Hand out - World Symposium on Choral Music

Transcription

Meet Finland: Finnish choral music in a nutshell
Jaakko Mäntyjärvi, EMO Ensemble & Pasi Hyökki
8th World Symposium on Choral Music, Copenhagen, Denmark
July 2008
A mercifully brief history of Finland
12th century — 1809
Finland was part of Sweden.
1809
Following a pact between Napoleon and Tsar Alexander I of Russia, Finland was annexed by Russia in the
Russo-Swedish War of 1808-09 and became a Grand Duchy in the Russian Empire with a high degree of
autonomy: for example, Alexander pledged to uphold the [Swedish] pre-conquest Constitution of Finland.
Late 19th century
Nationalism began to grow in Finland as elsewhere in Europe. Finns had a strong need to see themselves as a
nation among nations. “We are not Swedish, we will not become Russians, let us therefore be Finnish.”
Although the cultural élite still spoke Swedish, Finnish came to be seen as the nation’s own language.
The Kalevala
Of immense importance to national self-esteem was the Kalevala, the national epic compiled by Elias Lönnrot
and first published in 1835. The tales of the Kalevala did not form a coherent narrative entity in the oral
tradition, but Lönnrot fashioned them into a continuous whole with remarkable sensitivity; only about 3% of
the final text is from his pen. Other folk poetry and folk songs were also eagerly collected.
1899
Tsar Nicholas II signed the ‘February Manifesto’, which was aimed at curbing the autonomy of Finland. This
unconstitutional act sparked a broad-based passive resistance movement to which all the arts contributed too.
This period of oppression culminated in the assassination of the draconian Governor-General Bobrikov in
1904.
1917
Finland became independent in the aftermath of the October Revolution, and the new Soviet Government was
one of the first to recognize Finland.
1918
The newly-independent country fell into a vicious Civil War between the Whites (German-backed rightwingers) and Reds (Russian-backed left-wingers). The Whites won, but the scars never healed properly until
the Second World War united the nation against a common enemy.
1995
Finland joined the EU.
Links
SULASOL (Finnish Amateur Musicians’ Association)
www.sulasol.fi
info@sulasol.fi
sales@sulasol.fi
Finnish Music Information Centre
www.fimic.fi (see Contemporary Music > Composers)
Meet Finland — 8th World Symposium on Choral Music
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Early beginnings to the 1950s
Middle Ages
• Liturgy of St Henry
Complete service of offices for the patron saint of Finland, probably composed mostly in Finland.
• Piae Cantiones (1582, 1625)
Collection of ‘songs of priests and scholars’, i.e. monastic and school songs, in Latin. Almost half of the 78
songs in the original edition are not known from any other source and were probably created in Finland. The
rest are of Central European origin. Most of the songs are monophonic, but some two-part, three-part and
four-part songs are included. The 1625 edition added several more four-part songs, to a total of 90.
No choral music composed in Finland between the 16th and 19th centuries is known.
19th century
Fredrik Pacius (1809-1891)
A German-born musician and composer who was appointed music teacher at the University (the only one in
Finland at the time, moved from Turku to Helsinki in 1812) in 1835. He soon began to organize the musical
life of his new homeland, founding choirs and orchestras. His work culminated in his writing the first opera
ever written in Finland, Kung Karls jakt / Kaarle-kuninkaan metsästys (The Hunt of King Charles), to a libretto
by Zachris Topelius. The premiere of this opera in an amateur production in Helsinki in 1852 was celebrated
as an occasion of national importance. Pacius also wrote the song Vårt land / Maamme (Our land), which
became Finland’s national anthem.
F.A. Ehrström (1801-1850)
A school teacher who undertook to write simple partsong arrangements of folk songs, contributing to the
efforts for creating an indigenous ‘high culture’ for Finland. These were very popular and helped spread choral
singing — which in the 19th century was firmly tied ideologically to the Nationalist movement — throughout
the land. He also composed original partsongs.
Gabriel Linsén (1838-1914)
Wrote a considerable number of solo and choral songs but is today remembered only for the following
number, well known by virtually all Finnish choirs. The resemblance to Liszt’s Les préludes is coincidental.
• Kesäpäivä Kangasalla (Summer day in Kangasala) Publisher: R. Westerlund
Mä oksalla ylimmällä oon Harjulan seljänteen.
