish National Theatre used a Finnish-language translation by Paavo Cajander, and Sibelius took the opportunity to add the concluding Epilogue (No. 34b), based on an earlier work from 1904: Cassazione (Op. 6). Also in 1927, he derived two, nine-movement concert suites (Op. 109/2–3), as well as the stand-alone Prelude (Op. 109/1), from the incidental music; each is for orchestra and is without voices. In the same year, he also transcribed three numbers for solo piano as Episode (Miranda), Dance of the Nymphs, and Scène. Finally, in 1929, Sibelius revised No. 5—Canon—from the first orchestral suite; the 1927 of Canon version is extant.{{sfn|Barnett|2007|p=314–317, 327–328}}|name=Tempest}}{{sfnm|1a1=Dahlström|1y=2003|1pp=445–458, 614|2a1={{nowrap|SibEd., v. 5}}|2y=2008|2pp=8–11}}}}

|-

| rowspan=10 style="background-color: #ADD8E6"|{{nowrap|Stage ({{abbr|arr.|arranged work}})}}

| data-sort-value="King Christian II2" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title=King Christian II Suite ({{lang|sv|Kuningas Kristian II}})

| expand=

|

1. Nocturne
2. Elegie
3. Musette
4. Serenade
5. Ballade|indent=1}}

| {{sort|1898|[1898], {{abbr|arr.|arranged}} 1898}}

| {{sort|A27.2|→ Op. 27}}

| rowspan=10|{{abbr|orch.|orchestra}}

| style="background:#EFEFEF; color:#767676"|{{sort|Paul|– (A. Paul)}}

| {{center|{{efn|name=Op. 27}}{{sfnm|1a1=Dahlström|1y=2003|1pp=121–126|2a1={{nowrap|SibEd., v. 5}}|2y=2008|2p=13}}}}

|-

| {{sort|Maiden in the Tower2|The Maiden in the Tower Overture}} ({{lang|sv|Jungfrun i tornet}})

| {{nowrap|{{sort|1900|[1896], {{abbr|arr.|arranged}} 1900}} (score markings)}}

| {{sort|JS101.2|→ JS 101}}

| style="background:#EFEFEF; color:#767676"|{{sort|Hertzberg|– (R. Hertzberg)}}

| {{center|{{efn|name=JS 101}}}}

|-

| {{sort|Valse triste1|{{lang|fr|Valse triste}}, from Death ({{lang|fi|Kuolema}})}}

| {{sort|1904|[1903], {{abbr|arr.|arranged}} 1904}}

| {{sort|A44.1|Op. 44/1}}

| style="background:#EFEFEF; color:#767676"|{{sort|Järnefelt|– (A. Järnefelt)}}

| {{center|{{efn|name=Kuolema}}{{sfnm|1a1=Dahlström|1y=2003|1p=201|2a1={{nowrap|SibEd., v. 5}}|2y=2008|2p=8}}}}

|-

| data-sort-value="Pelléas et Mélisande2" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title=Pelléas et Mélisande Suite ({{lang|sv|Pelléas och Mélisande}})

| expand=

|

1. At the Castle Gate ({{lang|sv|Vid slottsporten|italics=no}})
2. Mélisande
   (a) At the Seashore ({{lang|sv|På stranded vid havet|italics=no}})
3. By a Spring in the Park ({{lang|sv|En källa i parken|italics=no}})
4. The Three Blind Sisters ({{lang|sv|De trenne blinda systrar|italics=no}})
5. Pastorale
6. Mélisande at the Spinning Wheel ({{lang|sv|Mélisande vid sländan|italics=no}})
7. Entr'acte ({{lang|sv|Mellanaktsmusik|italics=no}})
8. The Death of Mélisande ({{lang|sv|Mélisandes död|italics=no}})|indent=1}}

| {{sort|1905|[1905], {{abbr|arr.|arranged}} 1905}}

| {{sort|A46|Op. 46}}

| style="background:#EFEFEF; color:#767676"|{{sort|Maeterlinck|– (M. Maeterlinck)}}

| {{center|{{efn|name=Pelléas}}{{sfnm|1a1=Dahlström|1y=2003|1pp=209–215|2a1={{nowrap|SibEd., v. 5}}|2y=2008|2p=17}}}}

|-

| Scene with Cranes ({{lang|sv|Kurkikohtaus}}), from Death ({{lang|fi|Kuolema}})

| {{sort|1906|[1903], {{abbr|arr.|arranged}} 1906}}

| {{sort|A44.3|Op. 44/2}}

| style="background:#EFEFEF; color:#767676"|{{sort|Järnefelt|– (A. Järnefelt)}}

| {{center|{{efn|name=Kuolema}}{{sfnm|1a1=Dahlström|1y=2003|1pp=204–205|2a1={{nowrap|SibEd., v. 5}}|2y=2008|2p=8}}}}

|-

| data-sort-value="Belshazzar's Feast2" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title=Belshazzar's Feast Suite ({{lang|sv|Belsazars gästabud}})

| expand=

|

1. Oriental Procession ({{lang|sv|Orientalisk marsch|italics=no}})
2. Solitude
3. Nocturne
4. Khadra's Dance ({{lang|sv|Khadras dans|italics=no}})|indent=1}}

| {{sort|1907|[1906], {{abbr|arr.|arranged}} 1907}}

| {{sort|A51.1|Op. 51}}

| style="background:#EFEFEF; color:#767676"|{{sort|Procopé|– ({{ill|Hjalmar Procopé (poet)|lt=H. Procopé|fi|Hjalmar Procopé (runoilija)}})}}

| {{center|{{efn|name=Belshazzar}}{{sfnm|1a1=Dahlström|1y=2003|1pp=238–239|2a1={{nowrap|SibEd., v. 5}}|2y=2008|2p=15}}}}

|-

| data-sort-value="Swanwhite2" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title=Swanwhite Suite ({{lang|sv|Svanevit}})

| expand=

|

1. The Peacock ({{lang|sv|Påfågeln|italics=no}})
2. The Harp ({{lang|sv|Harpan|italics=no}})
3. The Maiden with the Roses ({{lang|sv|Tärnorna med rosor|italics=no}})
4. Listen! The Robins sings ({{lang|sv|Hör rödhaken slå|italics=no}})
5. The Prince Alone ({{lang|sv|Prinsen allena|italics=no}})
6. Swanwhite and the Prince ({{lang|sv|Svanevit och prinsen|italics=no}})
7. Song of Praise ({{lang|sv|Lovsång|italics=no}})|indent=1}}

| {{sort|1908|[1908], {{abbr|arr.|arranged}} 1908}}

| {{sort|A54|Op. 54}}

| style="background:#EFEFEF; color:#767676"|{{sort|Strindberg|– (A. Strindberg)}}

| {{center|{{efn|name=Swanwhite}}{{sfnm|1a1=Dahlström|1y=2003|1pp=252–255|2a1={{nowrap|SibEd., v. 5}}|2y=2008|2p=13}}}}

|-

| {{sort|Tempest2|The Tempest Prelude}} ({{lang|sv|Stormen}})

| {{sort|1927|[1925], {{abbr|arr.|arranged}} 1927}}

| {{sort|A109.2|Op. 109/1}}

| rowspan=3 style="background:#EFEFEF; color:#767676"|{{sort|Shakespeare|– (W. Shakespeare)}}

| {{center|{{efn|name=Tempest}}{{sfnm|1a1=Dahlström|1y=2003|1pp=445, 458–459|2a1={{nowrap|SibEd., v. 5}}|2y=2008|2p=18}}}}

|-

| data-sort-value="Tempest3" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title={{sort|Tempest|The Tempest Suite No. 1}} ({{lang|sv|Stormen}})

| expand=

|

1. The Oak Tree ({{lang|de|Der Eichbaum|italics=no}})
2. Humoreske
3. Caliban's Song ({{lang|de|Calibans Lied|italics=no}})
4. The Harvesters ({{lang|de|Die Herbstmänner|italics=no}})
5. Canon
6. Scéne
7. Intrada{{spaced ndash}}Berceuse
8. Entr'acte{{spaced ndash}}Ariel's Song ({{lang|de|Zwischenspiel{{spaced ndash}}Ariels Lied|italics=no}})
9. The Storm ({{lang|de|Der Strum|italics=no}})|indent=1}}

| {{sort|1927|[1925], {{abbr|arr.|arranged}} 1927, {{abbr|rev.|revised}} 1929}}

| {{sort|A109.3|Op. 109/2}}

| {{center|{{efn|name=Tempest}}{{sfnm|1a1=Dahlström|1y=2003|1pp=459–462, 465–466|2a1={{nowrap|SibEd., v. 5}}|2y=2008|2p=18}}}}

|-

| data-sort-value="Tempest4" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title={{sort|Tempest|The Tempest Suite No. 2}} ({{lang|sv|Stormen}})

| expand=

|

1. Chorus of the Winds ({{lang|de|Chor der Winde|italics=no}})
2. Intermezzo
3. Dance of the Nymphs ({{lang|de|Tanz Der Nymphen|italics=no}})
4. Prospero
5. Song I ({{lang|de|Lied I|italics=no}})
6. Song II ({{lang|de|Lied II|italics=no}})
7. Miranda
8. The Naiads ({{lang|de|Die Najaden|italics=no}})
9. Dance Episode ({{lang|de|Tanz-Episode|italics=no}})|indent=1}}

| {{sort|1927|[1925], {{abbr|arr.|arranged}} 1927}}

| {{sort|A109.4|Op. 109/3}}

| {{center|{{efn|name=Tempest}}{{sfnm|1a1=Dahlström|1y=2003|1pp=462–466|2a1={{nowrap|SibEd., v. 5}}|2y=2008|2pp=18–19}}}}

|-

| style="background-color: #ADD8E6"|Oratorio

| style="background:#EFEFEF; color:#767676"|{{lang|fi|Marjatta}}

| style="background:#EFEFEF; color:#767676"|{{nowrap|1905 (abandoned)}}

| style="background:#EFEFEF; color:#767676"|{{sort|zzz|–}}

| style="background:#EFEFEF; color:#767676"|soloists, {{abbr|chor.|mixed chorus}}, {{nowrap|{{abbr|orch.|orchestra}} (projected)}}

| style="background:#EFEFEF; color:#767676"|{{nowrap|{{sort|Finne|{{ill|Jalmari Finne|lt=J. Finne|fi}}}}; Kalevala, Runo L}}

| {{center|{{efn|Sibelius began working on the {{lang|fi|Marjatta}} oratorio in 1905, but soon abandoned his plans the same year, likely due to a waning enthusiasm for {{ill|Jalmari Finne|lt=Finne's|fi|Jalmari Finne}} libretto (based on the Kalevala biblically-inspired Runo L). Musicologists speculate that material from the oratorio eventually made its way into numerous compositions: 1906's 'Luonnotar' tone poem, which itself evolved into Pohjola's Daughter (Op. 49); 1907's Third Symphony (Op. 52); the second movement (Love Song) of 1912's {{lang|fr|Scènes historiques II}} (Op. 66); and, possibly, 1905's Not with Lamentation ({{lang|sv|Ej med klagan}}, JS 69), for mixed choir {{em|a cappella}}; 1909's In memoriam (Sibelius) (Op. 59); and 1922's Andante festivo (JS 34a).{{sfn|Barnett|2007|pp=169–174, 184, 299}}}}}}

|-

| rowspan=9 style="background-color: #ADD8E6"|Cantata

| data-sort-value="Cantata for the University 1894" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title=Cantata for the University Graduation Ceremonies of 1894 ({{lang|fi|Kantaatti tohtorinja maisterinvihkijäisissä 1894}})

| expand=

|

1. "When the world, when nature was created ..." ("{{lang|fi|Syntyi kun maailmat, luonto kun luotiin ...|italics=no}}")
2. "We burned the wilderness ..." ("{{lang|fi|Kaskeksi korvet ne raadettiin ...|italics=no}}")
3. Andantino|indent=1}}

| {{nowrap|{{sort|1894|1894}} (partially survives)}}

| {{sort|JS105.1|JS 105}}

| {{abbr|S|soprano}}, {{abbr|B|baritone}}, {{abbr|chor.|mixed choir}}, {{abbr|orch.|orchestra}}

| {{sort|Leino|{{ill|Kasimir Leino|lt=K. Leino|fi}}}}

| {{center|{{efn|Cantata for the Graduation Ceremonies of 1894, which is sometimes called the Promotional Cantata, only partially survives: the soprano part for the third movement is lost; however, a rehearsal score with piano accompaniment is extant. In 1896, Sibelius made an arrangement for mixed choir {{em|a cappella}} and retitled as Festive March ({{lang|fi|Juhlamarssi}}).{{sfn|Barnett|2007|pp=91–92}}|name=JS 105}}{{sfnm|1a1=Dahlström|1y=2003|1pp=562–564|2a1={{nowrap|SibEd., v. 3}}|2y=2007|2p=4}}}}

|-

| data-sort-value="Cantata for the Coronation" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title=Cantata for the Coronation of Nicholas II ({{lang|fi|Kantaatti iloja onnentoivotusjuhlassa 1896}})

| expand=

|

1. "Hail, young prince ..." ("{{lang|fi|Terve nuori ruhtinas|italics=no}} ...")
2. "In the sure security of justice ..." ("{{lang|fi|Oikeuden varmassa turvassa|italics=no}} ...")|indent=1}}

| {{sort|1896|1896}}

| {{sort|JS104.1|JS 104}}

| {{abbr|chor.|mixed choir}}, {{abbr|orch.|orchestra}}

| {{sortname|P.|Cajander|Paavo Cajander}}

| {{center|{{efn|Sometimes referred to as the Coronation Cantata; in 1896, Sibelius arranged for orchestra a section of Part I from the Cantata for the Coronation of Emperor Nicholas II as the Coronation March ({{lang|sv|Kröningsmarsch}}). Finally, in 1913, he arranged a portion of the cantata as Hail Princess ({{lang|fi|Terve Ruhtinatar}}), for female (or children's) choir {{em|a cappella}}.{{sfn|Barnett|2007|pp=107, 228}}|name=Coronation}}{{sfnm|1a1=Dahlström|1y=2003|1pp=561–562|2a1={{nowrap|SibEd., v. 3}}|2y=2007|2p=5}}}}

|-

| data-sort-value="Cantata for the University 1897" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title=Cantata for the University Graduation Ceremonies of 1897 ({{lang|fi|Kantaatti tohtorinja maisterinvihkijäisissä 1897}})

| expand=

|

1. "We, the Youth of Finland" ("{{lang|fi|Me nuoriso Suomen|italics=no}}")
2. "A Boat Bobbing in the Water" ("{{lang|fi|Veno kupliksi vesille|italics=no}}")
3. "These Young Guardians of Light" ("{{lang|fi|Tää valon nuori vartiasto|italics=no}}")
4. "Sweet is the Knowledge that Bears Fruit" ("{{lang|fi|Soma on tieto siemeniksi|italics=no}}")
5. "Take Heed, Hard Work is Needed" ("{{lang|fi|Hei tointa tarmosaapa tarvitaan|italics=no}}")
6. "... to Become a Wreck" ("{{lang|fi|... hylyksi jouda|italics=no}}")
7. "O Hope, Hope, You Dreamer" ("{{lang|fi|Oi toivo, toivo, sä lietomieli|italics=no}}")
8. "Many on the Sea of Life" ("{{lang|fi|Montapa elon merellä|italics=no}}")
9. "... Now it is Summer in Finland" ("{{lang|fi|... Suvi nyt on Suomessa|italics=no}}")
10. We Praise Thee, our Creator ("{{lang|fi|Soi kiitokseksi Luojan|italics=no}}")
11. "Alone, Life is Cheerless" ("{{lang|fi|Yksin on elo iloton|italics=no}}")
12. "O Love, Your Realm is Limitless" ("{{lang|fi|Oi Lempi, sun valtas ääretön on|italics=no}}")
13. "As the Swift Current" ("{{lang|fi|Kuin virta vuolas|italics=no}}")
14. "Listen to the Spruce Tree" ("{{lang|fi|Sitä kuusta kuuleminen|italics=no}}")|indent=1}}

| {{nowrap|{{sort|1897|1897}} (partially survives)}}

| {{sort|JS106|JS 106}}

| {{abbr|S|soprano}}, {{abbr|B|baritone}}, {{abbr|chor.|mixed choir}}, {{abbr|orch.|orchestra}}

| {{sortname|A.V.|Koskimies|A. V. Koskimies}}

| {{center|{{efn|The complete score of the Cantata for the Graduation Ceremonies of 1897 is lost, although some orchestral parts, as well as a rehearsal score with piano accompaniment, are extant. (In 2010, Kalevi Aho and Timo Hongisto used these sources to reconstruct a performing version of the cantata, albeit for soprano, tenor, mixed choir, and piano.){{sfn|{{nowrap|SibEd., v. 11}}|2010|pp=26–27, 264}} In 1898, Sibelius excerpted from the Cantata for the Graduation Ceremonies of 1897 ten songs and arranged them as the Op. 23 Songs for Mixed Chorus from the 1897 Promotional Cantata ({{lang|fi|Lauluja sekaköörille 1897 vuoden promotiooni kantaatista}}), while in 1913 he arranged No. 6a—We Praise Thee, Our Creator ({{lang|fi|Soi kiitokseksi Luojan}}—for female (or children's) choir {{em|a cappella}}.{{sfn|Barnett|2007|pp=111, 228}}|name=1897cantata}}{{sfnm|1a1=Dahlström|1y=2003|1pp=92–98, 564|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2pp=26–27, 264}}}}

|-

| {{sort|Origin of Fire|The Origin of Fire}} ({{lang|fi|Tulen synty}})

| {{sort|1902|1902, {{abbr|rev.|revised}} 1910}}

| {{sort|A32.1|Op. 32}}

| {{abbr|B|baritone}}, {{abbr|mchor.|male choir}}, {{abbr|orch.|orchestra}}

| Kalevala, Runo XLVII

| {{center|{{efn|In 1910, Sibelius revised the 1902 version of The Origin of Fire—which is extant—and also transcribed it for baritone, male choir, and piano.{{sfn|Barnett|2007|pp=207–208}}|name=Tulen synty}}{{sfnm|1a1=Dahlström|1y=2003|1pp=142–144|2a1={{nowrap|SibEd., v. 3}}|2y=2007|2pp=9, 12}}}}

|-

| {{sort|Captive Queen|The Captive Queen}} ({{lang|fi|Vapautettu kuningatar}})

| {{sort|1906|1906}} ({{abbr|arr.|arranged for male choir}} {{c.|1910}})

| {{sort|A48|Op. 48}}

| {{abbr|chor.|mixed choir}} (or {{abbr|mchor.|male choir}}), {{abbr|orch.|orchestra}}

| {{sortname|P.|Cajander|Paavo Cajander}}

| {{center|{{efn|Sometimes translated as The Liberated Queen, The Captive Queen is also known as the Cantata in Celebration of Snellman's Birth ({{lang|fi|Snellmanin juhla-kantaatti}}). To avoid the ire of the Russian censors, the piece premiered under the title There Sings the Queen ({{lang|fi|Siell' laulavi kuningatar}}). By 1910 (but perhaps as early as 1906), Sibelius arranged the piece for male choir and orchestra.{{sfn|Barnett|2007|p=175–176, 234}}}}{{sfnm|1a1=Dahlström|1y=2003|1pp=224–226|2a1={{nowrap|SibEd., v. 3}}|2y=2007|2pp=11–12}}}}

|-

| My Own Land ({{lang|fi|Oma maa}})

| {{sort|1918|1918}}

| {{sort|A92|Op. 92}}

| rowspan=4|{{abbr|chor.|mixed choir}}, {{abbr|orch.|orchestra}}

| {{sort|Bergh (Kallio)|{{ill|Samuel Gustaf Bergh|lt=S.K. Bergh|fi}}}}

| {{center|{{efn|{{lang|fi|Oma maa}} is sometimes translated as Our Native Land.}}{{sfnm|1a1=Dahlström|1y=2003|1pp=399–400|2a1={{nowrap|SibEd., v. 3}}|2y=2007|2p=15}}}}

|-

| Song of the Earth ({{lang|sv|Jordens sång}})

| {{sort|1919|1919}}

| {{sort|A93|Op. 93}}

| {{sortname|J.|Hemmer|Jarl Hemmer}}

| {{center|{{efn|Subtitled Cantata for the Inaugural Ceremonies of Åbo Academy University 1919.}}{{sfnm|1a1=Dahlström|1y=2003|1pp=400–401|2a1={{nowrap|SibEd., v. 3}}|2y=2007|2p=16}}}}

|-

| Hymn of the Earth ({{lang|fi|Maan virsi}})

| {{sort|1920|1920}}

| {{sort|A95|Op. 95}}

| {{sortname|E.|Leino|Eino Leino}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1pp=406–407|2a1={{nowrap|SibEd., v. 3}}|2y=2007|2p=16}}}}

|-

| Väinämöinen's Song ({{lang|fi|Väinön virsi}})

| {{sort|1926|1926}}

| {{sort|A110|Op. 110}}

| Kalevala, Runo XVIII

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1pp=468–469|2a1={{nowrap|SibEd., v. 3}}|2y=2007|2p=16}}}}

|-

| rowspan=5 style="background-color: #ADD8E6"|Melodrama

| {{sort|Wood Nymph|The Wood Nymph}} ({{lang|sv|Skogsrået}})

| {{sort|1895|1894–1895}}

| {{sort|A15.2|→ Op. 15}}

| {{abbr|Nar.|narrator}}, {{abbr|orch.|orchestra}} + {{abbr|pf.|piano}}

| {{sortname|V.|Rydberg|Viktor Rydberg}}

| {{center|{{efn|name=Op. 15}}{{sfnm|1a1=Dahlström|1y=2003|1pp=54–55|2a1={{nowrap|SibEd., v. 3}}|2y=2007|2p=5}}}}

|-

| {{sort|Breaking of the Ice|The Breaking of the Ice on the Oulu River}} ({{lang|sv|Islossningen i Uleå älv}})

| {{sort|1899|1899}}

| {{sort|A30.1|Op. 30}}

| {{abbr|Nar.|narrator}}, {{abbr|mchor.|male choir}}, {{abbr|orch.|orchestra}}

| {{sortname|Z.|Topelius|Zachris Topelius}}

| {{center|{{efn|Sibelius gave The Breaking of the Ice on the Oulu River the subtitle of "improvisation". In 1913, Sibelius arranged a short portion of the melodrama as The Landscape Breathes ({{lang|fi|Nejden andas}}), for female (or children's) choir {{em|a cappella}}. An alternative ending for The Landscape Breathes is also extant.{{sfn|Barnett|2007|pp=128–129, 228}}|name=Islossningen}}{{sfnm|1a1=Dahlström|1y=2003|1pp=133–134|2a1={{nowrap|SibEd., v. 3}}|2y=2007|2p=8}}}}

|-

| {{lang|sv|Snöfrid}}

| {{sort|1900|1900}}

| {{sort|A29|Op. 29}}

| {{abbr|Nar.|narrator}}, {{abbr|chor.|mixed choir}}, {{abbr|orch.|orchestra}}

| {{sortname|V.|Rydberg|Viktor Rydberg}}

| {{center|{{efn|Sibelius gave {{lang|sv|Snöfrid}} the subtitle of "improvisation".{{sfn|Barnett|2007|pp=139–140}} In 1929, Hansen was the first to publish parts and full score; however, the choir parts—without publisher information—appeared in 1904.{{sfn|Dahlström|2003|pp=132–133}}}}{{sfnm|1a1=Dahlström|1y=2003|1pp=132–133|2a1={{nowrap|SibEd., v. 3}}|2y=2007|2p=9}}}}

|-

| {{sort|Countess's Portrait|The Countess's Portrait}} ({{lang|sv|Grevinnans konterfej}})

| {{sort|1906|1906}}

| {{sort|JS88|JS 88}}

| {{abbr|Nar.|narrator}}, {{abbr|str.|strings}}

| {{sortname|Z.|Topelius|Zachris Topelius}}

| {{center|{{efn|The Countess's Portrait is sometimes recorded without the narration.}}{{sfnm|1a1=Dahlström|1y=2003|1p=547|2a1={{nowrap|SibEd., v. 3}}|2y=2007|2p=11|3a1={{nowrap|SibEd., v. 8}}|3y=2009|3p=9}}}}

|-

| {{sort|Lonely Ski-Trail|A Lonely Ski-Trail}} ({{lang|sv|Ett ensamt skidspår}})

| {{sort|1948|[1925], {{abbr|arr.|arranged}} 1948}}

| {{sort|JS77.2|JS 77b}}

| {{abbr|Nar.|narrator}}, harp, {{abbr|str.|strings}}

| {{sortname|B.|Gripenberg|Bertel Gripenberg}}

| {{center|{{efn|Originally for narrator and piano (JS 77a), Sibelius arranged A Lonely Ski-Trail for narrator, harp, and strings in 1948.{{sfn|Barnett|2007|pp=318–319, 347}}|name=Ski-Trail}}{{sfnm|1a1=Dahlström|1y=2003|1p=537|2a1={{nowrap|SibEd., v. 3}}|2y=2007|2p=17}}}}

|-

| rowspan=15 style="background-color: #ADD8E6"|{{abbr|Orch.|Orchestral}} song

| {{sort|Serenad2|"{{lang|sv|Serenad|italics=no}}"}} ("Serenade")

| {{sort|1895|1894–1895}}

| {{sort|JS168|JS 168}}

| {{abbr|B|baritone}}, {{abbr|orch.|orchestra}}

| {{sortname|E.J.|Stagnelius|Erik Johan Stagnelius}}

| {{center|{{efn|The "{{lang|sv|Serenad|italics=no}}" (JS 168, 1895; Stagnelius) for baritone and orchestra and the "{{lang|sv|Serenad|italics=no}}" (JS 167, 1888; Runeberg) for voice and piano are unrelated to each other.|name=JS167/168}}{{sfnm|1a1=Dahlström|1y=2003|1p=603|2a1={{nowrap|SibEd., v. 3}}|2y=2007|2p=5}}}}

|-

| {{sort|Koskenlaskijan morsiamet1|"{{lang|fi|Koskenlaskijan morsiamet|italics=no}}"}} ("The Rapids-Rider's Brides")

| {{sort|1897|1897}}

| {{sort|A33.1|Op. 33}}

| {{abbr|B|baritone}}, {{abbr|orch.|orchestra}}

| {{sortname|A.|Oksanen|August Ahlqvist}}

| {{center|{{efn|name=Op.33}}{{sfnm|1a1=Dahlström|1y=2003|1pp=145–146|2a1={{nowrap|SibEd., v. 3}}|2y=2007|2p=7}}}}

|-

| {{sort|Se'n har jag ej frågat mera2|"{{lang|sv|Se'n har jag ej frågat mera|italics=no}}"}} ("Since Then I Have Questioned No Further")

| {{sort|1903|[1891–1892], {{abbr|arr.|arranged}} 1903}}

| {{sort|A17.2|→ Op. 17/1}}

| rowspan=3|voice, {{abbr|orch.|orchestra}}

| {{sortname|J.L.|Runeberg|Johan Ludvig Runeberg}}

| {{center|{{efn|name=Op.17}}{{sfnm|1a1=Dahlström|1y=2003|1p=60|2a1={{nowrap|SibEd., v. 3}}|2y=2007|2p=10}}}}

|-

| {{sort|På verandan vid havet2|"{{lang|sv|På verandan vid havet|italics=no}}"}} ("On a Balcony by the Sea")

| {{sort|1903|[1903], {{abbr|arr.|arranged}} 1903}}

| {{sort|A38.4|→ Op. 38/2}}

| rowspan=3|{{sortname|V.|Rydberg|Viktor Rydberg}}

| {{center|{{efn|name=Op.38}}{{sfnm|1a1=Dahlström|1y=2003|1p=179|2a1={{nowrap|SibEd., v. 3}}|2y=2007|2p=10}}}}

|-

| {{sort|I natten2|"{{lang|sv|I natten|italics=no}}"}} ("In the Night")

| {{sort|1903|[1903], {{abbr|arr.|arranged}} 1903}}

| {{sort|A38.6|→ Op. 38/3}}

| {{center|{{efn|name=Op.38}}{{sfnm|1a1=Dahlström|1y=2003|1p=180|2a1={{nowrap|SibEd., v. 3}}|2y=2007|2p=10}}}}

|-

| {{sort|Höstkväll2|"{{lang|sv|Höstkväll|italics=no}}"}} ("Autumn Evening")

| {{sort|1904|[1903], {{abbr|arr.|arranged}} 1904}}

| {{sort|A38.2|→ Op. 38/1}}

| voice, {{abbr|orch.|orchestra}} (or {{abbr|str.|strings}})

| {{center|{{efn|name=Op.38}}{{sfnm|1a1=Dahlström|1y=2003|1pp=176–177|2a1={{nowrap|SibEd., v. 3}}|2y=2007|2pp=10–11}}}}

|-

| {{sort|Arioso2|"{{lang|it|Arioso|italics=no}}"}}

| {{sort|1911|1911}}

| {{sort|A3.2|→ Op. 3}}

| {{abbr|S|soprano}}, {{abbr|str.|strings}}

| {{sortname|J.L.|Runeberg|Johan Ludvig Runeberg}}

| {{center|{{efn|name=Op.3}}{{sfnm|1a1=Dahlström|1y=2003|1pp=11–12|2a1={{nowrap|SibEd., v. 3}}|2y=2007|2p=12}}}}

|-

| {{sort|Hertig Magnus2|"{{lang|sv|Hertig Magnus|italics=no}}"}} ("Duke Magnus")

| {{sort|1912|[1909], {{abbr|arr.|arranged}} 1912}}

| {{sort|A57.7|→ Op. 57/6}}

| voice, {{abbr|orch.|orchestra}}

| {{sortname|E.|Josephson|Ernst Josephson}}

| {{center|{{efn|name=Op.57}}{{sfnm|1a1=Dahlström|1y=2003|1pp=265–266|2a1={{nowrap|SibEd., v. 3}}|2y=2007|2p=13}}}}

|-

| style="background:#EFEFEF; color:#767676"|{{sort|Der Rabe|"{{lang|de|Der Rabe|italics=no}}"}} ("The Raven")

| style="background:#EFEFEF; color:#767676"|{{nowrap|{{sort|1910|1910}} (abandoned)}}

| style="background:#EFEFEF; color:#767676"|{{sort|zzz|–}}

| style="background:#EFEFEF; color:#767676"|{{nowrap|{{abbr|S|soprano}}, {{abbr|orch.|orchestra}} (projected)}}

| style="background:#EFEFEF; color:#767676"|{{sortname|E.|Poe|Edgar Allan Poe}}
{{nowrap|– [{{em|Unknown}}], {{abbr|trans.|translation}} (de)}}

| {{center|{{efn|name=Symphony4}}}}

|-

| {{sort|Våren flyktar hastigt2|"{{lang|sv|Våren flyktar hastigt|italics=no}}"}} ("Spring Is Flying")

| {{sort|1913|[1891], {{abbr|arr.|arranged}} 1913}}

| {{sort|A13.5|→ Op. 13/4}}

| rowspan=3|voice, {{abbr|orch.|orchestra}}

| {{sortname|J.L.|Runeberg|Johan Ludvig Runeberg}}

| {{center|{{efn|name=Op.13}}{{sfnm|1a1=Dahlström|1y=2003|1p=44|2a1={{nowrap|SibEd., v. 3}}|2y=2007|2p=13}}}}

|-

| {{sort|Soluppgång2|"{{lang|sv|Soluppgång|italics=no}}"}} ("Sunrise")

| {{sort|1913|[1902], {{abbr|arr.|arranged}} 1913}}

| {{sort|A37.4|→ Op. 37/3}}

| {{sortname|T.|Hedberg|Tor Hedberg}}

| {{center|{{efn|name=Op.37}}{{sfnm|1a1=Dahlström|1y=2003|1pp=170–171|2a1={{nowrap|SibEd., v. 3}}|2y=2007|2p=13}}}}

|-

| {{sort|Demanten på marssnön2|"{{lang|sv|Demanten på marssnön|italics=no}}"}} ("The Diamond on the March Snow")

| {{sort|1917|[1900], {{abbr|arr.|arranged}} 1917}}

| {{sort|A36.7|→ Op. 36/6}}

| {{sortname|J.J.|Wecksell|Josef Julius Wecksell}}

| {{center|{{efn|name=Op.36}}{{sfnm|1a1=Dahlström|1y=2003|1p=165|2a1={{nowrap|SibEd., v. 3}}|2y=2007|2p=14}}}}

|-

| {{sort|Autrefois1|"{{lang|fr|Autrefois|italics=no}}"}}

| {{sort|1919|1919, {{abbr|rev.|revised}} 1920}}

| {{sort|A96.3|Op. 96b}}

| {{abbr|S|soprano}}, {{abbr|S|soprano}}, {{abbr|orch.|orchestra}}

| {{sort|Procopé|{{ill|Hjalmar Procopé (poet)|lt=H. Procopé|fi|Hjalmar Procopé (runoilija)}}}}

| {{center|{{efn|In 1919, Sibelius wrote {{lang|fr|Autrefois}} as the second of the Op. 96 Three Pieces; although it is scored for two sopranos and orchestra, two clarinets may substitute if no vocalists are available. In 1920 made minor revisions for publication; at this time, he also arranged the piece for solo piano (with text written above the music), as well as for two sopranos and piano.{{sfn|Barnett|2007|pp=286, 291}}|name=Op.96/2}}{{sfnm|1a1=Dahlström|1y=2003|1p=410|2a1={{nowrap|SibEd., v. 3}}|2y=2007|2p=16|3a1={{nowrap|SibEd., v. 8}}|3y=2009|3p=12}}}}

|-

| {{sort|Kullervon valitus2|"{{lang|fi|Kullervon valitus|italics=no}}"}} ("Kullervo's Lament"), from Kullervo

| {{sort|1957|[1892, {{abbr|arr.|arranged}} 1892–1893, 1917–1918], {{abbr|arr.|arranged}} 1957}}

| {{sort|A7.3|→ Op. 7}}

| {{abbr|B|baritone}}, {{abbr|orch.|orchestra}}

| Kalevala, Runo XXXV

| {{center|{{efn|name=Kullervo}}{{sfnm|1a1=Dahlström|1y=2003|1pp=25–26|2a1={{nowrap|SibEd., v. 3}}|2y=2007|2p=17}}}}

|-

| {{sort|Kom nu hit, död2|"{{lang|sv|Kom nu hit, död|italics=no}}"}} ("Come Away, Death")

| {{sort|1957|[1909], {{abbr|arr.|arranged}} 1957}}

| {{sort|A60.2|→ Op. 60/1}}

| {{abbr|B|baritone}}, {{abbr|str.|strings}} + harp

| {{sortname|W.|Shakespeare|William Shakespeare}}
{{nowrap|– C.A. Hagberg, {{abbr|trans.|translation}} (sv)}}

| {{center|{{efn|name=Op.60}}{{sfnm|1a1=Dahlström|1y=2003|1p=279|2a1={{nowrap|SibEd., v. 3}}|2y=2007|2p=17}}}}

|-

| rowspan=31 style="background-color: #ADD8E6"|{{nowrap|{{abbr|Misc.|Miscellaneous}} ({{abbr|– voice|without voice(s)}})}}

| Overture in E major

| rowspan=2|{{sort|1891|1891}}

| {{sort|JS145|JS 145}}

| rowspan=2|{{abbr|orch.|orchestra}}

| rowspan=20 style="background:#EFEFEF; color:#767676"|{{sort|zzz|–}}

| {{center|{{efn|Initially, Sibelius intended the Overture in E major (JS 145) and Ballet Scene (JS 163) as movements I and II, respectively, in a symphony; however, he abandoned this plan in April 1891.{{sfn|Barnett|2007|pp=66–67}}{{sfn|Tawaststjerna|2008a|pp=88–93}}|name=Youth symphony}}{{sfnm|1a1=Dahlström|1y=2003|1p=588|2a1={{nowrap|SibEd., v. 8}}|2y=2009|2p=3}}}}

|-

| Ballet Scene ({{lang|fr|Scène de ballet}})

| {{sort|JS163|JS 163}}

| {{center|{{efn|name=Youth symphony}}{{sfnm|1a1=Dahlström|1y=2003|1p=600|2a1={{nowrap|SibEd., v. 8}}|2y=2009|2p=3}}}}

|-

| style="background:#EFEFEF; color:#767676"|Fencing Music ({{lang|sv|Fäktmusik}})

| rowspan=2 style="background:#EFEFEF; color:#767676"|{{nowrap|{{sort|1891|1891}} (lost)}}

| style="background:#EFEFEF; color:#767676"|{{sort|JS80|JS 80}}

| rowspan=2 style="background:#EFEFEF; color:#767676"|{{nowrap|{{abbr|orch.|orchestra}} (probable)}}

| {{center|{{efn|This early orchestral work by Sibelius has not survived.{{sfn|Barnett|2007|p=67}}{{sfn|Tawaststjerna|2008a|p=93}}|name=lost}}{{sfn|Dahlström|2003|p=539}}}}

|-

| style="background:#EFEFEF; color:#767676"|Circus March ({{lang|de|Zirkusmarsch}})

| style="background:#EFEFEF; color:#767676"|{{sort|JS223|JS 223}}

| {{center|{{efn|name=lost}}{{sfn|Dahlström|2003|p=648}}}}

|-

| {{sort|Karelia Overture|Karelia Overture}}

| rowspan=2|{{sort|1893|[1893], {{abbr|arr.|arranged}} 1893}}

| {{sort|A10|Op. 10}}

| rowspan=2|{{abbr|orch.|orchestra}}

| {{center|{{efn|name=Karelia}}{{sfnm|1a1=Dahlström|1y=2003|1pp=30, 35–36|2a1={{nowrap|SibEd., v. 8}}|2y=2009|2p=6}}}}

|-

| data-sort-value="Karelia Suite1" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title=Karelia Suite

| expand=

|

1. Intermezzo
2. Ballade
3. Alla marcia|indent=1}}

| {{sort|A11|Op. 11}}

| {{center|{{efn|name=Karelia}}{{sfnm|1a1=Dahlström|1y=2003|1pp=31, 33, 36|2a1={{nowrap|SibEd., v. 8}}|2y=2009|2p=6}}}}

|-

| Presto, from the String Quartet in B-flat major

| {{sort|1894|[1890], {{abbr|arr.|arranged}} 1894}}

| {{sort|A4.2|→ Op. 4/3}}

| rowspan=2|{{abbr|str.|strings}}

| {{center|{{efn|name=1890strquartet}}{{sfnm|1a1=Dahlström|1y=2003|1pp=14–15|2a1={{nowrap|SibEd., v. 8}}|2y=2009|2p=6}}}}

|-

| Impromptu, from the Six Impromptus

| {{sort|1894|[1893], {{abbr|arr.|arranged}} 1894}}

| {{sort|A5.7|{{nowrap|→ Op. 5/5–6}}}}

| {{center|{{efn|name=Impromptus5–6}}{{sfnm|1a1=Dahlström|1y=2003|1pp=17–18|2a1={{nowrap|SibEd., v. 8}}|2y=2009|2p=6}}}}

|-

| {{sort|Menuetto|Menuetto}}

| {{sort|1894|1894}}

| {{sort|JS127|JS 127}}

| rowspan=6|{{abbr|orch.|orchestra}}

| {{center|{{efn|Although the Menuetto dates to 1894, Sibelius subsequently revised and shortened the piece for inclusion as No. 3 in the King Christian II incidental music (Op. 27).{{sfn|Barnett|2007|p=116}}}}{{sfnm|1a1=Dahlström|1y=2003|1p=577|2a1={{nowrap|SibEd., v. 8}}|2y=2009|2p=8}}}}

|-

| Coronation March ({{lang|sv|Kröningsmarsch}}), from the Cantata for the Coronation of Nicholas II

| {{sort|1896|[1896], {{abbr|arr.|arranged}} 1896}}

| {{sort|JS104.2|→ JS 104}}

| {{center|{{efn|name=Coronation}}{{sfnm|1a1=Dahlström|1y=2003|1pp=561–562|2a1={{nowrap|SibEd., v. 8}}|2y=2009|2p=8}}}}

|-

| data-sort-value="Music for the Press" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title=Music for the Press Celebrations Days ({{lang|fi|Musiikkia Sanomalehdistön päivien juhlanäytäntöön}})

| expand=

|

1. Preludio
2. Tableau I: Väinämöinen Delights Nature, and the Peoples of Kalevala and Pohjola, with His Song ({{lang|fi| Väinämöinen ilahduttaa laulullaan luontoa, Kalevan ja Pohjolan kansaa|italics=no}})
3. Tableau II: The Finns are Baptized ({{lang|fi|Suomen kansa tulee kristityksi|italics=no}})
4. Tableau III: Scene from Duke Johan's Court ({{lang|fi|Juhana-herttuan hovista|italics=no}})
5. Tableau IV: The Finns in the Thirty Years War ({{lang|fi|Suomalaiset 30-vuotisessa sodassa|italics=no}})
6. Tableau V: The Great Hostility ({{lang|fi|Isonvihan aikana|italics=no}})
7. Tableau VI: Finland Awakes ({{lang|fi|Suomi herää|italics=no}})|indent=1}}

| {{sort|1899|1899}}

| {{sort|JS137|JS 137}}

| {{center|{{efn|Sibelius wrote the Press Celebrations Music to raise money for the Press Pension Fund. (This purpose, however, served as a cover for the actual cause: to support a free Finnish press, which had suffered censorship under the Tsar's February Manifesto.) Sibelius's music introduced dramatic tableaux by Kaarlo Bergbom, with declaimed verses by Eino Leino and {{ill|Jalmari Finne|fi}}. Sibelius later arranged tableaux Nos. 1, 3, and 4 as {{lang|fr|Scènes historiques I}} (Op. 25) and tableau No. 6 as Finlandia (Op. 26).{{sfn|Barnett|2007|pp=129–132}}{{sfn|Tawaststjerna|2008a|pp=220–222}}}}{{sfnm|1a1=Dahlström|1y=2003|1pp=107–110, 583|2a1={{nowrap|SibEd., v. 8}}|2y=2009|2pp=6–7}}}}

|-

| {{sort|March of the Pori Regiment2|March of the Pori Regiment ({{lang|fi|Porilaisten marssi}}), arrangement [II] of the original}}

