University of the Arts Helsinki Sibelius Academy Jean Sibelius’s Works for Mixed Choir A Source Study Sakari Ylivuori ACADEMIC DISSERTATION Studia Musica 54 Helsinki 2013 ISBN 978-952-5959-50-5 ISBN 978-952-5959-51-2 (pdf) ISSN 0788-3757 Unigrafia Helsinki 2013 Abstract Jean Sibelius (1865–1957) composed choral music throughout his entire active career. The earliest mixed-choir works date from his period of study at the Helsinki Music Institute (probably from 1888 or 1889) and the last work for mixed choir is a setting of his Finlandia-hymni dating from 1940. In total, Sibelius’s mixed-choir oeuvre consists of 30 works. The objective of the present study is threefold: firstly, to gather all the sources for the 30 mixed-choir works; secondly, to analyse the source material and to construct source chains; and thirdly, to study Sibelius’s writing process and the evolution of each mixed- choir work from their earliest sketches to present-day editions. The source material is divided into two groups: musical sources and biographical sources. The main focus lies on the musical sources. Chronologically, the musical sources form three categories: manuscripts, contemporary editions, and posthumous editions. Manuscripts include sketches, drafts, autograph fair copies, fair copies by people other than Sibelius (if used in the publication process), proofs, and Handexemplare. The dividing line between contemporary and posthumous editions is the year of Sibelius’s death (1957). The biographical sources consist of Sibelius’s diary, correspondence, and work lists. The study also consults newspaper reviews, as well as other sources when they shed light on the dating of the works in question. The analysis of the source chains aims to map the evolution of Sibelius’s mixed-choir works. The theoretical foundation of the analysis is based on the methodology of Genetic Criticism (critique génétique). Genetic Criticism does not seek to establish one definitive or singular version of any given work, but rather focuses on the study of the writing process. As a deviation from traditional Genetic Criticism, the present study does not limit the source chain to manuscript sources, but also considers published editions, including present-day editions. Each source – be it a sketch, fair copy, or a modern edition – is considered an equal representation of a stage in the work’s evolution. Thus, the analysis is not restricted to Sibelius’s writing process, but rather it also aims to describe how the works have evolved during their existence. In the present study, analysis of the source chains consists of three parts: analysis of the writing process, analysis of the publication process of the first edition, and analysis of the textual transmission in subsequent editions including those published after Sibelius’s death. The extension of the research material to include published material has required some modifications to the theory of Genetic Criticism. Acknowledgements I am grateful to all those, whose help contributed to the present study. Above all, I would like to thank my supervisors Prof. Lauri Suurpää and Prof. Veijo Murtomäki for their exhaustive reading of my text at various stages and for the advice and feedback they have given me throughout the process. I am also grateful to my pre-examiners Prof. Nicholas Marston and Prof. Barry Cooper for commenting on the manuscript of this book in detail. I would like to thank my colleagues in the Sibelius critical-edition project: Timo Virtanen, Kari Kilpeläinen, Tuija Wicklund and Anna Pulkkis. I am truly privileged to work with such talented scholars. Most of the ideas in the present study were developed and tested in interesting discussions at an early stage, thus my colleagues’ contribution to the book is invaluable. I would also like to thank the fellow scholars who participated in the Sibelius Seminar at the Sibelius Academy (particularly Prof. Ilkka Oramo, Risto Väisänen, Pekka Helasvuo, and Juhani Alesaro) for the many interesting discussions we have had. I would like to thank the staffs of the National Library of Finland (particularly Petri Tuovinen, Tarja Lehtinen, and Inka Myyry), the archives of Breitkopf & Härtel (Dr Andreas Sopart), the Sibelius Museum (Sanna Linjama-Mannermaa), the National Archives of Finland, Suomalaisen Kirjallisuuden Seura, Svenska Litteratursällskapet i Finland and Kallion seurakunta for their kind help with the sources. Furthermore, I would like to thank Seppo Suokunnas for the help he provided with sources in the archives of SLEY and Tuomas Meurman with those in the archives of Ylioppilaskunnan Laulajat. I am grateful to David Hackston for the thorough proofreading and language checking in this book. The