Niin kauas kuin silmä siintää, nään järviä lahtineen.
Kas Längelmävesi tuolla vöin hopeisin hohtelee,
ja Roineen armaiset aallot sen rantoa hyväelee.
On the highest branch on Harjula ridge I am;
as far as the eye can see I behold lakes and bays.
Over there lake Längelmävesi sparkles with silver sheen,
and the gentle waves of lake Roine wash upon its shore.
(Z. Topelius; translation Jaakko Mäntyjärvi)
NOTE: All pieces mentioned in this handout are SATB and in Finnish unless otherwise specified.
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National Romantics
Jean Sibelius (1865-1957)
The first composer to discover ‘Finland’s own voice’, although his idiom was so original and innovative that he
never really inspired a school of followers as such. He was also the first to set texts in Finnish following the
cadence of the language rather than imposing Central European general Romantic musical models on Finnish
texts. Mainly known for his seven symphonies, tone poems, incidental music, Violin Concerto and solo songs.
• Venematka (The boat journey) (also TB) Publisher: Breitkopf & Härtel
Vaka vanha Väinämöinen
laskea karehtelevi
tuon on pitkän niemen päästä,
kylän kurjan kuuluvilta.
Laski laulellen vesiä,
ilon lyöen lainehia.
Neiet niemien nenissä
katselevat, kuuntelevat:
”Mi lienee ilo merellä,
mikä laulu lainehilla,
ilo entistä parempi,
laulu muita laatuisampi?”
Laski vanha Väinämöinen,
laski päivän maavesiä,
päivän toisen suovesiä,
kolmannen kosen vesiä.
Laski laulellen vesiä,
ilon lyöen lainehia.
Old and steadfast Väinämöinen,
Steering the boat swiftly forward,
On beyond the jutting headland,
On beyond the wretched village,
Singing songs on the waters,
Joyous songs on the waters.
Maidens waiting and watching,
Looking and listening:
“What rejoicing from the waters,
What song from the lake resounds,
Greater joy than in the old times,
And a finer song than any?”
Onward steered old Väinämöinen,
For a day the boat went floating,
For the next through marshy waters,
For the third day through the rapids,
Singing songs on the waters,
Joyous songs on the waters.
(Kalevala; translation from the Kalevala translation by W.F. Kirby)
• Sydämeni laulu (Song of my heart)
• Rakastava (The lover) (also TB) c. 7’
• Män från slätten och havet (Men from plains and sea) Swedish + Finnish
• Drömmarna (Dreams) Swedish
Selim Palmgren (1878-1951)
A late National Romantic whose music is very closely related to Impressionism; generally credited with
bringing Impressionism to Finland. Primarily known for piano works, including five piano concertos, earning
him the soubriquet ‘Chopin of Scandinavia’. He wrote a handful of other instrumental works and one opera,
and numerous choral works for both mixed and male voice choir.
• Poppelit (Poplars) Publisher: Suomen Laulu
Poppelit illassa itkekää! Ilmojen rannat hämärtää.
Tummuu kehrä auringon: Phaëton, veljes kuollut on!
Poppelit, illassa itkekää, ah, itkekää!
Syleili tulisydän kerta, syleili taivasta, maata ja merta,
mittasi auringonvaunuillaan ikuisuutta ja aikaa maan.
Phaëton kuollut on, Phaëton kuollut on!
Keskellä aavojen ylhäisten kuunteli kulkua tähtien,
Phaëton kuollut on, kuollut poika auringon,
sammunut sydän tulisin, kylmiin kylmiin aaltoihin!
Ken nyt ajaa taivaan teitä? Maailma yöksi hämärtää.
Kyyneleitä, kyyneleitä poppelit, illassa itkekää,
ah, itkekää!
Poplars in the evening weep! Into night the world sinks deep
Sun’s bright disk is darkened o’er: Phaëton, your brother, is no more!
Poplars in the evening weep, ah weep!
Embraced the heart of fire too nigh, Embraced the earth, the sea, the sky:
In the sun’s gold chariot climbed Past the reach of mortal time.
Phaëton is no more, Phaëton is no more!
Midst the lordly heights afar Heard the passage of a star.
Phaëton is no more, Dead is now Apollo’s son.
Ever quenched his fiery breath In the chilly waves of death.
Who now drives the heavenly ways? Into night the world sinks deep.