| {{sort|1900|{{abbr|arr.|arranged}} 1900}}

| {{sort|JS152|JS 152}}

| {{center|{{efn|Sibelius twice arranged the well-known Swedish/Finnish song March of the Pori Regiment: first, in 1892 for a chamber ensemble with unknown scoring ("piccolo, violin, viola, and a couple other instruments"), which was performed for the unveiling of the Finnish painter Albert Edelfelt's painting of the same name; and second, as an orchestral encore piece for the Helsinki Philharmonic Society's 1900 European tour. The 1892 arrangement is lost.{{sfn|Barnett|2007|pp=78, 136–137}}|name=JS 151/152}}{{sfnm|1a1=Dahlström|1y=2003|1pp=590–591|2a1={{nowrap|SibEd., v. 8}}|2y=2009|2p=8}}}}

|-

| Overture in A minor

| {{sort|1902|1902}}

| {{sort|JS144|JS 144}}

| {{center|{{efn|name=Voces intimae}}{{sfnm|1a1=Dahlström|1y=2003|1p=587|2a1={{nowrap|SibEd., v. 8}}|2y=2009|2p=8}}}}

|-

| Cassazione

| {{sort|1904|1904, {{abbr|rev.|revised}} 1905}}

| {{sort|A6|Op. 6}}

| {{center|{{efn|The 1904 version is extant.{{sfn|Barnett|2007|pp=161–162, 170}}}}{{sfnm|1a1=Dahlström|1y=2003|1pp=18–21|2a1={{nowrap|SibEd., v. 1}}|2y=2007|2pp=4, 7}}}}

|-

| Romance in C major

| rowspan=2|{{sort|1904|1904}}

| {{sort|A42|Op. 42}}

| {{abbr|str.|strings}}

| {{center|{{efn|Sibelius originally entitled the piece as Andante.{{sfn|Barnett|2007|pp=162–163}}}}{{sfnm|1a1=Dahlström|1y=2003|1pp=195–196|2a1={{nowrap|SibEd., v. 8}}|2y=2009|2p=8}}}}

|-

| {{lang|de|Musik zu einer Szene}} (Music to a Scene)

| {{sort|A45.3|Op. 45/2}}

| rowspan=5|{{abbr|orch.|orchestra}}

| {{center|{{efn|Sibelius wrote {{lang|de|Musik zu einer Szene}} (Music to a Scene) to accompany a tableaux. However, in 1904 he shortened and arranged the piece—now titled Dance Intermezzo—for solo piano. Later, in 1907, he orchestrated Dance Intermezzo.{{sfn|Barnett|2007|p=162}}|name=Tanssi}}{{sfnm|1a1=Dahlström|1y=2003|1p=207|2a1={{nowrap|SibEd., v. 1}}|2y=2007|2p=4}}}}

|-

| Dance Intermezzo ({{lang|fi|Tanssi-Intermezzo}})

| {{sort|1904|[1904, {{abbr|rev.|revised}}/{{abbr|trans.|transcribed}} 1904], {{abbr|arr.|arranged}} 1907}}

| {{sort|A45.5|Op. 45/2}}

| {{center|{{efn|name=Tanssi}}{{sfnm|1a1=Dahlström|1y=2003|1pp=207–208|2a1={{nowrap|SibEd., v. 1}}|2y=2007|2p=6}}}}

|-

| {{lang|fr|Cortège}}

| {{sort|1905|1905}}

| {{sort|JS54|JS 54}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=522|2a1={{nowrap|SibEd., v. 8}}|2y=2009|2p=8}}}}

|-

| Pan and Echo ({{lang|sv|Pan och Echo}})

| {{sort|1906|1906}}

| {{sort|A53.1|Op. 53}}

| {{center|{{efn|Originally written to accompany a tableau, Sibelius gave the subtitle to Pan and Echo of {{lang|de|Tanzintermezzo}} (Dance-intermezzo). In 1907, he arranged it for solo piano.{{sfn|Barnett|2007|pp=175, 182}}|name=Pan}}{{sfnm|1a1=Dahlström|1y=2003|1pp=245–246|2a1={{nowrap|SibEd., v. 8}}|2y=2009|2p=8}}}}

|-

| In memoriam

| {{sort|1909|1909, {{abbr|rev.|revised}} 1910}}

| {{sort|A59|Op. 59}}

| {{center|{{efn|Sibelius composed this funeral march in memory of Eugen Schauman. The 1909 version is extant.{{sfn|Barnett|2007|pp=201–204}}}}{{sfnm|1a1=Dahlström|1y=2003|1pp=273–275|2a1={{nowrap|SibEd., v. 1}}|2y=2007|2pp=5, 7}}}}

|-

| data-sort-value="Rakastava3" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title={{lang|fi|Rakastava}} (The Lover)

| expand=

|

1. The Lover ({{lang|fi|Rakastava|italics=no}})
2. The Path of the Beloved ({{lang|fi|Rakastetun tie|italics=no}})
3. Good Evening ... Farewell! ({{lang|fi|Hyvää iltaa ... Jää hyvästi|italics=no}})|indent=1}}

| {{sort|1911|[1894], {{abbr|arr.|arranged}} 1911, {{abbr|rev.|revised}} 1912}}

| {{sort|A14|Op. 14}}

| {{abbr|str.|strings}}, {{abbr|perc.|percussion}}

| style="background:#EFEFEF; color:#767676"|{{sort|Kanteletar|– (Kanteletar)}}

| {{center|{{efn|name=Rakastava}}{{sfnm|1a1=Dahlström|1y=2003|1pp=52–54|2a1={{nowrap|SibEd., v. 8}}|2y=2009|2pp=10, 15}}}}

|-

| data-sort-value="Scènes historiques I" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title={{lang|fr|Scènes historiques I}}, from the Press Celebrations Music

| expand=

|

1. All'Overtura
2. Scena
3. Festivo|indent=1}}

| {{sort|1911|[1899], {{abbr|arr.|arranged}} 1911}}

| {{sort|A25|Op. 25}}

| rowspan=5|{{abbr|orch.|orchestra}}

| rowspan=10 style="background:#EFEFEF; color:#767676"|{{sort|zzz|–}}

| {{center|{{efn|In 1911, Sibelius arranged tableaux Nos. 1, 4, and 3 from the Music for the Press Celebrations Days (JS 137), respectively, as All'Overtura, Scena, and Festivo.{{sfn|Barnett|2007|p=214}}{{sfn|Tawaststjerna|2008b|pp=78}}}}{{sfnm|1a1=Dahlström|1y=2003|1pp=110–113|2a1={{nowrap|SibEd., v. 1}}|2y=2007|2p=7}}}}

|-

| data-sort-value="Scènes historiques II" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title={{lang|fr|Scènes historiques II}}

| expand=

|

1. The Hunt ({{lang|fi|Metsästys|italics=no}})
2. Love Song ({{lang|fi|Minnelaulu|italics=no}})
3. At the Draw-Bridge ({{lang|fi|Nostosillalla|italics=no}})|indent=1}}

| {{sort|1912|1912}}

| {{sort|A66|Op. 66}}

| {{center|{{efn|No. 1 is sometimes translated as The Chase. The original order of the movements was: At the Draw-Bridge, Love Song, and The Hunt.{{sfn|Barnett|2007|pp=218–219}}}}{{sfnm|1a1=Dahlström|1y=2003|1pp=297–299|2a1={{nowrap|SibEd., v. 1}}|2y=2007|2p=8}}}}

|-

| {{sort|Valse lyrique2|{{lang|fr|Valse lyrique}}}}

| {{sort|1920|[1914, {{abbr|rev.|revised}} 1919 & 1919], {{abbr|arr.|arranged}} 1920}}

| {{sort|A96.2|Op. 96a}}

| {{center|{{efn|name=Op.75}}{{sfnm|1a1=Dahlström|1y=2003|1pp=408–409|2a1={{nowrap|SibEd., v. 8}}|2y=2009|2p=12}}}}

|-

| Academic March ({{lang|fi|Promootiomarssi}})

| {{sort|1919|1919}}

| {{sort|JS155|JS 155}}

| {{center|{{efn|Sibelius composed the Academic March for the University of Helsinki's degree ceremony of 1919.{{sfn|Barnett|2007|p=282}}}}{{sfnm|1a1=Dahlström|1y=2003|1pp=592–593|2a1={{nowrap|SibEd., v. 8}}|2y=2009|2p=11}}}}

|-

| {{sort|Valse chevaleresque2|{{lang|fr|Valse chevaleresque}}}}

| {{sort|1922|1921–1922, {{abbr|rev.|revised}} 1922}}

| {{sort|A96.7|Op. 96c}}

| {{center|{{efn|From late 1921 to January 1922, Sibelius worked simultaneously on the piano and orchestral versions of {{lang|fr|Valse chevaleresque}}, which became the third of the Op. 96 Three Pieces. Later in 1922, he revised the piece in response to its rejection by a publisher. (The original for piano [HUL 1815] is extant).{{sfn|Barnett|2007|p=295–296}}|name=Op.96/3}}{{sfnm|1a1=Dahlström|1y=2003|1p=413|2a1={{nowrap|SibEd., v. 8}}|2y=2009|2p=12}}}}

|-

| data-sort-value="Suite mignonne1" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title={{lang|fr|Suite mignonne}}

| expand=

|

1. {{lang|fr|Petite scène|italics=no}}
2. Polka
3. {{lang|fr|Épilogue|italics=no}}|indent=1}}

| {{sort|1921|1921}}

| {{sort|A98.11|Op. 98a}}

| {{abbr|str.|strings}} + flutes

| {{center|{{efn|In 1921, Sibelius transcribed the Suite {{lang|fr|mignonne}} for piano.{{sfn|Barnett|2007|pp=294–295, 403}}|name=Op.98a}}{{sfnm|1a1=Dahlström|1y=2003|1pp=417–418|2a1={{nowrap|SibEd., v. 8}}|2y=2009|2p=12}}}}

|-

| data-sort-value="Suite champêtre1" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title={{lang|fr|Suite champêtre}}

| expand=

|

1. {{lang|fr|Pièce caractéristique|italics=no}}
2. {{lang|fr|Mélodie élégiaque|italics=no}}
3. {{lang|fr|Danse|italics=no}}|indent=1}}

| rowspan=2|{{sort|1922|1922}}

| {{sort|A98.22|Op. 98b}}

| {{abbr|str.|strings}}

| {{center|{{efn|In 1922, Sibelius transcribed the Suite {{lang|fr|champêtre}} for piano.{{sfn|Barnett|2007|pp=296, 403}}|name=Op.98b}}{{sfnm|1a1=Dahlström|1y=2003|1pp=419–420|2a1={{nowrap|SibEd., v. 8}}|2y=2009|2p=12}}}}

|-

| data-sort-value="Suite caractéristique1" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title={{lang|fr|Suite caractéristique}}

| expand=

|

1. Vivo
2. Lento
3. Comodo|indent=1}}

| {{sort|A100.1|Op. 100}}

| {{abbr|str.|strings}} + harp

| {{center|{{efn|Sibelius suggested (unsuccessfully) to a publisher that the three movements should be called {{lang|fr|Danse passionée|italics=no}}, {{lang|fr|Danse romantique|italics=no}}, and {{lang|fr|Danse chevaleresque|italics=no}}, respectively. In 1922, he transcribed the Suite {{lang|fr|caractéristique}} for piano.{{sfn|Barnett|2007|p=298, 403}}|name=Op.100}}{{sfnm|1a1=Dahlström|1y=2003|1pp=426–427|2a1={{nowrap|SibEd., v. 8}}|2y=2009|2p=12}}}}

|-

| {{lang|fr|Morceau romantique}}

| {{sort|1925|1925}}

| {{sort|JS135.1|JS 135a}}

| {{abbr|orch.|orchestra}}

| {{center|{{efn|Sibelius composed this piece, the extended title of which is {{lang|fr|Morceau romantique sur un motif de M. Jakob de Julin}}, after a waltz by the industrialist Jakob von Julin, who was a relative of General Carl Mannerheim. Sibelius also rendered the piece for solo piano (JS 135b), which indeed may have come first.{{sfn|Barnett|2007|p=314}}|name=JS 135}}{{sfnm|1a1=Dahlström|1y=2003|1p=581|2a1={{nowrap|SibEd., v. 8}}|2y=2009|2p=13}}}}

|-

| {{sort|Andante festivo2|Andante festivo}}

| {{sort|1938|[1922], {{abbr|arr.|arranged}} 1938}}

| {{sort|JS34.2|JS 34b}}

| {{abbr|str.|strings}} + timpani

| {{center|{{efn|Originally for string quartet (JS 34a), Andante festivo may have drawn some of its material from 1905's abandoned oratorio project, Marjatta. In 1929, a double string quartet played the piece at the wedding of one of Sibelius's daughters, and the piece subsequently became common for strings. However, Sibelius did not make an official orchestration until 1938.{{sfn|Barnett|2007|pp=299, 325, 329, 341}}|name=Andante festivo}}{{sfnm|1a1=Dahlström|1y=2003|1pp=509–510|2a1={{nowrap|SibEd., v. 8}}|2y=2009|2p=13}}}}

|-

| rowspan=13 style="background-color: #ADD8E6"|{{nowrap|{{abbr|Misc.|Miscellaneous}} ({{abbr|+ voice|with voice(s)}})}}

| Lord, You are a Rock ({{lang|de|Herr du bist ein Fels}})

| rowspan=2|{{sort|1890|1889–1890, {{abbr|rev.|revised}} 1889–1890}}

| style="background:#EFEFEF; color:#767676"|{{sort|z|HUL 1260}}

| rowspan=2|{{abbr|chor.|mixed choir}}, {{abbr|orch.|orchestra}}

| rowspan=2 style="background:#EFEFEF; color:#767676"|{{sort|zyz|[{{em|Unknown}}]}}

| rowspan=2|{{center|{{efn|Sibelius's earliest surviving compositions for orchestra, the so-called [Two Chorales] for mixed choir and orchestra were student exercises for Albert Becker, with whom Sibelius studied in Berlin. For each, two versions are extant, and it is likely the second set incorporates minor revisions suggested by Becker. An unfinished version of {{lang|de|Herr du bist ein Fels}} for mixed choir and piano also survives.{{sfn|Barnett|2007|pp=53–54}}}}{{sfn|{{nowrap|SibEd., v. 3}}|2007|p=4}}}}

|-

| Lord, Show Us Your Mercy ({{lang|de|Herr erzeige uns deine Gnade}})

| style="background:#EFEFEF; color:#767676"|{{sort|z|HUL 1263}}

|-

| data-sort-value="Karelia" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title=Karelia

| expand=

|

1. Overture
2. Tableau I: A Karelian Home{{spaced ndash}}News of War (1293) ({{lang|fi|Karjalainen koti{{spaced ndash}}Sanoma sodasta|italics=no}})
3. Tableau II: The Founding of Viipuri Castle (1293) ({{lang|fi|Viipurin linnan perustaminen|italics=no}})
4. Tableau III: Narimont, the Duke of Lithuania, Levying Taxes in the Province of Käkisalmi (1333) ({{lang|fi|Liettuan herttua Narimont veronkannossa Käkisalmen läänissä|italics=no}})
5. Intermezzo I
6. Tableau IV: Karl Knutsson in Viipuri Castle{{spaced ndash}}Ballade (1446) ({{lang|fi|Kaarle Knuutinpoika Viipurin linnassa{{spaced ndash}}Balladi|italics=no}})
7. Tableau V: Pontus De la Gardie at the Gates of Käkisalmi in 1580 ({{lang|fi|Pontus De la Gardie Käkisalmen edustalla 1580|italics=no}})
8. Intermezzo II
9. Tableau VI: The Siege of Viipuri (1710) ({{lang|fi|Viipurin piiritys|italics=no}})
10. Tableau VII: The Reunion of Old Finland [Karelia] with the Rest of Finland (1811) ({{lang|fi|Vanhan Suomen [Karjalan] liittäminen jälleen Suomen ruhtinaskuntaan|italics=no}})
11. Tableau VIII: {{lang|fi|Maamme}} (Our Land) [the Finnish national anthem]|indent=1}}

| {{nowrap|{{sort|1893|1893}} (partially destroyed)}}

| {{sort|JS115|JS 115}}

| {{abbr|B|baritone}}, 2 male folk singers, {{abbr|orch.|orchestra}}

| {{nowrap|Kalevala, Runo XIV}};
{{nowrap|{{lang|sv|Svenska fornsånger}}, Vol. II}}

| {{center|{{efn|Extended title is Music for a Lottery Soireé in Aid of Education in the Province of Viipuri; reconstructed individually by Kalevi Aho and Jouni Kaipainen;{{sfn|Barnett|2007|p=375}} the composer excerpted the overture as Op. 10 and arranged tableau No. 4 and the two intermezzi into the Op. 11 suite; tableau No. 8 includes the composer's arrangement of the Finnish national anthem, {{lang|fi|Maamme}} {{nowrap|(Our Land)}}.|name=Karelia}}{{sfnm|1a1=Dahlström|1y=2003|1pp=30–35, 570|2a1={{nowrap|SibEd., v. 8}}|2y=2009|2pp=3–5}}}}

|-

| data-sort-value="Rakastava2" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title={{lang|fi|Rakastava}} (The Lover)

| expand=

|

1. "{{lang|fi|Rakastava|italics=no}}" ("The Lover")
2. "{{lang|fi|Rakastetun tie|italics=no}}" ("The Path of the Beloved")
3. "{{lang|fi|Hyvää iltaa ... Jää hyvästi|italics=no}}" ("Good Evening ... Farewell!")|indent=1}}

| {{sort|1894|[1894], {{abbr|arr.|arranged}} 1894}}

| {{sort|JS160.2|JS 160b}}

| {{abbr|T|tenor}}, {{abbr|mchor.|male choir}}, {{abbr|str.|strings}}

| {{nowrap|Kanteletar, Book I:173–74, 122}}

| {{center|{{efn|name=Rakastava}}{{sfnm|1a1=Dahlström|1y=2003|1p=50|2a1={{nowrap|SibEd., v. 3}}|2y=2007|2p=4}}}}

|-

| {{sort|Song for Lemminkäinen|A Song for Lemminkäinen}} ({{lang|fi|Laulu Lemminkäiselle}})

| {{sort|1896|[1895–1896], {{abbr|arr.|arranged}} 1896}}

| {{sort|A31.1|Op. 31/1}}

| rowspan=2|{{abbr|mchor.|male choir}}, {{abbr|orch.|orchestra}}

| {{sort|Weilin|{{ill|Yrjö Weilin|lt=Y. Weilin|fi}}}}

| {{center|{{efn|name=Lemminkäinen}}{{sfnm|1a1=Dahlström|1y=2003|1p=135|2a1={{nowrap|SibEd., v. 3}}|2y=2007|2p=7}}}}

|-

| Sandels

| {{sort|1898|1898, {{abbr|rev.|revised}} 1915}}

| {{sort|A28|Op. 28}}

| {{sortname|J.L.|Runeberg|Johan Ludvig Runeberg}}

| {{center|{{efn|In 1915, Sibelius made very minor revisions to Sandels; the 1898 version—of which Sibelius also made a transcription for male choir and piano—is extant.{{sfn|Barnett|2007|pp=118–119, 252}}|name=Sandels}}{{sfnm|1a1=Dahlström|1y=2003|1pp=130–131|2a1={{nowrap|SibEd., v. 3}}|2y=2007|2pp=7, 14}}}}

|-

| Song of the Athenians ({{lang|sv|Athenarnes sång}})

| {{sort|1899|1899}}

| {{sort|A31.5|Op. 31/3}}

| {{abbr|mchor.|male choir}}, {{abbr|bchor.|boys' choir}}, {{abbr|orch.|orchestra}}

| rowspan=2|{{sortname|V.|Rydberg|Viktor Rydberg}}

| {{center|{{efn|Originally for male choir, boys' choir, and small orchestra, Sibelius made numerous arrangements of the Song of the Athenians in 1899: for solo piano; for male choir and boys' choir {{em|a cappella}}; for male choir, boys' choir, and piano; for male choir, boys' choir, piano, and {{em|ad libitum}} harmonium; and for male choir, boys' choir, brass septet, and percussion.{{sfn|Barnett|2007|p=124}}|name=Athenians}}{{sfnm|1a1=Dahlström|1y=2003|1pp=138–139|2a1={{nowrap|SibEd., v. 3}}|2y=2007|2p=8}}}}

|-

| Impromptu

| {{sort|1902|1902, {{abbr|rev.|revised}} 1910}}

| {{sort|A19.1|Op. 19}}

| {{abbr|fchor.|female}}, {{abbr|orch.|orchestra}}

| {{center|{{efn|In 1910, Sibelius revised the 1902 version of the Impromptu for female choir and orchestra—which is extant—and also rendered it for female choir and piano. A transcription of the 1902 version for female choir and piano is extant.{{sfn|Barnett|2007|pp=148–149, 204–205}}|name=Op. 19}}{{sfnm|1a1=Dahlström|1y=2003|1pp=78–80|2a1={{nowrap|SibEd., v. 3}}|2y=2007|2pp=9, 11}}}}

|-

| {{sort|Have Your Courage1|Have You Courage? ({{lang|sv|Har du mod?}})}}

| {{sort|1904|1904, {{abbr|rev.|revised}} 1911, 1912, & 1913–1914}}

| {{sort|A31.2|Op. 31/2}}

| rowspan=2|{{abbr|mchor.|male choir}}, {{abbr|orch.|orchestra}}

| {{sortname|J.J.|Wecksell|Josef Julius Wecksell}}

| {{center|{{efn|Sibelius composed Have You Courage? ({{lang|sv|Har du mod?}}, Op. 31/2) for male choir and orchestra in 1904 [version I]; at this time, he also made an arrangement for male choir and piano. Unsatisfied with the piece, however, Sibelius revised the orchestral version of Have You Courage? three more times: in 1911 [version II; also arranged for male choir and piano]; 1912 [version III]; and 1914 [version IV], which is based likely on a 1913 transcription/revision of version III for solo piano (with text written above the music)]. All versions are extant. A preliminary study of Wecksell's poem for male choir {{em|a capella}} (JS 93) dates to 1903–1904; its thematic material is completely different from that of Op. 31/2.{{sfn|Barnett|2007|pp=162, 216–217, 240}}|name=Op.31/2}}{{sfnm|1a1=Dahlström|1y=2003|1pp=136–138|2a1={{nowrap|SibEd., v. 3}}|2y=2007|2pp=10, 12–14}}}}

|-

| {{sort|Jäger March2|Jäger March ({{lang|fi|Jääkärien marssi}})}}

| {{sort|1918|[1917], {{abbr|arr.|arranged}} 1918}}

| {{sort|A91.12|→ Op. 91a}}

| {{sortname|H.|Nurmio|Heikki Nurmio}}

| {{center|{{efn|The extended title of the Jäger March is March of the Finnish Jäger Battalion. Originally composed in 1917 for male choir and piano, Sibelius initially withheld his name from the first edition of the work. In 1918, he arranged the Jäger March for male choir and orchestra.{{sfn|Barnett|2007|pp=271, 275}}|name=Jäger}}{{sfnm|1a1=Dahlström|1y=2003|1pp=395–396|2a1={{nowrap|SibEd., v. 3}}|2y=2007|2p=14}}}}

|-

| {{sort|Scout March2|Scout March ({{lang|fi|Partiolaisten marssi}})}}

| {{sort|1918|[1918], {{abbr|arr.|arranged}} 1918}}

| {{sort|A91.22|→ Op. 91b}}

| {{abbr|chor.|mixed choir}}, {{abbr|orch.|orchestra}}

| {{sort|Finne|{{ill|Jalmari Finne|lt=J. Finne|fi}}}}

| {{center|{{efn|Originally composed in 1918 for piano (with the text written above the music), Sibelius later—likely in 1918 but perhaps as late as 1921—arranged the Scout March for mixed choir and orchestra. Two additional arrangements followed: in 1921, for mixed choir and piano; and in 1952, for female choir and piano, retitled as "The World Song of the World Association of Girl Scouts and Girl Guides" and set to either an English-language text by Gavin Ewart or a French-language text by Francine Cockenpot. Finally, the origins of the Scout March have been traced to a sketch—[March], with an incomplete percussion part—for brass septet and percussion from the 1897–1899.{{sfn|Barnett|2007|pp=274–275, 279–280, 347–348}}|name=Scout}}{{sfnm|1a1=Dahlström|1y=2003|1p=398|2a1={{nowrap|SibEd., v. 3}}|2y=2007|2p=15}}}}

|-

| Processional, from the Masonic Ritual Music

| {{sort|1938|[1927], {{abbr|arr.|arranged}} 1938}}

| {{sort|A113.2|→ Op. 113/6}}

| {{abbr|chor.|mixed choir}}, {{abbr|orch.|orchestra}}

| {{sortname|V.|Rydberg|Viktor Rydberg}}
{{nowrap|– M. Kernochan, {{abbr|trans.|translation}} (en)}}

| {{center|{{efn|In 1927, Sibelius wrote music for the masonic lodge he had joined in 1922: Musique religieuse, for tenor and harmonium (Op. 113), of which No. 6–Salem–was set to words by Viktor Rydberg. A non-Sibelius arrangement for mixed choir and harmonium appeared in 1929, with Marshall Kernochan translating Rydberg's poem to English as Onward, Ye Brethren (or Onward, Ye Peoples) and Channing Lefebvre covering the original tenor part for choir. In 1938, Sibelius added to the Kernochan–Lefebvre collaboration an orchestral arrangement that replaced the harmonium and renamed the piece Processional. The piece can also be performed by orchestra alone by omitting the choral part (which the orchestra doubles).{{sfn|Barnett|2007|pp=324–325, 340}}|name=Op. 113}}{{sfnm|1a1=Dahlström|1y=2003|1pp=476, 483–484|2a1={{nowrap|SibEd., v. 3}}|2y=2007|2p=16|3a1={{nowrap|SibEd., v. 8}}|3y=2009|3p=13}}}}

|-

| {{sort|Koskenlaskijan morsiamet3|"{{lang|fi|Koskenlaskijan morsiamet|italics=no}}"}} ("The Rapids-Rider's Brides")

| {{sort|1943|[1897], {{abbr|arr.|arranged}} 1943}}

| {{sort|A33.2|→ Op. 33}}

| {{abbr|mchor.|male choir}}, {{abbr|orch.|orchestra}}

| {{sortname|A.|Oksanen|August Ahlqvist}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=146|2a1={{nowrap|SibEd., v. 3}}|2y=2007|2p=17}}}}

|-

| colspan="5" style="background-color: #FFC0CB; border-style: solid none solid solid;" data-sort-value="ZZZZ1A"|

| colspan="2" style="background-color: #FFC0CB; text-align:right; border-style: solid solid solid none;" data-sort-value="ZZZZ1A"|#Table of compositions

|-

| rowspan=3 style="background-color: #FFC0CB|Stage

| data-sort-value="Ljunga Wirginia" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title=Ljunga Wirginia

| expand=

|

| Moderato quasi andantino{{spaced ndash}}Cantabile{{spaced ndash}}Recitativo

| Prestissimo

| Largo

| Andantino

| Allegretto

| Allegro{{spaced ndash}}Più vivo quasi Presto{{spaced ndash}}Allegro con fuoco{{spaced ndash}}[Moderato]}}|indent=1}}

| {{nowrap|{{sort|1885|1885}} (partially survives)}}

| style="background:#EFEFEF; color:#767676"|{{sort|HUL|{{nowrap|HUL 0542–46}}}}

| rowspan=2|{{abbr|pf.|piano}} (4-hands), {{abbr|vl.|violin}}, {{abbr|vc.|cello}}

| rowspan=2|{{sortname|W.|von Konow|Walter von Konow|nolink=1}}

| {{center|{{efn|Ljunga Wirginia (without catalogue number), which a young Sibelius called an "opera", is his earliest surviving attempt at dramatic music. The project was a collaboration between Sibelius and his childhood friend, Walter von Konow. Although the latter's libretto is lost, Movements I–V of Sibelius six-movement score are extant, as well as the violin part for Movement VI; no vocal parts, if ever written, have survived. Two years later in 1887, Sibelius and von Konow briefly revived their plans for the opera, with Sibelius producing a new piece, the Scherzo in E minor (JS 165), which only partially survives. Kalevi Aho has completed the piano and cello parts of {{em|Ljunga Wirginia}}'s sixth movement, as well as (with Timo Hongisto) the Scherzo in E minor.{{sfn|Barnett|2007|pp=13–14, 28}}|name=Wirginia}}{{sfn|{{nowrap|SibEd., v. 2}}|2007|p=10}}}}

|-

| Scherzo in E minor

| {{nowrap|{{sort|1887|1887}} (partially survives)}}

| {{sort|JS165|JS 165}}

| {{center|{{efn|name=Wirginia}}{{sfnm|1a1=Dahlström|1y=2003|1p=601|2a1={{nowrap|SibEd., v. 2}}|2y=2007|2p=10}}}}

|-

| data-sort-value="Lizard" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title={{sort|Lizard|The Lizard}} ({{lang|sv|Ödlan}})

| expand=

|

| Adagio{{spaced ndash}}Più adagio

| Grave{{spaced ndash}}Adagio}}|indent=1}}

| {{sort|1909|1909}}

| {{sort|A8|Op. 8}}

| {{abbr|vl. solo|violin soloist}}, 2 {{abbr|vl.|violins}}, {{abbr|va.|viola}}, {{abbr|vc.|cello}}, {{abbr|db.|double bass}}

| style="background:#EFEFEF; color:#767676"|{{sort|Lybeck|– (M. Lybeck)}}

| {{center|{{efn|A chamber piece, Sibelius noted that the string ensemble for The Lizard should be no more than nine players, the violin soloist included.{{sfn|Barnett|2007|pp=199–200}} Nevertheless, it has been recorded by full string orchestra.}}{{sfnm|1a1=Dahlström|1y=2003|1pp=26–27|2a1={{nowrap|SibEd., v. 9}}|2y=2009|2p=13}}}}

|-

| rowspan=2 style="background-color: #FFC0CB|Melodrama

| {{sort|Watersprite|The Watersprite}} ({{lang|sv|Näcken}}) in A-flat major

| {{sort|1888|1888}}

| {{sort|JS138|JS 138}}

| {{abbr|Nar.|narrator}}, {{abbr|S|soprano}}, {{abbr|pf.|piano}}, {{abbr|vl.|violin}}, {{abbr|vc.|cello}}

| {{sortname|G.|Wennerberg|Gunnar Wennerberg}}

| {{center|{{efn|In 1888, Sibelius collaborated with his teacher, Martin Wegelius on the incidental music for a "dramatic runic sorcery" titled The Watersprite ({{lang|sv|Näcken}}); Wegelius composed Nos. 1 and 3–6, while Sibelius wrote No. 2. A separate fragment for piano trio—[Allegretto] in A-flat major (without catalogue number)—may have served as a preliminary version of Sibelius's piece.{{sfn|Barnett|2007|p=42}}|name=Watersprite}}{{sfnm|1a1=Dahlström|1y=2003|1p=583|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=3}}}}

|-

| Nights of Jealousy ({{lang|sv|Svartsjukans nätter}})

| {{sort|1893|1893}}

| {{sort|JS125|JS 125}}

| {{abbr|Nar.|narrator}}, {{abbr|S|soprano}} (vocalise), {{abbr|pf.|piano}}, {{abbr|vl.|violin}}, {{abbr|vc.|cello}}

| {{sortname|J.L.|Runeberg|Johan Ludvig Runeberg}}

| {{center|{{efn|In 1893, Sibelius reused themes from Nights of Jealousy—a melodrama for narrator, vocalise soprano, and piano trio–for Nos. 5–6 of the Six Impromptus for solo piano (Op. 5). In 1894, he combined the fifth and sixth impromptus in an arrangement for strings and titled the new piece Impromptu.{{sfn|Barnett|2007|pp=79, 84, 89, 91}}|name=Impromptus5–6}}{{sfnm|1a1=Dahlström|1y=2003|1pp=575–576|2a1={{nowrap|SibEd., v. 9}}|2y=2009|2p=10}}}}

|-

| rowspan=7 style="background-color: #FFC0CB|Brass septet

| Overture in F minor

| rowspan=2|{{sort|1889|1889}}

| {{sort|JS146|JS 146}}

| {{ill|Torviseitsikko|lt=torviseitsikko|fi}}

| rowspan=5 style="background:#EFEFEF; color:#767676"|{{sort|zzz|–}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1pp=588–589|2a1={{nowrap|SibEd., v. 9}}|2y=2009|2p=8}}}}

|-

| Allegro in G minor

| {{sort|JS25|JS 25}}

| {{ill|Torviseitsikko|lt=torviseitsikko|fi}}, {{abbr|perc.|percussion}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=504|2a1={{nowrap|SibEd., v. 9}}|2y=2009|2p=8}}}}

|-

| Andantino

| rowspan=2|{{sort|1890|1890}}

| rowspan=2|{{sort|JS45|JS 45}}

| rowspan=2|{{ill|Torviseitsikko|lt=torviseitsikko|fi}}

| rowspan=2|{{center|{{sfnm|1a1=Dahlström|1y=2003|1p=515|2a1={{nowrap|SibEd., v. 9}}|2y=2009|2p=8}}}}

|-

| Menuetto

|-

| Preludium ({{lang|sv|Förspel}})

| {{sort|1891|1891}}

| {{sort|JS83|JS 83}}

| {{ill|Torviseitsikko|lt=torviseitsikko|fi}}, {{abbr|perc.|percussion}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=544|2a1={{nowrap|SibEd., v. 9}}|2y=2009|2p=10}}}}

|-

| Tiera

| rowspan=2|{{sort|1899|1899}}

| {{sort|JS200|JS 200}}

| {{ill|Torviseitsikko|lt=torviseitsikko|fi}}, {{abbr|perc.|percussion}}

| style="background:#EFEFEF; color:#767676"|{{sort|Kalevala|– (Kalevala)}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=630|2a1={{nowrap|SibEd., v. 9}}|2y=2009|2p=12}}}}

|-

| Song of the Athenians ({{lang|sv|Athenarnes sång}})

| {{sort|A31.8|→ Op. 31/3}}

| {{abbr|mchor.|male choir}}, {{abbr|bchor.|boys' choir}}, {{ill|Torviseitsikko|lt=torviseitsikko|fi}}, {{abbr|perc.|percussion}}

| {{sortname|V.|Rydberg|Viktor Rydberg}}

| {{center|{{efn|name=Athenians}}{{sfnm|1a1=Dahlström|1y=2003|1pp=141–142|2a1={{nowrap|SibEd., v. 3}}|2y=2007|2p=9}}}}

|-

| rowspan=3 style="background-color: #FFC0CB|Quintet

| Andante{{spaced ndash}}Allegro

| {{sort|1899|1888–1889}}

| {{sort|JS31|JS 31}}

| rowspan=3|{{abbr|pf.|piano}}, 2 {{abbr|vl.|violin}}, {{abbr|va.|viola}}, {{abbr|vc.|cello}}

| rowspan=121 style="background:#EFEFEF; color:#767676"|{{sort|zzz|–}}

| {{center|{{efn|Sibelius's earliest surviving piece for piano quintet, the Andante{{spaced ndash}}Allegro (which "comprises a complete sonata exposition") may have been a student exercise completed under the guidance of this teacher, Martin Wegelius.{{sfn|Barnett|2007|p=36–37}}}}{{sfnm|1a1=Dahlström|1y=2003|1p=507|2a1={{nowrap|SibEd., v. 9}}|2y=2009|2p=6}}}}

|-

| {{sort|Vivace|[Vivace]}}

| rowspan=2|{{sort|1890|1890}}

| style="background:#EFEFEF; color:#767676"|{{sort|z|HUL 0517}}

| {{center|{{efn|The Piano Quintet in G minor is in five movements. When composing the piece, Sibelius replaced his original Movement IV (marked Vivace) with a Scherzo (Vivacissimo); the earlier Vivace is extant. At neither of the two concerts at which the quintet was played was it heard in its entirety; Movement V went unperformed until 1965. As a result, Sibelius rescued themes from the quintet's finale by reusing them for the Rondo in D minor (JS 162) for viola and piano duo, as well as the first of the Six Impromptus (Op. 5/1) for solo piano.{{sfn|Barnett|2007|pp=56–58, 84}}|name=PfQuintet}}{{sfn|{{nowrap|SibEd., v. 9}}|2009|p=9}}}}

|-

| data-sort-value="Piano Quintet" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title=Piano Quintet in G minor

| expand=

|

| Grave{{spaced ndash}}Allegro

| Intermezzo. Moderato

| Andante

| Scherzo. Vivacissimo

| Moderato{{spaced ndash}}Vivace}}|indent=1}}

| {{sort|JS159|JS 159}}

| {{center|{{efn|name=PfQuintet}}{{sfnm|1a1=Dahlström|1y=2003|1pp=596–598|2a1={{nowrap|SibEd., v. 9}}|2y=2009|2p=9}}}}

|-

| rowspan=28 style="background-color: #FFC0CB|Quartet

| data-sort-value="Piano Quartet" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title=Piano Quartet in D minor

| expand=

|

| Andante molto{{spaced ndash}}Allegro moderato

| Adagio

| Menuetto

| Grave{{spaced ndash}}Rondo. Vivacissimo}}|indent=1}}

| {{sort|1884|1884}}

| {{sort|JS157|JS 157}}

| {{abbr|pf.|piano}}, {{abbr|vl.|violin}}, {{abbr|va.|viola}}, {{abbr|vc.|cello}}

| {{center|{{efn|In 1884, Sibelius composed the four-movement Piano Quartet in D minor, which is in "an essentially Viennese classical style". Movement IV of the quartet contains material that Sibelius initially intended for a fourth movement to the Piano Trio in A minor (JS 206) he had written a few months earlier; the Piano Trio ended up in three movements.{{sfn|Barnett|2007|pp=9–11}}|name=1884pfquartet}}{{sfnm|1a1=Dahlström|1y=2003|1pp=594–595|2a1={{nowrap|SibEd., v. 2}}|2y=2007|2p=10}}}}

|-

| Molto moderato{{spaced ndash}}Scherzo

| rowspan=2|{{sort|1885|1885}}

| {{sort|JS134|JS 134}}

| rowspan=2|2 {{abbr|vl.|violin}}, {{abbr|va.|viola}}, {{abbr|vc.|cello}}

| {{center|{{efn|The String Quartet in E-flat major—Sibelius's first—is in four movements. It appears in the same sketchbook as two other brief pieces for string quartet: first, the Molto moderato{{spaced ndash}}Scherzo (JS 134), which is Sibelius's earliest piece in the genre; and second, a fragmentary [Scherzo] in B minor (without catalogue marking; completed by Kalevi Aho).{{sfn|Barnett|2007|pp=11–12}}|name=1885sketchbook}}{{sfnm|1a1=Dahlström|1y=2003|1pp=580–581|2a1={{nowrap|SibEd., v. 2}}|2y=2007|2p=3}}}}

|-

| data-sort-value="String Quartet E-flat major" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title=String Quartet in E-flat major

| expand=

|

| Allegro

| Andante molto

| Scherzo. Allegretto

| Vivace}}|indent=1}}

| {{sort|JS184|JS 184}}

| {{center|{{efn|name=1885sketchbook}}{{sfnm|1a1=Dahlström|1y=2003|1pp=616–617|2a1={{nowrap|SibEd., v. 2}}|2y=2007|2p=3}}}}

|-

| Harmonium Quartet in G minor

| rowspan=2|{{sort|1887|1887}}

| {{sort|JS158|JS 158}}

| harmonium, {{abbr|pf.|piano}}, {{abbr|vl.|violin}}, {{abbr|vc.|cello}}

| {{center|{{efn|The Harmonium Quartet in G minor is in one movement and shares a theme with the [Catalogue of Themes, 50 Short Pieces], a composition exercise for solo piano that Sibelius completed for his teacher, Martin Wegelius.{{sfn|Barnett|2007|pp=21–22}}}}{{sfnm|1a1=Dahlström|1y=2003|1p=596|2a1={{nowrap|SibEd., v. 2}}|2y=2007|2p=11}}}}

|-

| {{sort|Four Themes|[Four Themes]}}

| style="background:#EFEFEF; color:#767676"|{{sort|HUL|HUL 0796/2}}

| rowspan=6|2 {{abbr|vl.|violin}}, {{abbr|va.|viola}}, {{abbr|vc.|cello}}

| {{center|{{efn|At the Helsinki Music Institute, Sibelius studied under Martin Wegelius, the teaching method of whom had pupils master the smallest of compositional units before advancing to longer, more complex ones. Among Sibelius's student exercises for Wegelius are a handful of short pieces for string quartet: the [Four Themes]—in G major, E-flat major, A minor, and E minor–(without catalogue number), Alla Marcia in E minor (JS 16), the Presto in F major (JS 154), the Theme and Variations in G minor (JS 197), and the [Thirty-three Small Pieces] (without catalogue number).{{sfn|Barnett|2007|pp=25, 35–36}}|name=WegeliusSQ}}{{sfnm|1a1={{nowrap|SibEd., v. 2}}|1y=2007|1p=3}}}}

|-

| Alla marcia in E minor

| rowspan=5|{{sort|1888|1888}}

| {{sort|JS16|JS 16}}

| {{center|{{efn|name=WegeliusSQ}}{{sfnm|1a1=Dahlström|1y=2003|1p=501|2a1={{nowrap|SibEd., v. 2}}|2y=2007|2p=3}}}}

|-

| Presto in F major

| {{sort|JS154|JS 154}}

| {{center|{{efn|name=WegeliusSQ}}{{sfnm|1a1=Dahlström|1y=2003|1p=592|2a1={{nowrap|SibEd., v. 2}}|2y=2007|2p=3}}}}

|-

| Theme and Variations in G minor

| {{sort|JS197|JS 197}}

| {{center|{{efn|name=WegeliusSQ}}{{sfnm|1a1=Dahlström|1y=2003|1p=627|2a1={{nowrap|SibEd., v. 2}}|2y=2007|2p=3}}}}

|-

| Allegretto in D major

| {{sort|JS20|JS 20}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=502|2a1={{nowrap|SibEd., v. 2}}|2y=2007|2p=3}}}}

