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Beneath the Laurel Tree Beneath the Laurel Tree – Text-Music Relationships in Paavo Heininen’S Opera

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Inkeri Jaakkola Inkeri STUDIA MUSICA 81 Beneath the Laurel Tree Beneath the Laurel Tree – Text-Music Relationships in Paavo Heininen’s Opera Opera Heininen’s in Paavo Relationships – Text-Music Tree the Laurel Beneath PRINTED: Text-Music Relationships in Paavo Heininen’s ISBN 978-952-329-153-9 ISSN 0788-3757 Opera Silkkirumpu,, ,op. 45 PDF: ISBN 978-952-329-154-6 ISSN 2489-8155 INKERI JAAKKOLA HANSAPRINT Silkkirumpu op. 45 op. 81 STUDIA MUSICA STUDIA RESEARCH STUDY PROGRAMME THE SIBELIUS ACADEMY OF DocMus DOCTORAL SCHOOL THE UNIVERSITY OF THE ARTS HELSINKI MUSICA 81 Beneath the Laurel Tree Text-Music Relationships in Paavo Heininen’s Opera Silkkirumpu, op. 45 Inkeri Jaakkola ACADEMIC DISSERTATION Sibelius Academy University of the Arts Helsinki Studia Musica 81 Helsinki 2020 Supervisors: Professor Lauri Suurpää, Sibelius Academy, University of the Arts Helsinki Dr Sakari Katajamäki, The Finnish Literature Society Preliminary examiners: Professor Yayoi Uno Everett, The University of Illinois at Chicago Professor Philip Rupprecht, Duke University Custos: Professor Lauri Suurpää, Sibelius Academy, University of the Arts Helsinki Opponent: Professor Yayoi Uno Everett, The University of Illinois at Chicago Sibelius Academy, University of the Arts Helsinki DocMus Doctoral School Research Study Programme, Faculty of Classical Music Academic Dissertation Studia Musica 81 © Inkeri Jaakkola and University of the Arts Helsinki Cover image, graphics and layout by Inkeri Jaakkola Printed by +DQVDSULQW, 2020 ISBN 978-952-329-153-9 paperback ISSN 0788-3757 paperback ISBN 978-952-329-154-6 pdf ISSN 2489-8155 pdf Abstract Jaakkola, Inkeri. 2020. Beneath the Laurel Tree: Text-Music Relationships in Paavo Heininen’s Opera Silkkirumpu, op. 45. Academic Doctoral Dissertation. This study deals with Paavo Heininen’s opera Silkkirumpu (The Damask Drum) op. 45 (1983) and examines the narrative aspects of its text-music relationships. The research combines approaches of music analysis and literary theory. The central methods for the music analysis are Robert Morris’s reductive method for showing contour similarity be- tween musical entities, Peter Stacey’s suggestions for observing the relations between text and music as well as Stacey’s view of text fragmentation in contemporary vocal mu- sic. The discussion of musical narrative follows the principles introduced by such scholars as Byron Almén and Robert Hatten. The literary narrative is described using concepts developed by Shlomith Rimmon-Kenan. Silkkirumpu is interpreted primarily in the context of Western art music. The opera’s text-music relationships are interpreted from four analytical perspectives, with emphasis on the narrative processes and their compositional strategies and descriptions of the work-specific and intertextual references. An analytical model of vocal style, in which the vocal part is observed as a combination of its components, is developed for the purpose of this study. The characters’ musical portrayals are expressed through their vo- cal styles which transform as the drama proceeds. The analysis focuses on the soloists’ parts, but the orchestra’s narrative role is also examined. Silkkirumpu’s text and music work together in the organization of form and in the symbolism of the work in which associations are evoked by recurring musical shapes and textures. However, the opera’s overall trajectory also includes ironic and tragic layers, which are based on conflicts or incongruities between text and music. Intermediality per- meates the opera’s semantic and structural layers: in