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Orchestral Music Vol. I1 BIS-CD-1632BIS-CD-1522 FARTEIN VALEN · ORCHESTRALORCHESTRAL MUSICMUSIC VOL.VOL. I1 1 ELISE BÅTNES violin · STAVANGER SYMPHONY ORCHESTRA · CHRISTIAN EGGEN FARTEIN VALEN, portrait by AGNES HIORTH FrontFront cover: cover: Rosa Rosa Centifolia Lutea byby MaryMary Lawrance,Lawrance, from from ‘A ‘A Collection Collection of ofRoses Roses from from Nature’, Nature’, 1799, 1799, London. London. The Royal Horticultural Society, Lindley Library, London. ReproducedReproduced byby kindkind permission.permisson. BIS-CD-1632_f-b.indd 1 08-06-26 16.41.44 BIS-CD-1632 Valen:booklet 17/6/08 09:31 Page 2 VALEN, Fartein (1887–1952) 1 Nenia, Op. 18 No. 1 (1932–33) 4'52 2 An die Hoffnung, Op. 18 No. 2 (1933) 5'50 3 Epithalamion, Op. 19 (1933) 5'54 Symphony No. 2, Op. 40 (1941–44) 23'25 4 I. Allegro con brio 6'29 5 II. Adagio 9'46 6 III. Allegretto 2'14 7 IV. Finale. Allegro molto 4'43 Symphony No. 3, Op. 41 (1944–46) 20'24 8 I. Allegro moderato 7'06 9 II. Larghetto 7'15 10 III. Intermezzo. Allegro 2'10 11 IV. Finale. Allegro 3'36 TT: 61'49 Stavanger Symphony Orchestra Christian Eggen conductor All works published by Harald Lyche & Co’s Musikkforlag 2 BIS-CD-1632 Valen:booklet 17/6/08 09:31 Page 3 artein Valen made his début as a com - which has elements of their espressivo. poser in the Norwegian capital of Oslo in The three single-movement orchestral pieces F1908 with a late romantic piece for the recorded here were written in the space of just piano, Legend, which he had written earlier that over a year and all have connections with Valen’s year. As we noted in conjunction with the first interest in classical antiquity and in Rome which volume of this series devoted to Fartein Valen he visited in 1922. Despite the descriptive titles, [BIS-CD-1522], shortly thereafter he moved to Ber - this is not romantic programme music. The titles lin which was the musical capital of the world at reflect the underlying inspiration rather than the that time. In Berlin he became deeply involved in content and style of the work. the German classics from Bach to Bruckner and Brahms. But, at the same time, he experienced the Nenia, Op. 18 No. 1 modern music of the day. Max Reger’s grandly A nenie was originally a song performed during con ceived works were exciting and the operas of funeral processions in ancient Rome. Since Jo- Richard Strauss interesting, but most radical was han nes Brahms used the term in a choral com - Arnold Schoenberg’s expressionist music, in which position from 1880 it has gained a more general tonality and the formation of musical motifs were sense of a lament or ‘funeral march’ as Valen pushed to the limits and sometimes crossed the termed it. Brahms set to music a poem by Schiller boundary to atonality. from 1800, the first line of which ‘Auch das Schöne Valen wanted to be a part of this modernism, muß sterben’ [‘Even what is beautiful has to die’] though he had no desire to share in modernism’s alludes to the composer’s own resignation (in a break with the past. All music relies on a classical major key) following the death of his friend the tra dition, Valen maintained, and the well-tried painter Anselm Feuerbach. forms and idioms might rather be filled with a Valen had a similar attitude to beauty and per - new content. Back in Norway after the years in fection. He had originally chosen the title ‘Nenia Ber lin, he continued to immerse himself in scores sulla morte d’un giovane’ [‘Lament on the death of and to study music theory. Bach was central at a young man’]. His inspiration came from a finely this period and Valen worked at writing exercises expressive Roman marble figure known as the in accordance with different principles of poly - ‘Dying Gaul’ which Valen had seen in Rome and pho ny on a daily basis, with Bach as his point of of which there was a copy in Oslo. Valen was al - de parture. But from 1924 onwards it was the aton - most certainly familiar with the Norwegian poet al counterpoint that he had developed himself Olav Nygard’s lines inspired by the young marble which became dominant in his music. Valen gath - figure and written in 1915. The copy of an Attic ered inspiration from Schoenberg and, to a degree, tombstone in the National Museum in Oslo is also from Alban Berg but he created his own style mentioned as a source of inspiration for Valen. 