|-

| Andantino in C major

| {{sort|JS39|JS 39}}

| {{center|{{efn|From 1887–1888, Sibelius planned a melodrama for narrator and string quartet after Hans Christian Andersen's The Little Mermaid (JS 59). Envisioned as a series of musical episodes, Sibelius only made it though four sections before abandoning the project. Although only the first violin part survives for the first four episodes, it makes clear that he had planned to reuse earlier chamber works: the second episode corresponds to the Allegretto in A major (JS 17) and Più lento in F major (JS 149), while the third episode is based on the Andantino in C major (JS 39). The first episode, as well as the brief fourth, are original compositions.{{sfn|Barnett|2007|pp=37–38}}|name=Mermaid}}{{sfnm|1a1=Dahlström|1y=2003|1p=513|2a1={{nowrap|SibEd., v. 2}}|2y=2007|2p=3}}}}

|-

| Theme and Variations in C-sharp minor

| {{nowrap|{{sort|1888|1888}} (partially survives)}}

| {{sort|JS195|JS 195}}

| 2 {{abbr|vl.|violin}}, {{abbr|va.|viola}}, {{abbr|vc.|cello}}

| {{center|{{efn|Until 1911, Sibelius listed the Theme and Variations in C-sharp minor for string quartet as his Op. 1. The piece only partially survives, having lost five bars at the beginning of Variation III, although Kalevi Aho has made a performing version. (It is possible, however, that one or more complete variations, too, are lost.){{sfn|Barnett|2007|p=43}}}}{{sfnm|1a1=Dahlström|1y=2003|1p=626|2a1={{nowrap|SibEd., v. 2}}|2y=2007|2p=3}}}}

|-

| {{sort|Thirty-three Small Pieces|[Thirty-three Small Pieces]}}

| rowspan=9|{{sort|1889|1888–1889}}

| style="background:#EFEFEF; color:#767676"|{{sort|HUL|HUL 0618}}

| rowspan=14|2 {{abbr|vl.|violin}}, {{abbr|va.|viola}}, {{abbr|vc.|cello}}

| {{center|{{sfnm|1a1={{nowrap|SibEd., v. 2}}|1y=2007|1p=4}}}}

|-

| Moderato{{spaced ndash}}Allegro appassionato in C-sharp minor

| {{sort|JS131|JS 131}}

| {{center|{{efn|Sibelius composed the Moderato{{spaced ndash}}Allegro appassionato in C-sharp minor (JS 131), the Andante molto sostenuto in B minor (JS 37), the Andante{{spaced ndash}}Allegro molto in D major (JS 32), and the [Allegro] in G minor (without catalogue number)—each for string quartet—as student exercises under the direction of his teacher, Martin Wegelius.{{sfn|Barnett|2007|pp=38–39}}|name=strWegelius}}{{sfnm|1a1=Dahlström|1y=2003|1p=579|2a1={{nowrap|SibEd., v. 2}}|2y=2007|2p=5}}}}

|-

| Andante molto sostenuto in B minor

| {{sort|JS37|JS 37}} ({{highlight|fragment}})

| {{center|{{efn|name=strWegelius}}{{sfnm|1a1=Dahlström|1y=2003|1p=512|2a1={{nowrap|SibEd., v. 2}}|2y=2007|2p=4}}}}

|-

| Andante{{spaced ndash}}Allegro molto in D major

| {{sort|JS32|JS 32}}

| {{center|{{efn|name=strWegelius}}{{sfnm|1a1=Dahlström|1y=2003|1p=508|2a1={{nowrap|SibEd., v. 2}}|2y=2007|2p=4}}}}

|-

| {{sort|Allegro|[Allegro] in G minor}}

| style="background:#EFEFEF; color:#767676"|{{sort|HUL|HUL 0620}}

| {{center|{{efn|name=strWegelius}}{{sfnm|1a1={{nowrap|SibEd., v. 2}}|1y=2007|1p=4}}}}

|-

| Allegro in E minor

| {{sort|JS28|JS 28}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=506|2a1={{nowrap|SibEd., v. 2}}|2y=2007|2p=5}}}}

|-

| Adagio in F minor

| {{sort|JS14|JS 14}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=500|2a1={{nowrap|SibEd., v. 2}}|2y=2007|2p=5}}}}

|-

| Allegretto in A major

| {{sort|JS17|JS 17}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=501|2a1={{nowrap|SibEd., v. 2}}|2y=2007|2p=5}}}}

|-

| Più lento in F major

| {{sort|JS149|JS 149}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=589|2a1={{nowrap|SibEd., v. 2}}|2y=2007|2p=5}}}}

|-

| Fugue for Martin W. ({{lang|sv|Fuga för Martin W.}})

| rowspan=3|{{sort|1889|1889}}

| {{sort|JS85|JS 85}}

| {{center|{{efn|The String Quartet in A minor—Sibelius's second—is in four movements. The initial finale was the Fugue (JS 85) that Sibelius had written as an academic exercise under the direction of his teacher, Martin Wegelius. It was subsequently replaced by the concluding Allegro.{{sfn|Barnett|2007|pp=47-48, 51}}|name=1889strquartet}}{{sfnm|1a1=Dahlström|1y=2003|1pp=545–546|2a1={{nowrap|SibEd., v. 2}}|2y=2007|2p=5}}}}

|-

| data-sort-value="String Quartet A minor" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title=String Quartet in A minor

| expand=

|

| Andante{{spaced ndash}}Allegro

| Adagio ma non tanto

| Vivace

| Allegro}}|indent=1}}

| {{sort|JS183|JS 183}}

| {{center|{{efn|name=1889strquartet}}{{sfnm|1a1=Dahlström|1y=2003|1pp=614–615|2a1={{nowrap|SibEd., v. 2}}|2y=2007|2p=5}}}}

|-

| Allegretto in B-flat major

| style="background:#EFEFEF; color:#767676"|{{sort|HUL|HUL 0621}}

| {{center|{{efn|The String Quartet B-flat major—Sibelius's third—is in four movements. In 1894, Sibelius arranged Movement III for strings and titled it Presto (also known as Scherzo). Musicologists have speculated: first, that the Adagio in D minor (JS 12) may have been intended as a slow movement for the Op. 4 quartet; and second, that the Allegretto in B-flat major (without catalogue number) may be an abandoned sketch.{{sfn|Barnett|2007|pp=51, 53, 60–61, 89}}|name=1890strquartet}}{{sfnm|1a1={{nowrap|SibEd., v. 2}}|1y=2007|1p=5}}}}

|-

| data-sort-value="String Quartet B-flat major" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title=String Quartet in B-flat major

| expand=

|

| Allegro

| Andante sostenuto

| Presto

| Allegro}}|indent=1}}

| {{sort|1890|1889–1890}}

| {{sort|A4.1|Op. 4}}

| {{center|{{efn|name=1890strquartet}}{{sfnm|1a1=Dahlström|1y=2003|1pp=13–14|2a1={{nowrap|SibEd., v. 2}}|2y=2007|2p=6}}}}

|-

| Adagio in D minor

| {{sort|1890|1890}}

| {{sort|JS12|JS 12}}

| {{center|{{efn|name=1890strquartet}}{{sfnm|1a1=Dahlström|1y=2003|1p=499|2a1={{nowrap|SibEd., v. 2}}|2y=2007|2p=6}}}}

|-

| Piano Quartet in C minor

| {{nowrap|{{sort|1891|1891}} (partially survives)}}

| {{sort|JS156|JS 156}}

| {{abbr|pf.|piano}}, {{abbr|vl.|violin}}, {{abbr|va.|viola}}, {{abbr|vc.|cello}}

| {{center|{{efn|In 1891, Sibelius composed the Theme and Variations in C minor for solo piano (JS 198), and later that year, he expanded it into the single-movement Piano Quartet in C minor (JS 156). Neither JS 198 nor the piano part to JS 156 have survived.{{sfn|Barnett|2007|pp=65–66}}|name=1891pfquartet}}{{sfnm|1a1=Dahlström|1y=2003|1pp=593–594|2a1={{nowrap|SibEd., v. 2}}|2y=2007|2p=11}}}}

|-

| data-sort-value="String Quartet D minor" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title=String Quartet, Voces intimae, in D minor

| expand=

|

| Andante{{spaced ndash}}Allegro molto moderato

| Vivace

| Adagio di molto

| Allegretto (ma pesante)

| Allegro}}|indent=1}}

| {{sort|1909|1908–1909}}

| {{sort|A56|Op. 56}}

| rowspan=2|2 {{abbr|vl.|violin}}, {{abbr|va.|viola}}, {{abbr|vc.|cello}}

| {{center|{{efn|Sibelius's fourth (and only mature) string quartet, {{lang|lt|Voces intimae}})—its earliest sketches date to 1899–1903—is in five movements, of which Movement III's (marked Adagio di molto) opening idea originated in the Adagio in E major for solo piano (JS 13); and Movement V contains a motif original to the Overture in A minor for orchestra (JS 144). Finally, a short preliminary ending for Movement V is also extant.{{sfn|Barnett|2007|p=148, 151, 192–196}}|name=Voces intimae}}{{sfnm|1a1=Dahlström|1y=2003|1pp=257–259|2a1={{nowrap|SibEd., v. 2}}|2y=2007|2p=6}}}}

|-

| {{sort|Andante festivo1|Andante festivo}}

| {{sort|1922|1922}}

| {{sort|JS34.1|JS 34a}}

| {{center|{{efn|name=Andante festivo}}{{sfnm|1a1=Dahlström|1y=2003|1p=509|2a1={{nowrap|SibEd., v. 2}}|2y=2007|2p=6}}}}

|-

| rowspan=16 style="background-color: #FFC0CB|Trio

| {{sort|Menuetto|[Menuetto] in D minor}}

| {{sort|1885|{{c.|1882–1885}}}}

| style="background:#EFEFEF; color:#767676"|{{sort|HUL|HUL 0538}}

| {{abbr|pf.|piano}}, {{abbr|vl.|violin}}, {{abbr|vc.|cello}}

| {{center|{{efn|Scholars believe the [Menuetto] in D minor (without catalogue number) to be Sibelius's earliest surviving piece for piano trio, although it cannot be date with precision.{{sfn|Barnett|2007|p=7}}}}{{sfnm|1a1={{nowrap|SibEd., v. 2}}|1y=2007|1p=7}}}}

|-

| data-sort-value="Trio G major" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title=Trio in 'G major'

| expand=

|

| Andante{{spaced ndash}}Allegro

| Adagio

| Vivace}}|indent=1}}

| rowspan=2|{{sort|1883|1883}}

| {{sort|JS205|JS 205}}

| rowspan=2|{{abbr|pf.|piano}}, 2 {{abbr|vl.|violin}}

| {{center|{{efn|In 1883, Sibelius wrote the three-movement Trio (JS 205) for piano and two violins, the first movement of which is only partially in G major, the key he assigned the piece. A second piece from this time, the Menuetto in F major (JS 126) may have been intended as a fourth movement to JS 205 or, perhaps, as a movement for a never-realized second trio.{{sfn|Barnett|2007|pp=7–8}}|name=JS 126/205}}{{sfnm|1a1=Dahlström|1y=2003|1p=633|2a1={{nowrap|SibEd., v. 2}}|2y=2007|2p=7}}}}

|-

| Menuetto in F major

| {{sort|JS126|JS 126}}

| {{center|{{efn|name=JS 126/205}}{{sfnm|1a1=Dahlström|1y=2003|1p=576|2a1={{nowrap|SibEd., v. 2}}|2y=2007|2p=7}}}}

|-

| {{sort|Andante Agadio Allegro maestoso|[Andante]{{spaced ndash}}Adagio{{spaced ndash}}Allegro maestoso}}

| {{sort|1885|{{c.|1883–1885}}}}

| style="background:#EFEFEF; color:#767676"|{{sort|HUL|HUL 0539}}

| rowspan=4|{{abbr|pf.|piano}}, {{abbr|vl.|violin}}, {{abbr|vc.|cello}}

| {{center|{{efn|The [Andante]{{spaced ndash}}Adagio{{spaced ndash}}Allegro maestoso (without catalogue number), an early work by Sibelius for piano trio, cannot be dated with precision.{{sfn|Barnett|2007|p=8}}}}{{sfnm|1a1={{nowrap|SibEd., v. 2}}|1y=2007|1p=7}}}}

|-

| data-sort-value="Piano Trio A minor1" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title=Piano Trio in A minor

| expand=

|

| Allegro con brio

| Andante

| Menuetto}}|indent=1}}

| {{sort|1884|1884}}

| {{sort|JS206|JS 206}}

| {{center|{{efn|name=1884pfquartet}}{{sfnm|1a1=Dahlström|1y=2003|1pp=634–635|2a1={{nowrap|SibEd., v. 2}}|2y=2007|2p=7}}}}

|-

| Allegro in D major

| rowspan=2|{{sort|1886|1886}}

| {{sort|JS27|JS 27}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=505|2a1={{nowrap|SibEd., v. 2}}|2y=2007|2p=8}}}}

|-

| data-sort-value="Piano Trio A minor2" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title=Piano Trio, Hafträsk, in A minor

| expand=

|

| Allegro maestoso

| Andantino

| Scherzo. Vivace

| Rondo}}|indent=1}}

| {{sort|JS207|JS 207}}

| {{center|{{efn|The Piano Trio in A minor, Hafträsk—Sibelius's second—is in four movements. Immediately upon its completion, he substantially revised the first movement; this revised version, however, is fragmentary, although the cello part is complete. The trio derives its nickname from the small village of Hafträsk (on {{ill|Norrskata|fi}}, an island located in the Turku archipelago), at which the Sibelius family summered in 1886.{{sfn|Barnett|2007|pp=19–20}}}}{{sfnm|1a1=Dahlström|1y=2003|1pp=635–636|2a1={{nowrap|SibEd., v. 2}}|2y=2007|2p=8}}}}

|-

| Serenata in D minor

| rowspan=4|{{sort|1887|1887}}

| {{sort|JS169|JS 169}}

| rowspan=2|2 {{abbr|vl.|violin}}, {{abbr|vc.|cello}}

| {{center|{{efn|Scholars have speculated that Sibelius may have originally intended the Serenata in D minor (JS 169) and the Minuet{{spaced ndash}}Allegro (JS 128), each for two violins and cello, as a single, multi-movement work.{{sfn|Barnett|2007|p=30}}|name=JS 169/128}}{{sfnm|1a1=Dahlström|1y=2003|1p=604|2a1={{nowrap|SibEd., v. 9}}|2y=2009|2p=3}}}}

|-

| Minuet and Allegro

| {{sort|JS128|JS 128}}

| {{center|{{efn|name=JS 169/128}}{{sfnm|1a1=Dahlström|1y=2003|1p=577|2a1={{nowrap|SibEd., v. 9}}|2y=2009|2p=4}}}}

|-

| data-sort-value="Piano Trio D major" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title=Piano Trio, Korpo, in D major

| expand=

|

| Allegro moderato

| Fantasia. Andante{{spaced ndash}}Andantino{{spaced ndash}}

| Finale. Vivace}}|indent=1}}

| {{sort|JS209|JS 209}}

| rowspan=7|{{abbr|pf.|piano}}, {{abbr|vl.|violin}}, {{abbr|vc.|cello}}

| {{center|{{efn|The Piano Trio in D major, Korpo—Sibelius's third, and most significant, trio—is in three movements. The trio derives its nickname from Korpo (an island located in the Turku archipelago), at which the Sibelius family summered in 1887.{{sfn|Barnett|2007|pp=27–30}}}}{{sfnm|1a1=Dahlström|1y=2003|1pp=638–639|2a1={{nowrap|SibEd., v. 2}}|2y=2007|2p=9}}}}

|-

| Andantino in G minor

| {{sort|JS43|JS 43}}

| {{center|{{efn|The Andantino in G minor (JS 43) cannot be dated with precision; the manuscript paper hints that it was composed around the same time as the Korpo piano trio (JS 209).{{sfn|Barnett|2007|p=30}}}}{{sfnm|1a1=Dahlström|1y=2003|1p=514|2a1={{nowrap|SibEd., v. 2}}|2y=2007|2p=9}}}}

|-

| {{sort|Allegretto|[Allegretto] in A-flat major}}

| {{sort|1888|{{c.|1887–1888}}}}

| style="background:#EFEFEF; color:#767676"|{{sort|HUL|HUL 0547}}

| {{center|{{efn|name=Watersprite}}{{sfnm|1a1={{nowrap|SibEd., v. 2}}|1y=2007|1p=9}}}}

|-

| data-sort-value="Piano Trio C major" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title=Piano Trio, Lovisa, in C major

| expand=

|

| Allegro

| Andante

| Lento{{spaced ndash}}Allegro con brio}}|indent=1}}

| {{sort|1888|1888}}

| {{sort|JS208|JS 208}}

| {{center|{{efn|The Piano Trio in C major, Lovisa—Sibelius's fourth—is in three movements. The trio derives its nickname from Lovisa, the municipality in which the composer's aunt (and, before her death, his paternal grandmother) lived; Sibelius summered there in 1888.{{sfn|Barnett|2007|pp=43–44}}}}{{sfnm|1a1=Dahlström|1y=2003|1pp=636–637|2a1={{nowrap|SibEd., v. 2}}|2y=2007|2p=9}}}}

|-

| data-sort-value="Suite A major" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title=Suite in A major

| expand=

|

| Prélude. Vivace

| Andante con moto

| Menuetto

| Air. Andante sostenuto

| Gigue. Allegretto}}|indent=1}}

| {{nowrap|{{sort|1889|1889}} (partially survives)}}

| {{sort|JS186|JS 186}}

| {{center|{{efn|In 1889, Sibelius wrote the five-movement Suite in A major (JS 186) for piano trio; the violin part to Movement IV is lost. Scholars have speculated that Sibelius may have initially intended a second piece, the Andantino in A major (JS 38), as the suite's first movement. In 1911, Sibelius sought to publish (and made minor revisions to) the first three movements and provisionally labeled them as his Op. 1; however, the piece did not appear in print.{{sfn|Barnett|2007|pp=47, 223}}|JS 38/186}}{{sfnm|1a1=Dahlström|1y=2003|1pp=619–620|2a1={{nowrap|SibEd., v. 9}}|2y=2009|2p=7}}}}

|-

| Andantino in A major

| {{sort|1889|1889}}

| {{sort|JS38|JS 38}}

| {{center|{{efn|JS 38/186}}{{sfnm|1a1=Dahlström|1y=2003|1p=512|2a1={{nowrap|SibEd., v. 9}}|2y=2009|2p=7}}}}

|-

| {{lang|fr|La pompeuse Marche d'Asis}}

| {{sort|1891|1891}} (other arrangements lost)

| {{sort|JS116|JS 116}}

| {{center|{{efn|In February 1891, Sibelius composed {{lang|fr|La pompeuse Marche d'Asis}} (JS 116) at the request of his brother, Christian Sibelius, who was a medical student at the Anatomical Institute of Helsinki University (ASIS). The piece appears to have been originally for string quartet (this version is lost). In November, Sibelius arranged the it for piano, two violins, and cello (this, too, is lost), as well as for piano trio (the only extant version).{{sfn|Barnett|2007|p=65}}}}{{sfnm|1a1=Dahlström|1y=2003|1p=571|2a1={{nowrap|SibEd., v. 2}}|2y=2007|2p=9}}}}

|-

|rowspan=70 style="background-color: #FFC0CB|Duo

| Water Droplets ({{lang|sv|Vattendroppar}})

| {{sort|1875|{{c.|1875–1881}}}}

| {{sort|JS216|JS 216}}

| {{abbr|vl.|violin}}, {{abbr|vc.|cello}} (pizzicato)

| {{center|{{efn|{{lang|sv|Vattendroppar}} is believed to be Sibelius's earliest surviving work, although it cannot be dated with precision.{{sfn|Barnett|2007|p=5}}}}{{sfnm|1a1=Dahlström|1y=2003|1p=644|2a1={{nowrap|SibEd., v. 9}}|2y=2009|2p=3}}}}

|-

| Castles in the Air ({{lang|sv|Luftslott}})

| {{sort|1881|{{c.|1881}}}}

| {{sort|JS65|JS 65}}

| 2 {{abbr|vl.|violin}}

| {{center|{{efn|{{lang|sv|Luftslott}}–a duo for two violins–is believed to be Sibelius's second earliest surviving work (and the earliest surviving autograph manuscript), although it cannot be dated with precision.{{sfn|Barnett|2007|pp=6-7}}}}{{sfnm|1a1=Dahlström|1y=2003|1p=530|2a1={{nowrap|SibEd., v. 9}}|2y=2009|2p=3}}}}

|-

| data-sort-value="Violin Sonata A minor" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title=Violin Sonata in A minor

| expand=

|

| Un poco lento{{spaced ndash}}Più mosso quasi presto

| Andantino

| Tempo di menuetto

| Rondo. Presto}}|indent=1}}

| rowspan=2|{{sort|1884|1884}}

| {{sort|JS177|JS 177}}

| {{abbr|vl.|violin}}, {{abbr|pf.|piano}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1pp=608–609|2a1={{nowrap|SibEd., v. 6}}|2y=2008|2p=3}}}}

|-

| Andantino in C major

| {{sort|JS40|JS 40}}

| {{abbr|vc.|cello}}, {{abbr|pf.|piano}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=513|2a1={{nowrap|SibEd., v. 9}}|2y=2009|2p=3}}}}

|-

| Andante grazioso in D major

| {{sort|1885|1884–1885}}

| {{sort|JS35|JS 35}}

| rowspan=10|{{abbr|vl.|violin}}, {{abbr|pf.|piano}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=511|2a1={{nowrap|SibEd., v. 6}}|2y=2008|2p=3}}}}

|-

| {{sort|Moderato{{spaced ndash}}Presto|[Moderato]{{spaced ndash}}Presto{{spaced ndash}}Tempo I}} in A minor

| {{sort|1886|1886}}

| {{sort|JS7|JS 7}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1pp=495–496|2a1={{nowrap|SibEd., v. 6}}|2y=2008|2p=3}}}}

|-

| {{sort|Andantino|[Andantino]}} in A minor

| rowspan=7|{{sort|1887|1886–1887}}

| {{sort|JS8|JS 8}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=496|2a1={{nowrap|SibEd., v. 6}}|2y=2008|2p=3}}}}

|-

| {{sort|Tempo di valse|[Tempo di valse]}} in B minor

| {{sort|JS89|JS 89}} ({{highlight|fragment}})

| {{center|{{efn|Fragmentary; completed by Jaakko Kuusisto.}}{{sfnm|1a1=Dahlström|1y=2003|1p=548|2a1={{nowrap|SibEd., v. 6}}|2y=2008|2p=4}}}}

|-

| {{sort|Mazurka|[Mazurka]}} in A major

| {{sort|JS4|JS 4}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=494|2a1={{nowrap|SibEd., v. 6}}|2y=2008|2p=4}}}}

|-

| {{sort|Andante molto|[Andante molto]}} in C major

| {{sort|JS49|JS 49}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=517|2a1={{nowrap|SibEd., v. 6}}|2y=2008|2p=4}}}}

|-

| {{sort|Aubade|[Aubade]}} in A major

| {{sort|JS3|JS 3}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=494|2a1={{nowrap|SibEd., v. 6}}|2y=2008|2p=4}}}}

|-

| {{sort|Menuetto|[Menuetto]}} in E minor

| {{sort|JS67|JS 67}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=531|2a1={{nowrap|SibEd., v. 6}}|2y=2008|2p=3}}}}

|-

| {{sort|Scherzino|[Scherzino]}} in F major

| {{sort|JS78|JS 78}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=538|2a1={{nowrap|SibEd., v. 6}}|2y=2008|2p=4}}}}

|-

| {{sort|Allegretto|[Allegretto]}} in G major

| {{sort|1887|1886–1887}}, {{abbr|rev.|revised}} 1886–1887

| {{sort|JS86|JS 86}}

| {{center|{{efn|A premilimary version of the [Allegretto] in G major (JS 86) is extant.}}{{sfnm|1a1=Dahlström|1y=2003|1p=546|2a1={{nowrap|SibEd., v. 6}}|2y=2008|2pp=4, 12}}}}

|-

| {{sort|Duo|[Duo]}} in E minor

| rowspan=4|{{sort|1887|1887}}

| {{sort|JS68|JS 68}}

| {{abbr|vl.|violin}}, {{abbr|vc.|cello}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=531|2a1={{nowrap|SibEd., v. 9}}|2y=2009|2p=4}}}}

|-

| Andante cantabile in E-flat major

| {{sort|JS30.2|JS 30b}}

| harmonium, {{abbr|pf.|piano}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=507|2a1={{nowrap|SibEd., v. 2}}|2y=2007|2p=10}}}}

|-

| Andante cantabile in G major

| {{sort|JS33|JS 33}}

| {{abbr|vl.|violin}}, {{abbr|pf.|piano}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=508|2a1={{nowrap|SibEd., v. 6}}|2y=2008|2p=4}}}}

|-

| Andante molto in F minor

| {{sort|JS36|JS 36}}

| rowspan=2|{{abbr|vc.|cello}}, {{abbr|pf.|piano}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1pp=511–512|2a1={{nowrap|SibEd., v. 9}}|2y=2009|2p=3}}}}

|-

| Tempo di valse in G minor

| {{nowrap|{{sort|1887|1887}} (partially survives)}}

| {{sort|JS193|JS 193}}

| {{center|{{efn|Piano part is lost, but was reconstructed by Kalevi Aho in 2006.}}{{sfnm|1a1=Dahlström|1y=2003|1p=625|2a1={{nowrap|SibEd., v. 9}}|2y=2009|2p=4}}}}

|-

| {{sort|Sonata Allegro|[Sonata Allegro Exposition]}} in B minor

| {{sort|1887|1887}}

| {{sort|JS90|JS 90}}

| rowspan=2|{{abbr|vl.|violin}}, {{abbr|pf.|piano}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=548|2a1={{nowrap|SibEd., v. 6}}|2y=2008|2p=4}}}}

|-

| data-sort-value="Suite D minor" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title=Suite in D minor

| expand=

|

| Un poco adagio{{spaced ndash}}Andante

| Vivace

| Andantino

| Vivacissimo

| Moderato

| Quasi presto}}|indent=1}}

| rowspan=3|{{sort|1888|1887–1888}}

| {{sort|JS187|JS 187}}

| {{center|{{efn|Sometimes referred to as Sonata in D minor.}}{{sfnm|1a1=Dahlström|1y=2003|1pp=621–622|2a1={{nowrap|SibEd., v. 6}}|2y=2008|2p=4}}}}

|-

| {{sort|Lento|[Lento]}} in E-flat minor

| {{sort|JS76|JS 76}}

| {{abbr|vl.|violin}} (or {{abbr|vc.|cello}}), {{abbr|pf.|piano}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=536|2a1={{nowrap|SibEd., v. 6}}|2y=2008|2p=5|3a1={{nowrap|SibEd., v. 9}}|3y=2009|3p=4}}}}

|-

| Moderato{{spaced ndash}}Maestoso in E-flat major

| {{sort|JS132|JS 132}}

| rowspan=4|{{abbr|vl.|violin}}, {{abbr|pf.|piano}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=579–580|2a1={{nowrap|SibEd., v. 6}}|2y=2008|2p=5}}}}

|-

| Allegretto in C major

| rowspan=4|{{sort|1888|1888}}

| {{sort|JS19|JS 19}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=502|2a1={{nowrap|SibEd., v. 6}}|2y=2008|2p=5}}}}

|-

| Allegretto in E-flat major

| {{sort|JS22|JS 22}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=503|2a1={{nowrap|SibEd., v. 6}}|2y=2008|2p=5}}}}

|-

| data-sort-value="Suite E major" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title=Suite in E major

| expand=

|

| Allegro molto moderato{{spaced ndash}}Quasi adagio

| Allegro molto

| Più lento quasi andantino

| Allegro brillante}}|indent=1}}

| {{sort|JS188|JS 188}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1pp=622–623|2a1={{nowrap|SibEd., v. 6}}|2y=2008|2p=5}}}}

|-

| {{sort|Andante|[Andante]}} in B minor

| {{sort|JS91|JS 91}} ({{highlight|fragment}})

| {{abbr|vc.|cello}}, {{abbr|pf.|piano}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=549|2a1={{nowrap|SibEd., v. 9}}|2y=2009|2p=6}}}}

|-

| {{sort|Andantino|[Andantino]}} in B minor

| rowspan=2|{{sort|1889|1888–1889}}

| {{sort|JS92|JS 92}} ({{highlight|fragment}})

| {{abbr|vc.|cello}}, {{abbr|pf.|piano}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=549|2a1={{nowrap|SibEd., v. 9}}|2y=2009|2p=6}}}}

|-

| Allegro [Sonata Exposition] in A minor

| {{sort|JS26|JS 26}}

| {{abbr|vl.|violin}}, {{abbr|pf.|piano}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=505|2a1={{nowrap|SibEd., v. 6}}|2y=2008|2p=5}}}}

|-

| Canon in G minor

| rowspan=4|{{sort|1889|1889}}

| {{sort|JS50|JS 50}}

| {{abbr|vl.|violin}}, {{abbr|vc.|cello}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=517|2a1={{nowrap|SibEd., v. 9}}|2y=2009|2p=6}}}}

|-

| data-sort-value="Violin Sonata F major" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title=Violin Sonata in F major

| expand=

|

| [Allegro]

| Andante

| Vivace}}|indent=1}}

| {{sort|JS178|JS 178}}

| {{abbr|vl.|violin}}, {{abbr|pf.|piano}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1pp=610–611|2a1={{nowrap|SibEd., v. 6}}|2y=2008|2p=6}}}}

|-

| Adagio in F-sharp minor

| {{sort|JS15|JS 15}}

| rowspan=3|{{abbr|vc.|cello}}, {{abbr|pf.|piano}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=500|2a1={{nowrap|SibEd., v. 9}}|2y=2009|2p=7}}}}

|-

| Tempo di valse (Lulu Waltz) in F-sharp minor

| {{sort|JS194|JS 194}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=626|2a1={{nowrap|SibEd., v. 9}}|2y=2009|2p=7}}}}

|-

| data-sort-value="Fantasy" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title=Fantasy

| expand=

|

| Moderato

| Tempo di valse moderato

| Alla polacca

| Alla marcia{{spaced ndash}}

| Leggiero}}|indent=1}}

| {{nowrap|{{sort|1889|1889}} (partially survives)}}

| {{sort|JS79|JS 79}}

| {{center|{{efn|Piano part lost.}}{{sfnm|1a1=Dahlström|1y=2003|1pp=538–539|2a1={{nowrap|SibEd., v. 9}}|2y=2009|2p=7}}}}

|-

| Romance in B minor

| {{sort|1890|1890, {{abbr|rev.|revised}} 1911}}

| {{sort|A2.1|Op. 2/1}}

| rowspan=2|{{abbr|vl.|violin}}, {{abbr|pf.|piano}}

| {{center|{{efn|In 1890–1891, Sibelius composed two duos for violin and piano, the Romance in B minor and Perpetuum mobile, each of which was first printed in a Finnish periodical. In 1911, he substantially revised these pieces as his Op. 2 and sold them to a publisher; at this time, he changed the title of Perpetuum mobile to Epilogue.{{sfn|Barnett|2007|pp=58–59, 65, 214–215}}|name=Op. 2}}{{sfnm|1a1=Dahlström|1y=2003|1pp=8–9|2a1={{nowrap|SibEd., v. 9}}|2y=2009|2pp=6, 12}}}}

|-

| {{lang|sv|Epilog}} (Epilogue)

| {{sort|1891|1891, {{abbr|rev.|revised}} 1911}}

| {{sort|A2.2|Op. 2/2}}

| {{center|{{efn|name=Op. 2}}{{sfnm|1a1=Dahlström|1y=2003|1p=10|2a1={{nowrap|SibEd., v. 9}}|2y=2009|2pp=6, 12}}}}

|-

| Duo in C major

| {{sort|1892|1891–1892}}

| {{sort|JS66|JS 66}}

| {{abbr|vl.|violin}}, {{abbr|va.|viola}}

| {{center|{{efn|In 1891, Sibelius worked on Kullervo (Op. 7) in Lovisa and gave private violin lessons. Scholars believe he composed the Duo in C major (JS 66) for violin and viola for these teaching purposes, with him playing the latter and his pupil(s) playing the former.{{sfn|Barnett|2007|p=68}}}}{{sfnm|1a1=Dahlström|1y=2003|1pp=530–531|2a1={{nowrap|SibEd., v. 9}}|2y=2009|2p=10}}}}

|-

| Rondo in D minor

| {{sort|1893|1893}}

| {{sort|JS162|JS 162}}

| {{abbr|va.|viola}}, {{abbr|pf.|piano}}

| {{center|{{efn|name=PfQuintet}}{{sfnm|1a1=Dahlström|1y=2003|1pp=599–600|2a1={{nowrap|SibEd., v. 9}}|2y=2009|2p=11}}}}

|-

| Lullaby ({{lang|fi|Kehtolaulu}})

| {{sort|1899|1899}}

| {{sort|JS222|JS 222}}

| kantele, {{abbr|vl.|violin}}

| {{center|{{efn|In September 1899, while visiting the Finnish painter Pekka Halonen, Sibelius wrote the Lullaby (also known as Waltz or {{lang|de|Waltzer}}) for kantele and violin. It makes use of a folk song that Halonen had played on the kantele and to which Sibelius then wrote a violin accompaniment.{{sfn|Barnett|2007|p=127}}}}{{sfnm|1a1=Dahlström|1y=2003|1p=648|2a1={{nowrap|SibEd., v. 9}}|2y=2009|2p=12}}}}

|-

| {{lang|it|Malinconia}} (Melancholy)

| {{sort|1900|1900}}

| {{sort|A20|Op. 20}}

| {{abbr|vc.|cello}}, {{abbr|pf.|piano}}

| {{center|{{efn|{{lang|it|Malinconia}} (Op. 20) premiered under the provisional title Fantasia.{{sfn|Barnett|2007|p=134}}}}{{sfnm|1a1=Dahlström|1y=2003|1p=81|2a1={{nowrap|SibEd., v. 9}}|2y=2009|2p=13}}}}

|-

| data-sort-value="Violin Sonatina" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title=Violin Sonatina in E major

| expand=

|

| Lento{{spaced ndash}}Allegro

| Andantino

| Lento{{spaced ndash}}Allegretto}}|indent=1}}

| rowspan=6|{{sort|1915|1915}}

| {{sort|A80|Op. 80}}

| rowspan=4|{{abbr|vl.|violin}}, {{abbr|pf.|piano}}

| {{center|{{efn|The main theme of the Op. 80 Violin Sonatina's third movement was originally intended for the Sixth Symphony (Op. 104).{{sfn|Barnett|2007|p=249}}}}{{sfnm|1a1=Dahlström|1y=2003|1pp=348–349|2a1={{nowrap|SibEd., v. 6}}|2y=2008|2p=9}}}}

|-

| Mazurka in D minor

| {{sort|A81.1|Op. 81/1}}

| {{center|{{efn|These works comprise the Op. 81 Five Pieces for violin and piano.|name=Op.81}}{{sfnm|1a1=Dahlström|1y=2003|1p=350|2a1={{nowrap|SibEd., v. 6}}|2y=2008|2p=9}}}}

|-

| Souvenir in D major

| {{sort|A79.1|Op. 79/1}}

| {{center|{{efn|These works comprise the Op. 79 Six Pieces for violin and piano.|name=Op.79}}{{sfnm|1a1=Dahlström|1y=2003|1pp=344–345|2a1={{nowrap|SibEd., v. 6}}|2y=2008|2p=8}}}}

|-

| Tempo di Minuetto

| {{sort|A79.2|Op. 79/2}}

| {{center|{{efn|name=Op.79}}{{sfnm|1a1=Dahlström|1y=2003|1pp=345–346|2a1={{nowrap|SibEd., v. 6}}|2y=2008|2p=8}}}}

|-

| Impromptu in A minor

| {{sort|A78.1|Op. 78/1}}

| rowspan=3|{{abbr|vl.|violin}} (or {{abbr|vc.|cello}}), {{abbr|pf.|piano}}

| {{center|{{efn|These works comprise the Op. 78 Four Pieces for violin (or cello) and piano. The original version of Romance (No. 2) is extant.|name=Op.78}}{{sfnm|1a1=Dahlström|1y=2003|1pp=341–342|2a1={{nowrap|SibEd., v. 6}}|2y=2008|2p=8|3a1={{nowrap|SibEd., v. 9}}|3y=2009|3p=13}}}}

|-

| Rigaudon in D major

| {{sort|A78.4|Op. 78/4}}

| {{center|{{efn|name=Op.78}}{{sfnm|1a1=Dahlström|1y=2003|1p=344|2a1={{nowrap|SibEd., v. 6}}|2y=2008|2p=8|3a1={{nowrap|SibEd., v. 9}}|3y=2009|3p=13}}}}

|-

| Romance in F major

| {{sort|1915|1915}}, {{abbr|rev.|revised}} 1915

| {{sort|A78.2|Op. 78/2}}

| {{center|{{efn|name=Op.78}}{{sfnm|1a1=Dahlström|1y=2003|1pp=342–343|2a1={{nowrap|SibEd., v. 6}}|2y=2008|2pp=8, 12|3a1={{nowrap|SibEd., v. 9}}|3y=2009|3p=13}}}}

|-

| {{lang|fr|Danse caractéristique}}

| rowspan=2|{{sort|1916|1916}}

| {{sort|A79.3|Op. 79/3}}

| rowspan=4|{{abbr|vl.|violin}}, {{abbr|pf.|piano}}

| {{center|{{efn|name=Op.79}}{{sfnm|1a1=Dahlström|1y=2003|1p=346|2a1={{nowrap|SibEd., v. 6}}|2y=2008|2p=8}}}}

|-

| Sérénade in D major

| {{sort|A79.4|Op. 79/4}}

| {{center|{{efn|name=Op.79}}{{sfnm|1a1=Dahlström|1y=2003|1pp=346–347|2a1={{nowrap|SibEd., v. 6}}|2y=2008|2p=8}}}}

|-

| Dance Idyll ({{lang|de|Tanz-Idylle}}) in E minor

| rowspan=5|{{sort|1917|1917}}

| {{sort|A79.5|Op. 79/5}}

| {{center|{{efn|name=Op.79}}{{sfnm|1a1=Dahlström|1y=2003|1p=347|2a1={{nowrap|SibEd., v. 6}}|2y=2008|2p=8}}}}

|-

| {{lang|fr|Berceuse|italics=no}} in C-sharp minor

| {{sort|A79.6|Op. 79/6}}

| {{center|{{efn|name=Op.79}}{{sfnm|1a1=Dahlström|1y=2003|1pp=347–348|2a1={{nowrap|SibEd., v. 6}}|2y=2008|2p=8}}}}

|-

| Religioso in G minor

| {{sort|A78.3|Op. 78/3}}

| {{abbr|vl.|violin}} (or {{abbr|vc.|cello}}), {{abbr|pf.|piano}}

| {{center|{{efn|name=Op.78}}{{sfnm|1a1=Dahlström|1y=2003|1p=343|2a1={{nowrap|SibEd., v. 6}}|2y=2008|2p=8|3a1={{nowrap|SibEd., v. 9}}|3y=2009|3p=13}}}}

|-

| Rondino in D major

| {{sort|A81.2|Op. 81/2}}

| rowspan=17|{{abbr|vl.|violin}}, {{abbr|pf.|piano}}

| {{center|{{efn|name=Op.81}}{{sfnm|1a1=Dahlström|1y=2003|1p=351|2a1={{nowrap|SibEd., v. 6}}|2y=2008|2p=9}}}}

|-

| Valse in D major

| {{sort|A81.3|Op. 81/3}}

| {{center|{{efn|name=Op.81}}{{sfnm|1a1=Dahlström|1y=2003|1pp=351–352|2a1={{nowrap|SibEd., v. 6}}|2y=2008|2p=9}}}}

|-

| Aubade in D major

| rowspan=2|{{sort|1918|1918}}

| {{sort|A81.4|Op. 81/4}}

| {{center|{{efn|name=Op.81}}{{sfnm|1a1=Dahlström|1y=2003|1p=352|2a1={{nowrap|SibEd., v. 6}}|2y=2008|2p=9}}}}

|-

| Menuetto in D minor

| {{sort|A81.5|Op. 81/5}}

| {{center|{{efn|name=Op.81}}{{sfnm|1a1=Dahlström|1y=2003|1p=353|2a1={{nowrap|SibEd., v. 6}}|2y=2008|2p=9}}}}

|-

| {{lang|fr|Novellette}}

| {{sort|1922|1922}}

| {{sort|A102|Op. 102}}

| {{center|{{efn|In 1922, Sibelius planned to write a new series of pieces for violin and piano; however, he ended up only composing one piece: the Op. 102 {{lang|fr|Novellette}}.{{sfn|Barnett|2007|pp=298–299}}}}{{sfnm|1a1=Dahlström|1y=2003|1pp=431–432|2a1={{nowrap|SibEd., v. 6}}|2y=2008|2p=9}}}}

|-

| {{lang|fr|Danse champêtre}} No. 1

| rowspan=2|{{sort|1924|1924}}

| {{sort|A106.1|Op. 106/1}}

| {{center|{{efn|These works comprise the Op. 106 Five {{lang|fr|Danses Champêtres}} for violin and piano.|name=Op. 106}}{{sfnm|1a1=Dahlström|1y=2003|1pp=440–441|2a1={{nowrap|SibEd., v. 6}}|2y=2008|2p=10}}}}

|-

| {{lang|fr|Danse champêtre}} No. 2

| {{sort|A106.2|Op. 106/2}}

| {{center|{{efn|name=Op. 106}}{{sfnm|1a1=Dahlström|1y=2003|1p=441|2a1={{nowrap|SibEd., v. 6}}|2y=2008|2p=10}}}}

|-

| {{lang|fr|Danse champêtre}} No. 3

| rowspan=3|{{sort|1925|1925}}

| {{sort|A106.3|Op. 106/3}}

| {{center|{{efn|name=Op. 106}}{{sfnm|1a1=Dahlström|1y=2003|1p=442|2a1={{nowrap|SibEd., v. 6}}|2y=2008|2p=10}}}}

|-

| {{lang|fr|Danse champêtre}} No. 4

| {{sort|A106.4|Op. 106/4}}

| {{center|{{efn|name=Op. 106}}{{sfnm|1a1=Dahlström|1y=2003|1pp=442–443|2a1={{nowrap|SibEd., v. 6}}|2y=2008|2p=10}}}}

|-

| {{lang|fr|Danse champêtre}} No. 5

| {{sort|A106.5|Op. 106/5}}

| {{center|{{efn|name=Op. 106}}{{sfnm|1a1=Dahlström|1y=2003|1p=443|2a1={{nowrap|SibEd., v. 6}}|2y=2008|2p=10}}}}

|-

| On the Heath ({{lang|de|Auf der Heide}})

| rowspan=7|{{sort|1929|1929}}

| {{sort|A115.1|Op. 115/1}}

| {{center|{{efn|These works comprise the Op. 115 Four Pieces for violin and piano.|name=Op. 115}}{{sfnm|1a1=Dahlström|1y=2003|1p=488|2a1={{nowrap|SibEd., v. 6}}|2y=2008|2p=10}}}}

|-

| Ballad ({{lang|fr|Ballade|italics=no}})

| {{sort|A115.2|Op. 115/2}}

| {{center|{{efn|name=Op. 115}}{{sfnm|1a1=Dahlström|1y=2003|1p=489|2a1={{nowrap|SibEd., v. 6}}|2y=2008|2p=10}}}}

|-

| Humoresque

| {{sort|A115.3|Op. 115/3}}

| {{center|{{efn|name=Op. 115}}{{sfnm|1a1=Dahlström|1y=2003|1pp=489–490|2a1={{nowrap|SibEd., v. 6}}|2y=2008|2p=10}}}}

|-

| The Bells ({{lang|de|Die Glocken}})

| {{sort|A115.4|Op. 115/4}}

| {{center|{{efn|name=Op. 115}}{{sfnm|1a1=Dahlström|1y=2003|1p=490|2a1={{nowrap|SibEd., v. 6}}|2y=2008|2p=10}}}}

|-

| {{lang|fr|Scène de danse}}

| {{sort|A116.1|Op. 116/1}}

| {{center|{{efn|These works comprise the Op. 116 Three Pieces for violin and piano.|name=Op. 116}}{{sfnm|1a1=Dahlström|1y=2003|1p=491|2a1={{nowrap|SibEd., v. 6}}|2y=2008|2p=10}}}}

|-

| {{lang|fr|Danse caractéristique}}

| {{sort|A116.2|Op. 116/2}}

| {{center|{{efn|name=Op. 116}}{{sfnm|1a1=Dahlström|1y=2003|1pp=491–492|2a1={{nowrap|SibEd., v. 6}}|2y=2008|2p=10}}}}

|-

| {{lang|fr|Rondeau romantique}}

| {{sort|A116.3|Op. 116/3}}

| {{center|{{efn|name=Op. 116}}{{sfnm|1a1=Dahlström|1y=2003|1p=492|2a1={{nowrap|SibEd., v. 6}}|2y=2008|2p=10}}}}

|-

| To My Beloved Aino ({{lang|fi|Rakkaalle Ainolle}})

| {{sort|1931|1931}}

| {{sort|JS161|JS 161}}

| {{abbr|pf.|piano}} (4-hands)