the processes of text fragmentation language and music converge in places, adapting features from one another’s sign sys- tems. The frequent textural interruptions in Silkkirumpu’s music, in turn, are analogous to cinematic montage and flashback. This study is the first to focus on Heininen’s music and specifically on the music of Silkkirumpu. It shows that the opera’s text-music relationships are largely based on the centuries-old tradition of the Western vocal music, yet the composer has also utilized neo- narrative, intermedial strategies. Keywords: text-music relationship, narrative, irony, contour, text fragmentation, vocal style, montage Tiivistelmä Jaakkola, Inkeri. 2020. Laakeripuun luona: Tekstin ja musiikin vuorovaikutus Paavo Hei- nisen oopperassa Silkkirumpu op. 45. Väitöskirja. Tämä tutkimus käsittelee Paavo Heinisen Silkkirumpu-oopperan tekstin ja musiikin vuo- rovaikutusta kerronnallisuuden näkökulmasta. Vuonna 1984 kantaesitetty Silkkirumpu- ooppera perustuu Zeami Motokiyon no-näytelmään Aya no Tsuzumi. Säveltäjän muok- kaaman runomuotoisen libreton on suomentanut Eeva-Liisa Manner. Keskeisimmät musiikkianalyysin menetelmät ovat Robert Morrisin reduktioanalyysi musiikillisten hah- mojen (contour) samankaltaisuuden toteamiseksi sekä Peter Staceyn ehdotukset tekstin ja musiikin suhteen sekä tekstin vähittäisen fragmentoitumisen havainnoimiseksi 1900- luvun vokaalimusiikissa. Musiikin kerronnallisuutta kuvataan mm. Byron Alménin ja Robert Hattenin esittelemiin näkemyksiin nojautuen ja tekstin kerrontaa lähinnä Shlomith Rimmon-Kenanin käsittein. Silkkirumpua lähestytään tässä tutkimuksessa ensisijaisesti länsimaisen taidemusii- kin viitekehyksessä. Oopperan teksti-musiikkisuhdetta kuvataan neljästä analyyttisestä näkökulmasta, tarkastellen toisaalta teoksen kerronnallisia prosesseja ja niiden sävellyk- sellisiä strategioita, toisaalta kerrontaa tukevia Silkkirummun sisäisiä ja intertekstuaalisia viittauksia. Roolihenkilöiden musiikillinen karakterisointi perustuu ennen muuta solistien vokaaliosuuksien rakentumiseen ja muuntumiseen draaman edetessä. Tutkimusta varten on kehitetty vokaaliosuuksien tarkastelumalli (vocal style), jossa kokonaisvaltainen vo- kaali-ilmaisu kuvataan useiden osatekijöiden yhdistymänä. Analyysi kohdistuu solistiosuuksien ohella myös orkesterin toimintaan ja erityisesti sen rooliin kertojana. Silkkirummun tekstin ja musiikin suhde on yleisesti toisiaan kannatteleva, mutta tietyissä kohdin ilmaisukeinojen välillä on ristiriitaa. Teksti ja musiikki vaikuttavat yh- dessä teoksen muodon jäsentymiseen, symboliikan rakentumiseen sekä paikallisiin merkityksiin. Kuitenkin oopperassa on sekä ironinen että traaginen taso, jotka perustuvat tekstin ja musiikin yhteensopimattomuuteen. Tunnistettavina toistuvien musiikillisten hahmojen ja tekstuurien luomat assosiaatioyhteydet muodostavat teokseen tulkintaa ri- kastuttavan ja laajentavan merkitysverkoston. Intermediaalisuus läpäisee Silkkirummussa sekä merkitys- että rakennetason ja ilmenee erityisesti kahdella tavalla. Tekstin fragmen- toituessa kieli ja musiikki ilmaisuvälineinä lähenevät ja kietoutuvat toisiinsa omaksuen piirteitä toistensa merkkijärjestelmistä. Musiikillisten tekstuurien keskeytykset rinnastu- vat elokuvalliseen kerrontaan – montaasiin ja takaumaan – yhdistäen ajallisesti etäiset oopperan jaksot ja niissä esitellyt draaman motiivit toisiinsa. Tutkimus on ensimmäinen väitöskirja, jonka aiheena on Paavo Heinisen sävelkieli ja hänen tuotannossaan keskeisen Silkkirumpu-oopperan musiikki. Tutkimus täydentää myös eturivin suomalaisen modernistisen runoilijan, Eeva-Liisa Mannerin, runoilijaku- vaa. Tutkimus osoittaa, että Silkkirumpu-oopperan tekstin ja musiikin vuorovaikutus perustuu olennaisilta osin eurooppalaisen oopperan ja vokaalimusiikin