Tears, tears, Poplars in the evening weep,
Ah, weep!
(V.A. Koskenniemi; translation by Marja & Philip Binham)
• Rukous (Prayer)
• Takamailla (In the backlands)
• Juhannus (Midsummer)
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Toivo Kuula (1883-1918)
A deeply patriotic National Romantic composer whose highly passionate music contains a dash of French
influence. He could have been a serious rival to Sibelius had he not died in a shooting incident at the age of
35.
• Auringon noustessa (Sunrise) Publisher: Suomen Laulu
Nää, oi mun sieluni, auringon korkea nousu
ylitse kivisen kaupungin kattojen, katuin,
ylitse vuossatain valheen ja tuntien tuskan,
koittava kirkkaus!
Nää, oi mun sieluni, katoovan elämän autuus!
Niinkuin ääretön temppeli on se sun eessäs,
alla sen holvien on ikiaikojen äänetön hartaus
mestarin hengen.
Nää, oi mun sieluni, yössäkin korkehin kirkkaus,
tuskassa tummien hetkien rauha ja riemu,
vuossatain valheessa, elämän valheessa valkein,
ijäisin totuus!
See, O my soul, how the sun rises over the rooftops,
Over the wide stony wilderness of this bleak city,
Over the centuries of falsehoods and moments of misery,
Bold dawning brightness!
See, O my soul, see the bliss of our life frail and fleeting!
Like an infinite temple it stands before thee:
Under its sombre vaults in ancient silence the soul of the Master
Breathes never-ending.
See, O my soul, how the blackest of nights turn to dawning,
Moments of darkest despair to relief and rejoicing,
See how amidst ancient falsehoods of life still the brightest
Truth stands eternal!
(V.A. Koskenniemi: translation by Jaakko Mäntyjärvi)
• Meren virsi (Hymn of the sea) 10’
• Rukous (Prayer)
• Siell’ on kauan jo kukkineet omenapuut (Over yonder the blossoming apple tree stands)
•Karavaanikuoro (Caravan chorus)
Choir + orchestra:
• Stabat Mater Latin 15’
Leevi Madetoja (1887-1947)
The most notable composer in the generation after Sibelius. Mainly an instrumental composer who wrote
three symphonies and two operas (one of them Pohjalaisia [The Ostrobothnians], the most popular Finnish
opera to date), a considerable body of chamber music and solo songs, and numerous choral works for mixed
choir and male voice choir. He could be described as a late National Romantic or even a Neo-Classicist; his
music contains a strong French influence up to and including Impressionistic features. Madetoja is certainly
one of Finland’s leading choral composers in terms of both the quality and the quantity of his output.
• De profundis (1st movement) Publisher: Laulu-Miehet
De profundis clamavi ad te, Domine,
Domine, exaudi vocem meam.
Fiant aures tuae intendentes in vocem deprecationis meae.
• Integer vitae Latin
• Ihmisen henki (The spirit of man)
• Metsän kuninkaalle (To the king of the forest)
• Kevätunta (Springtime dream)
Out of the depths have I cried unto thee, O Lord.
Lord, hear my voice:
let thine ears be attentive to the voice of my supplications.
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Composers who began their careers in the 1910s...1940s
Heikki Klemetti (1876-1953)
A pioneering choir conductor who founded the Suomen Laulu mixed choir and commissioned a great many
choral works from young upcoming composers such as Sibelius, Kuula and Madetoja. Also wrote numerous
arrangements, including arrangements of Piae Cantiones songs, and some original works such as Christus
pro nobis passus est.
Aarre Merikanto (1893-1958)
Son of Oskar Merikanto (1868-1924), composer of a great number of hugely popular songs. Aarre began his
career as a Modernist in the 1920s, moderate by European standards but considered very radical in Finland.
His magnum opus was the opera Juha (1922), which the Finnish Opera (today the Finnish National Opera)
rejected and which was not performed until after his death. His style mellowed towards a Neo-Classical
approach towards the end of his career. His output includes a number of carefully crafted choral pieces,
including Sydämeni laulu (Song of my heart, also set by Sibelius and Rautavaara) and Visa (Song).
Nils-Eric Fougstedt (1910-1961)
An orchestra conductor and composer the majority of whose output consists of works for mixed choir and
male voice choir, mainly to texts in Swedish. Sommarsvit (Summer suite), Under häggarna (Under the
bird-cherries) and I folkviseton (In folk song style) are among his enduring favourites. His style is free-tonal
and tinted with fourths but retains a Romantic warmth.