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=599|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=14}}}}

|-

| rowspan=4 style="background-color: #FFC0CB"|{{nowrap|Duo ({{abbr|trans.|transcriptions}})}}

| data-sort-value="Violin Concerto2" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title=Violin Concerto in D minor

| expand=

|

| Allegro moderato

| Adagio di molto

| Allegro (ma non tanto)}}|indent=1}}

| {{sort|1904|[1903–1904, {{abbr|rev.|revised}} 1905], {{abbr|trans.|transcribed}} 1905}}

| {{sort|A47.1|Op. 47}}

| {{abbr|vl.|violin}}, {{abbr|pf.|piano}}

| {{center|{{efn|name=Op. 47}}{{sfnm|1a1=Dahlström|1y=2003|1pp=223–224|2a1={{nowrap|SibEd., v. 6}}|2y=2008|2p=7}}}}

|-

| Serious Melody No. 1: Cantique

| {{sort|1914|[1914 ({{abbr|arr.|arranged}} 1916)], {{abbr|trans.|transcribed}} 1915 (1916)}}

| {{sort|A77.2|Op. 77/1}}

| rowspan=2|{{abbr|vl.|violin}} (or {{abbr|vc.|cello}}), {{abbr|pf.|piano}}

| {{center|{{efn|name=Op. 77}}{{sfnm|1a1=Dahlström|1y=2003|1p=339|2a1={{nowrap|SibEd., v. 6}}|2y=2008|2p=8|3a1={{nowrap|SibEd., v. 9}}|3y=2009|3p=13}}}}

|-

| Serious Melody No. 2: Devotion

| {{sort|1915|[1915 ({{abbr|arr.|arranged for cello}} 1916)], {{abbr|trans.|transcribed}} 1915 (1916)}}

| {{sort|A77.4|Op. 77/2}}

| {{center|{{efn|name=Op. 77}}{{sfnm|1a1=Dahlström|1y=2003|1p=340|2a1={{nowrap|SibEd., v. 6}}|2y=2008|2p=8|3a1={{nowrap|SibEd., v. 9}}|3y=2009|3p=13}}}}

|-

| {{lang|fr|Scène d'amour}} (Love Scene), from Scaramouche

| {{sort|1913|[1913], {{abbr|trans.|transcribed}} 1925}}

| {{sort|A71.3|Op. 71}}

| {{abbr|vl.|violin}}, {{abbr|pf.|piano}}

| {{center|{{efn|name=Op. 71}}{{sfnm|1a1=Dahlström|1y=2003|1p=315|2a1={{nowrap|SibEd., v. 6}}|2y=2008|2p=8}}}}

|-

| colspan="5" style="background-color: #EEE8AA; border-style: solid none solid solid;" data-sort-value="ZZZZ1A"|

| colspan="2" style="background-color: #EEE8AA; text-align:right; border-style: solid solid solid none;" data-sort-value="ZZZZ1A"|#Table of compositions

|-

| style="background-color: #EEE8AA"|Carillon

| {{sort|Bells of Kallio Church1|The Bells of Kallio Church}} ({{lang|fi|Kallion kirkon kellosävel}})

| {{sort|1912|1912}}

| {{sort|JS102|JS 102}}

| carillon

| rowspan=13 style="background:#EFEFEF; color:#767676"|{{sort|zzz|–}}

| {{center|{{efn|In 1912, Sibelius composed The Bells of Kallio Church (JS 102) for the new building's September consecration. For this occasion, Heikki Klemetti made a choral arrangement of Sibelius's melody without the composer's blessing. Later in the year, Sibelius arranged his piece for solo piano, as well as for mixed choir {{em|a cappella}} (each is Op. 65b).{{sfn|Barnett|2007|pp=207, 209, 223–224}}|name=Kallio}}{{sfnm|1a1=Dahlström|1y=2003|1p=294–295, 560|2a1={{nowrap|SibEd., v. 13}}|2y=2011|2p=10}}}}

|-

| rowspan=3 style="background-color: #EEE8AA"|Cello

| {{sort|Theme and Variations|[Theme and Variations] in D minor}}

| {{sort|1887|1887}}

| {{sort|JS196|JS 196}}

| rowspan=3|cello

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=627|2a1={{nowrap|SibEd., v. 9}}|2y=2009|2p=4}}}}

|-

| Moderato in F major

| {{sort|1889|1885–1889}}

| style="background:#EFEFEF; color:#767676"|{{sort|z|HUL 1351}}

| {{center|{{sfn|{{nowrap|SibEd., v. 9}}|2009|p=5}}}}

|-

| {{sort|Mazurka|[Mazurka] in G minor}}

| {{sort|1889|1887–1889}}

| style="background:#EFEFEF; color:#767676"|{{sort|zzz|–}}

| {{center|{{sfn|{{nowrap|SibEd., v. 9}}|2009|p=5}}}}

|-

| rowspan=2 style="background-color: #EEE8AA"|Kantele

| Moderato

| rowspan=2|{{sort|1898|1896–1898}}

| {{sort|JS130|JS 130}}

| rowspan=2|kantele

| {{center|{{efn|Sibelius composed two pieces for solo kantele—Moderato and Dolicissimo—as a souvenir for his sister-in-law, the amateur kanetele player Aili Järnefelt, who had been badly injured railway accident. The pieces were unknown until 1989{{sfn|Barnett|2007|p=105}} and are part of the manuscripts collection at the Sibelius Museum.{{sfn|Dahlström|2003|pp=529, 579}}|name=JS 63/130}}{{sfnm|1a1=Dahlström|1y=2003|1p=579|2a1={{nowrap|SibEd., v. 9}}|2y=2009|2p=11}}}}

|-

| Dolicissimo

| {{sort|JS63|JS 63}}

| {{center|{{efn|name=JS 63/130}}{{sfnm|1a1=Dahlström|1y=2003|1p=529|2a1={{nowrap|SibEd., v. 9}}|2y=2009|2p=11}}}}

|-

| rowspan=5 style="background-color: #EEE8AA"|Organ

| Intrada

| {{sort|1925|1925}}

| {{sort|A111.1|Op. 111a}}

| rowspan=5|organ

| {{center|{{efn|These works for organ comprise the Op. 111 Two Pieces. Intrada exists in both a version for single pedal and double pedal [HUL 0828]; a brief sketch [HUL 0052] is extant. Moreover, both a preliminary version and a provisional alternative [each HUL 1893] of Mournful Music ({{lang|fi|Surusoitto}}) are also extant.|name=Op. 111}}{{sfnm|1a1=Dahlström|1y=2003|1pp=469–470|2a1={{nowrap|SibEd., v. 13}}|2y=2011|2pp=3, 9–10}}}}

|-

| Preludium

| rowspan=2|{{sort|1926|1926}}

| {{sort|JS153.1|JS 153/1}}

| {{center|{{efn|These works for organ comprise the so-called [Two Pieces] (JS 153).|name=JS 153}}{{sfnm|1a1=Dahlström|1y=2003|1pp=591–592|2a1={{nowrap|SibEd., v. 13}}|2y=2011|2p=3}}}}

|-

| Postludium

| {{sort|JS153.2|JS 153/2}}

| {{center|{{efn||name=JS 153}}{{sfnm|1a1=Dahlström|1y=2003|1pp=591–592|2a1={{nowrap|SibEd., v. 13}}|2y=2011|2p=3}}}}

|-

| Mournful Music ({{lang|fi|Surusoitto}})

| {{sort|1931|1931}}

| {{sort|A111.2|Op. 111b}}

| {{center|{{efn|name=Op. 111}}{{sfnm|1a1=Dahlström|1y=2003|1pp=470–471|2a1={{nowrap|SibEd., v. 13}}|2y=2011|2pp=3, 9–10}}}}

|-

| Theme for Improvisation

| {{sort|1933|1933}}

| style="background:#EFEFEF; color:#767676"|{{sort|zzz|–}}

| {{center|{{sfn|{{nowrap|SibEd., v. 13}}|2011|p=8}}}}

|-

| rowspan=3 style="background-color: #EEE8AA"|Violin

| {{sort|Étude|[Étude] in D major}}

| {{sort|1886|1886}}

| {{sort|JS55|JS 55}}

| rowspan=3|violin

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=522|2a1={{nowrap|SibEd., v. 6}}|2y=2008|2p=11}}}}

|-

| {{sort|Allegretto|[Allegretto] in A major}}

| {{sort|1894|1891–1894}}

| style="background:#EFEFEF; color:#767676"|{{sort|z|HUL 1088/2}}

| {{center|{{sfn|{{nowrap|SibEd., v. 6}}|2008|p=11}}}}

|-

| {{sort|Happy Musician|A Happy Musician}} ({{lang|sv|En glad musikant}})

| {{sort|1926|1924–1926}}

| {{sort|JS70|JS 70}}

| {{sortname|T.|Rangström|Ture Rangström}}

| {{center|{{efn|Text written above the music.{{sfn|Dahlström|2003|p=533}}}}{{sfnm|1a1=Dahlström|1y=2003|1p=533|2a1={{nowrap|SibEd., v. 6}}|2y=2008|2p=11}}}}

|-

| rowspan=3 style="background-color: #EEE8AA"|Melodrama

| data-sort-value="To Longing" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title=To Longing ({{lang|sv|Trånaden}})

| expand=

|

1. Two Laws Govern Human Life ... ({{lang|sv|Tvenne lagar styta menniskolifvet ...|italics=no}})
2. Do You See the Sea? ({{lang|sv|Ser du hafvet?|italics=no}})
3. Do You Hear the Wind? ({{lang|sv|Hör du vinden?|italics=no}})
4. What is the Spring? ({{lang|sv|Hvad är vären?|italics=no}})
5. Mankind, Do You Wish to Learn ... ({{lang|sv|Menska, vill du lifvets vishet lära ...|italics=no}})|indent=1}}

| {{sort|1887|1887}}

| {{sort|JS203|JS 203}}

| rowspan=3|{{abbr|Nar.|narrator}}, piano

| {{sortname|E.J.|Stagnelius|Erik Johan Stagnelius}}

| {{center|{{efn|Sibelius gave to {{lang|sv|Trånaden}} the subtitle "fantasy". It is unknown whether he intended Stagnelius's poem to be spoken before or during the playing of each piano number, although Erik Tawaststjerna has suggested—and recordings have utilized—the former (alternation between recitation and music).{{sfn|Barnett|2007|pp=28–29}}}}{{sfnm|1a1=Dahlström|1y=2003|1p=632|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=6}}}}

|-

| Oh, If You Had Seen ({{lang|sv|O, om du sett}})

| {{sort|1888|1888}}

| {{sort|JS141|JS 141}}

| {{sortname|E.|Hackzell|Ellen Hackzell|nolink=1}}

| {{center|{{efn|As a souvenir for a friend, Ellen Hackzell, Sibelius wrote a melodrama setting her poem Oh, If You Had Seen. The recitation is intended to alternate with the piano music.{{sfn|Barnett|2007|p=44}}}}{{sfnm|1a1=Dahlström|1y=2003|1p=585|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=8}}}}

|-

| {{sort|Lonely Ski-Trail|A Lonely Ski-Trail}} ({{lang|sv|Ett ensamt skidspår}})

| {{sort|1925|1925}}

| {{sort|JS77.1|JS 77a}}

| {{sortname|B.|Gripenberg|Bertel Gripenberg}}

| {{center|{{efn|name=Ski-Trail}}{{sfnm|1a1=Dahlström|1y=2003|1pp=536–537|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=14}}}}

|-

| rowspan=166 style="background-color: #EEE8AA"|{{nowrap|Piano ({{abbr|orig.|original work for piano}})}}

| Con moto, sempre una corda in D-flat major

| rowspan=4|{{sort|1885|1885}}

| {{sort|JS52|JS 52}}

| rowspan=30|piano

| rowspan=60 style="background:#EFEFEF; color:#767676"|{{sort|zzz|–}}

| {{center|{{efn|The Con moto, sempre una corda in D-flat major (JS 52, 1885) is believed to Sibelius's earliest surviving piece for solo piano.{{sfn|Barnett|2007|p=?}}}}{{sfnm|1a1=Dahlström|1y=2003|1p=521|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=3}}}}

|-

| {{sort|Andante|[Andante] in E-flat major}}

| {{sort|JS74|JS 74}}

| {{center|{{efn|The so-called [Three Pieces] for solo piano—JS 74, 2, and 5–appear together on the same manuscript paper. They date to the autumn of 1885, around the time Sibelius had begun his studies at the Helsinki Music Institute.{{sfn|Barnett|2007|p=?}}|name=JS 2/5/74}}{{sfnm|1a1=Dahlström|1y=2003|1p=535|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=3}}}}

|-

| {{sort|Menuetto|[Menuetto] in A minor}}

| {{sort|JS5|JS 5}}

| {{center|{{efn|name=JS 2/5/74}}{{sfnm|1a1=Dahlström|1y=2003|1p=495|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=3}}}}

|-

| {{sort|Tempo di valse|[Tempo di valse]}} in A major

| {{sort|JS2|JS 2}}

| {{center|{{efn|name=JS 2/5/74}}{{sfnm|1a1=Dahlström|1y=2003|1p=493|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=3}}}}

|-

| Scherzo in E major with Trio in E minor (or with [Trio] in A major)

| {{sort|1886|1885, {{abbr|arr.|arranged}} 1886}}

| {{sort|JS134.2|JS 134a(b)}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=581|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=3}}}}

|-

| Andante in E-flat major

| rowspan=3|{{sort|1887|1887}}

| {{sort|JS30.1|JS 30a}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=506|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=6}}}}

|-

| {{sort|Aubade|[Aubade]}} in A-flat major

| {{sort|JS46|JS 46}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=516|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=6}}}}

|-

| Au crépuscule in F-sharp minor

| {{sort|JS47|JS 47}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=516|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=6}}}}

|-

| Andantino in B major

| rowspan=12|{{sort|1888|1888}}

| {{sort|JS44|JS 44}}

| {{center|{{efn|The so-called [Three Short Pieces] for solo piano—JS 44, 18, and the Allegro in F minor (without catalogue designation [HUL 0768/3])—from 1888 were likely composition exercises that Sibelius wrote for Martin Wegelius.{{sfn|Barnett|2007|p=?}}|name=1888threepieces}}{{sfnm|1a1=Dahlström|1y=2003|1p=515|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=8}}}}

|-

| Allegretto in B-flat minor

| {{sort|JS18|JS 18}}

| {{center|{{efn|name=1888threepieces}}{{sfnm|1a1=Dahlström|1y=2003|1p=501|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=8}}}}

|-

| Allegro in F minor

| style="background:#EFEFEF; color:#767676"|{{sort|z|HUL 0768/3}}

| {{center|{{efn|name=1888threepieces}}{{sfn|{{nowrap|SibEd., v. 4}}|2008|p=8}}}}

|-

| data-sort-value="Five Short Pieces" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title=[Five Short Pieces]

| expand=

|

| * Tempo di menuetto in F-sharp minor

| * Allegro in E major

| * [Moderato] in F minor

| * Vivace in E-flat major

| * Andantino in C major|indent=1}}

| style="background:#EFEFEF; color:#767676"|{{sort|z|HUL 0797}}

| {{center|{{efn|The so-called [Five Short Pieces] for solo piano—each without catalogue designation [HUL 0797]—from 1888 were likely composition exercises that Sibelius wrote for Martin Wegelius.{{sfn|Barnett|2007|p=?}}}}{{sfn|{{nowrap|SibEd., v. 4}}|2008|p=7}}}}

|-

| Più lento{{spaced ndash}}Tempo di valse in E-flat major

| {{sort|JS150|JS 150}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=590|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=8}}}}

|-

| Allegretto in G minor

| {{sort|JS24|JS 24}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=504|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=8}}}}

|-

| Moderato{{spaced ndash}}Presto in D minor

| {{sort|JS133|JS 133}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=580|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=8}}}}

|-

| Largo in A major

| {{sort|JS117|JS 117}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=571|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=9}}}}

|-

| Adagio in D major

| {{sort|JS11|JS 11}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=498|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=9}}}}

|-

| Vivace in D minor

| {{sort|JS221|JS 221}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=648|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=9}}}}

|-

| Andantino in E major

| {{sort|JS41|JS 41}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1pp=513–514|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=8}}}}

|-

| {{sort|Presto|[Presto] in A minor}}

| {{sort|JS6|JS 6}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=495|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=8}}}}

|-

| {{sort|Polka|[Polka] in E-flat major}}

| {{sort|1889|1888–1889}}

| {{sort|JS75|JS 75}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1pp=535|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=9}}}}

|-

| data-sort-value="Florestan" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title=Florestan

| expand=

|

| Moderato

| Molto moderato

| Andante

| Tempo I}}|indent=1}}

| rowspan=8|{{sort|1889|1889}}

| {{sort|JS82|JS 82}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1pp=542–544|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=9}}}}

|-

| Allegretto in E major

| {{sort|JS21|JS 21}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1pp=502–503|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=9}}}}

|-

| Valse in A-flat major, À Betzy Lerche

| {{sort|JS1|JS 1}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=493|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=9}}}}

|-

| {{sort|Sonata Allegro Exposition D|[Sonata Allegro Exposition] in D minor}}

| {{sort|JS179.1|JS 179a}}

| {{center|{{efn|Completed by the Finnish composer Kalevi Aho.{{sfn|Barnett|2007|p=397}}}}{{sfnm|1a1=Dahlström|1y=2003|1pp=611–612|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=9}}}}

|-

| {{sort|Sonata Allegro Exposition F|[Sonata Allegro Exposition] in F minor}}

| {{sort|JS179.2|JS 179b}}

| {{center|{{efn|Completed by the Finnish composer Kalevi Aho.{{sfn|Barnett|2007|p=397}}}}{{sfnm|1a1=Dahlström|1y=2003|1pp=611–612|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=10}}}}

|-

| {{sort|Sonata Allegro Exposition Cmin|[Sonata Allegro Exposition] in C major}}

| {{sort|JS179.3|JS 179c}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1pp=611–612|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=10}}}}

|-

| {{sort|Sonata Allegro|[Sonata Allegro] in E major}}

| {{sort|JS179.4|JS 179d}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1pp=611–612|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=10}}}}

|-

| {{sort|Sonata Allegro Exposition Cmin|[Sonata Allegro Exposition] in C minor}}

| {{sort|JS179.5|JS 179e}}

| {{center|{{efn|Completed by the Finnish composer Kalevi Aho.{{sfn|Barnett|2007|p=397}}}}{{sfnm|1a1=Dahlström|1y=2003|1pp=611–612|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=10}}}}

|-

| Scherzo in F-sharp minor

| {{sort|1891|1891}}

| {{sort|JS164|JS 164}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=601|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=10}}}}

|-

| style="background:#EFEFEF; color:#767676"|Theme and Variations in C minor

| style="background:#EFEFEF; color:#767676"|{{nowrap|{{sort|1891|1891}} (lost)}}

| style="background:#EFEFEF; color:#767676"|{{sort|JS198|JS 198}}

| style="background:#EFEFEF; color:#767676"|piano

| {{center|{{sfn|Dahlström|2003|p=627}}}}

|-

| Impromptu No. 1 in G minor

| rowspan=7|{{sort|1893|1893}}

| {{sort|A5.1|Op. 5/1}}

| rowspan=158|piano

| {{center|{{efn|These works comprise the Op. 5 Six Impromptus (original German title: {{lang|de|Sechs Impromptus}}).{{sfn|Dahlström|2003|pp=15, 666}} For Nos. 5–6, Sibelius reused themes from Nights of Jealousy—a melodrama for narrator, vocalise soprano, and piano trio. In 1894, he combined Nos. 5–6 in an arrangement for strings and titled the new piece Impromptu.{{sfn|Barnett|2007|pp=79, 84, 89, 91}}|name=Impromptus}}{{sfnm|1a1=Dahlström|1y=2003|1pp=15–17|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=11}}}}

|-

| Impromptu No. 2 in G minor

| {{sort|A5.2|Op. 5/2}}

| {{center|{{efn|name=Impromptus}}{{sfnm|1a1=Dahlström|1y=2003|1pp=15–17|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=11}}}}

|-

| Impromptu No. 3 in A minor

| {{sort|A5.3|Op. 5/3}}

| {{center|{{efn|name=Impromptus}}{{sfnm|1a1=Dahlström|1y=2003|1pp=15–17|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=11}}}}

|-

| Impromptu No. 4 in E minor

| {{sort|A5.4|Op. 5/4}}

| {{center|{{efn|name=Impromptus}}{{sfnm|1a1=Dahlström|1y=2003|1pp=15–17|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=11}}}}

|-

| Impromptu No. 5 in B minor

| {{sort|A5.5|Op. 5/5}}

| {{center|{{efn|name=Impromptus}}{{sfnm|1a1=Dahlström|1y=2003|1pp=15–17|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=11}}}}

|-

| Impromptu No. 6 in E major

| {{sort|A5.6|Op. 5/6}}

| {{center|{{efn|name=Impromptus}}{{sfnm|1a1=Dahlström|1y=2003|1pp=15–17|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=11}}}}

|-

| data-sort-value="Piano Sonata" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title=Piano Sonata in F major

| expand=

|

| Allegro molto

| Andantino

| Vivacissimo}}|indent=1}}

| {{sort|A12|Op. 12}}

| {{center|{{efn|Although Breitkopf &Härtel were the first to publish the Op. 12 Piano Sonata in its entirety, Fazer & Westerlund earlier had published Movement III in 1898.{{sfn|Dahlström|2003|p=39}}}}{{sfnm|1a1=Dahlström|1y=2003|1pp=38–40|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=12}}}}

|-

| Impromptu in G minor

| rowspan=2|{{sort|1895|1895}}

| {{sort|A24.1|Op. 24/1}}

| {{center|{{efn|These works for solo piano comprise the Op. 24 Ten Pieces (original German title: {{lang|de|Zehn Stücke}}).{{sfn|Dahlström|2003|pp=98, 666}} Preliminary/original versions of No. 3 (Caprice in B minor, 1898), No. 6 (Andantino in F major, 1897; Idyll in F major 1897–1898), and No. 7 (Andantino in F major, 1899) are extant.{{sfn|Barnett|2007|p=}}|name=Op.24}}{{sfnm|1a1=Dahlström|1y=2003|1pp=98–99|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=13}}}}

|-

| Romance in A major

| {{sort|A24.2|Op. 24/2}}

| {{center|{{efn|name=Op.24}}{{sfnm|1a1=Dahlström|1y=2003|1p=99|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=13}}}}

|-

| Allegretto in F major

| {{sort|1896|1895–1896}}

| {{sort|JS23|JS 23}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=503|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=12}}}}

|-

| Lento in E major

| {{sort|1897|1896–1897}}

| {{sort|JS119|JS 119}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=572|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=12}}}}

|-

| Allegretto in G minor

| {{sort|1897|1897}}

| {{sort|JS225|JS 225}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=650|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=12}}}}

|-

| Romance in D minor

| {{sort|1898|1896–1898}}

| {{sort|A24.4|Op. 24/4}}

| {{center|{{efn|name=Op.24}}{{sfnm|1a1=Dahlström|1y=2003|1pp=100–101|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=13}}}}

|-

| Idyll in F major

| {{sort|1898|1897–1898, {{abbr|rev.|revised}} 1904}}

| {{sort|A24.6|Op. 24/6}}

| {{center|{{efn|name=Op.24}}{{sfnm|1a1=Dahlström|1y=2003|1pp=102–103|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2pp=13–14}}}}

|-

| Caprice in E minor

| {{sort|1898|1898}}

| {{sort|A24.3|Op. 24/3}}

| {{center|{{efn|name=Op.24}}{{sfnm|1a1=Dahlström|1y=2003|1pp=99–100|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2pp=12–13}}}}

|-

| Waltz in E major

| {{sort|1898|1898}}

| {{sort|A24.5|Op. 24/5}}

| {{center|{{efn|name=Op.24}}{{sfnm|1a1=Dahlström|1y=2003|1p=101|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=13}}}}

|-

| Andantino in F major

| {{sort|1899|1899, {{abbr|rev.|revised}} 1899}}

| {{sort|A24.7|Op. 24/7}}

| {{center|{{efn|name=Op.24}}{{sfnm|1a1=Dahlström|1y=2003|1pp=103–104|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2pp=12–13}}}}

|-

| {{lang|fr|Marche triste}}

| rowspan=2|{{sort|1899|1899}}

| {{sort|JS124|JS 124}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=575|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=12}}}}

|-

| {{lang|sv|Pianokompositioner för barn}} (Piano Works for Children), 21 sketches

| {{sort|JS148|JS 148}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=589}}}}

|-

| {{lang|sv|Kavaljeren}} (The Cavalier)

| rowspan=2|{{sort|1900|1900}}

| {{sort|JS109|JS 109}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=566|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=12}}}}

|-

| Nocturno

| {{sort|A24.8|Op. 24/8}}

| {{center|{{efn|name=Op.24}}{{sfnm|1a1=Dahlström|1y=2003|1p=104|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=13}}}}

|-

| Romance in D-flat major

| {{sort|1901|1901}}

| {{sort|A24.9|Op. 24/9}}

| {{center|{{efn|name=Op.24}}{{sfnm|1a1=Dahlström|1y=2003|1pp=105–106|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=13}}}}

|-

| My Beloved Is Beautiful, Her Mouth Like a Corn-cockle ({{lang|fi|Minun kultani kaunis on, sen suu kuin auran kukka}})

| rowspan=6|{{sort|1903|1902–1903}}

| {{sort|JS81.1|JS 81/1}}

| {{center|{{efn|These pieces for solo piano comprise the JS 81 Six Finnish Folk-Songs.|name=JS 81}}{{sfnm|1a1=Dahlström|1y=2003|1pp=540–542|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=16}}}}

|-

| I Love You with All My Heart ({{lang|fi|Sydämestäni rakastan}})

| {{sort|JS81.2|JS 81/2}}

| {{center|{{efn|name=JS 81}}{{sfnm|1a1=Dahlström|1y=2003|1pp=540–542|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=16}}}}

|-

| Evening Is Coming ({{lang|fi|Ilta tulee, ehtoo joutuu}})

| {{sort|JS81.3|JS 81/3}}

| {{center|{{efn|name=JS 81}}{{sfnm|1a1=Dahlström|1y=2003|1pp=540–542|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=16}}}}

|-

| That Beautiful Girl ({{lang|fi|Tuopa tyttö, kaunis tyttö}})

| {{sort|JS81.4|JS 81/4}}

| {{center|{{efn|name=JS 81}}{{sfnm|1a1=Dahlström|1y=2003|1pp=541–542|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=16}}}}

|-

| The Fratricide ({{lang|fi|Velisuurmaaja}})

| {{sort|JS81.5|JS 81/5}}

| {{center|{{efn|name=JS 81}}{{sfnm|1a1=Dahlström|1y=2003|1pp=541–542|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=16}}}}

|-

| Wedding Memory ({{lang|fi|Häämuistelma}})

| {{sort|JS81.6|JS 81/6}}

| {{center|{{efn|name=JS 81}}{{sfnm|1a1=Dahlström|1y=2003|1pp=541–542|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=16}}}}

|-

| Barcarole in G minor

| {{sort|1903|1903}}

| {{sort|A24.10|Op. 24/10}}

| {{center|{{efn|name=Op.24}}{{sfnm|1a1=Dahlström|1y=2003|1p=106|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=13}}}}

|-

| data-sort-value="Kyllikki" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title={{lang|fi|Kyllikki}}

| expand=

|

| Largamente{{spaced ndash}}Allegro

| Andantino

| Comodo}}|indent=1}}

| {{sort|1904|1904}}

| {{sort|A41|Op. 41}}

| style="background:#EFEFEF; color:#767676"|{{sort|Kalevala|– (Kalevala)}}

| {{center|{{efn|{{lang|fi|Kyllikki}}, a suite for piano, is subtitled "Three Lyrical Pieces" (original German subtitle: {{lang|de|Drei lyrische Stücke}}).{{sfn|Dahlström|2003|p=193}}}}{{sfnm|1a1=Dahlström|1y=2003|1pp=193–194|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=18}}}}

|-

| Adagio in E major

| {{sort|1907|1907}}

| {{sort|JS13|JS 13}}

| rowspan=66 style="background:#EFEFEF; color:#767676"|{{sort|zzz|–}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=499}}}}

|-

| {{lang|fr|Rêverie}}

| rowspan=10|{{sort|1909|1909}}

| {{sort|A58.1|Op. 58/1}}

| {{center|{{efn|These works for solo piano comprise the Op. 58 Ten Pieces (original German title: {{lang|de|Zehn Stücke}}).{{sfn|Dahlström|2003|pp=268, 666}}|name=Op. 58}}{{sfnm|1a1=Dahlström|1y=2003|1p=268|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=4}}}}

|-

| Scherzino

| {{sort|A58.2|Op. 58/2}}

| {{center|{{efn|name=Op. 58}}{{sfnm|1a1=Dahlström|1y=2003|1p=269|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=4}}}}

|-

| {{lang|fr|Air varié}}

| {{sort|A58.3|Op. 58/3}}

| {{center|{{efn|name=Op. 58}}{{sfnm|1a1=Dahlström|1y=2003|1p=269|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=4}}}}

|-

| {{sort|Shepherd|The Shepherd}} ({{lang|de|Der Hirt}})

| {{sort|A58.4|Op. 58/4}}

| {{center|{{efn|name=Op. 58}}{{sfnm|1a1=Dahlström|1y=2003|1pp=269–270|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=4}}}}

|-

| {{sort|Evening|The Evening}} ({{lang|de|Des Abends}})

| {{sort|A58.5|Op. 58/5}}

| {{center|{{efn|name=Op. 58}}{{sfnm|1a1=Dahlström|1y=2003|1p=270|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=4}}}}

|-

| Dialogue

| {{sort|A58.6|Op. 58/6}}

| {{center|{{efn|name=Op. 58}}{{sfnm|1a1=Dahlström|1y=2003|1pp=270–271|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=4}}}}

|-

| Tempo di minuetto

| {{sort|A58.7|Op. 58/7}}

| {{center|{{efn|name=Op. 58}}{{sfnm|1a1=Dahlström|1y=2003|1p=271|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=4}}}}

|-

| Fisher Songs ({{lang|de|Fischerlied}})

| {{sort|A58.8|Op. 58/8}}

| {{center|{{efn|name=Op. 58}}{{sfnm|1a1=Dahlström|1y=2003|1p=271|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=4}}}}

|-

| Serenade ({{lang|de|Ständchen}})

| {{sort|A58.9|Op. 58/9}}

| {{center|{{efn|name=Op. 58}}{{sfnm|1a1=Dahlström|1y=2003|1p=272|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=4}}}}

|-

| Summer Song ({{lang|de|Sommerlied}})

| {{sort|A58.10|Op. 58/10}}

| {{center|{{efn|name=Op. 58}}{{sfnm|1a1=Dahlström|1y=2003|1p=272|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=4}}}}

|-

| Étude in A minor

| {{sort|1911|1911}}

| {{sort|A76.2|Op. 76/2}}

| {{center|{{efn|These works for solo piano comprise the Op. 76 Thirteen Pieces (original French title: {{lang|fr|Treize Morceaux}}).{{sfn|Dahlström|2003|pp=330, 666}}|name=Op.76}}{{sfnm|1a1=Dahlström|1y=2003|1p=331|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=8}}}}

|-

| data-sort-value="Piano Sonatina1" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title=Piano Sonatina No. 1 in F-sharp minor

| expand=

|

| Allegro

| Largo

| Allegro moderato}}|indent=1}}

| rowspan=6|{{sort|1912|1912}}

| {{sort|A67.1|Op. 67/1}}

| {{center|{{efn|These works for solo piano comprise the Op. 67 Three Sonatinas (original German title: {{lang|de|Drei Sonatinen}}).{{sfn|Dahlström|2003|p=299, 666}}|name=Op. 67}}{{sfnm|1a1=Dahlström|1y=2003|1pp=299–302|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=5}}}}

|-

| data-sort-value="Piano Sonatina2" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title=Piano Sonatina No. 2 in E major

| expand=

|

| Allegro

| Andantino

| Allegro}}|indent=1}}

| {{sort|A67.2|Op. 67/2}}

| {{center|{{efn|name=Op. 67}}{{sfnm|1a1=Dahlström|1y=2003|1pp=299–302|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=5}}}}

|-

| data-sort-value="Piano Sonatina3" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title=Piano Sonatina No. 3 in B-flat major

| expand=

|

| Andante{{spaced ndash}}Allegro moderato

| Andante{{spaced ndash}}Allegretto}}|indent=1}}

| {{sort|A67.3|Op. 67/3}}

| {{center|{{efn|name=Op. 67}}{{sfnm|1a1=Dahlström|1y=2003|1pp=299–302|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=5}}}}

|-

| Rondino No. 1 in G-sharp minor

| {{sort|A68.1|Op. 68/1}}

| {{center|{{efn|These works for solo piano comprise the Op. 68 Two Rondinos (original German title: {{lang|de|Zwei Rondinos}}).{{sfn|Dahlström|2003|pp=302, 666}}|name=Op. 68}}{{sfnm|1a1=Dahlström|1y=2003|1pp=302–303|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=5}}}}

|-

| Rondino No. 2 in C-sharp minor

| {{sort|A68.2|Op. 68/2}}

| {{center|{{efn|name=Op. 68}}{{sfnm|1a1=Dahlström|1y=2003|1pp=302–303|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=5}}}}

|-

| {{lang|fr|Valsette|italics=no}} in E minor

| {{sort|A40.1|Op. 40/1}}

| {{center|{{efn|These works for solo piano comprise the Op. 40 Lyrical Pieces (original French title: {{lang|fr|Pensées lyriques}}).{{sfn|Dahlström|2003|pp=186, 666}}|name=Op.40}}{{sfnm|1a1=Dahlström|1y=2003|1pp=186–187|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=18}}}}

|-

| {{lang|fr|Chant sans paroles}} in E minor

| rowspan=7|{{sort|1913|1913}}

| {{sort|A40.2|Op. 40/2}}

| {{center|{{efn|name=Op.40}}{{sfnm|1a1=Dahlström|1y=2003|1pp=187–188|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=18}}}}

|-

| {{lang|fr|Humoresque|italics=no}} in C major

| {{sort|A40.3|Op. 40/3}}

| {{center|{{efn|name=Op.40}}{{sfnm|1a1=Dahlström|1y=2003|1p=188|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=18}}}}

|-

| {{lang|fr|Berceuse|italics=no}} in D major

| {{sort|A40.5|Op. 40/5}}

| {{center|{{efn|name=Op.40}}{{sfnm|1a1=Dahlström|1y=2003|1pp=189–190|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=18}}}}

|-

| Rêverie in E minor

| {{sort|A34.6|Op. 34/6}}

| {{center|{{efn|These works for solo piano comprise the Op. 34 Little Pieces (original French title: {{lang|fr|Bagatelles}}).{{sfn|Dahlström|2003|pp=147, 666}} The original version of No. 4 (Couplet in D major, 1914) is extant.|name=Op.34}}{{sfnm|1a1=Dahlström|1y=2003|1p=150|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=17}}}}

|-

| Menuetto in C major

| {{sort|A40.4|Op. 40/4}}

| {{center|{{efn|name=Op.40}}{{sfnm|1a1=Dahlström|1y=2003|1pp=188–189|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=18}}}}

|-

| Spagnuolo

| {{sort|JS181|JS 181}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=613|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=6}}}}

|-

| To Longing ({{lang|sv|Till trånaden}})

| {{sort|JS202|JS 202}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=631|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=6}}}}

|-

| {{lang|fr|Pensée mélodique}} in C major

| rowspan=19|{{sort|1914|1914}}

| {{sort|A40.6|Op. 40/6}}

| {{center|{{efn|name=Op.40}}{{sfnm|1a1=Dahlström|1y=2003|1p=190|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=18}}}}

|-

| Rondoletto in A-flat major

| {{sort|A40.7|Op. 40/7}}

| {{center|{{efn|name=Op.40}}{{sfnm|1a1=Dahlström|1y=2003|1pp=190–191|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=18}}}}

|-

| {{lang|fr|Valse|italics=no}} in D-flat major

| {{sort|A34.1|Op. 34/1}}

| {{center|{{efn|name=Op.34}}{{sfnm|1a1=Dahlström|1y=2003|1pp=147–148|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=17}}}}

|-

| {{lang|fr|Air de danse}} in E major

| {{sort|A34.2|Op. 34/2}}

| {{center|{{efn|name=Op.34}}{{sfnm|1a1=Dahlström|1y=2003|1p=148|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=17}}}}

|-

| Mazurka in A major

| {{sort|A34.3|Op. 34/3}}

| {{center|{{efn|name=Op.34}}{{sfnm|1a1=Dahlström|1y=2003|1pp=148–149|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=17}}}}

|-

| Boutade in A-flat major

| {{sort|A34.5|Op. 34/5}}

| {{center|{{efn|name=Op.34}}{{sfnm|1a1=Dahlström|1y=2003|1p=150|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=17}}}}

|-

| Eclogue ({{lang|de|Ekloge}})

| {{sort|A74.1|Op. 74/1}}

| {{center|{{efn|These works for solo piano comprise the Op. 74 Lyric Pieces (original German title: {{lang|de|Lyrische Stücke}}).{{sfn|Dahlström|2003|pp=323, 666}}|name=Op. 74}}{{sfnm|1a1=Dahlström|1y=2003|1p=323|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=6}}}}

|-

| Soft West Wind ({{lang|de|Sanfter Westwind}})

| {{sort|A74.2|Op. 74/2}}

| {{center|{{efn|name=Op. 74}}{{sfnm|1a1=Dahlström|1y=2003|1p=324|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=6}}}}

|-

| At the Dance ({{lang|de|Auf dem Tanzvergnügen}})

| {{sort|A74.3|Op. 74/3}}

| {{center|{{efn|name=Op. 74}}{{sfnm|1a1=Dahlström|1y=2003|1p=324|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=6}}}}

|-

| In the Old House ({{lang|de|Im alten Heim}})

| {{sort|A74.4|Op. 74/4}}

| {{center|{{efn|name=Op. 74}}{{sfnm|1a1=Dahlström|1y=2003|1p=325|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=6}}}}

|-

| When the Rowan Blossoms ({{lang|sv|När rönnan blommar}})

| {{sort|A75.1|Op. 75/1}}

| {{center|{{efn|These works for solo piano comprise the Op. 75 Five Pieces (original French title: {{lang|fr|Cinq Morceaux}}),{{sfn|Dahlström|2003|pp=325, 666}} although the collection is more commonly referred to as The Trees due to the thematic link between the descriptive titles of the pieces. Originally, the set included six, rather than five, pieces. However, in 1919 Sibelius decided to rework both No. 5 The Spruce ({{lang|sv|Granen}}) and No. 6 The Lilac ({{lang|sv|Syringa}}) into a single ABA waltz called {{lang|fr|Valse lyrique}}. Dissatisfied with the result, he again separated the two pieces, revising The Spruce into its final form and refashioning The Lilac into a second version, which took the name {{lang|fr|Valse lyrique}} and transferred from Op. 75/6 (its deprecated catalogue number) to Op. 96/1. (The initial versions of The Spruce [HUL 0732], The Lilac, and {{lang|fr|Valse lyrique}} [HUL 0734] are extant.) Moreover, in 1920, Sibelius orchestrated {{lang|fr|Valse lyrique}}. Finally, a preliminary version of No. 3 The Aspen ({{lang|sv|Aspen}}, {{c.|1912}} [HUL 0730]) is also extant.{{sfn|Barnett|2007|pp=245, 284, 288}}|name=Op.75}}{{sfnm|1a1=Dahlström|1y=2003|1pp=325–326|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=7}}}}