traditioihin, mutta siinä on hyödynnetty myös uudenlaisia, intermediaalisia kerronnan keinoja. Avainsanat: teksti-musiikkisuhde, narratiivi, ironia, tekstifragmentaatio, montaasi, hahmo, vokaali-ilmaisu Acknowledgements I want to express my gratitude to all those who have supported my project in various ways and contributed to its completion. First and foremost, I want to thank my kind supervisor, Professor Lauri Suurpää, for his exhaustive reading of my texts during all these years, for his numerous insightful comments and for his questions, which have had a great impact on my scholarly and musical thinking. To my assisting supervisor, Dr Sakari Katajamäki, I am grateful for many inspiring discussions on literary theories and topics during which he commented on my texts and introduced important, alternative points of view, thus helping me to combine the two distant scholarly areas of my study. I also want to thank Professor Juha Ojala for his valuable feedback on the manuscript’s early version. I am grateful to my preliminary examiners, Professor Yayoi Uno Everett of the University of Illinois at Chicago and Professor Philip Rupprecht of Duke University, for their com- ments on the manuscript of this study. I am grateful to Professor Paavo Heininen for the privilege of discussing his opera with him. In addition I would like to thank Dr Tuula Hökkä for her good advice, Dr Olli Väisälä for his encouraging comments, Hiromitsu Kobayashi for his help with the Japa- nese language, Jyrki Myllärinen for his help with the Italian titles as well as all those whom I interviewed for providing interesting, additional information about the opera. The feedback given by my colleagues at various seminars and conferences has also been val- uable. I want to express my gratitude to Professor Glenda Goss for her invaluable help with the English language. Her unselfish support is not limited to the detailed and artistic revising of the manuscript. Our discussions have opened my ears to the shades and con- notations behind the words and helped me to develop my spoken English. This study was supported by a one-year full-time grant of the Finnish Cultural Foundation’s Päijät-Häme Regional Fund
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    Cambridge University Press 978-0-521-03357-2 - Sibelius Studies Edited by Timothy L. Jackson and Veijo Murtomaki Index More information Index Abraham, Gerald, 32, 37, 296, 310, 316, An die ferne Geliebte, 194, 207, 249 321, 323, 350 Symphony No. 5, 251 Ackté, Aino, 31, 101 Symphony No. 7, 201–03, 260 Adams, John, xi Symphony No. 9, 70, 239 Adorno, Theodor, xi–xiv, xviii–xix, Benjamin, George, 56 10–11, 29, 36 Berg, Alban, xi, 29, 243 Ahlquist-Oksanen, August, 104, 133 Berg, Helene, 243 Ahnger, Alexandra, 30 Berglund, Paavo, 17, 30 Aho, Kalevi, 96 Bernstein, Leonard, 24 Ainola, 99, 178–79, 322 Bizet, Georges, 124 Allen, Roger, 62 Björling, Jussi, 32 Amishai-Maisels, Ziva, 177 Bjurha, Gottfried, 85, 89 Anderson, Marian, 31 Bobrikoff, Nicolai Ivanovich, 135 Andersson, Otto, 298–99 Böcklin, Arnold, 77–78 Ansermet, Ernest, 24 Böhm, Karl, 23 Antokoletz, Elliott, xii, xvii, xviii Borg, Kim, 32–33 Ashkenazy,Vladimir, 33 Bosley, Keith, 65, 158 Attali, Jacques, 9 Bosse, Harriet, 85 auxiliary cadence, 187, 265 Boult, Sir Adrian, 15 bitonic, 189, 200, 214–24 Brahms, Johannes, 32, 35, 36–37, 56, initial, 187–88, 210 61–62, 126, 178–80, 187, 189, internal, 187, 201, 210, 213 194–95, 198, 200, 226, 238, 243, linked, 187, 190, 212, 221 261, 265, 269, 272, 315 monotonic, 189, 195 Piano Quartet in C minor, 251 nested, 187, 188, 190, 214 Symphony No. 1, 126, 238, 240–43, over-arching, 187–88, 195, 198, 201, 251–60, 268–69, 272 203 Symphony No. 3, 187, 193, 195–97, tonic, 177, 188–89, 200–06, 226–38, 226, 260, 269 231, 260 Symphony No.