Eero Sipilä (1918-1972)
A church musician who wrote only a handful of highly intriguing choral works, chant-based yet with a
powerful Modernist flavour.
• Super flumina Babylonis Latin
• Miserere Latin
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‘Contemporary’ (from the 1950s onwards)
Bengt Johansson (1914-1989)
One of the first major choral composers to take advantage of the ‘chamber choir movement’ in the 1950s,
chiefly after the founding of the Finnish Radio Chamber Choir (1962) by Harald Andersén (Finland’s
equivalent of Eric Ericson), who commissioned many new choral works. Johansson was not a Modernist in the
strict sense of the world; his music is mainly based on bitonal structures and clusters, a sort of Neo-NeoClassicism.
• The Tomb at Akr Çaar English Publisher: Edition Fazer / Fennica Gehrman
I am thy soul, Nikoptis. I have watched these five millennia, and thy dead eyes moved not, nor ever answer my desire
and thy light limbs, wherethrough I leapt aflame burn not with me nor any saffron thing.
See, the light grass sprang up to pillow thee, and kissed thee with a myriad grassy tongues; but not thou me.
I have read out the gold upon the wall, and wearied out my thought upon the signs.
And there is no new thing in all this place.
I have been kind, see, I have left the jars sealed – Lest thou should wake and whimper for thy wine.
And all thy robes I have kept smooth on thee.
O thou unmindful! How should I forget! Even the river many days ago, the river? thou wast over young,
and three souls came in upon thee – and I came.
And I flowed in upon thee, I beat them off, I have been intimate with thee, known thy ways,
have I not touched thy palms and fingertips, flowed in and through thee and about thy heels?
How ‘came I in’? Was I not thee and Thee?
And no sun comes to rest me in this place, and I am torn against the jagged dark, and no light beats upon me,
and you say no word day after day.
O, I could get me out, despite the marks, and all their crafty work upon the door, out through the glass-green fields.
Yet, it is quiet here; I do not go…
(Ezra Pound)
• Three Classic Madrigals English
• A Double Madrigal English
• Venus and Adonis English
• Examine me (SA) English
Erik Bergman (1911-2006)
Finland’s pioneering Modernist who was at the cutting edge of Finnish music from the 1950s until a stroke
ended his career in 2004. His extensive output includes orchestral and instrumental works, chamber music,
vocal music, one opera (Det sjungande trädet — The Singing Tree) and several choral works including
ground-breaking works such as Lapponia.
• Dreams: 1. Echoes (SA) Publisher: Edition Fazer > Fennica Gehrman
(vocalise)
• Vier Galgenlieder (speech choir) German 12’
• Lapponia (vocalise) 15’
• Lemminkäinen 20’
• Petrarch Suite Italian 10’
Choir and instruments:
• Hathor Suite German 10’
• Nox French, German, English 10’
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Joonas Kokkonen (1921-1996)
Best known for his orchestral works (four symphonies and several other works) and his opera Viimeiset
kiusaukset (The Last Temptations), Kokkonen wrote only a few choral works. Laudatio Domini is one of
the few extensive sacred Finnish choral works that is not a mass; his Requiem is the only modern Finnish
setting of the text.
• Qui emittis fontes from Laudatio Domini Latin Publisher: Edition Fazer > Fennica Gehrman
(total duration: 12’)
Laudate Dominum.
Qui emittis fonts in convallibus
inter medium montium
pertransibunt aquae.
Potabunt omnes bestiae agri
expectabunt onagri in siti sua.
Super ea volucres caeli habitabunt,
inter ramos dabunt voces.
Rigans montes de superioribus suis
de fructu operum tuorum satiabitur terra.
Producens foenum jumentis
et herbam servituti hominum
ut educas panem de terra
et vinum laetificet cor hominis.
(Bible, Psalm 104: 10-15)
• Missa a cappella Latin 20’
Choir + orchestra:
• Requiem Latin 40’
Praise the Lord.
He sendeth the springs into the valleys,
which run
among the hills.
They give drink to every beast of the field,
the wild asses quench their thirst.
By them shall the fowls of the heaven have their habitation,
which sing among the branches.
He watereth the hills from his chambers;
the earth is satisfied with the fruit of thy works.