|-

| {{sort|Solitary Fir Tree|The Solitary Fir Tree}} ({{lang|sv|Den ensamma furan}})

| {{sort|A75.2|Op. 75/2}}

| {{center|{{efn|name=Op.75}}{{sfnm|1a1=Dahlström|1y=2003|1pp=326–327|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=7}}}}

|-

| {{sort|Aspen|The Aspen}} ({{lang|sv|Aspen}})

| {{sort|A75.3|Op. 75/3}}

| {{center|{{efn|name=Op.75}}{{sfnm|1a1=Dahlström|1y=2003|1p=327–328|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2pp=7, 15}}}}

|-

| {{sort|Birch|The Birch}} ({{lang|sv|Björken}})

| {{sort|A75.4|Op. 75/4}}

| {{center|{{efn|name=Op.75}}{{sfnm|1a1=Dahlström|1y=2003|1p=328|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=7}}}}

|-

| Carillon

| {{sort|A76.3|Op. 76/3}}

| {{center|{{efn|name=Op.76}}{{sfnm|1a1=Dahlström|1y=2003|1pp=331–332|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=8}}}}

|-

| Romanzetta

| {{sort|A76.6|Op. 76/6}}

| {{center|{{efn|name=Op.76}}{{sfnm|1a1=Dahlström|1y=2003|1p=333|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=8}}}}

|-

| Arabesque in D-flat major

| {{sort|A76.9|Op. 76/9}}

| {{center|{{efn|name=Op.76}}{{sfnm|1a1=Dahlström|1y=2003|1p=335|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=8}}}}

|-

| Capriccietto

| {{sort|A76.12|Op. 76/12}}

| {{center|{{efn|name=Op.76}}{{sfnm|1a1=Dahlström|1y=2003|1p=337|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=8}}}}

|-

| {{lang|fr|Nouvellette|italics=no}} in F major

| {{sort|A94.2|Op. 94/2}}

| {{center|{{efn|These works for solo piano comprise the Op. 94 Six Pieces (original German title: {{lang|de|Sechs Stücke}}).{{sfn|Dahlström|2003|pp=402, 666}}|name=Op.94}}{{sfnm|1a1=Dahlström|1y=2003|1p=403|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=9}}}}

|-

| Couplet in D major

| {{sort|1914|1914, {{abbr|rev.|revised}} 1914}}

| {{sort|A34.4|Op. 34/4}}

| {{center|{{efn|name=Op.34}}{{sfnm|1a1=Dahlström|1y=2003|1p=149|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2pp=16–17}}}}

|-

| {{sort|Spruce|The Spruce}} ({{lang|sv|Granen}})

| {{sort|1914|1914, {{abbr|rev.|revised}} 1919}}

| {{sort|A75.5|Op. 75/5}}

| {{center|{{efn|name=Op.75}}{{sfnm|1a1=Dahlström|1y=2003|1pp=328–329|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2pp=7, 15}}}}

|-

| {{sort|Lilac|The Lilac}} ({{lang|sv|Syringa}})

| {{sort|1914|1914}} (withdrawn 1919, {{abbr|rev.|revised}} as Op. 96/1)

| {{sort|A75.6|Op. 75/6}}

| {{center|{{efn|name=Op.75}}{{sfnm|1a1=Dahlström|1y=2003|1pp=329, 407–408|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=7}}}}

|-

| Scherzando in A-flat major

| rowspan=2|{{sort|1915|1915}}

| {{sort|A40.8|Op. 40/8}}

| {{center|{{efn|name=Op.40}}{{sfnm|1a1=Dahlström|1y=2003|1p=191|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=18}}}}

|-

| {{lang|fr|Petite sérénade}} in B-flat major

| {{sort|A40.9|Op. 40/9}}

| {{center|{{efn|name=Op.40}}{{sfnm|1a1=Dahlström|1y=2003|1p=192|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=18}}}}

|-

| Polonaise in C major

| rowspan=11|{{sort|1916|1916}}

| {{sort|A40.10|Op. 40/10}}

| {{center|{{efn|name=Op.40}}{{sfnm|1a1=Dahlström|1y=2003|1pp=192–193|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=18}}}}

|-

| {{lang|fr|Danse pastorale}} in A major

| {{sort|A34.7|Op. 34/7}}

| {{center|{{efn|name=Op.34}}{{sfnm|1a1=Dahlström|1y=2003|1p=151|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=17}}}}

|-

| {{lang|fr|Joueur de harpe}} in B-flat minor

| {{sort|A34.8|Op. 34/8}}

| {{center|{{efn|name=Op.34}}{{sfnm|1a1=Dahlström|1y=2003|1p=152|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=17}}}}

|-

| Reconnaissance in D major

| {{sort|A34.9|Op. 34/9}}

| {{center|{{efn|name=Op.34}}{{sfnm|1a1=Dahlström|1y=2003|1pp=152–153|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=17}}}}

|-

| Souvenir in A minor

| {{sort|A34.10|Op. 34/10}}

| {{center|{{efn|name=Op.34}}{{sfnm|1a1=Dahlström|1y=2003|1pp=153–154|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=17}}}}

|-

| Humoresque in C-sharp minor

| {{sort|A76.4|Op. 76/4}}

| {{center|{{efn|name=Op.76}}{{sfnm|1a1=Dahlström|1y=2003|1p=332|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=8}}}}

|-

| {{lang|fr|Pièce enfantine}}

| {{sort|A76.8|Op. 76/8}}

| {{center|{{efn|name=Op.76}}{{sfnm|1a1=Dahlström|1y=2003|1pp=334–335|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=8}}}}

|-

| Elegiaco in C-sharp minor

| {{sort|A76.10|Op. 76/10}}

| {{center|{{efn|name=Op.76}}{{sfnm|1a1=Dahlström|1y=2003|1pp=335–336|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=8}}}}

|-

| Harlequinade

| {{sort|A76.13|Op. 76/13}}

| {{center|{{efn|name=Op.76}}{{sfnm|1a1=Dahlström|1y=2003|1p=337|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=8}}}}

|-

| {{sort|Carnation|The Carnation}} ({{lang|fr|Oeillet}})

| {{sort|A85.2|Op. 85/2}}

| {{center|{{efn|These works for solo piano comprise the Op. 85 Five Pieces (original French title: {{lang|fr|Cinq Morceaux}}),{{sfn|Dahlström|2003|pp=368, 666}} although the collection is more commonly referred to as The Flowers due to the thematic link between the descriptive titles of the pieces.{{sfn|Barnett|2007|p=}}|name=Op.85}}{{sfnm|1a1=Dahlström|1y=2003|1pp=368–369|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=9}}}}

|-

| {{sort|Iris|The Iris}} ({{lang|fr|Iris}})

| {{sort|A85.3|Op. 85/3}}

| {{center|{{efn|name=Op.85}}{{sfnm|1a1=Dahlström|1y=2003|1p=369|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=9}}}}

|-

| Esquisse

| rowspan=6|{{sort|1917|1917}}

| {{sort|A76.1|Op. 76/1}}

| {{center|{{efn|name=Op.76}}{{sfnm|1a1=Dahlström|1y=2003|1p=330|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=8}}}}

|-

| Affettuoso

| {{sort|A76.7|Op. 76/7}}

| {{center|{{efn|name=Op.76}}{{sfnm|1a1=Dahlström|1y=2003|1p=334|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=8}}}}

|-

| {{sort|Blubells|Bluebells}} ({{lang|fr|Bellis}})

| {{sort|A85.1|Op. 85/1}}

| {{center|{{efn|name=Op.85}}{{sfnm|1a1=Dahlström|1y=2003|1p=368|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=9}}}}

|-

| {{sort|Columbine|The Columbine}} ({{lang|fr|Aquileja}})

| {{sort|A85.4|Op. 85/4}}

| {{center|{{efn|name=Op.85}}{{sfnm|1a1=Dahlström|1y=2003|1p=370|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=9}}}}

|-

| {{sort|Campanula|The Campanula}} ({{lang|fr|Campanula}})

| {{sort|A85.5|Op. 85/5}}

| {{center|{{efn|name=Op.85}}{{sfnm|1a1=Dahlström|1y=2003|1p=370|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=9}}}}

|-

| Mandolinato

| {{sort|JS123|JS 123}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=574|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=9}}}}

|-

| {{sort|Scout March1|Scout March ({{lang|fi|Partiolaisten marssi}})}}

| rowspan=2|{{sort|1918|1918}}

| {{sort|A91.21|Op. 91b}}

| {{sort|Finne|{{ill|Jalmari Finne|lt=J. Finne|fi}}}}

| {{center|{{efn|name=Scout}}{{sfnm|1a1=Dahlström|1y=2003|1p=396–398|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=9}}}}

|-

| Linnæa (The Twinflower of the North)

| {{sort|A76.11|Op. 76/11}}

| rowspan=38 style="background:#EFEFEF; color:#767676"|{{sort|zzz|–}}

| {{center|{{efn|name=Op.76}}{{sfnm|1a1=Dahlström|1y=2003|1p=336|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=8}}}}

|-

| Consolation in C-sharp minor

| rowspan=8|{{sort|1919|1919}}

| {{sort|A76.5|Op. 76/5}}

| {{center|{{efn|name=Op.76}}{{sfnm|1a1=Dahlström|1y=2003|1p=333|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=8}}}}

|-

| {{lang|fr|Danse|italics=no}} in C major

| {{sort|A94.1|Op. 94/1}}

| {{center|{{efn|name=Op.94}}{{sfnm|1a1=Dahlström|1y=2003|1p=402|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=9}}}}

|-

| Sonnet in B-flat major

| {{sort|A94.3|Op. 94/3}}

| {{center|{{efn|name=Op.94}}{{sfnm|1a1=Dahlström|1y=2003|1pp=403–404|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=9}}}}

|-

| Shepherd and Shepherdess ({{lang|fr|Berger et bergerette}})

| {{sort|A94.4|Op. 94/4}}

| {{center|{{efn|name=Op.94}}{{sfnm|1a1=Dahlström|1y=2003|1p=404|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=10}}}}

|-

| {{lang|fr|Mélodie|italics=no}} in B major

| {{sort|A94.5|Op. 94/5}}

| {{center|{{efn|name=Op.94}}{{sfnm|1a1=Dahlström|1y=2003|1pp=404–405|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=10}}}}

|-

| {{lang|fr|Gavotte|italics=no}} in C major

| {{sort|A94.6|Op. 94/6}}

| {{center|{{efn|name=Op.94}}{{sfnm|1a1=Dahlström|1y=2003|1p=405|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=10}}}}

|-

| Con passione

| {{sort|JS53|JS 53}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=521|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=10}}}}

|-

| Andantino '{{em|To O. Parvianen}}' ('{{lang|sv|Till}} {{em|O. Parvianen}}')

| {{sort|JS201|JS 201}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=631|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=10}}}}

|-

| Humoresque I ({{lang|de|Humoreske|italics=no}} I)

| rowspan=6|{{sort|1920|1920}}

| {{sort|A97.1|Op. 97/1}}

| {{center|{{efn|These works for solo piano comprise the Op. 97 Six Bagatelles (original German title: {{lang|de|Sechs Bagatellen}}).{{sfn|Dahlström|2003|pp=414, 666}} Preliminary versions of Nos. 2 and 5, each also from 1920, are extant.{{sfn|Barnett|2007|p=}}|name=Op. 97}}{{sfnm|1a1=Dahlström|1y=2003|1p=414|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=11}}}}

|-

| Song ({{lang|de|Lied}})

| {{sort|A97.2|Op. 97/2}}

| {{center|{{efn|name=Op. 97}}{{sfnm|1a1=Dahlström|1y=2003|1pp=414–415|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=11}}}}

|-

| Little Waltz ({{lang|de|Kleiner Waltzer}})

| {{sort|A97.3|Op. 97/3}}

| {{center|{{efn|name=Op. 97}}{{sfnm|1a1=Dahlström|1y=2003|1p=415|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=11}}}}

|-

| Humorous March ({{lang|de|Humoristischer Marsch}})

| {{sort|A97.4|Op. 97/4}}

| {{center|{{efn|name=Op. 97}}{{sfnm|1a1=Dahlström|1y=2003|1pp=415–416|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=11}}}}

|-

| Impromptu

| {{sort|A97.5|Op. 97/5}}

| {{center|{{efn|name=Op. 97}}{{sfnm|1a1=Dahlström|1y=2003|1p=416|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=11}}}}

|-

| Humoresque II ({{lang|de|Humoreske|italics=no}} II)

| {{sort|A97.6|Op. 97/6}}

| {{center|{{efn|name=Op. 97}}{{sfnm|1a1=Dahlström|1y=2003|1p=416|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=11}}}}

|-

| {{lang|fr|Pièce humoristique}}

| rowspan=8|{{sort|1922|1922}}

| {{sort|A99.1|Op. 99/1}}

| {{center|{{efn|These works for solo piano comprise the Op. 99 Eight Short Pieces (original French title: {{lang|fr|Huit petits Morceaux}}).{{sfn|Dahlström|2003|pp=422, 667}}|name=Op. 99}}{{sfnm|1a1=Dahlström|1y=2003|1p=422|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=12}}}}

|-

| {{lang|fr|Esquisse}}

| {{sort|A99.2|Op. 99/2}}

| {{center|{{efn|name=Op. 99}}{{sfnm|1a1=Dahlström|1y=2003|1pp=422–423|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=12}}}}

|-

| {{lang|fr|Souvenir}}

| {{sort|A99.3|Op. 99/3}}

| {{center|{{efn|name=Op. 99}}{{sfnm|1a1=Dahlström|1y=2003|1p=423|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=12}}}}

|-

| Impromptu

| {{sort|A99.4|Op. 99/4}}

| {{center|{{efn|name=Op. 99}}{{sfnm|1a1=Dahlström|1y=2003|1p=423|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=12}}}}

|-

| Couplet

| {{sort|A99.5|Op. 99/5}}

| {{center|{{efn|name=Op. 99}}{{sfnm|1a1=Dahlström|1y=2003|1p=424|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=12}}}}

|-

| Animoso

| {{sort|A99.6|Op. 99/6}}

| {{center|{{efn|name=Op. 99}}{{sfnm|1a1=Dahlström|1y=2003|1p=424|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=12}}}}

|-

| {{lang|fr|Moment de valse}}

| {{sort|A99.7|Op. 99/7}}

| {{center|{{efn|name=Op. 99}}{{sfnm|1a1=Dahlström|1y=2003|1p=425|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=12}}}}

|-

| {{lang|fr|Petite Marche}}

| {{sort|A99.8|Op. 99/8}}

| {{center|{{efn|name=Op. 99}}{{sfnm|1a1=Dahlström|1y=2003|1p=425|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=12}}}}

|-

| Romance

| rowspan=10|{{sort|1924|1924}}

| {{sort|A101.1|Op. 101/1}}

| {{center|{{efn|These works for solo piano comprise the Op. 101 Five Romantic Compositions (also known by its alternative, Finnish title: {{lang|fi|Viisi romanttista kappaletta}}).{{sfn|Dahlström|2003|pp=428, 667}}|name=Op. 101}}{{sfnm|1a1=Dahlström|1y=2003|1pp=428–429|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=12}}}}

|-

| {{lang|fr|Chant du soir}}

| {{sort|A101.2|Op. 101/2}}

| {{center|{{efn|name=Op. 101}}{{sfnm|1a1=Dahlström|1y=2003|1p=429|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=12}}}}

|-

| {{lang|fr|Scène lyrique}}

|{{sort|A101.3|Op. 101/3}}

| {{center|{{efn|name=Op. 101}}{{sfnm|1a1=Dahlström|1y=2003|1p=430|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=12}}}}

|-

| {{lang|fr|Humoresque|italics=no}}

| {{sort|A101.4|Op. 101/4}}

| {{center|{{efn|name=Op. 101}}{{sfnm|1a1=Dahlström|1y=2003|1p=430|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=12}}}}

|-

| {{lang|fr|Scène romantique}}

| {{sort|A101.5|Op. 101/5}}

| {{center|{{efn|name=Op. 101}}{{sfnm|1a1=Dahlström|1y=2003|1p=431|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=12}}}}

|-

| {{sort|Village Church|The Village Church}}

| {{sort|A103.1|Op. 103/1}}

| {{center|{{efn|These works for solo piano comprise the Op. 103 Five Characteristic Impressions (also known by its alternative, Finnish title: {{lang|fi|Viisi karakteristista impressiota}}).{{sfn|Dahlström|2003|pp=432, 667}}|name=Op. 103}}{{sfnm|1a1=Dahlström|1y=2003|1pp=432–433|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=13}}}}

|-

| {{sort|Fiddler|The Fiddler}}

| {{sort|A103.2|Op. 103/2}}

| {{center|{{efn|name=Op. 103}}{{sfnm|1a1=Dahlström|1y=2003|1p=433|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=13}}}}

|-

| {{sort|Oarsman|The Oarsman}}

| {{sort|A103.3|Op. 103/3}}

| {{center|{{efn|name=Op. 103}}{{sfnm|1a1=Dahlström|1y=2003|1p=434|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=13}}}}

|-

| {{sort|Storm|The Storm}}

| {{sort|A103.4|Op. 103/4}}

| {{center|{{efn|name=Op. 103}}{{sfnm|1a1=Dahlström|1y=2003|1p=434|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=13}}}}

|-

| In Mournful Mood

| {{sort|A103.5|Op. 103/5}}

| {{center|{{efn|name=Op. 103}}{{sfnm|1a1=Dahlström|1y=2003|1p=435|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=13}}}}

|-

| {{sort|Landscape|Landscape}} ({{lang|fi|Maisema}})

| rowspan=5|{{sort|1929|1929}}

| {{sort|A114.1|Op. 114/1}}

| {{center|{{efn|These works for solo piano comprise the Op. 114 Five Esquisses (original German title: {{lang|de|Fünf Skizzen}}; also known by its alternative, Finnish title: {{lang|fi|Viisi luonnosta}}).{{sfn|Dahlström|2003|pp=484, 667}}|name=Op. 114}}{{sfnm|1a1=Dahlström|1y=2003|1pp=484–485|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=14}}}}

|-

| {{sort|Winter Scene|Winter Scene}} ({{lang|fi|Talvikuva}})

| {{sort|A114.2|Op. 114/2}}

| {{center|{{efn|name=Op. 114}}{{sfnm|1a1=Dahlström|1y=2003|1p=486|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=14}}}}

|-

| {{sort|Forest Lake|Forest Lake}} ({{lang|fi|Metsälampi}})

| {{sort|A114.3|Op. 114/3}}

| {{center|{{efn|name=Op. 114}}{{sfnm|1a1=Dahlström|1y=2003|1p=486|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=14}}}}

|-

| {{sort|Song in the Forest|Song in the Forest}} ({{lang|fi|Metsälaulu}})

| {{sort|A114.4|Op. 114/4}}

| {{center|{{efn|name=Op. 114}}{{sfnm|1a1=Dahlström|1y=2003|1p=487|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=14}}}}

|-

| {{sort|Spring Vision|Spring Vision}} ({{lang|fi|Kevätnäky}})

| {{sort|A114.5|Op. 114/5}}

| {{center|{{efn|name=Op. 114}}{{sfnm|1a1=Dahlström|1y=2003|1pp=487–488|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=14}}}}

|-

| rowspan=23 style="background-color: #EEE8AA"|{{nowrap|Piano ({{abbr|trans.|transcriptions}})}}

| data-sort-value="Karelia Suite2" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title=Karelia Suite, select numbers

| expand=

|

1. Intermezzo
2. Ballade|indent=1}}

| {{sort|1893|[1893, {{abbr|arr.|arranged}} 1893], {{abbr|trans.|transcribed}} {{c.|1893–1897}}}}

| {{sort|A11.2|→ Op. 11}}

| style="background:#EFEFEF; color:#767676"|{{sort|zzz|–}}

| {{center|{{efn|name=Karelia}}{{sfnm|1a1=Dahlström|1y=2003|1pp=37–38|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=11}}}}

|-

| {{sort|Wood Nymph|The Wood Nymph}} ({{lang|sv|Skogsrået}}), final section only

| {{sort|1895|[1894–1895], {{abbr|trans.|transcribed}} 1895}}

| {{sort|A15.3|→ Op. 15}}

| style="background:#EFEFEF; color:#767676"|{{sort|Rydberg|– (V. Rydberg)}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=56|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=12}}}}

|-

| data-sort-value="King Christian II3" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title=King Christian II ({{lang|sv|Kuningas Kristian II}}), select numbers

| expand=

|

1. Elegie
2. Menuetto
3. Musette
4. Fool's Song of the Spider|indent=1}}

| {{sort|1898|[1898], {{abbr|trans.|transcribed}} 1898}}

| {{sort|A27.3|→ Op. 27}}

| style="background:#EFEFEF; color:#767676"|{{sort|Paul|– (A. Paul)}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1pp=126–128|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=14}}}}

|-

| Song of the Athenians ({{lang|sv|Athenarnes sång}})

| {{sort|1899|[1899], {{abbr|trans.|transcribed}} 1899}}

| {{sort|A31.6|→ Op. 31/3}}

| style="background:#EFEFEF; color:#767676"|{{sort|Vydberg|– (V. Rydberg)}}

| {{center|{{efn|name=Athenians}}{{sfnm|1a1=Dahlström|1y=2003|1pp=139–141|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=15}}}}

|-

| {{sort|Finlandia2|Finlandia, from the Press Celebrations Music}}

| {{sort|1900|[1899, {{abbr|arr.|arranged}} 1900], {{abbr|trans.|transcribed}} 1900}}

| {{sort|A26.2|→ Op. 26}}

| style="background:#EFEFEF; color:#767676"|{{sort|zzz|–}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1pp=114–115|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=14}}}}

|-

| {{sort|Have Your Courage3|Have You Courage? ({{lang|sv|Har du mod?}})}}

| {{sort|1904|1904, {{abbr|rev.|revised}} 1911, 1912], {{abbr|trans.|transcribed}} 1913}}

| {{sort|A31.4|→ Op. 31/2}}

| {{sortname|J.J.|Wecksell|Josef Julius Wecksell}}

| {{center|{{efn|name=Op.31/2}}{{sfnm|1a1=Dahlström|1y=2003|1pp=136–137|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=15}}}}

|-

| {{sort|Valse triste2|{{lang|fr|Valse triste}}, from Death ({{lang|fi|Kuolema}})}}

| {{sort|1904|[1903, {{abbr|arr.|arranged}} 1904], {{abbr|trans.|transcribed}} 1904}}

| {{sort|A44.2|→ Op. 44/1}}

| style="background:#EFEFEF; color:#767676"|{{sort|Järnefelt|– (A. Järnefelt)}}

| {{center|{{efn|name=Kuolema}}{{sfnm|1a1=Dahlström|1y=2003|1p=202|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=19}}}}

|-

| data-sort-value="Pelléas et Mélisande3" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title=Pelléas et Mélisande Suite ({{lang|sv|Pelléas och Mélisande}})

| expand=

|

1. At the Castle Gate ({{lang|sv|Vid slottsporten|italics=no}})
2. Mélisande
3. A Spring in the Park ({{lang|sv|En källa i parken|italics=no}})
4. The Three Blind Sisters ({{lang|sv|De trenne blinda systrar|italics=no}})
5. Pastorale
6. Mélisande at the Spinning Wheel ({{lang|sv|Mélisande vid sländan|italics=no}})
7. Entr'acte ({{lang|sv|Mellanaktsmusik|italics=no}})
8. The Death of Mélisande ({{lang|sv|Mélisandes död|italics=no}})|indent=1}}

| {{sort|1905|[1905, {{abbr|arr.|arranged}} 1905], {{abbr|trans.|transcribed}} 1905}}

| {{sort|A46.2|→ Op. 46}}

| style="background:#EFEFEF; color:#767676"|{{sort|Maeterlinck|– (M. Maeterlinck)}}

| {{center|{{efn|name=Pelléas}}{{sfnm|1a1=Dahlström|1y=2003|1pp=215–218|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=3}}}}

|-

| Dance Intermezzo ({{lang|fi|Tanssi-Intermezzo}})

| {{sort|1904|[1904], {{abbr|rev.|revised}}/{{abbr|trans.|transcribed}} 1904}}

| {{sort|A45.4|→ Op. 45/2}}

| rowspan=2 style="background:#EFEFEF; color:#767676"|{{sort|zzz|–}}

| {{center|{{efn|name=Tanssi}}{{sfnm|1a1=Dahlström|1y=2003|1pp=208–209|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=19}}}}

|-

| Pan and Echo ({{lang|sv|Pan och Echo}})

| {{sort|1906|[1906], {{abbr|trans.|transcribed}} 1907}}

| {{sort|A53.2|→ Op. 53}}

| {{center|{{efn|name=Pan}}{{sfnm|1a1=Dahlström|1y=2003|1p=246|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=5}}}}

|-

| data-sort-value="Belshazzar's Feast3" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title=Belshazzar's Feast Suite ({{lang|sv|Belsazars gästabud}})

| expand=

|

1. Oriental Procession ({{lang|sv|Orientalisk marsch|italics=no}})
2. Solitude
3. Nocturne
4. Khadra's Dance ({{lang|sv|Khadras dans|italics=no}})|indent=1}}

| {{sort|1907|[1906, {{abbr|arr.|arranged}} 1907], {{abbr|trans.|transcribed}} 1907}}

| {{sort|A51.2|→ Op. 51}}

| style="background:#EFEFEF; color:#767676"|{{sort|Procopé|– ({{ill|Hjalmar Procopé (poet)|lt=H. Procopé|fi|Hjalmar Procopé (runoilija)}})}}

| {{center|{{efn|name=Belshazzar}}{{sfnm|1a1=Dahlström|1y=2003|1pp=240–241|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=3}}}}

|-

| {{sort|Dryad|The Dryad}} ({{lang|fi|Dryadi}})

| {{sort|1910|[1910], {{abbr|trans.|transcribed}} 1910}}

| {{sort|A45.2|→ Op. 45/1}}

| rowspan=2 style="background:#EFEFEF; color:#767676"|{{sort|zzz|–}}

| {{center|{{efn|name=Dryad}}{{sfnm|1a1=Dahlström|1y=2003|1p=206|2a1={{nowrap|SibEd., v. 4}}|2y=2008|2p=19}}}}

|-

| {{sort|Bells of Kallio Church2|The Bells of Kallio Church}} ({{lang|fi|Kallion kirkon kellosävel}})

| {{sort|1912|[1912], {{abbr|trans.|transcribed}} 1912}}

| {{sort|A65.2|Op. 65b}}

| {{center|{{efn|name=Kallio}}{{sfnm|1a1=Dahlström|1y=2003|1p=296|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=6}}}}

|-

| data-sort-value="Scaramouche3" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title=Scaramouche, select numbers

| expand=

|

1. {{lang|fr|Danse élégiaque|italics=no}} (Elegiac Dance)
2. {{lang|fr|Scène d'amour|italics=no}} (Love Scene)|indent=1}}

| {{sort|1914|[1912–1913], {{abbr|trans.|transcribed}} 1914}}

| {{sort|A71.2|→ Op. 71}}

| style="background:#EFEFEF; color:#767676"|{{sort|Knudsen|– (P. Knudsen)}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1pp=314–315|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=6}}}}

|-

| {{sort|Valse lyrique1|{{lang|fr|Valse lyrique}}}}

| {{sort|1919|1914, {{abbr|rev.|revised}} 1919 & 1919}}

| {{sort|A96.1|Op. 96a}}

| style="background:#EFEFEF; color:#767676"|{{sort|zzz|–}}

| {{center|{{efn|name=Op.75}}{{sfnm|1a1=Dahlström|1y=2003|1pp=407–408|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2pp=10, 15}}}}

|-

| {{sort|Autrefois2|{{lang|fr|Autrefois}}}}

| {{sort|1920|[1919, {{abbr|rev.|revised}} 1920], {{abbr|trans.|transcribed}} 1920}}

| {{sort|A96.4|→ Op. 96b}}

| {{sort|Procopé|{{ill|Hjalmar Procopé (poet)|lt=H. Procopé|fi|Hjalmar Procopé (runoilija)}}}}

| {{center|{{efn|name=Op.96/2}}{{sfnm|1a1=Dahlström|1y=2003|1pp=411–412|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=10}}}}

|-

| {{sort|Valse chevaleresque1|{{lang|fr|Valse chevaleresque}}}}

| {{sort|1922|1921–1922}}, {{abbr|rev.|revised}} 1922

| {{sort|A96.6|Op. 96c}}

| rowspan=4 style="background:#EFEFEF; color:#767676"|{{sort|zzz|–}}

| {{center|{{efn|name=Op.96/3}}{{sfnm|1a1=Dahlström|1y=2003|1p=412|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2pp=10, 15}}}}

|-

| data-sort-value="Suite mignonne2" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title={{lang|fr|Suite mignonne}}

| expand=

|

1. {{lang|fr|Petite scène|italics=no}}
2. Polka
3. {{lang|fr|Épilogue|italics=no}}|indent=1}}

| {{sort|1921|[1921], {{abbr|trans.|transcribed}} 1921}}

| {{sort|A98.12|→ Op. 98a}}

| {{center|{{efn|name=Op.98a}}{{sfnm|1a1=Dahlström|1y=2003|1pp=418–419|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=11}}}}

|-

| data-sort-value="Suite champêtre2" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title={{lang|fr|Suite champêtre}}

| expand=

|

1. {{lang|fr|Pièce caractéristique|italics=no}}
2. {{lang|fr|Mélodie élégiaque|italics=no}}
3. {{lang|fr|Danse|italics=no}}|indent=1}}

| rowspan=2|{{sort|1922|[1922], {{abbr|trans.|transcribed}} 1922}}

| {{sort|A98.22|→ Op. 98b}}

| {{center|{{efn|name=Op.98b}}{{sfnm|1a1=Dahlström|1y=2003|1pp=420–421|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=11}}}}

|-

| data-sort-value="Suite caractéristique2" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title={{lang|fr|Suite caractéristique}}

| expand=

|

1. Vivo
2. Lento
3. Comodo|indent=1}}

| {{sort|A100.2|→ Op. 100}}

| {{center|{{efn|name=Op.100}}{{sfnm|1a1=Dahlström|1y=2003|1pp=427–428|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=12}}}}

|-

| data-sort-value="Everyman2" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title=Everyman ({{lang|de|Jedermann}} or {{lang|fi|Jokamies}}), select numbers

| expand=

|

1. {{lang|it|Episodio|italics=no}}
2. {{lang|it|Scena|italics=no}}
3. {{lang|it|Canzone|italics=no}}|indent=1}}

| {{sort|1925|[1916], {{abbr|trans.|transcribed}} 1925}}

| {{sort|A83.2|→ Op. 83}}

| style="background:#EFEFEF; color:#767676"|{{sort|Hofmannsthal|– (H. von Hofmannsthal)}}

| {{center|{{efn|name=Everyman}}{{sfnm|1a1=Dahlström|1y=2003|1p=363|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=8}}}}

|-

| {{lang|fr|Morceau romantique}}

| {{sort|1925|[1925], {{abbr|trans.|transcribed}} 1925}}

| {{sort|JS135.2|JS 135b}}

| style="background:#EFEFEF; color:#767676"|{{sort|zzz|–}}

| {{center|{{efn|name=JS 135}}{{sfnm|1a1=Dahlström|1y=2003|1p=582|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=14}}}}

|-

| data-sort-value="Tempest5" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title={{sort|Tempest|The Tempest (Sibelius)}} ({{lang|sv|Stormen}}), select numbers

| expand=

|

1. Episode (Miranda)
2. Dance of the Nymphs ({{lang|de|Tanz Der Nymphen|italics=no}})
3. Scéne|indent=1}}

| {{sort|1927|[1925, {{abbr|arr.|arranged}} 1927], {{abbr|trans.|transcribed}} 1927}}

| {{sort|A109.5|→ Op. 109}}

| style="background:#EFEFEF; color:#767676"|{{sort|Shakespeare|– (W. Shakespeare)}}

| {{center|{{efn|name=Tempest}}{{sfnm|1a1=Dahlström|1y=2003|1pp=466–467|2a1={{nowrap|SibEd., v. 10}}|2y=2010|2p=13}}}}

|-

| colspan="5" style="background-color: #D8BFD8; border-style: solid none solid solid;" data-sort-value="ZZZZ1A" id=Songs_table|

| colspan="2" style="background-color: #D8BFD8; text-align:right; border-style: solid solid solid none;" data-sort-value="ZZZZ1A"|#Table of compositions

|-

| rowspan=106 style="background-color: #D8BFD8"|Song

| {{sort|Serenad|"{{lang|sv|Serenad|italics=no}}"}} ("Serenade")

| {{sort|1888|1887–1888}}

| {{sort|JS167|JS 167}}

| rowspan=61|voice, {{abbr|pf.|piano}}

| {{sortname|J.L.|Runeberg|Johan Ludvig Runeberg}}

| {{center|{{efn|name=JS167/168}}{{sfnm|1a1=Dahlström|1y=2003|1pp=602–603|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=3}}}}

|-

| {{sort|En visa|"{{lang|sv|En visa|italics=no}}"}} ("A Song")

| {{sort|1888|1888}}

| {{sort|JS71|JS 71}}

| Baeckman

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1pp=533–534|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=3}}}}

|-

| {{sort|Orgier|"{{lang|sv|Orgier|italics=no}}"}} ("Orgies")

| rowspan=2|{{sort|1889|1888–1889}}

| {{sort|JS143|JS 143}}

| {{sort|Stenbäck|{{ill|Lars Stenbäck (poet)|lt=L. Stenbäck|fi|Lars Stenbäck}}}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=586–587|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=4}}}}

|-

| {{sort|Skogsrået|"{{lang|sv|Skogsrået|italics=no}}"}} ("The Wood-Nymph")

| {{sort|JS171|JS 171}}

| {{sortname|V.|Rydberg|Viktor Rydberg}}

| {{center|{{efn|Although they share the same poem by Viktor Rydberg, the song "{{lang|sv|Skogsrået|italics=no}}" ("The Wood-Nymph"; JS 171, 1888–1889) is unrelated thematically to the Op. 15 tone poem and melodrama.{{sfn|Barnett|2007|pp=41–42}}}}{{sfnm|1a1=Dahlström|1y=2003|1p=605|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=4}}}}

|-

| {{sort|Likhet|"{{lang|sv|Likhet|italics=no}}"}} ("Alikeness")

| {{sort|1890|1890}}

| {{sort|JS120|JS 120}}

| rowspan=5|{{sortname|J.L.|Runeberg|Johan Ludvig Runeberg}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1pp=572–573|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=5}}}}

|-

| {{sort|Jag kysser dig ej|"{{lang|sv|Jag kysser dig ej|italics=no}}"}} ("I Kiss You and Weary Not")

| {{sort|1891|1889–1891}}

| style="background:#EFEFEF; color:#767676"|{{sort|z|HUL 1183}}

| {{center|{{sfn|{{nowrap|SibEd., v. 7}}|2008|p=4}}}}

|-

| {{sort|Löjet var utan hem|"{{lang|sv|Löjet var utan hem|italics=no}}"}} ("Wit Was without a Home")

| {{sort|1891|1890–1891}}

| style="background:#EFEFEF; color:#767676"|{{sort|z|HUL 1286/2}}

| {{center|{{sfn|{{nowrap|SibEd., v. 7}}|2008|p=4}}}}

|-

| {{sort|Hjärtats morgon|"{{lang|sv|Hjärtats morgon|italics=no}}"}} ("The Heart's Morning")

| rowspan=5|{{sort|1891|1891}}

| {{sort|A13.3|Op. 13/3}}

| {{center|{{efn|These songs comprise the Op. 13 Seven Runeberg Songs, each of which is sung in Swedish. Sibelius subsequently arranged "{{lang|sv|Våren flyktar hastigt|italics=no}}" ("Spring is Flying") for voice and orchestra.|name=Op.13}}{{sfnm|1a1=Dahlström|1y=2003|1pp=42–43|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=5}}}}

|-

| {{sort|Drömmen|"{{lang|sv|Drömmen|italics=no}}"}} ("The Dream")

| {{sort|A13.6|Op. 13/5}}

| {{center|{{efn|name=Op.13}}{{sfnm|1a1=Dahlström|1y=2003|1pp=45–46|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=5}}}}

|-

| {{sort|Fågellek|"{{lang|sv|Fågellek|italics=no}}"}} ("Play of the Birds")

| {{sort|A17.4|Op. 17/3}}

| {{sort|Tavaststjerna|{{ill|Karl August Tavaststjerna|lt=K.A. Tavaststjerna|fi}}}}

| {{center|{{efn|These songs comprise the Op. 17 Seven Songs, of which five are sung in Swedish and two in Finnish. Sibelius subsequently arranged "{{lang|sv|Se'n har jag ej frågat mera|italics=no}}" ("Since Then I Have Questioned No Further") for voice and orchestra|name=Op.17}}{{sfnm|1a1=Dahlström|1y=2003|1pp=61–62|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=6}}}}

|-

| {{sort|Våren flyktar hastigt1|"{{lang|sv|Våren flyktar hastigt|italics=no}}"}} ("Spring is Flying")

| {{sort|A13.4|Op. 13/4}}

| rowspan=2|{{sortname|J.L.|Runeberg|Johan Ludvig Runeberg}}

| {{center|{{efn|name=Op.13}}{{sfnm|1a1=Dahlström|1y=2003|1pp=43–44|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=5}}}}

|-

| {{sort|Jägargossen|"{{lang|sv|Jägargossen|italics=no}}"}} ("The Young Huntsman")

| {{sort|A13.8|Op. 13/7}}

| {{center|{{efn|name=Op.13}}{{sfnm|1a1=Dahlström|1y=2003|1pp=47–48|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=5}}}}

|-

| {{sort|Sov in!|"{{lang|sv|Sov in!|italics=no}}"}} ("Go to Sleep!")