owners of Sibelius’s rights kindly gave me permission to include manuscript facsimiles in this book. Excerpts from printed sources are included in the book with kind permission of Breitkopf & Härtel (Examples 3.1, 7.2b, 7.2c, 7.2d, 8.3b, 8.5, 8.6, 8.8b, 8.8c, 8.11, 9.2, 9.3, 9.4, 9.5, 9.8, 9.9, 10.2, 10.3, 10.4, 10.8, 10.9, 10.10, and 14.12), Muntra Musikanter (Ex. 8.2b), Sulasol (Ex. 8.4 and 9.1b), and Fennica Gehrman (Ex. 7.1, 7.2a, 8.3a, 8.9, 8.10, 9.6, 9.7, 13.3, and 13.9). The photograph in Example 8.1 is printed with permission of Lars-Eric Gardberg and publishers Avain. The publication of this book was supported financially by the Sibelius Academy Foundation. I dedicate this book to my dear wife Soile Ylivuori, whom I would like to thank for her loving support and exhaustive proofreading at various stages. Contents Abstract Acknowledgements Part I: Sources, Methodology, and Mixed-Choir Works 1 Introduction 1 1.1 Sibelius’s a cappella Choral Works 1 1.2 Sibelius’s Works for Mixed Choir 3 1.3 Objectives and Methods of the Present Study 6 2 Theoretical Foundations 11 2.1 The Writing Process and Genetic Criticism 11 2.2 Revisions and Later Editions 18 2.3 Parallel Versions 20 2.4 Progression of the Present Study 22 3 Sources 24 3.1 Musical Sources 24 3.1.1 Manuscript Sources 24 3.1.2 The Publishing Process of the First Edition 26 3.1.3 Published Sources 27 3.2 Biographical Sources 29 3.2.1 Correspondence 29 3.2.2 Diary 30 3.2.3 Work Lists 31 3.2.4 Other Sources 31 3.3 Remarks on Missing Musical Sources 32 3.3.1 Evidence in Extant Musical Sources 32 3.3.2 Evidence in Biographical Sources 33 4 Mixed-Choir Works in Bibliographical Sources 35 4.1 Mixed-Choir Works in Sibelius’s Work Lists 35 4.2 Biographical Sources for Genesis and Reception of Mixed-Choir Works 37 4.2.1 Works from 1888–1889 38 4.2.2 Works Related to Opus 18 38 4.2.3 Other Works from 1893–1905 41 4.2.4 Opus 65 and Related Works 44 4.2.5 Other Works after 1911 49 4.2.6 Incomplete and Unrealised Works for Mixed Choir 53 Part II: Analysis of the Source Chains 5 General Remarks on Source Chains 56 5.1 Coverage of the Surviving Sources 56 5.2 Source Chains for the Parallel Versions 58 6 The Writing Process 60 6.1 Sketching 60 6.1.1 The Original Choral Works 60 6.1.2 Works from 1888–1889 65 6.1.3 Sketching the Choral Arrangements 70 6.2 Refining the Details: Fair Copies and Proofs 72 6.3 Revisions and Later Thoughts 73 6.4 Sibelius’s Treatment of Original Poems 74 7 Sibelius’s Notational Practices in Choral Writing 80 7.1 Features of Notational Practice 80 7.2 A Closer Look at Sibelius’s Use of the Accent Sign “>” 86 8 Typesetting 91 8.1 The Process of Typesetting 91 8.2 Typeset Editions in Relation to Typesetter’s Copies 96 8.3 Typical Misprints in Typeset Editions 100 8.4 Remarks on the Differences between Typeset and Engraved Editions 103 9 Editions 106 9.1 Contemporary Editions (until 1957) 107 9.2 Posthumous Editions (after 1957) 111 9.2.1 The First Non-Typeset Editions from the 1950s and 1960s 111 9.2.2 Fazer’s Editions of 1977 and 1984 112 9.2.3 The Two First Editions Published in 1992 117 9.3 Jean Sibelius Works 119 10 Arrangements 122 10.1 Arrangements in Relation to Their Original Compositions 123 10.2 The Value Judgement of Arrangement 134 10.3 A Few Remarks on the Intentionality of the Discrepancies Between Versions142 11 Results and Conclusions 144 11.1 Gathering the Sources 144 11.2 Writing Process 146 11.3 Publication Process 147 11.4 Editions of Sibelius’s Mixed-Choir Works 148 Part III: Three Case Studies 12 From Fair Copy to Draft – A Case Study of Tanke, se, hur fågeln svingar 151 12.1 Manuscript Sources 151 12.2 Remarks on the Compositional Process Visible in the Manuscript Sources 152 12.3 Problems of the Third Version 154 12.4 Conclusions 159 13 The Creative Process of Ej med klagan 160 13.1 Sources from Sketching to Publication 160 13.2 On Differences Between the Two Versions 163 13.3 Later Sources 167 14 How Tulen synty Became Rakastava 171 14.1 The Sketches for the Two Attempts at Tulen synty 172 14.2 From Tulen synty to Rakastava 176 14.3 Other Sketches for Rakastava 183 14.4 On the Challenges in Defining the Borders of a Network 185 14.5 Conclusions 187 Appendix I: The Source Chains 189 Works from 1888–1889 189 Works from 1893–1905; Works Related to Opus 18 192 Works from 1893–1905; Other Works 201 Works from 1911 and after; Opus 65 and Related Works 206 Works from 1911 and after; Other Works 209 Appendix II: Abbreviations 215 Appendix III: Scores for Tanke, se, hur fågeln svingar 216 Appendix IV: Comments on the Transcriptions in Chapter 14 224 References 225 1 Introduction 1.1 Sibelius’s a cappella Choral Works In 1893 Sibelius made an impressive debut in choral circles.