He causeth the grass to grow for the cattle,
and the herb for the service of man,
that he may bring forth food out of the earth;
and wine that maketh glad the heart of man.
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Einojuhani Rautavaara (1928- )
Finland’s best-known living composer (with the possible exception of Kaija Saariaho). He went through a
number of styles including dodecaphony before arriving at a Neo-Romantic synthesis style. He has written
eight symphonies, several concertos, several operas and a great body of vocal and choral music, of consistently
high quality.
• Sydämeni laulu (Song of my heart) from Halavan himmeän alla (In the shade of the willow)
Publisher: Edition Fazer > Fennica Gehrman (total duration 12’)
Tuonen lehto, öinen lehto, siell’ on hieno hietakehto,
sinnepä lapseni saatan.
Siell’ on lapsen lysti olla, Tuonen herran vainiolla
kaitsia Tuonelan karjaa.
Siell’ on lapsen lysti olla, illan tullen tuuditella
helmassa Tuonelan immen.
Onpa kullan lysti olla, kultakehdoss’ kellahdella,
kuullella kehräjälintuu.
Tuonen viita, rauhan viita! Kaukana on vaino, riita,
kaukana kavala mailma.
Grove of Tuoni, grove nocturnal! Finest sand for sleep eternal,
safe for my baby to slumber.
May my child have pleasant hours, in the Dark Lord’s fields and bowers,
tending the cattle of Tuoni.
May my child have pleasant hours, falling fast asleep ’midst flowers,
rock’d by the gentle Dark Lady.
Happy darling in safekeeping, in a golden cradle sleeping,
hearing the song of the nightjar.
Grove of Tuoni, grove of calmness! Far away from worldly madness,
far from all strife and beguiling.
(Aleksis Kivi; translation by Jaakko Mäntyjärvi)
• Vigilia 70’
• Katedralen (The Cathedral) Swedish 15’
• Magnificat Latin 15’
• Canticum Mariae Virginis Latin 7’
• Suite de Lorca Spanish + Finnish
• Och glädjen den dansar (With joy we go dancing) Swedish
• Cancion de nuestro tiempo (Song of our time) Spanish 10’
• Elämän kirja (The book of life) (TB)
11 movements, Finnish, English, French, German, Swedish
Choir + orchestra:
• On the Last Frontier English
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Pekka Kostiainen (1944- )
A practically oriented choral composer who is himself a choir conductor. He is based in the town of Jyväskylä
in central Finland, which has an exceptionally vibrant choral life. His output consists mainly of very accessible
free-tonal choral works, a large portion of them based on the Kalevala and other folklore texts (and melodies).
In this sense, he is somewhat akin to Estonia’s Veljo Tormis.
• Joko nyt sanon sukusi (Shall I tell you of your lineage?) from
Pakkasen luku (The Frost’s Incantation) (SA / TB / SATB) Publisher: SULASOL
Joko nyt sanon sukusi, kuuluttelen kunniasi,
tieämpä sinun sukusi, tiedän kaiken kasvantasi.
Pakkanen pajuilla syntyi, kova ilma koivikolla.
Pohjolan koan perässä Pimentolan pirtin päässä.
Ikiturmasta isosta, emosta epattomasta.
Kukas Pakkasen imetti, kovan ilman kostutteli
kun oli maammo maiotoinna, emonen utaretoinna?
Kyyhyt Pakkasen imetti, kyy imetti, käärme syötti
nännillä nenättömällä, utarella uuttomalla;
pohjaistuuli tuuitteli, viluilma viihytteli
pahoilla pajupuroilla, here’illä hettehillä.
Sai poika pahantapainen, tuli turmionalainen.
Ei ollut nimeä vielä pojalla epäpäöllä,
pantihin nimi pahalle: pantihinpa Pakkaseksi.
Shall I tell you of your lineage, And shall I make known your honours?
Surely do I know thy lineage, All I know of thine uprearing;
For the Frost was born 'mid willows, Nurtured in the sharpest weather,
Near to Pohjola's great homestead, Near the hall of Pimentola,
Sprung from father, ever crime-stained, And from a most wicked mother.
Who was it the Frost who suckled, Bathed him in the glowing weather?
Milkless wholly was his mother, And his mother wholly breastless.