| rowspan=2|{{sort|1892|1891–1892}}

| {{sort|A17.3|Op. 17/2}}

| {{sort|Tavaststjerna|{{ill|Karl August Tavaststjerna|lt=K.A. Tavaststjerna|fi}}}}

| {{center|{{efn|name=Op.17}}{{sfnm|1a1=Dahlström|1y=2003|1p=61|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=6}}}}

|-

| {{sort|Se'n har jag ej frågat mera1|"{{lang|sv|Se'n har jag ej frågat mera|italics=no}}"}} ("Since Then I Have Questioned No Further")

| {{sort|A17.1|Op. 17/1}}

| {{sortname|J.L.|Runeberg|Johan Ludvig Runeberg}}

| {{center|{{efn|name=Op.17}}{{sfnm|1a1=Dahlström|1y=2003|1pp=59–60|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=6}}}}

|-

| {{sort|Tule, tule kultani|"{{lang|fi|Tule, tule kultani|italics=no}}"}} ("Come, Come, My Sweetheart")

| rowspan=4|{{sort|1892|1892}}

| {{sort|JS211|JS 211}}

| {{sort|Traditional|Traditional}}

| {{center|{{efn|While in Lieksa during his honeymoon in Finnish Karelia, Sibelius collected folk melodies; one of these was "{{lang|fi|Tule, tule kultani|italics=no}}" ("Come, Come, My Sweetheart"), which he arranged for voice and piano.{{sfn|Barnett|2007|p=75}}}}{{sfnm|1a1=Dahlström|1y=2003|1p=640|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=5}}}}

|-

| {{sort|Under strandens granar|"{{lang|sv|Under strandens granar|italics=no}}"}} ("Under the Fir-Trees")

| {{sort|A13.1|Op. 13/1}}

| rowspan=3|{{sortname|J.L.|Runeberg|Johan Ludvig Runeberg}}

| {{center|{{efn|name=Op.13}}{{sfnm|1a1=Dahlström|1y=2003|1pp=40–41|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=5}}}}

|-

| {{sort|Kyssens hopp|"{{lang|sv|Kyssens hopp|italics=no}}"}} ("The Kiss's Hope")

| {{sort|A13.2|Op. 13/2}}

| {{center|{{efn|name=Op.13}}{{sfnm|1a1=Dahlström|1y=2003|1pp=41–42|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=5}}}}

|-

| {{sort|Till Frigga|"{{lang|sv|Till Frigga|italics=no}}"}} ("To Frigga")

| {{sort|A13.7|Op. 13/6}}

| {{center|{{efn|name=Op.13}}{{sfnm|1a1=Dahlström|1y=2003|1p=46|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=5}}}}

|-

| {{sort|Det mörknar ute|"{{lang|sv|Det mörknar ute|italics=no}}"}} ("Outside It is Growing Dark")

| {{sort|1897|1897}}

| {{sort|A1.3|Op. 1/3}}

| {{sortname|Z.|Topelius|Zachris Topelius}}

| {{center|{{efn|These songs comprise the Op. 1 Five Christmas Songs, each of which is sung in Swedish. Sibelius subsequently made several arrangements of "{{lang|sv|Giv mig ej glans, ej guld, ej prakt|italics=no}}" ("Give Me No Splendor, Gold or Pomp"): for male choir {{em|a cappella}} in 1935; for voice and female choir {{em|a cappella}} in 1942; for two unaccompanied female voices in 1942; and for children's choir and organ in 1954. He also made several arrangements of "{{lang|fi|On hanget korkeat, nietokset|italics=no}}" ("High are the Snowdrifts"): for two voices and piano in 1903–1905; and for two unaccompanied female voices in 1942.{{sfn|Barnett|2007|pp=115, 145, 166, 201, 230, 344, 348}}|name=Op.1}}{{sfnm|1a1=Dahlström|1y=2003|1pp=2–3|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=13}}}}

|-

| {{sort|Vilse|"{{lang|sv|Vilse|italics=no}}"}} ("Astray")

| {{sort|1898|1898, {{abbr|rev.|revised}} 1902}}

| {{sort|A17.5|Op. 17/4}}

| {{sort|Tavaststjerna|{{ill|Karl August Tavaststjerna|lt=K.A. Tavaststjerna|fi}}}}

| {{center|{{efn|name=Op.17}}{{sfnm|1a1=Dahlström|1y=2003|1pp=62–63|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=6}}}}

|-

| {{sort|Illalle|"{{lang|fi|Illalle|italics=no}}"}} ("To Evening")

| {{sort|1898|1898}}

| {{sort|A17.7|Op. 17/6}}

| rowspan=2|{{sortname|A.V.|Koskimies|A. V. Koskimies}}

| {{center|{{efn|name=Op.17}}{{sfnm|1a1=Dahlström|1y=2003|1pp=65–66|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=6}}}}

|-

| {{sort|Souda, souda, sinisorsa|"{{lang|sv|Souda, souda, sinisorsa|italics=no}}"}} ("Swim, Duck, Swim")

| rowspan=5|{{sort|1899|1899}}

| {{sort|JS180|JS 180}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1pp=612–613|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=7}}}}

|-

| {{sort|Segelfahrt|"{{lang|sv|Segelfahrt|italics=no}}"}} ("Sailing")

| {{sort|JS166|JS 166}}

| {{sort|Öhqvist|{{ill|Johannes Öhqvist|lt=J. Öhqvist|fi}}}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=602|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=7}}}}

|-

| {{sort|Svarta rosor|"{{lang|sv|Svarta rosor|italics=no}}"}} ("Black Roses")

| {{sort|A36.1|Op. 36/1}}

| {{sortname|E.|Josephson|Ernst Josephson}}

| {{center|{{efn|These songs comprise the Op. 36 Six Songs, each of which is sung in Swedish. Sibelius subsequently arranged "{{lang|sv|Demanten på marssnön|italics=no}}" ("The Diamond on the March Snow") for voice and orchestra.|name=Op.36}}{{sfnm|1a1=Dahlström|1y=2003|1pp=156–158|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=7}}}}

|-

| {{sort|Men min fågel märks dock icke|"{{lang|sv|Men min fågel märks dock icke|italics=no}}"}} ("But My Bird Is Long In Homing")

| {{sort|A36.2|Op. 36/2}}

| {{sortname|J.L.|Runeberg|Johan Ludvig Runeberg}}

| {{center|{{efn|name=Op.36}}{{sfnm|1a1=Dahlström|1y=2003|1pp=159–160|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=7}}}}

|-

| {{sort|Bollspelet vid Trianon|"{{lang|sv|Bollspelet vid Trianon|italics=no}}"}} ("Tennis at Trianon")

| {{sort|A36.3|Op. 36/3}}

| {{sortname|G.|Fröding|Gustaf Fröding}}

| {{center|{{efn|name=Op.36}}{{sfnm|1a1=Dahlström|1y=2003|1pp=160–161|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=7}}}}

|-

| {{sort|Den första kyssen|"{{lang|sv|Den första kyssen|italics=no}}"}} ("The First Kiss")

| rowspan=4|{{sort|1900|1900}}

| {{sort|A37.1|Op. 37/1}}

| {{sortname|J.L.|Runeberg|Johan Ludvig Runeberg}}

| {{center|{{efn|These songs comprise the Op. 37 Five Songs, each of which is sung in Swedish. Sibelius subsequently arranged "{{lang|sv|Soluppgång|italics=no}}" ("Sunrise") for voice and orchestra.|name=Op.37}}{{sfnm|1a1=Dahlström|1y=2003|1pp=166–167|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=8}}}}

|-

| {{sort|Säv, säv, susa2|{{lang|sv|Säv, säv, susa|italics=no}}"}} ("Sigh, Sigh, Sedges")

| {{sort|A36.4|Op. 36/4}}

| {{sortname|G.|Fröding|Gustaf Fröding}}

| {{center|{{efn|name=Op.36}}{{sfnm|1a1=Dahlström|1y=2003|1pp=161–162|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=8}}}}

|-

| {{sort|Marssnön|"{{lang|sv|Marssnön|italics=no}}"}} ("The March Snow")

| {{sort|A36.5|Op. 36/5}}

| rowspan=2|{{sortname|J.J.|Wecksell|Josef Julius Wecksell}}

| {{center|{{efn|name=Op.36}}{{sfnm|1a1=Dahlström|1y=2003|1pp=162–163|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=8}}}}

|-

| {{sort|Demanten på marssnön1|"{{lang|sv|Demanten på marssnön|italics=no}}"}} ("The Diamond on the March Snow")

| {{sort|A36.6|Op. 36/6}}

| {{center|{{efn|name=Op.36}}{{sfnm|1a1=Dahlström|1y=2003|1pp=163–164|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=8}}}}

|-

| {{sort|Flickan kom ifrån sun älsklings möte|"{{lang|sv|Flickan kom ifrån sun älsklings möte|italics=no}}"}} ("The Girl Returned Home from Meeting Her Lover" or "The Tryst")

| rowspan=2|{{sort|1901|1901}}

| {{sort|A37.5|Op. 37/5}}

| {{sortname|J.L.|Runeberg|Johan Ludvig Runeberg}}

| {{center|{{efn|name=Op.37}}{{sfnm|1a1=Dahlström|1y=2003|1pp=172–174|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=8}}}}

|-

| {{sort|On hanget korkeat, nietokset1|"{{lang|fi|On hanget korkeat, nietokset|italics=no}}"}} ("High are the Snowdrifts")

| {{sort|A1.7|Op. 1/5}}

| {{sortname|W.|Joukahainen|Vilkku Joukahainen}}

| {{center|{{efn|name=Op.1}}{{sfnm|1a1=Dahlström|1y=2003|1pp=6–9|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=13}}}}

|-

| {{sort|Lasse liten|"{{lang|sv|Lasse liten|italics=no}}"}} ("Little Lasse")

| rowspan=4|{{sort|1902|1902}}

| {{sort|A37.2|Op. 37/2}}

| {{sortname|Z.|Topelius|Zachris Topelius}}

| {{center|{{efn|name=Op.37}}{{sfnm|1a1=Dahlström|1y=2003|1pp=168–169|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=8}}}}

|-

| {{sort|Soluppgång2|"{{lang|sv|Soluppgång|italics=no}}"}} ("Sunrise")

| {{sort|A37.3|Op. 37/3}}

| {{sortname|T.|Hedberg|Tor Hedberg}}

| {{center|{{efn|name=Op.37}}{{sfnm|1a1=Dahlström|1y=2003|1pp=169–170|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=8}}}}

|-

| {{sort|Var det en dröm?|"{{lang|sv|Var det en dröm?|italics=no}}"}} ("Was It a Dream?")

| {{sort|A37.4|Op. 37/4}}

| {{sortname|J.J.|Wecksell|Josef Julius Wecksell}}

| {{center|{{efn|name=Op.37}}{{sfnm|1a1=Dahlström|1y=2003|1pp=171–172|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=8}}}}

|-

| {{sort|Lastu lainehilla|"{{lang|fi|Lastu lainehilla|italics=no}}"}} ("Driftwood")

| {{sort|A17.8|Op. 17/7}}

| {{sortname|I.|Calamnius|Ilmari Kianto}}

| {{center|{{efn|name=Op.17}}{{sfnm|1a1=Dahlström|1y=2003|1pp=66–67|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=6}}}}

|-

| {{sort|Höstkväll1|"{{lang|sv|Höstkväll|italics=no}}"}} ("Autumn Evening")

| rowspan=3|{{sort|1903|1903}}

| {{sort|A38.1|Op. 38/1}}

| rowspan=4|{{sortname|V.|Rydberg|Viktor Rydberg}}

| {{center|{{efn|These songs comprise the Op. 38 Five Songs, each of which is sung in Swedish. Sibelius subsequently arranged "{{lang|sv|Höstkväll|italics=no}}" ("Autumn Evening"), "{{lang|sv|På verandan vid havet|italics=no}}" ("On a Balcony by the Sea"), and "{{lang|sv|I natten|italics=no}}" ("In the Night") for voice and orchestra.|name=Op.38}}{{sfnm|1a1=Dahlström|1y=2003|1pp=175–176|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=9}}}}

|-

| {{sort|På verandan vid havet1|"{{lang|sv|På verandan vid havet|italics=no}}"}} ("On a Balcony by the Sea")

| {{sort|A38.3|Op. 38/2}}

| {{center|{{efn|name=Op.38}}{{sfnm|1a1=Dahlström|1y=2003|1pp=177–178|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=9}}}}

|-

| {{sort|I natten1|"{{lang|sv|I natten|italics=no}}"}} ("In the Night")

| {{sort|A38.5|Op. 38/3}}

| {{center|{{efn|name=Op.38}}{{sfnm|1a1=Dahlström|1y=2003|1pp=179–180|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=9}}}}

|-

| {{sort|Harpolekaren och Hans son|"{{lang|sv|Harpolekaren och Hans son|italics=no}}"}} ("The Harper and His Son")

| rowspan=3|{{sort|1904|1904}}

| {{sort|A38.7|Op. 38/4}}

| {{center|{{efn|name=Op.38}}{{sfnm|1a1=Dahlström|1y=2003|1pp=181–182|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=9}}}}

|-

| {{sort|Jag ville, jag core i Indialand|"{{lang|sv|Jag ville, jag vore i Indialand|italics=no}}"}} ("I Wish I Were in India")

| {{sort|A38.8|Op. 38/5}}

| {{sortname|G.|Fröding|Gustaf Fröding}}

| {{center|{{efn|name=Op.38}}{{sfnm|1a1=Dahlström|1y=2003|1pp=182–183|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=9}}}}

|-

| {{sort|En slända|"{{lang|sv|En slända|italics=no}}"}} ("A Dragonfly")

| {{sort|A17.6|Op. 17/5}}

| {{sortname|O.|Levertin|Oscar Levertin}}

| {{center|{{efn|name=Op.17}}{{sfnm|1a1=Dahlström|1y=2003|1pp=64–65|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=6}}}}

|-

| {{sort|Lenzgesang|"{{lang|de|Lenzgesang|italics=no}}"}} ("Spring Song")

| rowspan=7|{{sort|1906|1906}}

| {{sort|A50.1|Op. 50/1}}

| {{sortname|A.|Fitger|Arthur Fitger}}

| {{center|{{efn|These songs comprise the Op. 50 Six Songs, each of which is sung in German.|name=Op.50}}{{sfnm|1a1=Dahlström|1y=2003|1p=228|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=9}}}}

|-

| {{sort|Sehnsucht|"{{lang|de|Sehnsucht|italics=no}}"}} ("Longing")

| {{sort|A50.2|Op. 50/2}}

| {{sortname|E.R.|Weiss|Emil Rudolf Weiss}}

| {{center|{{efn|name=Op.50}}{{sfnm|1a1=Dahlström|1y=2003|1p=229|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=9}}}}

|-

| {{sort|Im Feld ein Mädchen singt|"{{lang|de|Im Feld ein Mädchen singt|italics=no}}"}} ("In the Field a Maid Sings")

| {{sort|A50.3|Op. 50/3}}

| {{sortname|M.|Susman|Margarete Susman}}

| {{center|{{efn|name=Op.50}}{{sfnm|1a1=Dahlström|1y=2003|1pp=230–231|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=10}}}}

|-

| {{sort|Aus banger Brust|"{{lang|de|Aus banger Brust|italics=no}}"}} ("From Anxious Heart")

| {{sort|A50.4|Op. 50/4}}

| rowspan=2|{{sortname|R.|Dehmel|Richard Dehmel}}

| {{center|{{efn|name=Op.50}}{{sfnm|1a1=Dahlström|1y=2003|1p=231|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=10}}}}

|-

| {{sort|Die stille Stadt|"{{lang|de|Die stille Stadt|italics=no}}"}} ("The Silent City")

| {{sort|A50.5|Op. 50/5}}

| {{center|{{efn|name=Op.50}}{{sfnm|1a1=Dahlström|1y=2003|1p=232|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=10}}}}

|-

| {{sort|Rosenlied|"{{lang|de|Rosenlied|italics=no}}"}} ("Song of the Roses")

| {{sort|A50.6|Op. 50/6}}

| {{sortname|A.|Ritter|Anna Ritter}}

| {{center|{{efn|name=Op.50}}{{sfnm|1a1=Dahlström|1y=2003|1p=233|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=10}}}}

|-

| {{sort|Erloschen|"{{lang|de|Erloschen|italics=no}}"}} ("Extinguished")

| {{sort|JS73|JS 73}}

| {{sort|Busse-Palma|{{ill|Georg Busse-Palma|lt=G. Busse-Palma|de}}}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1pp=534–535|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=10}}}}

|-

| {{sort|Hundra vägar|"{{lang|sv|Hundra vägar|italics=no}}"}} ("A Hundred Ways")

| {{sort|1907|1907}}

| {{sort|A72.6|Op. 72/6}}

| {{sortname|J.L.|Runeberg|Johan Ludvig Runeberg}}

| {{center|{{efn|These songs comprise the Op. 72 Six Songs, of which "{{lang|sv|Vi ses igen|italics=no}}" ("Farewell") and "{{lang|sv|Orions bälte|italics=no}}" ("Orion's Girdle") were lost during the First World War. Of the remaining four songs, two are sung in Swedish, one in German, and one in Finnish.{{sfnm|1a1=Barnett|1y=2007|1p=238–239, 251, 253|2a1=Layton|2y=1993|2p=178}}|name=Op.72}}{{sfnm|1a1=Dahlström|1y=2003|1pp=320–321|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=14}}}}

|-

| {{sort|Jubal|"Jubal"}}

| rowspan=2|{{sort|1908|1908}}

| {{sort|A35.1|Op. 35/1}}

| {{sortname|E.|Josephson|Ernst Josephson}}

| {{center|{{efn|These songs comprise the Op. 35 Two Songs, each of which is sung in Swedish.|name=Op. 35}}{{sfnm|1a1=Dahlström|1y=2003|1pp=154–155|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=11}}}}

|-

| {{sort|Teodora|"Teodora"}}

| {{sort|A35.2|Op. 35/2}}

| {{sortname|B.|Gripenberg|Bertel Gripenberg}}

| {{center|{{efn|name=Op. 35}}{{sfnm|1a1=Dahlström|1y=2003|1p=155|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=11}}}}

|-

| {{sort|Älven och snigeln|"{{lang|sv|Älven och snigeln|italics=no}}"}} ("The River and the Snail")

| rowspan=9|{{sort|1909|1909}}

| {{sort|A57.1|Op. 57/1}}

| rowspan=8|{{sortname|E.|Josephson|Ernst Josephson}}

| {{center|{{efn|These songs comprise the Op. 57 Eight Josephson Songs, each of which is sung in Swedish. Sibelius subsequently arranged "{{lang|sv|Hertig Magnus|italics=no}}" ("Duke Magnus") for voice and orchestra. (This version of the song was lost until its rediscovery in 1943, only to be lost again and relocated in 1994.){{sfn|Barnett|2007|p=196–197, 224}}|name=Op.57}}{{sfnm|1a1=Dahlström|1y=2003|1pp=260–261|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=11}}}}

|-

| {{sort|En blomma stod vid vägen|"{{lang|sv|En blomma stod vid vägen|italics=no}}"}} ("A Flower Stood by the Wayside")

| {{sort|A57.2|Op. 57/2}}

| {{center|{{efn|name=Op.57}}{{sfnm|1a1=Dahlström|1y=2003|1pp=261–262|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=11}}}}

|-

| {{sort|Kvarnhjulet|"{{lang|sv|Kvarnhjulet|italics=no}}"}} ("The Mill-wheel")

| {{sort|A57.3|Op. 57/3}}

| {{center|{{efn|name=Op.57}}{{sfnm|1a1=Dahlström|1y=2003|1p=262|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=11}}}}

|-

| {{sort|Maj|"{{lang|sv|Maj|italics=no}}"}} ("May")

| {{sort|A57.4|Op. 57/4}}

| {{center|{{efn|name=Op.57}}{{sfnm|1a1=Dahlström|1y=2003|1p=263|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=11}}}}

|-

| {{sort|Jag är ett träd|"{{lang|sv|Jag är ett träd|italics=no}}"}} ("I Am a Tree")

| {{sort|A57.5|Op. 57/5}}

| {{center|{{efn|name=Op.57}}{{sfnm|1a1=Dahlström|1y=2003|1p=264|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=11}}}}

|-

| {{sort|Hertig Magnus1|"{{lang|sv|Hertig Magnus|italics=no}}"}} ("Duke Magnus")

| {{sort|A57.6|Op. 57/6}}

| {{center|{{efn|name=Op.57}}{{sfnm|1a1=Dahlström|1y=2003|1p=265|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=11}}}}

|-

| {{sort|Vänskapens blomma2|{{lang|sv|Vänskapens blomma|italics=no}}"}} ("The Flower of Friendship")

| {{sort|A57.8|Op. 57/7}}

| {{center|{{efn|name=Op.57}}{{sfnm|1a1=Dahlström|1y=2003|1p=266|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=11}}}}

|-

| {{sort|Näcken|"{{lang|sv|Näcken|italics=no}}"}} ("The Watersprite")

| {{sort|A57.9|Op. 57/8}}

| {{center|{{efn|name=Op.57}}{{sfnm|1a1=Dahlström|1y=2003|1p=267|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=11}}}}

|-

| {{sort|Giv mig ej glans, ej guld, ej prakt1|"{{lang|sv|Giv mig ej glans, ej guld, ej prakt|italics=no}}"}} ("Give Me No Splendor, Gold or Pomp")

| {{sort|A1.4|Op. 1/4}}

| {{sortname|Z.|Topelius|Zachris Topelius}}

| {{center|{{efn|name=Op.1}}{{sfnm|1a1=Dahlström|1y=2003|1p=3–6|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=13}}}}

|-

| {{sort|Kom nu hit, död1|"{{lang|sv|Kom nu hit, död|italics=no}}"}} ("Come Away, Death")

| rowspan=2|{{sort|1909|1909 ({{abbr|arr.|arranged}} 1909)}}

| {{sort|A60.1|Op. 60/1}}

| rowspan=2|voice, guitar (or {{abbr|pf.|piano}})

| rowspan=2|{{sortname|W.|Shakespeare|William Shakespeare}}
{{nowrap|– C.A. Hagberg, {{abbr|trans.|translation}} (sv)}}

| {{center|{{efn|In 1909, Sibelius wrote two songs for a Swedish-language production of Shakespeare's Twelfth Night: "{{lang|sv|Kom nu hit, död|italics=no}}" ("Come Away, Death") and "{{lang|sv|Hållilå, uti storm och i regn|italics=no}}" ("Hey, Ho, the Wind and the Rain"). While each song was originally for voice and guitar, Sibelius arranged them for voice and piano in 1909. In 1957, he arranged "{{lang|sv|Kom nu hit, död|italics=no}}" for baritone and orchestra.{{sfnm|1a1=Barnett|1y=2007|1p=201, 348–349|2a1=Layton|2y=1993|2p=176}}|name=Op.60}}{{sfnm|1a1=Dahlström|1y=2003|1pp=275–278|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2pp=12, 20}}}}

|-

| {{sort|Hållilå, uti storm och i regn|"{{lang|sv|Hållilå, uti storm och i regn|italics=no}}"}} ("Hey, Ho, the Wind and the Rain")

| {{sort|A60.3|Op. 60/2}}

| {{center|{{efn|name=Op.60}}{{sfnm|1a1=Dahlström|1y=2003|1pp=275–278|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2pp=12, 20}}}}

|-

| {{sort|Hymn to Thaïs|"Hymn to Thaïs, the Unforgettable"}}

| {{sort|1909|1909, {{abbr|rev.|revised}} 1945–1948}}

| {{sort|JS97|JS 97}}

| rowspan=9|voice, {{abbr|pf.|piano}}

| {{sort|Borgström|{{ill|Arthur Travers-Borgström|lt=A. Borgström|fi}}}}

| {{center|{{efn|"Hymn to Thaïs" is Sibelius's only song sung in English. He revised the piece three times between 1945–1948. The original 1909 version is extant.{{sfn|Barnett|2007|pp=201, 345–346}}}}{{sfnm|1a1=Dahlström|1y=2003|1pp=552–553|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2pp=17, 19}}}}

|-

| {{sort|Vattenplask|"{{lang|sv|Vattenplask|italics=no}}"}} ("Lapping Waters")

| rowspan=8|{{sort|1910|1910}}

| {{sort|A61.2|Op. 61/2}}

| {{sortname|V.|Rydberg|Viktor Rydberg}}

| {{center|{{efn|These songs comprise the Op. 61 Eight Songs, each of which is sung in Swedish.|name=Op.61}}{{sfnm|1a1=Dahlström|1y=2003|1p=281|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=12}}}}

|-

| {{sort|Långsamt som kvällskyn|"{{lang|sv|Långsamt som kvällskyn|italics=no}}"}} ("Slowly as the Evening Sky")

| {{sort|A61.1|Op. 61/1}}

| rowspan=5|{{sort|Tavaststjerna|{{ill|Karl August Tavaststjerna|lt=K.A. Tavaststjerna|fi}}}}

| {{center|{{efn|name=Op.61}}{{sfnm|1a1=Dahlström|1y=2003|1pp=280–281|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=12}}}}

|-

| {{sort|När jag drömmer|"{{lang|sv|När jag drömmer|italics=no}}"}} ("When I Dream")

| {{sort|A61.3|Op. 61/3}}

| {{center|{{efn|name=Op.61}}{{sfnm|1a1=Dahlström|1y=2003|1p=282|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=12}}}}

|-

| {{sort|Romeo|"Romeo"}}

| {{sort|A61.4|Op. 61/4}}

| {{center|{{efn|name=Op.61}}{{sfnm|1a1=Dahlström|1y=2003|1pp=282–283|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=12}}}}

|-

| {{sort|Romans|"{{lang|sv|Romans|italics=no}}"}} ("Romance")

| {{sort|A61.5|Op. 61/5}}

| {{center|{{efn|name=Op.61}}{{sfnm|1a1=Dahlström|1y=2003|1p=283|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=12}}}}

|-

| {{sort|Dolce far niente|"{{lang|it|Dolce far niente|italics=no}}"}}

| {{sort|A61.6|Op. 61/6}}

| {{center|{{efn|name=Op.61}}{{sfnm|1a1=Dahlström|1y=2003|1p=284|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=12}}}}

|-

| {{sort|Vårtagen|"{{lang|sv|Vårtagen|italics=no}}"}} ("The Spell of Springtide")

| {{sort|A61.8|Op. 61/8}}

| {{sortname|B.|Gripenberg|Bertel Gripenberg}}

| {{center|{{efn|name=Op.61}}{{sfnm|1a1=Dahlström|1y=2003|1p=285|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=12}}}}

|-

| {{sort|Fåfäng önskan|"{{lang|sv|Fåfäng önskan|italics=no}}"}} ("Idle Wishes")

| {{sort|A61.7|Op. 61/7}}

| rowspan=2|{{sortname|J.L.|Runeberg|Johan Ludvig Runeberg}}

| {{center|{{efn|name=Op.61}}{{sfnm|1a1=Dahlström|1y=2003|1pp=284–285|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=12}}}}

|-

| {{sort|Arioso1|"{{lang|it|Arioso|italics=no}}"}}

| {{sort|1911|1911}}

| {{sort|A3.1|Op. 3}}

| {{abbr|S|soprano}}, {{abbr|pf.|piano}}

| {{center|{{efn|"{{lang|it|Arioso|italics=no}}" is a Swedish-language songs. Sibelius appears to have worked on two versions simultaneously: one for soprano and strings, the other for soprano and piano.{{sfnm|1a1=Barnett|1y=2007|1p=215|2a1=Layton|2y=1993|2pp=162–163}}|name=Op.3}}{{sfnm|1a1=Dahlström|1y=2003|1pp=11–12|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=13}}}}

|-

| {{sort|Nu står jul vid snöig port|"{{lang|sv|Nu står jul vid snöig port|italics=no}}"}} ("Now Christmas Stands at the Snowy Gate")

| rowspan=3|{{sort|1913|1913}}

| {{sort|A1.1|Op. 1/1}}

| rowspan=2|voice, {{abbr|pf.|piano}}

| rowspan=2|{{sortname|Z.|Topelius|Zachris Topelius}}

| {{center|{{efn|name=Op.1}}{{sfnm|1a1=Dahlström|1y=2003|1p=1|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=13}}}}

|-

| {{sort|Nu så kommer julen|"{{lang|sv|Nu så kommer julen|italics=no}}"}} ("Now Is Christmas Coming")

| {{sort|A1.2|Op. 1/2}}

| {{center|{{efn|name=Op.1}}{{sfnm|1a1=Dahlström|1y=2003|1p=2|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=13}}}}

|-

| {{sort|Autumn Song|"Autumn Song"}}

| {{sort|JS199.1|JS 199/1}}

| {{abbr|S|soprano}}, {{abbr|A|alto}}, {{abbr|pf.|piano}}

| {{sortname|R.W.|Dixon|Richard Watson Dixon}}

| {{center|{{efn|name=AmericanSchools}}{{sfnm|Dahlström|2003|1p=628|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=17}}}}

|-

| style="background:#EFEFEF; color:#767676"|{{sort|Vi ses igen|"{{lang|sv|Vi ses igen|italics=no}}"}} ("Farewell")

| rowspan=2 style="background:#EFEFEF; color:#767676"|{{nowrap|{{sort|1914|1914}} (lost)}}

| style="background:#EFEFEF; color:#767676"|{{sort|A72.1|Op. 72/1}}

| rowspan=2 style="background:#EFEFEF; color:#767676"|voice, {{abbr|pf.|piano}}

| style="background:#EFEFEF; color:#767676"|{{sortname|V.|Rydberg|Viktor Rydberg}}

| rowspan=2 style="background:#EFEFEF; color:#767676"|{{center|{{efn|name=Op.72}}{{sfn|Dahlström|2003|p=316}}}}

|-

| style="background:#EFEFEF; color:#767676"|{{sort|Orions bälte|"{{lang|sv|Orions bälte|italics=no}}"}} ("Orion's Girdle")

| style="background:#EFEFEF; color:#767676"|{{sort|A72.2|Op. 72/2}}

| style="background:#EFEFEF; color:#767676"|{{sortname|Z.|Topelius|Zachris Topelius}}

|-

| {{sort|Kyssen|"{{lang|sv|Kyssen|italics=no}}"}} ("The Kiss")

| rowspan=4|{{sort|1915|1915}}

| {{sort|A72.3|Op. 72/3}}

| rowspan=3|voice, {{abbr|pf.|piano}}

| {{sortname|V.|Rydberg|Viktor Rydberg}}

| {{center|{{efn|name=Op.72}}{{sfnm|1a1=Dahlström|1y=2003|1p=317|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=14}}}}

|-

| {{sort|Der Wanderer und der Bach|"{{lang|de|Der Wanderer und der Bach|italics=no}}"}} ("The Wanderer and the Brook")

| {{sort|A72.5|Op. 72/5}}

| {{sortname|M.|Greif|Martin Greif (poet)}}

| {{center|{{efn|name=Op.72}}{{sfnm|1a1=Dahlström|1y=2003|1p=319|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=14}}}}

|-

| {{sort|Kaiutar|"{{lang|fi|Kaiutar|italics=no}}"}} ("The Echo Nymph")

| {{sort|A72.4|Op. 72/4}}

| {{sortname||Larin-Kyösti}}

| {{center|{{efn|name=Op.72}}{{sfnm|1a1=Dahlström|1y=2003|1p=318|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=14}}}}

|-

| {{sort|Tanken|"{{lang|sv|Tanken|italics=no}}"}} ("The Thought")

| {{sort|JS192|JS 192}}

| 2 voices, {{abbr|pf.|piano}}

| {{sortname|J.L.|Runeberg|Johan Ludvig Runeberg}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=625|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=14}}}}

|-

| style="background:#EFEFEF; color:#767676"|{{sort|Tre trallande jäntor|"{{lang|sv|Tre trallande jäntor|italics=no}}"}} ("Three Warbling Maidens")

| style="background:#EFEFEF; color:#767676"|{{nowrap|{{sort|1915|1915}} (lost)}}

| style="background:#EFEFEF; color:#767676"|{{sort|JS204|JS 204}}

| style="background:#EFEFEF; color:#767676"|voice, {{abbr|pf.|piano}}

| style="background:#EFEFEF; color:#767676"|{{sortname|G.|Fröding|Gustaf Fröding}}

| style="background:#EFEFEF; color:#767676"|{{center|{{efn|Sibelius composed, but then doubted, the Swedish-language song "{{lang|sv|Tre trallande jäntor|italics=no}}" ("Three Warbling Maidens", JS 204) in 1915. Likely, he destroyed the piece.{{sfn|Barnett|2007|p=253}}}}{{sfn|Dahlström|2003|p=632}}}}

|-

| {{sort|Vårförnimmelser|"{{lang|sv|Vårförnimmelser|italics=no}}"}} ("The Coming of Spring")

| rowspan=5|{{sort|1916|1916}}

| {{sort|A86.1|Op. 86/1}}

| rowspan=21|voice, {{abbr|pf.|piano}}

| rowspan=2|{{sort|Tavaststjerna|{{ill|Karl August Tavaststjerna|lt=K.A. Tavaststjerna|fi}}}}

| {{center|{{efn|These songs comprise the Op. 86 Six Songs, each of which is sung in Swedish.|name=Op.86}}{{sfnm|1a1=Dahlström|1y=2003|1p=371|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=15}}}}

|-

| {{sort|Och finns det en tanke?|"{{lang|sv|Och finns det en tanke?|italics=no}}"}} ("And Is There a Thought?")

| {{sort|A86.4|Op. 86/4}}

| {{center|{{efn|name=Op.86}}{{sfnm|1a1=Dahlström|1y=2003|1pp=373–374|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=15}}}}

|-

| {{sort|Längtan heter min arvedel|"{{lang|sv|Längtan heter min arvedel|italics=no}}"}} ("Longing Is My Heritage")

| {{sort|A86.2|Op. 86/2}}

| {{sortname|E.A.|Karlfeldt|Erik Axel Karlfeldt}}

| {{center|{{efn|name=Op.86}}{{sfnm|1a1=Dahlström|1y=2003|1p=372|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=15}}}}

|-

| {{sort|Dold förening|"{{lang|sv|Dold förening|italics=no}}"}} ("Hidden Union")

| {{sort|A86.3|Op. 86/3}}

| rowspan=2|{{sortname|C.|Snoilsky|Carl Snoilsky}}

| {{center|{{efn|name=Op.86}}{{sfnm|1a1=Dahlström|1y=2003|1p=373|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=15}}}}

|-

| {{sort|Sångarlön|"{{lang|sv|Sångarlön|italics=no}}"}} ("The Singer's Reward")

| {{sort|A86.5|Op. 86/5}}

| {{center|{{efn|name=Op.86}}{{sfnm|1a1=Dahlström|1y=2003|1p=374|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=15}}}}

|-

| {{sort|I systrar, I bröder, I älskande par|"{{lang|sv|I systrar, I bröder, I älskande par|italics=no}}"}} ("Ye Sisters, Ye Brothers, Ye Loving Couples")

| rowspan=13|{{sort|1917|1917}}

| {{sort|A86.6|Op. 86/6}}

| {{sortname|M.|Lybeck|Mikael Lybeck}}

| {{center|{{efn|name=Op.86}}{{sfnm|1a1=Dahlström|1y=2003|1p=375|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=15}}}}

|-

| {{sort|Blåsippan|"{{lang|sv|Blåsippan|italics=no}}"}} ("The Blue Anemone")

| {{sort|A88.1|Op. 88/1}}

| rowspan=3|{{sortname|F.M.|Franzén|Frans Michael Franzén}}

| {{center|{{efn|These songs comprise the Op. 88 Six Songs, each of which is sung in Swedish. Because a thematic link runs through the set, Sibelius considered it a song cycle.{{sfn|Barnett|2007|pp=266, 269–270}}|name=Op.88}}{{sfnm|1a1=Dahlström|1y=2003|1pp=378–379|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=15}}}}

|-

| {{sort|De bägge rosorna|"{{lang|sv|De bägge rosorna|italics=no}}"}} ("The Two Roses")

| {{sort|A88.2|Op. 88/2}}

| {{center|{{efn|name=Op.88}}{{sfnm|1a1=Dahlström|1y=2003|1pp=379–380|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=15}}}}

|-

| {{sort|Vitsippan|"{{lang|sv|Vitsippan|italics=no}}"}} ("The Wood Anemone")

| {{sort|A88.3|Op. 88/3}}

| {{center|{{efn|name=Op.88}}{{sfnm|1a1=Dahlström|1y=2003|1pp=380–381|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=15}}}}

|-

| {{sort|Sippan|"{{lang|sv|Sippan|italics=no}}"}} ("The Anemone")

| {{sort|A88.4|Op. 88/4}}

| rowspan=9|{{sortname|J.L.|Runeberg|Johan Ludvig Runeberg}}

| {{center|{{efn|name=Op.88}}{{sfnm|1a1=Dahlström|1y=2003|1pp=381–382|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=15}}}}

|-

| {{sort|Törnet|"{{lang|sv|Törnet|italics=no}}"}} ("The Thorn")

| {{sort|A88.5|Op. 88/5}}

| {{center|{{efn|name=Op.88}}{{sfnm|1a1=Dahlström|1y=2003|1p=382|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=16}}}}

|-

| {{sort|Blommans öde|"{{lang|sv|Blommans öde|italics=no}}"}} ("The Flower's Destiny")

| {{sort|A88.6|Op. 88/6}}

| {{center|{{efn|name=Op.88}}{{sfnm|1a1=Dahlström|1y=2003|1p=383|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=16}}}}

|-

| {{sort|Norden|"{{lang|sv|Norden|italics=no}}"}} ("The North")

| {{sort|A90.1|Op. 90/1}}

| {{center|{{efn|These songs comprise the Op. 90 Six Runeberg Songs, each of which is sung in Swedish.|name=Op.90}}{{sfnm|1a1=Dahlström|1y=2003|1pp=387–388|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=16}}}}

|-

| {{sort|Hennes budskap|"{{lang|sv|Hennes budskap|italics=no}}"}} ("Her Message")

| {{sort|A90.2|Op. 90/2}}

| {{center|{{efn|name=Op.90}}{{sfnm|1a1=Dahlström|1y=2003|1pp=388–389|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=16}}}}

|-

| {{sort|Morgonen|"{{lang|sv|Morgonen|italics=no}}"}} ("The Morning")

| {{sort|A90.3|Op. 90/3}}

| {{center|{{efn|name=Op.90}}{{sfnm|1a1=Dahlström|1y=2003|1pp=389–390|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=16}}}}

|-

| {{sort|Fågelfängaren|"{{lang|sv|Fågelfängaren|italics=no}}"}} ("The Bird Catcher")

| {{sort|A90.4|Op. 90/4}}

| {{center|{{efn|name=Op.90}}{{sfnm|1a1=Dahlström|1y=2003|1p=390|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=16}}}}

|-

| {{sort|Sommarnatten|"{{lang|sv|Sommarnatten|italics=no}}"}} ("Summer Night")

| {{sort|A90.5|Op. 90/5}}

| {{center|{{efn|name=Op.90}}{{sfnm|1a1=Dahlström|1y=2003|1p=391|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=16}}}}

|-

| {{sort|Vem styrde hit din väg?|"{{lang|sv|Vem styrde hit din väg?|italics=no}}"}} ("Who Brought You Hither?")

| {{sort|A90.6|Op. 90/6}}

| {{center|{{efn|name=Op.90}}{{sfnm|1a1=Dahlström|1y=2003|1p=392|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=16}}}}

|-

| {{sort|Mummon syntymäpäivänä|"{{lang|fi|Mummon syntymäpäivänä|italics=no}}"}} ("Birthday Song to Grandmother")

| {{sort|1919|1919}}

| {{sort|JS136|JS 136}}

| {{sort|yyy|Anonymous}}

| {{center|{{efn|Sibelius composed "{{lang|fi|Mummon syntymäpäivänä|italics=no}}" ("Birthday Song to Grandmother"; JS 136, 1919) for his mother-in-law Elisabeth Järnefelt's eightieth birthday. The author of the text is unknown (most likely, it was penned by a member of the Sibelius family) and the song was not intended for public consumption.{{sfn|Barnett|2007|p=280}}}}{{sfnm|1a1=Dahlström|1y=2003|1p=582|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=16}}}}

|-

| {{sort|Små flickorna|"{{lang|sv|Små flickorna|italics=no}}"}} ("Young Girls")

| {{sort|1920|1920}}

| {{sort|JS174|JS 174}}

| {{sort|Procopé|{{ill|Hjalmar Procopé (poet)|lt=H. Procopé|fi|Hjalmar Procopé (runoilija)}}}}

| {{center|{{efn|Sibelius composed the song "{{lang|sv|Små flickorna|italics=no}}" ("Young Girls"; JS 174, 1920) for the Christmas magazine Lucifer.{{sfn|Barnett|2007|p=292}}}}{{sfnm|1a1=Dahlström|1y=2003|1p=607|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=17}}}}

|-

| {{sort|Narciss|"{{lang|sv|Narciss|italics=no}}"}} ("Narcissus")

| rowspan=2|{{sort|1925|1925}}

| {{sort|JS140|JS 140}}

| {{sortname|B.|Gripenberg|Bertel Gripenberg}}

| {{center|{{efn|"{{lang|sv|Narciss|italics=no}}" ("Narcissus"; JS 140, 1925) is the final original song that Sibelius composed for voice and piano.{{sfn|Barnett|2007|p=319}}}}{{sfnm|1a1=Dahlström|1y=2003|1pp=584–585|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=17}}}}

|-

| {{sort|Herran siunaus|"{{lang|fi|Herran siunaus|italics=no}}"}} ("The Lord's Blessing")

| {{sort|JS95|JS 95}}

| {{abbr|B|baritone}}, organ

| Numbers 6

| {{center|{{efn|name=JS 95/110}}{{sfnm|1a1=Dahlström|1y=2003|1pp=550–551|2a1={{nowrap|SibEd., v. 13}}|2y=2011|2p=4}}}}

|-

| {{sort|Siltavahti|"{{lang|fi|Siltavahti|italics=no}}"}} ("The Guardian of the Bridge")

| {{sort|1928|[1928], {{abbr|arr.|arranged}} 1928}}

| {{sort|JS170.2|JS 170b}}

| rowspan=6|voice, {{abbr|pf.|piano}}

| {{sort|Sola|{{ill|Wäinö Sola|lt=W. Sola|fi}}}}

| {{center|{{efn|Sibelius wrote "{{lang|fi|Siltavahti|italics=no}}" ("The Guardian of the Bridge"; JS 170a) for the male choir New York Laulumiehet in 1928. That same year, he arranged it for voice and piano (JS 170b).{{sfn|Barnett|2007|p=328}}|name=JS 170}}{{sfnm|1a1=Dahlström|1y=2003|1p=605|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=17}}}}

|-

| rowspan=7 style="background-color: #D8BFD8"|Song ({{abbr|trans.|song transcription}})

| {{sort|Kullervon valitus1|"{{lang|fr|Kullervon valitus|italics=no}}"}} ("Kullervo's Lament"), from Kullervo

| {{sort|1892|[1892], {{abbr|trans.|transcribed}} 1892–1893, {{abbr|rev.|revised}} 1917–1918}}

| {{sort|A7.2|→ Op. 7}}

| Kalevala, {{nowrap|Runo XXXV}}
{{nowrap|– F. von Schiefner, {{abbr|trans.|translation}} (de)}}

|{{center|{{efn|name=Kullervo}}{{sfnm|1a1=Dahlström|1y=2003|1pp=24–25|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=16}}}}

|-

| {{sort|Koskenlaskijan morsiamet2|"{{lang|fi|Koskenlaskijan morsiamet|italics=no}}"}} ("The Rapids-Rider's Brides")

| {{sort|1897|[1897], {{abbr|trans.|transcribed}} 1897–1899}}

| {{sort|A33.2|→ Op. 33}}

| {{sortname|A.|Oksanen|August Ahlqvist}}

| {{center|{{efn|Originally for soloist and orchestra, Sibelius later made two arrangements of "{{lang|fi|Koskenlaskijan morsiamet|italics=no}}" ("The Rapids-Rider's Brides"): in 1897–1899, for voice and piano; and in 1943, for male choir and orchestra.{{sfn|Barnett|2007|pp=113, 344}} The song is sometimes translated as "The Ferryman's Brides" or "The Rapids-Shooter's Brides".|name=Op.33}}{{sfnm|1a1=Dahlström|1y=2003|1p=146|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=6}}}}

|-

| {{sort|Sången om korsspindel|"{{lang|sv|Sången om korsspindeln|italics=no}}"}} ("Fool's Song of the Spider"), from King Christian II

| {{sort|1898|[1898], {{abbr|trans.|transcribed}} 1898}}

| {{sort|A27.3|→ Op. 27/4}}

| {{sortname|A.|Paul|Adolf Paul}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=7}}}}

|-

| {{sort|De trenne blinda systrar|"{{lang|sv|De trenne blinda systrar|italics=no}}"}} ("The Three Blind Sisters"), from Pelléas et Mélisande

| {{sort|1905|[1905], {{abbr|trans.|transcribed}} 1905}}

| {{sort|JS147.2|→ JS 147/6}}

| {{sortname|M.|Maeterlinck|Maurice Maeterlinck}}
{{nowrap|– B. Gripenberg, {{abbr|trans.|translation}} (sv)}}

| {{center|{{efn|name=Pelléas}}{{sfnm|1a1=Dahlström|1y=2003|1pp=218–219|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=9}}}}

|-

| {{sort|Den judiska flickans sång|"{{lang|sv|Den judiska flickans sång|italics=no}}"}} ("The Jewish Girl's Song"), from Belshazzar's Feast

| {{sort|1906|[1906], {{abbr|trans.|transcribed}} 1907, {{abbr|rev.|revised}} 1939}}

| {{sort|JS48.2|→ JS 48/2b}}

| {{sort|Procopé|{{ill|Hjalmar Procopé (poet)|lt=H. Procopé|fi|Hjalmar Procopé (runoilija)}}}}

| {{center|{{efn|name=Belshazzar}}{{sfnm|1a1=Dahlström|1y=2003|1pp=241–242|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2pp=17, 19}}}}

|-

| {{sort|Luonnotar2|{{lang|fi|Luonnotar}}}}

| {{sort|1913|[1913], {{abbr|trans.|transcribed}} 1913}}

| {{sort|A70.2|→ Op. 70}}

| {{abbr|S|soprano}}, {{abbr|pf.|piano}}

| Kalevala, Runo I

| {{center|{{efn|name=Luonnotar}}{{sfnm|1a1=Dahlström|1y=2003|1p=307|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=14}}}}