3 BIS-CD-1632 Valen:booklet 17/6/08 09:31 Page 4 All of these works express the meaninglessness of Valen had a copy of the last three verses of a young person’s death. the poem with him before he started composing. The first performance was at a broadcast concert An die Hoffnung, Op. 18 No. 2 on his fiftieth anniversary in August 1937 and Fartein Valen was also interested in writers who Valen visited a neighbour’s house to listen to it on developed or made use of material from Antiquity the radio. and on his trip to Rome in 1922 he visited the ro- man tic poet Keats’s grave from 1821 in the pro - Epithalamion, Op. 19 test ant cemetery. ‘I shall never forget the strange The title signifies a poem or song in celebration atmosphere of this cemetery with the old city wall, of a young couple entering into matrimony. Va - the Pyramid of Caius Cestius, the tall dark cy - len’s nephew Arne was engaged to be married pres ses and the threatening black sky. First we and Valen wanted – as an exception – to write an went to Keats’s grave. There is no name on the occasional piece in honour of the bridal couple tombstone, only the words that he requested: though with music that would have a universal “Here lies one whose name was writ in water”. I mes sage. It is possible that Valen knew the Roman picked a leaf from a violet as a memento.’ poet Catullus’s Epithalamion from the first cen - In 1933 it was Keats’s poem To Hope that in - tury BC. We know that he did have a copy of the spired Valen to compose an orchestral work ‘after English poet Edmund Spenser’s poem from 1595 Keats, yet not entirely, so that I am doubtful as to on his shelves. The final verse of Spenser’s poem the title’, he wrote to his close friend the painter reads (in modernized orthography): Agnes Hiorth. Valen may have had some theo log - ical doubts about the poem and the nationalistic SONG made in lieu of many ornaments, tone that Keats struck was not something that the With which my love should duly have been decked, Which cutting off through hasty accidents, To composer would have appreciated. The title Ye would not stay your due time to expect, Hope might, in isolation, also be understood as an But promist both to recompense, appeal so he chose the German title. Though with Be unto her a goodly ornament, his interest in astronomy and the universe’s reflec- And for short time an endless monument. tion of God’s greatness Valen would surely have The wedding music was first performed in endorsed the final verse of Keats’s poem: 1958, some six years after Fartein Valen’s death. And as, in sparkling majesty, a star Gilds the bright summit of some gloomy cloud; Symphonies Nos 2 & 3 Brightening the half veil’d face of heaven afar: So, when dark thoughts my boding spirit shroud, Valen worked on these two symphonies for al - Sweet Hope, celestial influence round me shed, most the entirety of the Second World War, from Waving thy silver pinions o’er my head! 1941 to 1946. The single-movement orchestral 4 BIS-CD-1632 Valen:booklet 17/6/08 09:31 Page 5 works were, in a way, preliminary studies for his worked in his own musical world and in his rose four symphonies. These are clearly modelled on garden which, sadly, was ruined by frosts during classical forerunners but the atonality and the the severe winter of 1942. strict polyphony lend the works a new type of con tent as compared with romantic symphonies. Symphony No. 2, Op. 40 Valen was not interested in the traditional sym - In each of the four movements Valen has chosen a pho nic development but he did want to preserve principal subject that makes use of all twelve notes the character of the extended lines with long in the scale. Motifs appear both in their original spans through polyphony. And so many of the and transposed forms and the composer also makes move ments are like gigantic fugues. They have a frequent use of inversions. Retrograde mo tion, on dynamic, rather than an architectural form even the other hand, ap pears more seldom. though we encounter sonata form, Lied form and Three of the four movements are ‘pure’ mu- rondos and the movements are, themselves, stages sic; that is, there is no programme or known inspi - in the grand span of the symphony. ration to the music. Valen’s first biographer, Olav There are subtle colourations evident in the Gurvin, claims that there is a Christmas feeling to orchestration, the symphonies being scored for a the first movement (Allegro con brio) and par - standard orchestra with few doublings. The col - tially to the last movement (Allegro molto).
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