Adders 'twas the Frost who suckled, Adders suckled, serpents fed him,
Suckled with their pointless nipples, Suckled with their dried-up udders,
And the Northwind rocked his cradle, And to rest the cold air soothed him,
In the wretched willow-thicket, In the midst of quaking marshes.
And the boy was reared up vicious, Led an evil life destructive,
But as yet no name was given, To a boy so wholly worthless;
When at length a name was given, Frost it was they called the scoundrel.
(Kalevala; translation from the Kalevala translation by W.F. Kirby)
• Rikasmies ja aarreaitta (The rich man and the treasury)
• Viatonten valssi (The waltz of the innocents)
• Jaakobin isot pojat (SA: Jaakobin pojat) (The sons of Jacob)
• Missa in Deo salutari meo Latin 20’
• Regina angelorum (SA) Latin
• Sulhasen tulolaulut I-II (The bridegroom’s arrival songs)
Choir + orchestra:
• Triduum Paschale 3h
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Jouko Linjama (1934- )
Choral composition runs in the Linjama family, as Jouko’s father Jaakko Linjama and his son Jyrki Linjama
(see below) are also notable choral composers. Jouko Linjama writes in a Neo-Classical style heavy on
superimposed triads with added ninths, somewhat reminiscent of Bengt Johansson. Most of his choral works
are in Finnish.
• Kalevala Suite
• La sapienza Italian
Aulis Sallinen (1935- )
Principally known for his operas and orchestral works, Sallinen has also written a number of frequently
performed choral pieces in a simple and accessible style.
• Songs of the Sea (SA) English
• The Beaufort Scale (also SA) English
• Onko Suomessa kevät? (Is it spring in Finland?) (from the opera Punainen viiva (The Red Line))
Choir + orchestra:
• Elämän ja kuoleman lauluja (Songs of life and death)
Paavo Heininen (1938- )
Finland’s foremost Modernist after Erik Bergman (see above) and teacher of several generations of composers
at the Sibelius Academy. His music has a reputation for being extremely challenging to perform, and his choral
works, such as The Autumns, rank among the technically most difficult choral scores ever written in Finland.
Kaj-Erik Gustafsson (1942- )
A church musician whose Neo-Classically simple compositions include works for all kinds of choir. His bestknown work is probably Neljä laulua rakkaudesta (Four songs about love) 10’
Mikko Heiniö (1948- )
A composer with a varied, colourful and eclectic style, Heiniö has written orchestral music, operas, chamber
music and a number of vocal and choral works. Landet som icke är (The land that is not) (SA+pno) Swedish
10’ and Luceat Latin 10’ have been particularly successful.
Erkki Salmenhaara (1941-2002)
Salmenhaara began his career as a radical Modernist but soon turned towards a mellow, even naïve, NeoRomantic idiom. His best-known choral work Kuun kasvot (The face of the moon, Finnish + English) is rarely
performed in Finland today though it deserves a wider audience.
Kalevi Aho (1949- )
Aho is a symphonic composer whose choral reputation rests on a technically tricky but expressive piece for
women’s choir, Lasimaalaus (Stained glass) (SA).
Juhani Komulainen (1953- )
A primarily choral composer who has been very successful in composition competitions. He writes in a
sonorous neo-tonal style with occasional sharper spicings. He has written works for treble choir, mixed choir
and male voice choir alike.
• Le panneau – The Panel from Fantaisies Décoratives English Publisher: SULASOL
Under the rose tree’s dancing shade / There stands a little ivory girl,
Pulling the leaves of pink and pearl / With pale green nails of polished jade.
The red leaves fall upon the mould, / The white leaves flutter, one by one,
Down to a blue bowl where the sun, / Like a great dragon, writhes in gold.
The white leaves float upon the air, / The red leaves flutter idly down,
Some fall upon her yellow gown, / And some upon her raven hair.
She takes an amber lute and sings, / And as she sings, a silver crane
Begins his scarlet neck to strain, / And flap his burnished metal wings.
She takes a lute of amber bright, / And from the thicket where he lies
Her lover, with his almond eyes, / Watches her movements in delight.
And now she gives a cry of fear, / And tiny tears begin to start;
A thorn has wounded with its dart / The pink-vein’d sea-shell of her ear.
And now she laughs a merry note: / There has fallen a petal of the rose
Just where the yellow satin shows / The blue-vein’d flower of her throat.