|-

| {{sort|Autrefois3|"{{lang|fr|Autrefois|italics=no}}"}}

| {{sort|1920|[1919, {{abbr|rev.|revised}} 1920], {{abbr|arr.|arranged}} 1920}}

| {{sort|A96.5|→ Op. 96b}}

| {{abbr|S|soprano}}, {{abbr|S|soprano}}, {{abbr|pf.|piano}}

| {{sort|Procopé|{{ill|Hjalmar Procopé (poet)|lt=H. Procopé|fi|Hjalmar Procopé (runoilija)}}}}

| {{center|{{efn|name=Op.96/2}}{{sfnm|1a1=Dahlström|1y=2003|1p=411|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=17}}}}

|-

| colspan="5" style="background-color: #FFDAB9; border-style: solid none solid solid;" data-sort-value="ZZZZ1A" id=Choral_table|

| colspan="2" style="background-color: #FFDAB9; text-align:right; border-style: solid solid solid none;" data-sort-value="ZZZZ1A"|#Table of compositions

|-

| rowspan=62 style="background-color: #FFDAB9"|{{nowrap|Choral ({{em|{{abbr|a capp.|a cappella}}}})}}

| data-sort-value="Chorales for Martin" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title=[Chorales written for Martin Wegelius] (student exercises){{efn|{{em|Note}}: For display purposes, these student exercises—each of which is without catalogue number—have been combined into an artificial group.|name=Student}}

| expand=

|

| "{{lang|lt|Credo in unum Deum|italics=no}}" [versions 1–2] ("I Believe in One God")

| "{{lang|sv|Allt hvad anda hafver|italics=no}}" [versions 1–2] ("Let Every Thing that Hath Breath")

| "{{lang|lt|Gloria Deo in excelsis|italics=no}}" [versions 1–2] ("Glory Be to God on High")

| "{{lang|lt|Kyrie eleison|italics=no}}" ("Lord, Have Mercy")

| "{{lang|sv|Säll är den som fruktar Herren|italics=no}}" ("Blessed is the Man Who Feareth the Lord")

| "{{lang|sv|Morgonens och aftonens portar|italics=no}}" ("The Gates of Morning and Evening")

| "{{lang|sv|Svara mig Gud när jag ropar|italics=no}}" ("O Lord, Give Ear to My Supplications")}}|indent=1}}

| {{sort|1888|1887–1888}}

| style="background:#EFEFEF; color:#767676"|{{sort|zzz|–}}

| rowspan=8|{{abbr|chor.|mixed choir}}

| {{sort|zxz|Various}}

| {{center|{{sfnm|1a1=Barnett|1y=2007|1pp=41, 409|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=22}}}}

|-

| {{sort|Ensam i dunkla skogarnas famn|"{{lang|sv|Ensam i dunkla skogarnas famn|italics=no}}"}} ("Alone in the Dark Forest's Clasp")

| rowspan=4|{{sort|1888|1888}}

| {{sort|JS72|JS 72}}

| {{sortname|E.|von Qvanten|Emil von Qvanten}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=534|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=11}}}}

|-

| {{sort|När sig våren åter föder|"{{lang|sv|När sig våren åter föder|italics=no}}"}} ("When Spring is Born Again")

| {{sort|JS139|JS 139}}

| rowspan=3|{{sortname|J.L.|Runeberg|Johan Ludvig Runeberg}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=584|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=11}}}}

|-

| {{sort|Tanke, se hur fågeln svingar|"{{lang|sv|Tanke, se hur fågeln svingar|italics=no}}"}} ("Imagine, See How the Bird Swoops")

| {{sort|JS191|JS 191}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=624|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=11}}}}

|-

| {{sort|Hur blekt är allt|"{{lang|sv|Hur blekt är allt|italics=no}}"}} ("How Pale is All")

| {{sort|JS96|JS 96}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=551|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=11}}}}

|-

| {{sort|Ack, hör du fröken Gyllenborg|"{{lang|sv|Ack, hör du fröken Gyllenborg|italics=no}}"}} ("Ah, Do You Hear, Miss Gyllenborg"), folk ballad from Pernå

| rowspan=2|{{sort|1889|1888–1889}}

| {{sort|JS10|JS 10}}

| {{sort|yyy|Anonymous}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=498|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=11}}}}

|-

| data-sort-value="Chorales for Albert" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title=[Chorales written for Albert Becker] (student exercises){{efn|name=Student}}

| expand=

|

| "{{lang|de|Der König träumte|italics=no}}" ("The King Saw a Dream")

| "{{lang|de|Der Mensch ist in seinem Leben wie Gras|italics=no}}" ("As for Man, His Days are as Grass")

| "{{lang|de|Die Toten werden dich, Herr, nicht loben|italics=no}}" ("The Dead Praise Not the Lord")

| "{{lang|de|Die Wasser sahen dich|italics=no}}" ("The Waters Saw Thee")

| "{{lang|de|Er ist unser Herrscher|italics=no}}" [versions 1–3] ("He Is Our Sovereign")

| "{{lang|de|Gelobet sei dem Herrn|italics=no}}" ("May the Lord Be Praised")

| "Halleluja Halleluja"

| "Halleluja Amen"

| "{{lang|de|Herr Gott, mein Heiland|italics=no}}" [versions 1–4] ("O Lord God of My Salvation")

| "{{lang|de|Ich gehe hinein zum Altar des Gottes|italics=no}}" ("Then Will I Go unto the Alter of God")

| "{{lang|de|Ich will deines Namens gedenken|italics=no}}" ("I Will Make Thy Name Remembered")

| "{{lang|de|Mein Herr, ich rufe dich an|italics=no}}" [versions 1–2] ("My Lord, I Call upon You")

| "{{lang|de|[Gott] Sei mir gnädig|italics=no}}" [versions 1–2] ("Be Merciful unto Me")

| "{{lang|de|Sende dein Licht und deine Wahrheit|italics=no}}" ("O Send Out Thy Light and Thy Truth")

| "{{lang|de|Dies ist der Tag des Herren|italics=no}}" ("This is the Day which the Lord Hath Made")

| "{{lang|de|Was betrübst du dich meine Seele|italics=no}}" ("Why Art Thou Cast Down, O My Soul?")}}|indent=1}}

| style="background:#EFEFEF; color:#767676"|{{sort|zzz|–}}

| {{sort|zxz|Various}}

| {{center|{{sfnm|1a1=Barnett|1y=2007|1pp=53, 410–411|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2pp=23–25}}}}

|-

| {{sort|Työkansan marssi|"{{lang|fi|Työkansan marssi|italics=no}}"}} ("Worker's March")

| {{sort|1893|1893}}

| {{sort|JS212|JS 212}}

| {{sort|Erkko|{{ill|J. H. Erkko|lt=J.H. Erkko|fi}}}}

| {{center|{{efn|Sibelius and {{ill|J. H. Erkko|lt=J.H. Erkko|fi}} wrote the "{{lang|fi|Työkansan marssi|italics=no}}" ("Worker's March", JS 212) for the Finnish workers' movement.{{sfn|Barnett|2007|pp=83–84}}}}{{sfnm|1a1=Dahlström|1y=2003|1pp=640–641|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=12}}}}

|-

| {{sort|Venematka|"{{lang|fi|Venematka|italics=no}}"}} ("The Boat Journey")

| {{sort|1893|1893 ({{abbr|arr.|arranged for mixed choir}} 1914)}}

| {{sort|A18.3|Op. 18/3}}

| {{abbr|mchor.|male choir}} (or {{abbr|chor.|mixed choir}})

| Kalevala, Runo XL

| {{center|{{efn|These choral pieces comprise the Op. 18 Six Partsongs. Originally composed for male choir, Sibelius subsequently arranged "{{lang|fi|Sortunut ääni|italics=no}}" ("The Broken Voice"), "{{lang|fi|Venematka|italics=no}}" ("The Boat Journey"), "{{lang|fi|Saarella palaa|italics=no}}" ("Fire on the Island"), and "{{lang|fi|Sydämeni laulu|italics=no}}" ("Song of My Heart") for mixed choir.{{sfn|Barnett|2007|pp=82, 99, 120, 122, 126–127, 144, 166, 245–246}} An additional three partsongs—"{{lang|fi|Isänmaalle|italics=no}}" ("To the Fatherland", JS 98), "{{lang|fi|Veljeni vierailla mailla|italics=no}}" ("My Brothers Abroad", JS 217), and "{{lang|fi|Min rastas raataa|italics=no}}" ("Busy as a Thrush", JS 129)—are associated with Op. 18, as each was at one point numbered among Op. 18 before Sibelius demoted them from his opus list.{{sfnm|1a1=Layton|1y=1993|1pp=222–223|2a1=Dahlström|2y=2003|2pp=688–689, 692}} Sibelius wrote "{{lang|fi|Isänmaalle|italics=no}}" (JS 98a) for male choir in 1899, but revised it in 1900 while arranging it for mixed choir (JS 98c). Finally, in 1908 he arranged the revised version for male choir (JS 98b).{{sfn|Barnett|2007|pp=122, 124, 136, 166, 189}} Note: The fragment "{{lang|fi|Heitä, koski, kuohuminen|italics=no}}" ("Rapids, Cease Your Foaming") (1893, JS 94) for male choir {{em|a cappella}}, which Sibelius may have planned as a continuation of "{{lang|fi|Venematka|italics=no}}", was later completed by Erik Bergman, Jussi Jalas, and Erik Tawaststjerna.{{sfn|Barnett|2007|pp=83, 356, 411}}|name=Op.18}}{{sfnm|1a1=Dahlström|1y=2003|1pp=71–73|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2pp=3, 14}}}}

|-

| {{sort|Soitapas sorea neito|"{{lang|fi|Soitapas sorea neito|italics=no}}"}} ("Play, Pretty Maiden")

| {{sort|1894|1893–1894}}

| {{sort|JS176|JS 176}}

| {{abbr|T|tenor}}, {{abbr|chor.|mixed choir}}

| Kanteletar, Book II:238

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=608|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=12}}}}

|-

| data-sort-value="Rakastava1" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title={{lang|fi|Rakastava}} (The Lover)

| expand=

|

1. "{{lang|fi|Rakastava|italics=no}}" ("The Lover")
2. "{{lang|fi|Rakastetun tie|italics=no}}" ("The Path of the Beloved")
3. "{{lang|fi|Hyvää iltaa ... Jää hyvästi|italics=no}}" ("Good Evening ... Farewell!")|indent=1}}

| {{sort|1894|1894 ({{abbr|arr.|arranged}} 1898}})

| {{sort|JS160.1|JS 160a(c)}}

| {{abbr|T|tenor}}, {{abbr|mchor.|male choir}} (or {{abbr|S|soprano}}, {{abbr|B|baritone}}, {{abbr|chor.|mixed choir}})

| Kanteletar, Book I:173–74, 122

| {{center|{{efn|In 1894, Sibelius composed {{lang|fi|Rakastava}} (The Lover), a three-part choral suite for tenor and male choir {{em|a cappella}} (JS 160a); at this time, he also made an arrangement for tenor, male choir, and strings (JS 160b), in order to assist with the premiere performance. Later, in 1898, he made a second arrangement, this time for soprano, baritone, and mixed choir {{em|a cappella}} (JS 160c). Finally, in 1911 while visiting Paris, he orchestrated {{lang|fi|Rakastava}} for strings, timpani, and triangle as his Op. 14; a revision followed in 1912 in advance of publication. The 1911 'Paris' version, however, is extant.{{sfn|Barnett|2007|pp=89–90, 122, 216–218}}|name=Rakastava}}{{sfnm|1a1=Dahlström|1y=2003|1pp=48–49, 51–52|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2pp=3, 14}}}}

|-

| {{sort|Laulun mahti|"{{lang|fi|Laulun mahti|italics=no}}"}} ("The Power of Song"), arr. of J. Vītols's song

| {{sort|1895|1895}}

| {{sort|JS118|JS 118}}

| {{abbr|T|benor}}, {{abbr|mchor.|male choir}}

| Aukselis
{{nowrap|– J.J. Mikkola, {{abbr|trans.|translation}} (fi)}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1pp=571–572|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=6}}}}

|-

| {{sort|Saarella palaa|"{{lang|fi|Saarella palaa|italics=no}}"}} ("Fire on the Island")

| {{sort|1895|1895 ({{abbr|arr.|arranged}} 1898)}}

| {{sort|A18.4|Op. 18/4}}

| {{abbr|mchor.|male choir}} (or {{abbr|chor.|mixed choir}})

| Kanteletar, Book I:186

| {{center|{{efn|name=Op.18}}{{sfnm|1a1=Dahlström|1y=2003|1pp=73–74|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2pp=4, 14}}}}

|-

| {{sort|Juhlamarssi|"{{lang|fi|Juhlamarssi|italics=no}}"}} ("Festive March"), from the Promotional Cantata of 1894

| {{sort|1896|[1894], {{abbr|arr.|arranged}} {{c.|1896}}}}

| {{sort|JS105.2|→ JS 105}}

| {{abbr|chor.|mixed choir}}

| {{sort|Leino|{{ill|Kasimir Leino|lt=K. Leino|fi}}}}

| {{center|{{efn|name=JS 105}}{{sfnm|1a1=Dahlström|1y=2003|1p=564|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=12}}}}

|-

| {{sort|Hymne|"{{lang|sv|Hymne|italics=no}}"}} ("Hymn")

| {{sort|1896|1896, {{abbr|rev.|revised}} 1898}}

| {{sort|A21|Op. 21}}

| {{abbr|mchor.|male choir}}

| {{sort|Gustafsson|{{ill|Fridolf Gustafsson|lt=F. Gustafsson|fi}}}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1pp=82–83|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2pp=4, 27}}}}

|-

| data-sort-value="Songs for Mixed Chorus" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title=Songs for Mixed Chorus from the 1897 Promotional Cantata ({{lang|fi|Lauluja sekaköörille 1897 vuoden promotiooni kantaatista}})

| expand=

|

1. "{{lang|fi|Me nuoriso Suomen|italics=no}}" ("We the Youth of Finland")
2. "{{lang|fi|Tuuli tuudittele|italics=no}}" ("The Wind Rocks")
3. "{{lang|fi|Oi toivo, toivo, sä lietomieli|italics=no}}" ("Oh Hope, Hope, You Dreamer")
4. "{{lang|fi|Montapa elon merellä|italics=no}}" ("Many on the Sea of Life")
5. "{{lang|fi|Sammuva sainio maan|italics=no}}" ("The Fading Thoughts of the Earth")
6. (a) "{{lang|fi|Soi kiitokseksi Luojan|italics=no}}" ("We Praise Thee, Our Creator")
   (b) "{{lang|fi|Tuule, tuuli, leppeämmin|italics=no}}" ("Blow, Wind, More Gently")
7. "{{lang|fi|Oi Lempi, sun valtas ääretön on|italics=no}}" ("O Love, Your Realm is Limitless")
8. "{{lang|fi|Kun virta vuolas|italics=no}}" ("As the Swift Current")
9. "{{lang|fi|Oi kallis Suomi, äiti verraton|italics=no}}" ("O Precious Finland, Mother Beyond Compare")|indent=1}}

| {{sort|1898|[1897], {{abbr|arr.|arranged}} 1898}}

| {{sort|A23.1|Op. 23}}

| {{abbr|S|soprano}}, {{abbr|B|baritone}}, {{abbr|chor.|mixed choir}}

| {{sortname|A.V.|Koskimies|A. V. Koskimies}}

| {{center|{{efn|name=1897cantata}}{{sfnm|1a1=Dahlström|1y=2003|1pp=92–97|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=13}}}}

|-

| {{sort|Kuutamolla|"{{lang|fi|Kuutamolla|italics=no}}"}} ("In the Moonlight")

| rowspan=3|{{sort|1898|1898}}

| {{sort|JS114|JS 114}}

| {{abbr|mchor.|male choir}}

| {{sortname|A.|Kallas|Aino Kallas}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=570|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=4}}}}

|-

| data-sort-value="Carminalia1" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title=Carminalia, a setting of three school songs

| expand=

|

| "{{lang|lt|Ecce novum gaudium|italics=no}}" ("Behold a New Joy")

| "{{lang|lt|Angelus emittitur|italics=no}}" ("An Angel is Sent Out")

| "{{lang|lt|In stadio laboris|italics=no}}" ("In Athletic Strife")}}|indent=1}}

| {{sort|JS51.1|JS 51a}}

| rowspan=2|{{abbr|chor.|mixed choir}}

| Piae Cantiones

| {{center|{{efn|In 1898, Sibelius wrote Carminalia, a choral suite originally for three-part mixed choir (JS 51a). That same year, he made two arrangements: the first, for two-part female choir and organ (or harmonium) (JS 51b); and the second, for two-part female choir and piano (JS 51c).{{sfn|Barnett|2007|p=412}}|name=JS 51}}{{sfnm|1a1=Dahlström|1y=2003|1pp=518–521|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=14}}}}

|-

| {{sort|Min rastas raataa|"{{lang|fi|Min rastas raataa|italics=no}}"}} ("Busy as a Thrush")

| {{sort|JS129|JS 129}}

| Kanteletar, Book I:219

| {{center|{{efn|name=Op.18}}{{sfnm|1a1=Dahlström|1y=2003|1p=578|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=15}}}}

|-

| {{sort|Sortunut ääni|"{{lang|fi|Sortunut ääni|italics=no}}"}} ("The Broken Voice")

| {{sort|1898|1898 ({{abbr|arr.|arranged}} 1898)}}

| {{sort|A18.1|Op. 18/1}}

| {{abbr|mchor.|male choir}} (or {{abbr|chor.|mixed choir}})

| Kanteletar, Book I:57

| {{center|{{efn|name=Op.18}}{{sfnm|1a1=Dahlström|1y=2003|1pp=68–69|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2pp=3, 14}}}}

|-

| {{sort|Sydämeni laulu|"{{lang|fi|Sydämeni laulu|italics=no}}"}} ("Song of My Heart")

| {{sort|1898|1898 ({{abbr|arr.|arranged}} 1904)}}

| {{sort|A18.6|Op. 18/6}}

| {{abbr|mchor.|male choir}} (or {{abbr|chor.|mixed choir}})

| {{sortname|A.|Kivi|Aleksis Kivi}}

| {{center|{{efn|name=Op.18}}{{sfnm|1a1=Dahlström|1y=2003|1pp=76–77|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2pp=4, 14}}}}

|-

| {{sort|Aamusumussa|"{{lang|fi|Aamusumussa|italics=no}}"}} ("In the Morning Mist")

| {{sort|1898|1898 ({{abbr|arr.|arranged}} {{c.|1913}})}}

| {{sort|JS9|JS 9a(b)}}

| {{abbr|chor.|mixed choir}} (or {{abbr|fchor.|female choir}} or {{abbr|cchor.|children's choir}})

| {{sort|Erkko|{{ill|J. H. Erkko|lt=J.H. Erkko|fi}}}}

| {{center|{{efn|In 1898, Sibelius composed "{{lang|fi|Aamusumussa|italics=no}}" ("In the Morning Mist", JS 9a) for mixed choir. In 1913, he made an arrangement for female (or children's) choir (JS 9b).{{sfn|Barnett|2007|pp=112, 228}}}}{{sfnm|1a1=Dahlström|1y=2003|1pp=496–497|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2pp=16, 20}}}}

|-

| {{sort|Isänmaalle|"{{lang|fi|Isänmaalle|italics=no}}"}} ("To the Fatherland")

| {{sort|1899|1899 ({{abbr|rev. & arr.|revised & arranged for mixed choir}} 1900), {{abbr|arr.|arranged for male choir}} 1908}}

| {{sort|JS98|JS 98a/b(c)}}

| {{abbr|mchor.|male choir}} (or {{abbr|chor.|mixed choir}})

| {{sortname|P.|Cajander|Paavo Cajander}}

| {{center|{{efn|name=Op.18}}{{sfnm|1a1=Dahlström|1y=2003|1pp=553–555|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2pp=6, 15, 28}}}}

|-

| {{sort|Metsämiehen laulu|"{{lang|fi|Metsämiehen laulu|italics=no}}"}} ("The Woodsman's Song")

| {{sort|1899|1899}}

| {{sort|A18.5|Op. 18/5}}

| {{abbr|mchor.|male choir}}

| {{sortname|A.|Kivi|Aleksis Kivi}}

| {{center|{{efn|name=Op.18}}{{sfnm|1a1=Dahlström|1y=2003|1pp=74–75|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=4}}}}

|-

| {{sort|Terve, kuu|"{{lang|fi|Terve, kuu|italics=no}}"}} ("Hail Moon")

| {{sort|1901|1901}}

| {{sort|A18.2|Op. 18/2}}

| {{abbr|mchor.|male choir}}

| Kalevala, Runo XLIX

| {{center|{{efn|name=Op.18}}{{sfnm|1a1=Dahlström|1y=2003|1pp=70–71|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=3}}}}

|-

| {{sort|Kotikaipaus|"{{lang|fi|Kotikaipaus|italics=no}}"}} ("Homesickness")

| rowspan=3|{{sort|1902|1902}}

| {{sort|JS111|JS 111}}

| 3 female voices

| {{sortname|W.|von Konow|nolink=1}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=568|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=19}}}}

|-

| {{sort|Den 25 oktober 1902a|"{{lang|sv|Den 25 oktober 1902. Till Thérèse Hahl|italics=no}}"}} ("... To Thérèse Hahl") [Version I]

| {{sort|JS60|JS 60}}

| rowspan=2|{{abbr|chor.|mixed choir}}

| rowspan=2|{{sort|Wasastjerna|{{ill|Nils Wasastjerna|lt=N. Wasastjerna|fi|Nils Wasastjerna}}}}

| {{center|{{efn|Sibelius composed "{{lang|sv|Den 25 oktober 1902. Till Thérèse Hahl|italics=no}}" (JS 60) for the 60th birthday of the Finnish choral singer {{ill|Thérèse Hahl|fi|Therèse Hahl}}. Presumably to modify the disgruntled poet {{ill|Nils Wasastjerna|fi}}, who had disliked the setting, Sibelius undertook a second attempt (JS 61). The two versions do not share thematic material and, as such, are treated as separate works.{{sfn|Barnett|2007|p=152}}|name=JS 60/61}}{{sfnm|1a1=Dahlström|1y=2003|1pp=526–527|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=16}}}}

|-

| {{sort|Den 25 oktober 1902b|"{{lang|sv|Den 25 oktober 1902. Till Thérèse Hahl|italics=no}}"}} ("... To Thérèse Hahl") [Version II]

| {{sort|JS61|JS 61}}

| {{center|{{efn|name=JS 60/61}}{{sfnm|1a1=Dahlström|1y=2003|1p=527|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=16}}}}

|-

| {{sort|Have Your Courage0|"{{lang|sv|Har du mod?|italics=no}}" ("Have You Courage?")}}

| {{sort|1904|1903–1904}}

| {{sort|JS93|JS 93}}

| rowspan=2|{{abbr|mchor.|male choir}}

| {{sortname|J.J.|Wecksell|Josef Julius Wecksell}}

| {{center|{{efn|name=Op.31/2}}{{sfnm|1a1=Dahlström|1y=2003|1pp=549–550|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=6}}}}

|-

| {{sort|Veljeni vierailla mailla|"{{lang|fi|Veljeni vierailla mailla|italics=no}}"}} ("My Brothers Abroad")

| {{sort|1904|1904}}

| {{sort|JS217|JS 217}}

| {{sortname|J.|Aho|Juhani Aho}}

| {{center|{{efn|name=Op.18}}{{sfnm|1a1=Dahlström|1y=2003|1p=645|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=6}}}}

|-

| {{sort|Ej med klagan|"{{lang|sv|Ej med klagan|italics=no}}"}} ("Not with Lamentation")

| {{sort|1905|1905}}

| {{sort|JS69|JS 69}}

| {{abbr|chor.|mixed choir}} (or {{abbr|mchor.|male choir}})

| {{sortname|J.L.|Runeberg|Johan Ludwig Runeberg}}

| {{center|{{efn|Sibelius composed the choral song "{{lang|sv|Ej med klagan|italics=no}}" ("Not with Lamentation", JS 69) for the 24 August 1905 funeral of the Finnish painter Albert Edelfelt. It is possible that he reused themes from the abandoned Marjatta oratorio.{{sfn|Barnett|2007|p=171}}}}{{sfnm|1a1=Dahlström|1y=2003|1pp=532–533|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2pp=6, 16, 29}}}}

|-

| {{sort|Kansakoululaisten marssi|"{{lang|fi|Kansakoululaisten marssi|italics=no}}"}} ("March of the Primary School Children")

| {{sort|1910|1910}}

| {{sort|JS103|JS 103}}

| {{abbr|chor.|mixed choir}}

| {{sortname|O.|Pekka|nolink=1}}

| {{center|{{efn|Sibelius composed the short choral song "{{lang|fi|Kansakoululaisten marssi|italics=no}}" ("March of the Primary School Children", JS 103) to commemorate the centennial of Uno Cygnaeus, father of the Finnish public school system.{{sfn|Barnett|2007|p=207}}}}{{sfnm|1a1=Dahlström|1y=2003|1p=560|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=19}}}}

|-

| {{sort|Kantat|"{{lang|sv|Kantat|italics=no}}"}} ("Cantata")

| rowspan=2|{{sort|1911|1911}}

| {{sort|JS107|JS 107}}

| {{abbr|fchor.|female choir}}

| {{sortname|W.|von Konow|nolink=1}}

| {{center|{{efn|Sibelius composed the choral song "{{lang|sv|Kantat|italics=no}}" ("Cantata") to commemorate the fiftieth anniversary of {{ill|Heurlinska skolan|lt=the girls' school|fi|Heurlinska skolan}} in Turku at which his childhood friend Walter von Konow—the text's author—had taught history {{c.|1900}}.{{sfn|Barnett|2007|p=214}}}}{{sfnm|1a1=Dahlström|1y=2003|1p=565|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=19}}}}

|-

| {{sort|Män från slätten och havet|"{{lang|sv|Män från slätten och havet|italics=no}}"}} ("Men from Land and Sea")

| {{sort|A65.1|Op. 65a}}

| {{abbr|chor.|mixed choir}}

| {{sort|Knape|{{ill|Ernst V. Knape|lt=E. Knape|fi}}}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1pp=293–294|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=16}}}}

|-

| {{sort|Bells of Kallio Church3|"{{lang|fi|Kallion kirkon kellosävel|italics=no}}"}} ("The Bells of Kallio Church")

| {{sort|1912|[1912], {{abbr|arr.|arranged}} 1912}}

| {{sort|A65.4|Op. 65b}}

| {{abbr|chor.|mixed choir}}

| {{sort|Klemetti|{{ill|Heikki Klemetti|lt=H. Klemetti|fi}}}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1pp=295–296|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=16}}}}

|-

| {{sort|Uusmaalaisten laulu|"{{lang|fi|Uusmaalaisten laulu|italics=no}}"}} ("Song of the People of Uusimaa")

| {{sort|1912|1912}}

| {{sort|JS214|JS 214a(b)}}

| {{abbr|chor.|mixed choir}} (or {{abbr|mchor.|male choir}})

| {{sort|Terhi|{{ill|Kaarlo Terhi|lt=K. Terhi|fi}}}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=642–643|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2pp=7, 17}}}}

|-

| {{sort|Soi kiitokseksi Luojan|"{{lang|fi|Soi kiitokseksi Luojan|italics=no}}"}} ("We Praise Thee, Our Creator"), from the Songs for Mixed Chorus from the 1897 Promotional Cantata

| {{sort|1913|[1897], {{abbr|arr.|arranged}} 1913}}

| {{sort|A23.2|→ Op. 23/6a}}

| rowspan=3|{{abbr|fchor.|female choir}} (or {{abbr|cchor.|children's choir}})

| {{sortname|A.V.|Koskimies|A. V. Koskimies}}

| {{center|{{efn|name=1897cantata}}{{sfnm|1a1=Dahlström|1y=2003|1pp=97–98|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=20}}}}

|-

| {{sort|Terve ruhtinatar|"{{lang|fi|Terve ruhtinatar|italics=no}}"}} ("Hail Princess"), from the Cantata for the Coronation of Nicholas II

| {{sort|1913|[1896], {{abbr|arr.|arranged}} {{c.|1913}}}}

| {{sort|JS104.3|→ JS 104}}

| {{sortname|P.|Cajander|Paavo Cajander}}

| {{center|{{efn|name=Coronation}}{{sfnm|1a1=Dahlström|1y=2003|1p=562|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=20}}}}

|-

| {{sort|Nejden andas|"{{lang|fi|Nejden andas|italics=no}}"}} ("The Landscape Breathes"), from The Breaking of the Ice on the Oulu River

| {{sort|1913|[1899], {{abbr|arr.|arranged}} {{c.|1913}}}}

| {{sort|A30.2|→ Op. 30}}

| {{sortname|Z.|Topelius|Zachris Topelius}}

| {{center|{{efn|name=Islossningen}}{{sfnm|1a1=Dahlström|1y=2003|1p=134|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2pp=20, 29}}}}

|-

| {{sort|Sun upon the Lake is Low|"The Sun upon the Lake is Low"}}

| {{sort|1913|1913}}

| {{sort|JS199.2|JS 199/2}}

| {{abbr|chor.|mixed choir}}

| {{sortname|W.|Scott|Sir Walter Scott}}

| {{center|{{efn|name=AmericanSchools}}{{sfnm|1a1=Dahlström|1y=2003|1p=629|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=17}}}}

|-

| {{sort|Herr Lager och Skön fager|"{{lang|sv|Herr Lager och Skön fager|italics=no}}"}} ("Mr. Lager and the Fair One")

| {{sort|1914|1914}}

| {{sort|A84.1|Op. 84/1}}

| rowspan=2|{{abbr|mchor.|male choir}}

| {{sortname|G.|Fröding|Gustaf Fröding}}

| {{center|{{efn|name=Op.84}}{{sfnm|1a1=Dahlström|1y=2003|1p=364|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=7}}}}

|-

| {{sort|På berget|"{{lang|sv|På berget|italics=no}}"}} ("On the Mountain")

| rowspan=3|{{sort|1915|1915}}

| {{sort|A84.2|Op. 84/2}}

| rowspan=2|{{sortname|B.|Gripenberg|Bertel Gripenberg}}

| {{center|{{efn|From 1914–1917, Sibelius composed the Op. 84 Five Songs for male choir {{em|a cappella}}. Nos. 1–4 were commissioned by the vocal choir {{lang|fi|Muntra Musikanter|italics=no}}. The remaining song, "{{lang|sv|Till havs|italics=no}}" ("To Sea"), was written in 1917 for {{lang|sv|Akademiska sångföreningen|italics=no}}; that same year, he made minor revisions. The first version is extant.{{sfn|Barnett|2007|pp=244, 248–249, 252–254, 268}}|name=Op.84}}{{sfnm|1a1=Dahlström|1y=2003|1p=365|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=7}}}}

|-

| {{sort|Evige Eros|"{{lang|sv|Evige Eros|italics=no}}"}} ("Eternal Eros")

| {{sort|A84.4|Op. 84/4}}

| {{abbr|B|baritone}}, {{abbr|mchor.|male choir}}

| {{center|{{efn|name=Op.84}}{{sfnm|1a1=Dahlström|1y=2003|1p=366|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=8}}}}

|-

| {{sort|Ett drömackord|"{{lang|sv|Ett drömackord|italics=no}}"}} ("A Dream Chord")

| {{sort|A84.3|Op. 84/3}}

| rowspan=2|{{abbr|mchor.|male choir}}

| {{sortname|G.|Fröding|Gustaf Fröding}}

| {{center|{{efn|name=Op.84}}{{sfnm|1a1=Dahlström|1y=2003|1pp=365–366|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=7}}}}

|-

| {{sort|Till havs|"{{lang|sv|Till havs|italics=no}}"}} ("To Sea")

| {{sort|1917|1917, {{abbr|rev.|revised}} 1917}}

| {{sort|A84.5|Op. 84/5}}

| rowspan=2|{{sort|Reuter|{{ill|Jonatan Reuter|lt=J. Reuter|fi}}}}

| {{center|{{efn|name=Op.84}}{{sfnm|1a1=Dahlström|1y=2003|1p=367|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2pp=8, 29}}}}

|-

| {{sort|Drömmarna|"{{lang|sv|Drömmarna|italics=no}}"}} ("The Dreams")

| rowspan=2|{{sort|1917|1917}}

| {{sort|JS64|JS 64}}

| {{abbr|chor.|mixed choir}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1pp=529–530|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=17}}}}

|-

| {{sort|Fridolins dårskap|"{{lang|sv|Fridolins dårskap|italics=no}}"}} ("Fridolin's Folly")

| {{sort|JS84|JS 84}}

| {{abbr|mchor.|male choir}}

| {{sort|Karlfeldt|E.A. Karlfeldt}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1pp=544–545|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=8}}}}

|-

| {{sort|Ute hörs stormen|"{{lang|sv|Ute hörs stormen|italics=no}}"}} ("Outside the Storm is Raging")

| rowspan=3|{{sort|1918|1918}}

| {{sort|JS224.1|JS 224/1}}

| rowspan=4|{{abbr|mchor.|male choir}}

| rowspan=2|{{sort|Schybergson|{{ill|Gösta Schybergson|lt=G. Schybergson|fi}}}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=649|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=8}}}}

|-

| {{sort|Brusande rusar en våg|"{{lang|sv|Brusande rusar en våg|italics=no}}"}} ("The Roaring of a Wave")

| {{sort|JS224.2|JS 224/2}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1pp=649–650|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=8}}}}

|-

| {{sort|Jone havsfärd|"{{lang|sv|Jone havsfärd|italics=no}}"}} ("Jonah's Voyage")

| {{sort|JS100|JS 100}}

| {{sort|Karlfeldt|E.A. Karlfeldt}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=556|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=8}}}}

|-

| {{sort|Viipurin Laulu-Veikkojen kunniamarssi|"{{lang|fi|Viipurin Laulu-Veikkojen kunniamarssi|italics=no}}"}} ("Honor March of the Singing Brothers of Viipuri") [Version I]

| {{sort|1920|1920}}

| {{sort|JS219|JS 219}}

| {{sort|Eerola|{{ill|Eero Eerola|lt=E. Eerola|fi}}}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1pp=646–647|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=9}}}}

|-

| {{sort|Likhet|"{{lang|sv|Likhet|italics=no}}"}} ("Resemblance")

| {{sort|1922|1922}}

| {{sort|JS121|JS 121}}

| {{abbr|mchor.|male choir}}

| {{sortname|J.L.|Runeberg|Johan Ludwig Runeberg}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=573|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=8}}}}

|-

| {{sort|Koulutie|"{{lang|fi|Koulutie|italics=no}}"}} ("The Way to School")

| {{sort|1924|1924}}

| {{sort|JS112|JS 112}}

| {{abbr|chor.|mixed choir}}

| {{sortname|V.A.|Koskenniemi|Veikko Antero Koskenniemi}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=569|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=17}}}}

|-

| {{sort|Humoreski|"{{lang|fi|Humoreski|italics=no}}"}} ("Humoresque")

| rowspan=3|{{sort|1925|1925}}

| {{sort|A108.1|Op. 108/1}}

| rowspan=2|{{abbr|mchor.|male choir}}

| rowspan=2|{{sortname||Larin-Kyösti}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1pp=444–445|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=9}}}}

|-

| {{sort|Ne pitkän matkan kulkijat|"{{lang|fi|Ne pitkän matkan kulkijat|italics=no}}"}} ("Wanderers on the Long Way")

| {{sort|A108.2|Op. 108/2}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1pp=444–445|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=9}}}}

|-

| {{sort|Skolsång|"{{lang|sv|Skolsång|italics=no}}"}} ("School Song")

| {{sort|JS172|JS 172}}

| rowspan=2|{{abbr|chor.|mixed choir}}

| {{sort|Runeberg|{{ill|Nino Runeberg|lt=N. Runeberg|fi}}}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=606|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=18}}}}

|-

| {{sort|Den höga himlen|"{{lang|sv|Den höga himlen|italics=no}}"}} ("The Lofty Heaven")

| {{sort|1927|1927}}

| {{sort|JS58.1|JS 58a}}

| {{sort|Korpela|{{ill|Simo Korpela|lt=S. Korpela|fi}}}}
{{nowrap|– {{ill|Jacob Tegengren|lt=J. Tegengren|fi}}, {{abbr|trans.|translation}} (sv)}}

| {{center|{{efn|In 1927, Sibelius composed "{{lang|sv|Den höga himlen|italics=no}}" ("The Lofty Heaven"; JS 58a) for the revised edition of the Swedish-language Finnish hymn book. The song can also be sung in Finnish as "{{lang|fi|Suur' olet Herra|italics=no}}" (indeed, {{ill|Simo Korpela|lt=Simo Korpela's|fi}} poem is originally in Finnish). In 1945, Sibelius arranged the Finnish original for male vocal quartet with organ accompaniment (JS 58b).{{sfn|Barnett|2007|pp=326, 345}}|name=JS 58}}{{sfnm|1a1=Dahlström|1y=2003|1p=524|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=18}}}}

|-

| {{sort|Siltavahti|"{{lang|fi|Siltavahti|italics=no}}"}} ("The Guardian of the Bridge")

| {{sort|1928|1928}}

| {{sort|JS170.1|JS 170a}}

| {{abbr|mchor.|male choir}}

| {{sort|Sola|{{ill|Wäinö Sola|lt=W. Sola|fi}}}}

| {{center|{{efn|name=JS 170}}{{sfnm|Dahlström|2003|1p=604|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=10}}}}

|-

| {{sort|On lapsonen syntynyt meille|"{{lang|fi|On lapsonen syntynyt meille|italics=no}}"}} ("A Child is Born to Us")

| rowspan=2|{{sort|1929|1929}}

| {{sort|JS142|JS 142}}

| {{abbr|chor.|mixed choir}}

| {{sort|Jaakkola|{{ill|August Verner Jaakkola|lt=A.V. Jaakkola|fi}}}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=586|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=18}}}}

|-

| {{sort|Viipurin Laulu-Veikkojen kunniamarssi|"{{lang|fi|Viipurin Laulu-Veikkojen kunniamarssi|italics=no}}"}} ("Honor March of the Singing Brothers of Viipuri") [Version II]

| {{sort|JS220|JS 220}}

| {{abbr|mchor.|male choir}}

| {{sort|Eerola|{{ill|Eero Eerola|lt=E. Eerola|fi}}}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=647|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=9}}}}

|-

| {{sort|Giv mig ej glans, ej guld, ej prakt2|"{{lang|sv|Giv mig ej glans, ej guld, ej prakt|italics=no}}"}} ("Give Me No Splendor, Gold or Pomp")

| {{sort|1935|[1909], {{abbr|arr.|arranged}} 1935}} ({{abbr|arr.|arranged}} 1942)

| {{sort|A1.5|→ Op. 1/4}}

| {{abbr|mchor.|male choir}} (or {{abbr|S|soprano}}, {{abbr|fchor.|female choir}})

| {{sortname|Z.|Topelius|Zachris Topelius}}

| {{center|{{efn|name=Op.1}}{{sfnm|1a1=Dahlström|1y=2003|1p=|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2pp=10, 30}}}}

|-

| {{sort|Finlandia-hymnin|"{{lang|fi|Finlandia-hymnin|italics=no}}"}} ("Finlandia Hymn"), from Finlandia

| {{sort|1938|[1899], {{abbr|arr.|arranged}} 1938 & 1940 ({{abbr|arr.|arranged}} 1948)}}

| {{sort|A26.2|→ Op. 26}}

| {{abbr|mchor.|male choir}} (or {{abbr|chor.|mixed choir}})

| {{sort|Sola|{{ill|Wäinö Sola|lt=W. Sola|fi}}}} (1938)
V.A. Koskenniemi (1940)

| {{center|{{efn|Sibelius first arranged "{{lang|fi|Finlandia-hymnin|italics=no}}" ("Finlandia Hymn") in 1938 for male choir to words by Sola. In 1940, he substituted Koskenniemi's text for Sola's and made two arrangements for mixed choir: in F major and A-flat major.{{sfn|Barnett|2007|p=416}}}}{{sfnm|1a1=Dahlström|1y=2003|1pp=115–121|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2pp=10, 18, 30}}}}

|-

| rowspan=20 style="background-color: #FFDAB9"|{{nowrap|Choral ({{abbr|accmp.|with accompaniment}})}}

| {{sort|Oje Carulì|"{{lang|it|Oje Carulì|italics=no}}"}} ("Oh Caroline"), {{abbr|arr.|arrangement}} of a song by M.P. Costa

| rowspan=2|{{nowrap|{{sort|1888|1887–1888}} (partially survives)}}

| {{sort|JS99.1|JS 99/1}}

| {{abbr|B|baritone}}, {{abbr|chor.|mixed choir}}, {{abbr|pf.|piano}}

| {{sortname|S.|di Giacomo|Salvatore di Giacomo}}

| rowspan=2|{{center|{{efn|These songs comprise the JS 99 Two Italian Folk Songs, which Sibelius arranged sometime between 1887 and 1888. Only the parts for mixed choir, however, are extant; as such, BIS's world premiere recording made use of existing (that is, non-Sibelius) piano parts, as well as—for No. 1—the solo part for baritone.{{sfn|Barnett|2007|p=}}}}{{sfnm|1a1=Dahlström|1y=2003|1p=555|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=12}}}}

|-

| {{sort|Trippole trappole|"{{lang|it|Trippole trappole|italics=no}}"}}, {{abbr|arr.|arrangement}} of a Spanish folk song adapted by G.L. Cottrau

| {{sort|JS99.2|JS 99/2}}

| rowspan=3|{{abbr|chor.|mixed choir}}, {{abbr|pf.|piano}}

| {{sort|Traditional|Traditional}}

|-

| {{sort|Upp genom luften|"{{lang|sv|Upp genom luften|italics=no}}"}} ("Up through the Air")

| {{sort|1888|1888}}

| {{sort|JS213|JS 213}}

| {{sort|P.D.|Atterbom|Per Daniel Atterbom}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=641|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=11}}}}

|-

| {{sort|Vi kysser du fader min fästmö här?|"{{lang|sv|Vi kysser du fader min fästmö här?|italics=no}}"}} ("Why, O Father, Do You Kiss My Bride?")

| {{sort|1890|1889–1890}}

| {{sort|JS218|JS 218}}

| {{sortname|J.L.|Runeberg|Johan Ludvig Runeberg}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=646|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=18}}}}

|-

| data-sort-value="Carminalia2" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title=Carminalia, a setting of three school songs

| expand=

|

| "{{lang|lt|Ecce novum gaudium|italics=no}}" ("Behold a New Joy")

| "{{lang|lt|Angelus emittitur|italics=no}}" ("An Angel is Sent Out")

| "{{lang|lt|In stadio laboris|italics=no}}" ("In Athletic Strife")}}|indent=1}}

| {{sort|1898|[1898]}}, {{abbr|arr.|arranged}} 1898

| {{sort|JS51.2|JS 51b(c)}}

| {{abbr|fchor.|female choir}}, organ or {{abbr|harm.|harmonium}} (or piano)

| Piae Cantiones

| {{center|{{efn|name=JS 51}}{{sfnm|1a1=Dahlström|1y=2003|1pp=518–521|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2pp=19, 27}}}}

|-

| {{sort|Origin of Fire|The Origin of Fire}} ({{lang|fi|Tulen synty}})

| {{sort|1910|[1902, {{abbr|rev.|revised}} 1910], {{abbr|arr.|arranged}} 1910}}

| {{sort|A32.2|→ Op. 32}}

| {{abbr|B|baritone}}, {{abbr|mchor.|male choir}}, {{abbr|pf.|piano}}

| Kalevala, Runo XLVII

| {{center|{{efn|name=Tulen synty}}{{sfnm|1a1=Dahlström|1y=2003|1pp=144–145|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=7}}}}

|-

| Impromptu

| {{sort|1910|[1902, {{abbr|rev.|revised}} 1910], {{abbr|arr.|arranged}} 1910}}

| {{sort|A19.2|Op. 19}}

| {{abbr|fchor.|female}}, {{abbr|pf.|piano}}

| {{sortname|V.|Rydberg|Viktor Rydberg}}

| {{center|{{efn|name=Op. 19}}{{sfnm|1a1=Dahlström|1y=2003|1p=80|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2pp=19, 28}}}}

|-

| {{sort|Have Your Courage2|"{{lang|sv|Har du mod?|italics=no}}" ("Have You Courage?")}}

| {{sort|1904|[1904], {{abbr|arr.|arranged}} 1904, {{abbr|rev.|revised}} & {{abbr|arr.|arragned}} 1911}}

| {{sort|A31.3|→ Op. 31/2}}

| rowspan=2|{{abbr|mchor.|male choir}}, {{abbr|pf.|piano}}

| {{sortname|J.J.|Wecksell|Josef Julius Wecksell}}

| {{center|{{efn|name=Op.31/2}}{{sfnm|1a1=Dahlström|1y=2003|1pp=136–138|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2pp=7, 28}}}}

|-

| {{sort|Cavalry Catch|"A Cavalry Catch"}}

| {{sort|1913|1913}}

| {{sort|JS199.3|JS 199/3}}

| {{sortname|F.|MacLeod|Fiona MacLeod}}

| {{center|{{efn|In 1913, at the request of Horatio Parker, Sibelius wrote three short pieces—"Autumn Song", "The Sun upon the Lake is Low", and "A Cavalry Catch"—for The Progressive Music Series of songbooks. Collectively, these three pieces are called the Three Songs for American Schools (JS 199).