With pale green nails of polished jade, / Pulling the leaves of pink and pearl,
There stands a little ivory girl / Under the rose tree’s dancing shade.
(Oscar Wilde)
• Three Songs of Shakespeare English 10’
• Four Ballads of Shakespeare English 12’
• Shakespeare Settings (SA) English 10’
Choir + orchestra:
• Mysterium (SA + orch) 15’
(excerpt from m. 9)
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Olli Kortekangas (1955- )
Best known in choral circles for his collaboration with the Tapiola Choir, for which he has created a number of
pieces and ‘happenings’. He has also written instrumental works and three operas.
• Three Romances English Publisher: Edition Fazer > Fennica Gehrman
(total duration 5’)
1. Cherry robbers
Under the long dark boughs like jewels red
In the hair of an Eastern girl
Hang strings of crimson cherries, as if had bled
Blood-drops beneath each curl.
Under the glistening cherries, with folded wings,
Three dead birds lie:
Pale-breasted throstles and a blackbird, robberlings,
Stained with red dye.
Against the haystack a girl stands laughing at me,
With cherries hung round her ears.
Offering me her scarlet fruit: I will see
If she has any tears.
(D.H. Lawrence)
• MAA (Earth) (SA) 13’
• ‘A’, Water music with the Tapiola Choir (SA) 15’-20’
• Verbum Latin + English 7’
• Välimeri (Mediterranean) 10’
• Ikikaiku (Eternal echo) (SA) Finnish, English, Spanish 10’
16
Harri Wessman (1949- )
A practically oriented and consciously simplistic composer who has termed his style ‘Neo-Pathos’. He has
written a lot of music for pedagogical purposes. He is principally known for one work:
• Vesi väsyy lumen alle (Water under snow is weary) Finnish + English SA + fl, pft [+ string quintet]
Kaija Saariaho (1952- )
One of Finland’s best-known living composers. Her output consists mostly of instrumental music. She has also
written several solo vocal works, but only a handful of choral works. Her music is more about atmosphere than
about rhythm or melody, with an elegant sense of colour.
• Nuits, adieux French
• Tag des Jahrs (+electronics) German 15’
Choir + orchestra:
• Oltra mar 30’
Jouni Kaipainen (1956- )
A moderate Modernist who has written orchestral music, chamber music and vocal music, and also a handful
of choral works which are difficult but extremely colourful.
• Lacrimosa 10’
• Des Flusses Stimme (The sound of the river) 20’
Esa-Pekka Salonen (1958- )
Well known as a conductor, he is also a composer, though his output is limited because of his conducting
commitments. His Two songs to poems by Ann Jäderlund is a complex and fascinating choral score.
17
Jaakko Mäntyjärvi (1963- )
A professional translator, also an active semi-professional musician involved in choral singing. Consequently,
most of his output as a composer consists of choral works, some 40 of which have been published to date. He
describes himself as an eclectic traditionalist. He was composer-in-residence of the Tapiola Chamber Choir
from 2000 to 2005.
Publisher: SULASOL
• Die Stimme des Kindes (The voice of the child) German + English
Version in English published by Walton Music, USA
Ein schlafend Kind! o still! in diesen Zügen
könnt ihr das Paradies zurückbeschwören;
es lächelt süss, als lauscht’ es Engelchören,
den Mund umsäuselt himmlisches Vergnügen.
O Schweige, Welt, mit deinen lauten Lügen,
die Wahrheit dieses Traumes nicht zu stören!
Lass mich das Kind im Träume sprechen hören,
und mich, vergessend, in die Unschuld fügen!
Das Kind, nicht ahnend mein bewegtes Lauschen,
mit dunklen Lauten hat mein Herz gesegnet,
mehr als im stillen Wald des Baumes Rauschen;
ein tiefres Heimweh hat mich überfallen,
als wenn es auf die stille Heide regent,
wenn im Gebirg’ die fernen Glocken hallen.
A child asleep! O still! Behold, unfearing,
In innocence how Paradise rejoices.
He smiles so sweet, he must hear angel voices,
A bliss divine about his mouth endearing.
Desist, O world, from thy deceitful blaring,
Disturb not this true slumber with thy noises!
O, let me join his dreams, where my heart poises,
And flee, forgetting, finding peace past caring!
The child, not knowing of my silent scrying,
In sombre sounds of sleep my heart now blesseth,
More sweetly than the woodland softly sighing.