{{sfn|Barnett|2007|p=232}}|name=AmericanSchools}}{{sfnm|1a1=Dahlström|1y=2003|1p=629|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=17}}}}

|-

| {{sort|Jäger March1|"{{lang|fi|Jääkärien marssi|italics=no}}" ("Jäger March")}}

| {{sort|1917|1917}}

| {{sort|A91.11|Op. 91a}}

| {{abbr|mchor.|male choir}}, {{abbr|pf.|piano}}

| {{sortname|H.|Nurmio|Heikki Nurmio}}

| {{center|{{efn|name=Jäger}}{{sfnm|1a1=Dahlström|1y=2003|1pp=393–395|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=9}}}}

|-

| {{sort|Scout March3|"{{lang|fi|Partiolaisten marssi|italics=no}}" ("Scout March")}}

| {{sort|1918|[1918, {{abbr|arr.|arranged}} 1918], {{abbr|arr.|arranged}} 1921}}

| {{sort|A91.23|→ Op. 91b}}

| {{abbr|chor.|mixed choir}}, {{abbr|pf.|piano}}

| {{sort|Finne|{{ill|Jalmari Finne|lt=J. Finne|fi}}}}

| {{center|{{efn|name=Scout}}{{sfnm|1a1=Dahlström|1y=2003|1pp=396–398|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=17}}}}

|-

| {{sort|Skyddskårsmarsch|"{{lang|sv|Skyddskårsmarsch|italics=no}}"}} ("Skyddskår's March")

| rowspan=4|{{sort|1925|1925}}

| {{sort|JS173|JS 173}}

| {{abbr|mchor.|male choir}}, {{abbr|pf.|piano}} ({{em|ad lib.}})

| {{sort|Runeberg|{{ill|Nino Runeberg|lt=N. Runeberg|fi}}}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1pp=606–607|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=9}}}}

|-

| {{sort|Palmusunnuntaina|"{{lang|fi|Palmusunnuntaina|italics=no}}"}} ("On Palm Sunday")

| {{sort|JS110.1|JS 110/1}}

| rowspan=3|{{abbr|B|baritone}}, {{abbr|chor.|mixed choir}}, organ

| {{nowrap|Psalms 23, 111, 42}}

| {{center|{{efn|In 1925, Sibelius composed four short vocal pieces for the Finnish choral conductor {{ill|Heikki Klemetti|fi}}, who commissioned them for a volume of liturgical studies titled {{lang|fi|Suomen evankelisluterilaisen kirkon Messusävelmät}} (Mass Songs for the Evangelical Lutheran Church of Finland). The first piece, "{{lang|fi|Herran siunaus|italics=no}}" ("The Lord's Blessing", JS 95), is a song for organ with a liturgist's text written over the music; this is to be sung by a baritone. For the remaining three pieces (JS 110/1–3), the baritone soloist and mixed choir serve, respectively, as the liturgist and the congregation. The JS 110 choral songs are known collectively as the Three Introductory Antiphons ({{lang|fi|Kolme johdantovuorolaulua}}).{{sfn|Barnett|2007|p=313}}|name=JS 95/110}}{{sfnm|1a1=Dahlström|1y=2003|1pp=567–568|2a1={{nowrap|SibEd., v. 13}}|2y=2011|2p=3}}}}

|-

| {{sort|Pyhainpaivana tai hautajaisjumalanpalveluksissa|"{{lang|fi|Pyhainpaivana tai hautajaisjumalanpalveluksissa|italics=no}}"}} ("On All Saints' Day")

| {{sort|JS110.2|JS 110/2}}

| Revelation 14, Psalm 126

| {{center|{{efn|name=JS 95/110}}{{sfnm|1a1=Dahlström|1y=2003|1pp=567–568|2a1={{nowrap|SibEd., v. 13}}|2y=2011|2p=3}}}}

|-

| {{sort|Kristillisissa nuorisojuhlissa|"{{lang|fi|Kristillisissa nuorisojuhlissa|italics=no}}"}} ("For Christian Youth Ceremonies")

| {{sort|JS110.3|JS 110/3}}

| Ecclesiastes 12, {{lang|lt|Gloria Patri}}

| {{center|{{efn|name=JS 95/110}}{{sfnm|1a1=Dahlström|1y=2003|1pp=567–568|2a1={{nowrap|SibEd., v. 13}}|2y=2011|2p=3}}}}

|-

| {{sort|Karjalan osa|"{{lang|fi|Karjalan osa|italics=no}}"}} ("Karelia's Fate")

| {{sort|1930|1930}}

| {{sort|JS108|JS 108}}

| {{abbr|mchor.|male choir}}, {{abbr|pf.|piano}}

| {{sort|Nurminen|{{ill|Aleksi Nurminen|lt=A. Nurminen|fi}}}}

| {{center|{{efn|In 1930, Sibelius composed "{{lang|fi|Karjalan osa|italics=no}}" ("Karelia's Fate", JS 108) as an anthem for the newly-founded anti-Communist league, the Lapua Movement.{{sfn|Barnett|2007|p=333}}}}{{sfnm|1a1=Dahlström|1y=2003|1pp=565–566|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=10}}}}

|-

| {{sort|Scout March4|"{{lang|fi|Partiolaisten marssi|italics=no}}" ("Scout March")}} [a.k.a. "The World Song of the World Association of Girl Scouts and Girl Guides"]

| {{sort|1918|[1918, {{abbr|arr.|arranged}} 1918], {{abbr|arr.|arranged}} 1952}}

| {{sort|A91.24|→ Op. 91b}}

| {{abbr|fchor.|female choir}}, {{abbr|pf.|piano}}

| {{sortname|G.|Ewart|Gavin Ewart}}

| {{center|{{efn|name=Scout}}{{sfnm|1a1=Dahlström|1y=2003|1pp=396–398|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=21}}}}

|-

| {{sort|Giv mig ej glans, ej guld, ej prakt2|"{{lang|sv|Giv mig ej glans, ej guld, ej prakt|italics=no}}"}} ("Give Me No Splendor, Gold or Pomp")

| {{sort|1954|[1909], {{abbr|arr.|arranged}} 1954}}

| {{sort|A1.6|→ Op. 1/4}}

| {{abbr|cchor.|children's choir}}, organ

| {{sortname|Z.|Topelius|Zachris Topelius}}

| {{center|{{efn|name=Op.1}}{{sfnm|1a1=Dahlström|1y=2003|1p=}}}}

|-

| data-sort-value="Masonic" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title=Masonic Ritual Music ({{lang|fi|Vapaamuurareiden rituaalimusiikkia}})

| expand=

|

1. Opening Hymn ({{lang|fi|Avaushymni|italics=no}})
2. Adjusting the alter: ({{lang|fi|Alttarin valmistus|italics=no}}). "{{lang|fi|Suloinen aate|italics=no}}" ("Thoughts Be Our Comfort")
3. Procession and hymn ({{lang|fi|Kulkue ja hymni|italics=no}}) I. "{{lang|fi|Näätkö, kuinka hennon yrtin|italics=no}}" ("Though Young Leaves Be Green")
4. Hymn of Praise ({{lang|fi|Ylistyshymni|italics=no}}). "{{lang|fi|Kaikkialla kaikukoon, kunnias sun kuulukoon|italics=no}}" ("Praise Thy Holy Name on High")
5. Procession and hymn ({{lang|fi|Kulkue ja hymni|italics=no}}) II. "{{lang|fi|Kellä kaipuu rinnassansa|italics=no}}" ("Whosoever Hath a Love")
6. Ode to Fraternity ({{lang|fi|Veljesvirsi|italics=no}}). "{{lang|fi|Kaunist' on, kun veljet viihtyy|italics=no}}" ("Good and Pleasant, O Ye Brethren")
7. Procession and hymn ({{lang|fi|Kulkue ja hymni|italics=no}}) III. "{{lang|fi|Ken kyynelin ei milloinkaan|italics=no}}" ("Who Ne'er Hath Blent His Bread with Tears")
8. {{lang|fr|Marche funèbre|italics=no}} ({{lang|fi|Surumarssi|italics=no}})
9. Salem. "{{lang|fi|Kulje, kansa|italics=no}}" ("Onward, Ye Brethren")
10. Ode. "{{lang|fi|Suur' olet, Herra|italics=no}}" ("You are Mighty, O Lord") ["The Lofty Heaven", JS 58a]
11. "{{lang|fi|On kaunis maa, elo kaunis on|italics=no}}" ("How Fair are Earth and Living")
12. "{{lang|fi|Finlandia-hymnin|italics=no}}" ("Finlandia Hymn") [from Op. 26]|indent=1}}

| {{sort|1927|1927, {{abbr|rev.|revised}} 1936, 1946, & 1948}}

| {{sort|A113.1|Op. 113}}

| {{abbr|T|tenor}}, {{abbr|mchor.|male choir}}, organ (or {{abbr|harm.|harmonium}})

| {{sort|zxz|Various}}

| {{center|{{efn|name=Op. 113}}{{sfnm|1a1=Dahlström|1y=2003|1p=473–483|2a1={{nowrap|SibEd., v. 13}}|2y=2011|2pp=4–5, 11–12}}}}

|-

| {{sort|Suur' olet Herra|"{{lang|fi|Suur' olet Herra|italics=no}}"}} ("The Lofty Heaven")

| {{sort|1945|[1927], {{abbr|arr.|arranged}} 1945}}

| {{sort|JS58.2|JS 58b}}

| {{abbr|mchor|male choir}}, organ

| {{sort|Korpela|{{ill|Simo Korpela|lt=S. Korpela|fi}}}}
{{nowrap|– {{ill|Jacob Tegengren|lt=J. Tegengren|fi}}, {{abbr|trans.|translation}} (sv)}}

| {{center|{{efn|name=JS 58}}{{sfnm|1a1=Dahlström|1y=2003|1p=525}}}}

|-

| colspan="5" style="background-color: #F0FFF0; border-style: solid none solid solid;" data-sort-value="ZZZZ1A" id=Fragment_table|

| colspan="2" style="background-color: #F0FFF0; text-align:right; border-style: solid solid solid none;" data-sort-value="ZZZZ1A"|#Table of compositions

|-

| rowspan=2 style="background-color: #F0FFF0|{{abbr|Orch.|Orchestral}} ({{abbr|frag.|fragment}})

| {{sort|Lunnotar0|[{{lang|fi|Luonnotar|italics=no}}]}}, predecessor to Pohjola's Daughter

| {{nowrap|{{sort|1905|1903}}–1905

| style="background:#EFEFEF; color:#767676"|{{sort|z|HUL 0163}}

| rowspan=2|{{nowrap|{{abbr|orch.|orchestra}}}}

| rowspan=2 style="background:#EFEFEF; color:#767676"|{{sort|zzz|–}}

| {{center|{{efn|name=Luonnotar}}{{sfn|{{nowrap|SibEd., v. 13}}|2011|p=6}}}}

|-

| data-sort-value="Suite Orchestra" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title=[Suite for Orchestra], predecessor to The Oceanides

| expand=

|

1. Tempo moderato{{spaced ndash}}
2. Allegro|indent=1}}

| {{nowrap|{{sort|1914|1913}}–1914

| style="background:#EFEFEF; color:#767676"|{{sort|zzz|–}}

| {{center|{{efn|name=Oceanides}}{{sfn|{{nowrap|SibEd., v. 8}}|2009|p=8}}}}

|-

| rowspan=3 style="background-color: #F0FFF0|Chamber ({{abr|frag.|fragment}})

| {{sort|Den lilla sjöjungfrun|{{lang|sv|Den lilla sjöjungfrun}}}} (The Little Mermaid)

| {{nowrap|{{sort|1888|1887–1888}} (abandoned, partially survives)}}

| {{sort|JS59|JS 59}}

| {{nowrap|{{abbr|Nar.|narrator}}, 2 {{abbr|vl.|violin}}, {{abbr|va.|viola}}, {{abbr|vc.|cello}} (probable)}}

| {{sortname|H.C.|Andersen|Hans Christian Andersen}}
{{nowrap|– {{ill|Karl Johan Backman|lt=K.J. Backman|sv|Carl Johan Backman (journalist)}}, {{abbr|trans.|translation}} (sv)}}

| {{center|{{efn|name=Mermaid}}{{sfnm|1a1=Dahlström|1y=2003|1p=526|2a1={{nowrap|SibEd., v. 13}}|2y=2011|2p=6}}}}

|-

| data-sort-value="String Trio" | {{Collapsible list

| titlestyle=background-color:transparent; text-align:left; font-weight:normal

| title=String Trio in G minor

| expand=

|

| Lento

| Allegro

| [no tempo marking]}}|indent=1}}

| {{sort|1894|1893–1894}}

| {{sort|JS210|JS 210}}

| {{abbr|vl.|violin}}, {{abbr|va.|viola}}, {{abbr|vc.|cello}}

| rowspan=4 style="background:#EFEFEF; color:#767676"|{{sort|zzz|–}}

| {{center|{{efn|The String Trio in G minor (JS 210) is in three movements, of which the second and third are incomplete.{{sfn|Barnett|2007|p=393}}}}{{sfnm|1a1=Dahlström|1y=2003|1pp=639–640|2a1={{nowrap|SibEd., v. 9}}|2y=2009|2p=11}}}}

|-

| {{sort|Scout March0|[March]}}, preliminary version of Scout March ({{lang|fi|Partiolaisten marssi}})

| {{sort|1897|1897–1899}}

| style="background:#EFEFEF; color:#767676"|{{sort|z|HUL 0504}}

| {{ill|Torviseitsikko|lt=torviseitsikko|fi}}, {{abbr|perc.|percussion}}

| {{center|{{efn|name=Scout}}{{sfn|{{nowrap|SibEd., v. 9}}|2009|p=12}}}}

|-

| rowspan=2 style="background-color: #F0FFF0|Violin ({{abr|frag.|fragment}})

| {{sort|Mazurka|[Mazurka] in C major}}

| {{sort|1883|1883}}

| style="background:#EFEFEF; color:#767676"|{{sort|z|HUL 0536a/2}}

| rowspan=2|violin

| {{center|{{sfn|{{nowrap|SibEd., v. 6}}|2008|p=11}}}}

|-

| Impromptu in G minor

| {{sort|1884|1884}}

| style="background:#EFEFEF; color:#767676"|{{sort|z|HUL 0525/3}}

| {{center|{{sfn|{{nowrap|SibEd., v. 6}}|2008|p=11}}}}

|-

| rowspan=10 style="background-color: #F0FFF0|Song ({{abr|frag.|fragment}})

|{{sort|Medan nordanvinden gnyr|"{{lang|sv|Medan nordanvinden gnyr|italics=no}}"}} ("While the North Wind Roars")

| rowspan=3|{{sort|1888|1888}}

| style="background:#EFEFEF; color:#767676"|{{sort|z|HUL 1283}}

| 2 voices, {{abbr|vc.|cello}}

| rowspan=2|{{sort|yyy|Anonymous}}

| {{center|{{sfn|{{nowrap|SibEd., v. 7}}|2008|p=3}}}}

|-

| {{sort|Då världar ännu|"{{lang|sv|Då världar ännu skapade ej voro|italics=no}}"}} ("When Worlds Still Uncreated Were")

| {{sort|JS56|JS 56}}

| voice, {{abbr|vc.|cello}} (?), {{abbr|pf.|piano}}

| {{center|{{efn|"{{lang|sv|Då världar ännu skapade ej voro|italics=no}}" ("When Worlds Still Uncreated Were", JS 56) is a song fragment that dates to 1888. The author of the text is unknown.{{sfn|Barnett|2007|p=41}}}}{{sfnm|1a1=Dahlström|1y=2003|1p=523|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=3}}}}

|-

| {{sort|Solen slog himlen röd|"{{lang|sv|Solen slog himlen röd|italics=no}}"}} ("The Sun Reddened the Sky")

| style="background:#EFEFEF; color:#767676"|{{sort|z|HUL 1179}}

| rowspan=11|voice, {{abbr|pf.|piano}}

| {{sortname|E.|Josephson|Ernst Josephson}}

| {{center|{{sfnm|1a1=Barnett|1y=2007|1p=404|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=3}}}}

|-

| {{sort|Höstkväll|"{{lang|sv|Höstkväll|italics=no}}"}} ("Autumn Evening")

| {{sort|1889|1888–1889}}

| style="background:#EFEFEF; color:#767676"|{{sort|z|HUL 1180}}

| {{sortname|V.|Rydberg|Viktor Rydberg}}

| {{center|{{sfnm|1a1=Barnett|1y=2007|1p=404|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=4}}}}

|-

| {{sort|Flickan gick en vintermorgan|"{{lang|sv|Flickan gick en vintermorgan|italics=no}}"}} ("The Maiden Went Out One Winter Morning")

| {{sort|1892|1890–1892}}

| style="background:#EFEFEF; color:#767676"|{{sort|z|HUL 1186}}

| rowspan=2|{{sortname|J.L.|Runeberg|Johan Ludvig Runeberg}}

| {{center|{{sfnm|1a1=Barnett|1y=2007|1p=404|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=4}}}}

|-

| {{sort|Den första kyssen|"{{lang|sv|Den första kyssen|italics=no}}"}} ("The First Kiss")

| rowspan=3|{{sort|1892|1891–1892}}

| {{sort|JS57|JS 57}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1pp=523–524|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=5}}}}

|-

| {{sort|Frihet|"{{lang|sv|Frihet|italics=no}}"}} ("Freedom")

| rowspan=4 style="background:#EFEFEF; color:#767676"|{{sort|zzz|–}}

| {{sort|Tavaststjerna|{{ill|Karl August Tavaststjerna|lt=K.A. Tavaststjerna|fi}}}}

| {{center|{{sfn|Barnett|2007|p=405}}}}

|-

| {{sort|Drick, De förflyga de susande pärlorna|"{{lang|sv|Drick, De förflyga de susande pärlorna|italics=no}}"}} ("Drink, the Fizzling Pearls are Flying Away")

| {{sortname|F.M.|Franzén|Frans Michael Franzén}}

| {{center|{{sfn|Barnett|2007|p=405}}}}

|-

| {{sort|Romans|"{{lang|sv|Romans|italics=no}}"}} ("Romance")

| {{sort|1905|1905}}

| {{sort|Tavaststjerna|{{ill|Karl August Tavaststjerna|lt=K.A. Tavaststjerna|fi}}}}

| {{center|{{sfn|Barnett|2007|p=406}}}}

|-

| {{sort|Och skull ditt hjärta jag fångat|"{{lang|sv|Och skull ditt hjärta jag fångat|italics=no}}"}} ("And If I had Captured Your Heart")

| {{sort|1910|1908–1910}}

| style="background:#EFEFEF; color:#767676"|{{sort|zyz|[{{em|Unknown}}]}}

| {{center|{{sfn|Barnett|2007|p=406}}}}

|-

| rowspan=3 style="background-color: #F0FFF0|Song ({{abbr|prelim.|preliminary version}})

| {{sort|Säv, säv, susa1|[preliminary version of "{{lang|sv|Säv, säv, susa|italics=no}}"]}}

| {{sort|1900|1900}}

| {{sort|JS42|JS 42}}

| {{sortname|G.|Fröding|Gustaf Fröding}}

| {{center|{{efn|name=Op.36}}{{sfnm|1a1=Dahlström|1y=2003|1p=514|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=7}}}}

|-

| {{sort|Soluppgång1|[preliminary version of "{{lang|sv|Soluppgång|italics=no}}"]}}

| {{sort|1902|1902}}

| {{sort|JS87|JS 87}}

| {{sortname|T.|Hedberg|Tor Hedberg}}

| {{center|{{efn|name=Op.37}}{{sfnm|1a1=Dahlström|1y=2003|1pp=546–547|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=19}}}}

|-

| {{sort|Vänskapens blomma1|[preliminary version of "{{lang|sv|Vänskapens blomma|italics=no}}"]}}

| {{sort|1909|1909}}

| {{sort|JS215|JS 215}}

| {{sortname|E.|Josephson|Ernst Josephson}}

| {{center|{{efn|name=Op.57}}{{sfnm|1a1=Dahlström|1y=2003|1p=644|2a1={{nowrap|SibEd., v. 7}}|2y=2008|2p=11}}}}

|-

| rowspan=2 style="background-color: #F0FFF0|Choral ({{abr|frag.|fragment}})

| {{sort|Heitä, koski, kuohuminen|"{{lang|fi|Heitä, koski, kuohuminen|italics=no}}"}} ("Rapids, Cease Your Foaming")

| {{sort|1893|1893}}

| {{sort|JS94|JS 94}}

| {{abbr|mchor.|male choir}}

| Kalevala, {{nowrap|Runo XL}}

| {{center|{{efn|name=Op.18}}{{sfnm|1a1=Dahlström|1y=2003|1p=550|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=4}}}}

|-

| {{sort|Listen to the Water Mill|"Listen to the Water Mill"}}

| {{sort|1906|1905–1906}}

| {{sort|JS122|JS 122}}

| {{abbr|chor.|mixed choir}}

| {{sortname|S.|Doudney|Sarah Doudney}}

| {{center|{{sfnm|1a1=Dahlström|1y=2003|1p=574|2a1={{nowrap|SibEd., v. 11}}|2y=2010|2p=16}}}}

|-

| rowspan=3 style="background-color: #F0FFF0|{{abbr|Unknown|Scoring unknown}}

| style="background:#EFEFEF; color:#767676"|{{sort|March of the Pori Regiment1|March of the Pori Regiment ({{lang|fi|Porilaisten marssi}}), arrangement [I] of the original}}

| style="background:#EFEFEF; color:#767676"|{{sort|1892|{{abbr|arr.|arranged}} 1892 (lost)}}

| style="background:#EFEFEF; color:#767676"|{{sort|JS151|JS 151}}

| style="background:#EFEFEF; color:#767676"|chamber ensemble

| style="background:#EFEFEF; color:#767676"|{{sort|zzz|–}}

| {{center|{{efn|name=JS 151/152}}{{sfn|Dahlström|2003|p=590}}}}

|-

| style="background:#EFEFEF; color:#767676"|{{sort|American Millers' Song|"The American Millers' Song"}}

| style="background:#EFEFEF; color:#767676"|{{nowrap|{{sort|zyz|[{{em|Unknown}}]}} (lost)}}

| style="background:#EFEFEF; color:#767676"|{{sort|JS29|JS 29}}

| rowspan=2 style="background:#EFEFEF; color:#767676"|{{nowrap|voice, {{abbr|pf.|piano}} (probable)}}

| rowspan=2 style="background:#EFEFEF; color:#767676"|{{sort|zyz|[{{em|Unknown}}]}}

| {{center|{{efn|Nothing is known about the lost work "The American Millers' Song" (JS 29) other than the fact that it is mentioned in several of Sibelius's personal catalogues (for example, those from 1909, 1911, and 1915).{{sfnm|1a1=Barnett|1y=2007|1p=418|2a1=Dahlström|2y=2003|2p=506}}}}{{sfnm|1a1=Barnett|1y=2007|1p=418|2a1=Dahlström|2y=2003|2p=506}}}}

|-

| style="background:#EFEFEF; color:#767676"|{{lang|sv|Snöfallet}} (The Snowfall)

| style="background:#EFEFEF; color:#767676"|{{nowrap|{{sort|1927|1927}} (lost)}}

| style="background:#EFEFEF; color:#767676"|{{sort|JS175|JS 175}}

| {{center|{{efn|Nothing is known about the lost work {{lang|sv|Snöfallet}} (The Snowfall, JS 175) other than the fact that Sibelius composed it in September 1927 as a gift for the Finnish industrialist {{ill|Jacob von Julin|fi|Rolf Jacob von Julin}}.{{sfnm|1a1=Barnett|1y=2007|1p=418|2a1=Dahlström|2y=2003|2p=607}}}}{{sfnm|1a1=Barnett|1y=2007|1p=418|2a1=Dahlström|2y=2003|2p=607}}}}

|-

| colspan="3" style="background:#EFEFEF; color:#767676"|{{sort|zzzz|}}

| style="background:#EFEFEF; border-style: solid none solid none; color:#767676"|{{sort|A107|Op. 107}}{{efn|Sibelius's final opus list from 1952 did not assign Op. 107 to any composition. However, earlier personal lists indicate that {{c.|1930}} the composer had labeled the Three Introductory Antiphons ({{lang|fi|Kolme johdantovuorolaulua}}) for baritone soloist (liturgist), mixed choir (congregation), and organ (1925, JS 110/1–3), as well as "{{lang|fi|Herran siunaus|italics=no}}" ("The Lord's Blessing") for organ and liturgist (1925, JS 95), as Op. 107. The Three Introductory Antiphons were demoted {{c.|1942}}, while "{{lang|fi|Herran siunaus|italics=no}}" lost its place {{c.|1951}}. Some evidence also exists that Sibelius, after demoting the antiphons, may have considered replacing them with the orchestral song "Onward, Ye Brethren" (from No. 6 of the Op. 113 Masonic Ritual Music).{{sfn|Dahlström|2003|pp=686–687, 688–690}}|name=Op. 107}}

| colspan="3" style="background:#EFEFEF; border-style: solid solid solid none; color:#767676"|{{sort|zzzz|}}

|-

| colspan="3" style="background:#EFEFEF; color:#767676"|{{sort|zzzz|}}

| style="background:#EFEFEF; border-style: solid none solid none; color:#767676"|{{sort|A117|Op. 117}}{{efn|The Suite for Violin and String Orchestra (1929; JS 185) is sometimes designated as Sibelius's {{em|de facto}} Op. 117, because the composer referred to it as such in a 15 February 1929 letter to Carl Fischer Music. Nevertheless, Fischer's rejection of the Suite led Sibelius to demote the work from his opus list, and his personal catalogue from 1930 listed the Academic March ({{lang|fi|Promootiomarssi}}; JS 155, 1919) and the patriotic piece for male choir and piano "{{lang|fi|Karjalan osa|italics=no}}" ("Karelia's Fate"; JS 108, 1930), respectively, as Opp. 117/1 and 117/2. By 1942, Sibelius had again changed his mind, with the orchestrated version of Andante festivo (JS 34b; 1922, arranged 1938) now labeled as Op. 117/a. His final opus list from 1952, however, did not assign Op. 117 to any composition.{{sfn|Dahlström|2003|pp=484–485, 492, 617–618, 687}}|name=Op. 117}}

| colspan="3" style="background:#EFEFEF; border-style: solid solid solid none; color:#767676"|{{sort|zzzz|}}

|}

{{Notelist|colwidth=30em}}

{{Reflist|colwidth=30em}}

{{refbegin|30em}}

;Books

• {{cite book|last=Barnett|first=Andrew|title=Sibelius|date=2007|location=New Haven, Connecticut|publisher=Yale University Press|isbn=978-0-300-16397-1|url=https://archive.org/details/sibelius0000barn_z9v6/mode/2up|url-access=registration}}
• {{cite book|last=Dahlström|first=Fabian|author-link=:sv:Fabian Dahlström|title=Jean Sibelius: Thematisch-bibliographisches Verzeichnis seiner Werke|trans-title=Jean Sibelius: A Thematic Bibliographic Index of His Works|date=2003|publisher=Breitkopf & Härtel|location=Wiesbaden|language=de|isbn=3-7651-0333-0}}
• {{cite book|last=Grimley|first=Daniel|title=Jean Sibelius: Life, Music, Silence|publisher=Reaktion Books|year=2021|isbn=978-1-78914-466-6}}
• {{cite book |first=Harold |last=Johnson |title=Jean Sibelius |date=1959 |edition=1st |location=New York |publisher=Alfred A. Knopf |isbn=9780313204708 |oclc=603128 |url=https://archive.org/details/jeansibelius0000john/page/n3/mode/2up |url-access=registration}}
• {{cite book|first=Kimmo|last=Korhonen|author-link=:fi:Kimmo Korhonen|title=Inventing Finnish Music: Contemporary Composers from Medieval to Modern|date=2007|orig-date=2003|location=Jyväskylä, Finland|edition=2nd|translator-first=Jaakko|translator-last=Mäntyjärvi|translator-link=:fi:Jaakko Mäntyjärvi|publisher=Finnish Music Information Center (FIMIC) & Gummerus Kirjapaino Oy|isbn=978-9-525-07661-5|url-access=registration|url=https://archive.org/details/inventingfinnish0000korh}}
• {{cite book|last=Layton|first=Robert|author-link=Robert Layton (musicologist)|title=Sibelius|edition=4th|series=(The Master Musicians Series)|date=1993|orig-date=1965|location=New York|publisher=Schirmer Books|isbn=0028713222}}
• {{cite book|first=Santeri|last=Levas|author-link=Santeri Levas|title=Jean Sibelius: A Personal Portrait|date=1986|orig-date=1972|edition=2nd|translator-first=Percy|translator-last=Young|translator-link=Percy M. Young|location=Porvoo and Juva, Finland|publisher=Werner Söderström oy|isbn=978-951-01360-89}}
• {{cite book|first=Erik|last=Tawaststjerna|author-link=Erik Tawaststjerna|title=Sibelius: Volume I, 1865–1905|date=2008a|orig-date=1965/1967; {{abbr|trans.|translation}} 1976|translator-first=Robert|translator-last=Layton|translator-link=Robert Layton (musicologist)|location=London|publisher=Faber and Faber|isbn=978-0-571-24772-1}}
• {{cite book|last=Tawaststjerna|first=Erik|title=Sibelius: Volume II, 1904–1914|date=2008b|orig-date=1972; {{abbr|trans.|translation}} 1986|translator-first=Robert|translator-last=Layton|location=London|publisher=Faber and Faber|isbn=978-0-571-24773-8}}
• {{cite book|first=Erik|last=Tawaststjerna|title=Sibelius: Volume III, 1914–1957|date=2008c|orig-date=1978/1988; {{abbr|trans.|translation}} 1997|translator-first=Robert|translator-last=Layton|location=London|publisher=Faber and Faber|isbn=978-0-571-24774-5}}
• {{cite book |last=Vernon |first=David |date=2024 |title=Sun Forest Lake: The Symphonies & Tone Poems of Jean Sibelius |location=Edinburgh |publisher=Candle Row Press |isbn=978-1739659943 |ref=none}}

;Liner notes

• {{Cite AV media notes|title=The Sibelius Edition|chapter=Volume 1: Tone Poems|others=Andrew Barnett (project advisor)|year=2007|type=CD booklet|publisher=BIS|id=[https://www.eclassical.com/shop/17115/art94/4910394-cc0e06-booklet-BIS-CD-1900-02.pdf BIS–CD–1900/02]|ref={{harvid|SibEd., v. 1|2007}}}}
• {{Cite AV media notes|title=The Sibelius Edition|chapter=Volume 2: Chamber Music I|others=Andrew Barnett (project advisor)|year=2007|type=CD booklet|publisher=BIS|id=[https://www.eclassical.com/shop/17115/art81/4927881-cfaae1-BIS-1903-05_booklet.pdf BIS–CD–1903/05]|ref={{harvid|SibEd., v. 2|2007}}}}
• {{Cite AV media notes|title=The Sibelius Edition|chapter=Volume 3: Voice & Orchestra|others=Andrew Barnett (project advisor)|year=2007|type=CD booklet|publisher=BIS|id=[https://www.eclassical.com/shop/17115/art25/4932525-9ee87a-BIS-1906-08_booklet.pdf BIS–CD–1906/08]|ref={{harvid|SibEd., v. 3|2007}}}}
• {{Cite AV media notes|title=The Sibelius Edition|chapter=Volume 4: Piano Music I|others=Andrew Barnett (project advisor)|year=2008|type=CD booklet|publisher=BIS|id=[https://www.eclassical.com/shop/17115/art18/4936818-cbe932-BIS-1909-11_booklet.pdf BIS–CD–1909/11]|ref={{harvid|SibEd., v. 4|2008}}}}
• {{Cite AV media notes|title=The Sibelius Edition|chapter=Volume 5: Theatre Music|others=Andrew Barnett (project advisor)|year=2008|type=CD booklet|publisher=BIS|id=[https://www.eclassical.com/shop/17115/art83/4701283-4fc98f-BIS-1912-14_booklet.pdf BIS–CD–1912/14]|ref={{harvid|SibEd., v. 5|2008}}}}
• {{Cite AV media notes|title=The Sibelius Edition|chapter=Volume 6: Violin & Piano|others=Andrew Barnett (project advisor)|year=2008|type=CD booklet|publisher=BIS|id=[https://www.eclassical.com/shop/17115/art74/4945974-fcbe4d-BIS-1915-17_booklet.pdf BIS–CD–1915/17]|ref={{harvid|SibEd., v. 6|2008}}}}
• {{Cite AV media notes|title=The Sibelius Edition|chapter=Volume 7: Songs|others=Andrew Barnett (project advisor)|year=2008|type=CD booklet|publisher=BIS|id=[https://www.eclassical.com/shop/17115/art70/4947670-f92c38-BIS-1918-20_booklet.pdf BIS–CD–1918/20]|ref={{harvid|SibEd., v. 7|2008}}}}
• {{Cite AV media notes|title=The Sibelius Edition|chapter=Volume 8: Orchestral Works|others=Andrew Barnett (project advisor)|year=2009|type=CD booklet|publisher=BIS|id=[https://www.eclassical.com/shop/17115/art80/4949680-ecb72a-BIS-1921-23_booklet.pdf BIS–CD–1921/23]|ref={{harvid|SibEd., v. 8|2009}}}}
• {{Cite AV media notes|title=The Sibelius Edition|chapter=Volume 9: Chamber Music II|others=Andrew Barnett (project advisor)|year=2009|type=CD booklet|publisher=BIS|id=[https://www.eclassical.com/shop/17115/art81/4949681-be1d10-BIS-1924-26_booklet.pdf BIS–CD–1924/26]|ref={{harvid|SibEd., v. 9|2009}}}}
• {{Cite AV media notes|title=The Sibelius Edition|chapter=Volume 10: Piano Music II|others=Andrew Barnett (project advisor)|year=2010|type=CD booklet|publisher=BIS|id=[https://www.eclassical.com/shop/17115/art63/4957163-4e876a-BIS-1927-29_booklet.pdf BIS–CD–1927/29]|ref={{harvid|SibEd., v. 10|2010}}}}
• {{Cite AV media notes|title=The Sibelius Edition|chapter=Volume 11: Choral Music|others=Andrew Barnett (project advisor)|year=2010|type=CD booklet|publisher=BIS|id=[https://www.eclassical.com/shop/17115/art31/4962331-7939d7-BIS-1930-32_booklet.pdf BIS–CD–1930/32]|ref={{harvid|SibEd., v. 11|2010}}}}
• {{Cite AV media notes|title=The Sibelius Edition|chapter=Volume 12: Symphonies|others=Andrew Barnett (project advisor)|year=2011|type=CD booklet|publisher=BIS|id=[https://www.eclassical.com/shop/17115/art72/4965572-2efdfc-BIS-1933-35_booklet.pdf BIS–CD–1933/35]|ref={{harvid|SibEd., v. 12|2011}}}}
• {{Cite AV media notes|title=The Sibelius Edition|chapter=Volume 13: Miscellaneous Works|others=Andrew Barnett (project advisor)|year=2011|type=CD booklet|publisher=BIS|id=[https://www.eclassical.com/shop/17115/art2/4834602-0f823a-BIS-1936-38_booklet.pdf BIS–CD–1936/38]|ref={{harvid|SibEd., v. 13|2011}}}}
• {{Cite AV media notes|first=Andrew|last=Barnett|title=The Unknown Sibelius: Rarities and First Recordings|year=2013|type=CD booklet|publisher=BIS|id=[https://www.eclassical.com/shop/17115/art64/4756964-15d162-BIS-2065_booklet.pdf BIS–2065]}}
• {{Cite AV media notes|first=Timo|last=Virtanen|title=Sibelius: Complete Symphonies / Three Late Fragments|others=John Storgårds & BBC Philharmonic|year=2014|type=CD booklet|publisher=Chandos|id=[https://www.chandos.net/products/catalogue/CHAN%2010809 CHAN 10809]}}

;Websites

• {{cite web|title=The Sibelius Edition|publisher=BIS Records|website=bis.se|url=http://bis.se:80/the-sibelius-edition|access-date=10 August 2023|archive-url=https://web.archive.org/web/20230727175743/http://bis.se:80/the-sibelius-edition|archive-date=27 July 2023|via=Wayback Machine|ref={{harvid|BIS Records, The Sibelius Edition}}}}
• {{cite news |last=Tiikkaja |first=Samuli |title=Kansalliskirjasto sai ostettua Lienaun Sibelius-käsikirjoitukset |newspaper=Helsingin Sanomat |date=8 December 2020 |page=B 4 |url=http://www.hs.fi/kulttuuri/art-2000007667278.html |language=fi |access-date=10 December 2020 |archive-date=7 December 2020 |archive-url=https://web.archive.org/web/20201207223748/https://www.hs.fi/kulttuuri/art-2000007667278.html |url-status=live}}
• {{cite web|title=Jean Sibelius Works: Editors|date=|access-date=26 December 2023|publisher=National Library of Finland|website=kansalliskirjasto.fi|url=https://www.kansalliskirjasto.fi/en/jean-sibelius-works/editors|ref={{harvid|National Library of Finland, JSW project: Editors}}}}
• {{cite web|title=Jean Sibelius Works: History of the JSW project|date=|access-date=26 December 2023|publisher=National Library of Finland|website=kansalliskirjasto.fi|url=https://www.kansalliskirjasto.fi/en/jean-sibelius-works/history-jsw-project|ref={{harvid|National Library of Finland, JSW project: History}}}}
• {{cite web|title=Jean Sibelius Works: The text-critical approach of Sibelius's works|date=|access-date=26 December 2023|publisher=National Library of Finland|website=kansalliskirjasto.fi|url=https://www.kansalliskirjasto.fi/en/jean-sibelius-works/text-critical-approach-sibeliuss-works|ref={{harvid|National Library of Finland, JSW project: Approach}}}}
• {{cite web|title=The critical edition: Jean Sibelius Works|date=|access-date=31 March 2023|publisher=Sibelius Society of Finland|website=sibeliussociety.fi|url=https://www.sibeliussociety.fi/en/our-activities/the-critical-edition-jean-sibelius-works.html|ref={{harvid|Sibelius Society, JSW project}}}}
• {{cite web|title=Jean Sibelius's music manuscript archives edition|date=2021|access-date=31 March 2023|publisher=UNESCO National Committee of Finland|website=maailmanmuisti.fi|url=https://www.maailmanmuisti.fi/index.php?page=jean-sibelius-musical-manuscript-archives|ref={{harvid|UNESCO National Committee of Finland|2021}}}}
• {{cite news |last=Virtanen |first=Timo |title=Nationalskatter i farozonen |newspaper=Hufvudstadsbladet |date=26 February 2020 |page=23 |url=http://www.hbl.fi/artikel/nationalskatter-i-fara/ |language=sv |access-date=9 March 2020 |archive-date=26 February 2020 |archive-url=https://web.archive.org/web/20200226184903/https://www.hbl.fi/artikel/nationalskatter-i-fara/ |url-status=live}}

{{refend}}

{{Jean Sibelius}}

{{Portal bar|Classical music}}

Sibelius, Jean