I yearn to see my pathway homeward rolling,
More deeply than when rain the heath caresseth
Or in the hills the far-off bells go tolling.
(Nikolaus Lenau; translation by Jaakko Mäntyjärvi)
• Four Shakespeare Songs 12’ + More Shakespeare Songs 15’ English
• Pseudo-Yoik + El Hambo
• Kosijat (The Suitors) 20’
• Canticum calamitatis maritimae Latin 10’
• SALVAT 1701, choral drama 70’
• Armahda meidän päällem’ (Have mercy upon us) 12’
• Tentatio, 40-part motet Latin 12’
Choir + orchestra:
• Kouta Finnish + English + Swedish 15’
• Stabat Mater Latin 12’
Composers who started their careers in the 1980s...1990s
Jyrki Linjama (1962- )
Son of Jouko Linjama (see above), a moderate Modernist who is well acquainted with the choral idiom
because he is a choral singer himself. His choral works are mostly in Finnish.
Riikka Talvitie (1970- )
A modernist member of the young generation of today’s composers, she writes in a polished and restrained
idiom with translucent textures and a bright sound, flavoured with subtle noise effects and microintervals.
• Kolme laulua Uuno Kailaan runoihin (Three songs to poems by Uuno Kailas)
• Kuvan kuva (Image of an image)
• Tulen värinä (Flicker of fire) (TB)
Lotta Wennäkoski (1970- )
A composer of miniatures and minimal, lyrical moments that almost always explore the threshold of silence.
• Ennen vettä, 5th movement (Before the water) Publisher: SULASOL
Ennen vettä minä tapasin tämän pohjan,
ennen vettä se oli
katsetta vasten niin rävähtänyt
ja vaiti,
että minä kuulin kyllä,
minä kuulin silmilläni
miten hiljaa hiekassa virtaa hiekka.
(Mirkka Rekola; translation by Jaakko Mäntyjärvi)
Before the water I met this seabed,
before the water it was,
so abrupt in my sight
and silent
that I could hear,
I could hear with my eyes
how quietly sand flows in sand.
18
19
Crossover from popular music
Heikki Sarmanto (1935- )
Choir and orchestra:
• New Hope Jazz Mass
Jukka Linkola (1955- )
• Punapaula (Red ribbon) from Mieliteko (Urge)
On neidolla punapaula kun tanssihin käy.
Käs’vartehen kultansa solmii hän sen.
”Miks niin lujalle sä solmit, oi armahani?
Vai luuletko että mä karkajan pois?”
The maiden goes dancing with a red and gold ribbon.
She ties it to the arm of her sweetheart.
“Why did you tie it so tightly, O my beloved?
Do you think that I will run away?”
(Trad.; translation by Jaakko Mäntyjärvi)
Jussi Chydenius (1972- )
Mia Makaroff
Rajaton vocal ensemble
Säde Rissanen (1965- )
Folklore revival in the 1990s inspired choral music too
(mostly SA)
Sanna Kurki-Suonio
Jenny Wilhelms
Tellu Turkka (née Virkkala)
• Suden aika (The time of the wolf) (SA)
Anna-Mari Kähärä
• Kuka nukkuu tuutussasi (Who is sleeping in thy cradle?)
Kuka nukkuu tuutussasi? Tuska nukkuu tuutussani
niinkuin virta vuoren alla, vesi virrassa syvässä.
Mitä kätket kämmeniisi? Tyhjän kätken kämmeniini,
kaikki haikeat haluni, oudot mielenailahtelut.
Tuutisinpa tuutussani armaan silmien sineä,
niinkuin tuutii tumma lampi taivaan auringon valoa.
Nukkuis tähti tuutussani, pieni taivas polvillani,
pieni aurinko povella.
(Sirkka Selja; translation by Jaakko Mäntyjärvi)
Who is sleeping in thy cradle? Pain is sleeping in my cradle
Like a river under mountain, Like a stream in darkest deeping.
In thy hands what art thou hiding? In my hands I nought am hiding.
All my longings and desires, All my weird and wondrous musings.
Oh but had I in my cradle Blueness of the eyes beloved
Like a dark pond in my cradle, Like the light of all the heavens.
Sleeping star within my cradle, Heaven on my knee a-slumber,
Tiny sun upon my bosom.

Hand out - World Symposium on Choral Music

Transcription

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