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Matka Punaisen Siilin Saliin Risto Kyrö Risto Matka Punaisen siilin saliin Matka Punaisen omaa konserttia Matka siilin saliin – Schubertin jalanjäljissä kohti Schubertin jalanjäljissä kohti omaa konserttia RISTO KYRÖ EST 33 EST 33 DOCMUS-TOHTORIKOULU TAIDEYLIOPISTON SIBELIUS-AKATEMIA 2016 RISTO KY R Ö MATKA PUNAISEN SIILIN SALIIN Schubertin jalanjäljissä kohti omaa konserttia EST 33 Taideyliopiston Sibelius-Akatemia 2017 Kirjallisen työn ohjaaja: Prof. Anne Kauppala Kirjallisen työn tarkastajat: Prof. Tomi Mäkelä FT Marjaana Virtanen Valvoja: Prof. Anne Kauppala Taideyliopiston Sibelius-Akatemia DocMus-tohtorikoulu Taiteilijakoulutuksen tohtorintutkinnon kirjallinen työ Esittävän säveltaiteen tutkimuksia 33 © Risto Kyrö Kannen kuva: Punaisen siilin talo Wienin Tuchlauben-kadulla (akvatinta, te- kijä tuntematon, Itävallan kansalliskirjaston kokoelmat) Kannen taitto: Jan Rosström Kirjan taitto: Paul Forsell Paino: Unigrafia, Helsinki 2017 ISSN 1237-4229 ISBN (painettu) 978-952-329-066-2 ISBN (pdf) 978-952-329-067-9 3 TIIVISTELMÄ Schubertin viimeiseen vuoteen keskittyvän taiteellisen tohtorintutkintoni kir- jallisessa työssä tutkin Schubertin ainoaa sävellyskonserttia ja sen asemaa Wienin vilkkaassa musiikkitarjonnassa. Asian taustoittamiseksi kartoitin en- sin Napoleonin sotien nöyryyttämän kaupungin musiikkielämää 1800-luvun alkuvuosikymmeninä ja sitten Schubertin omaa tietä nuorena muusikkona aikansa ihmisten ja instituutioiden keskellä. Lähestymistapani on ollut mikrohistoriallinen siinä sanan merkityksessä, että olen keskittynyt tapahtumaan, joka Schubertista kirjoitettaessa ei usein- kaan ole saanut sivuhuomautusta suurempaa roolia. Pyrin nostamaan esiin kaiken, mitä miltei kaksisataa vuotta myöhemmin kykenin saamaan selville hänen sävellyskonsertistaan 26.3.1828. Halusin selvittää konkreettisia seik- koja, kuten millainen oli konserttipaikkana Wienin Musikvereinin vanha toi- mitalo, jossa konsertti järjestettiin. Selvitin myös sitä sosiaalista verkostoa, joka Schubertin mukana tuki ja järjesti konserttia. Kiinnostavaksi kysymykseksi nousi se, miksei Schubert monien muiden säveltäjien tapaan järjestänyt tuotantoaan esitteleviä konsertteja jo aikai- semmin. Ystävien ja aikalaisten kommenttien kuvaamana hahmottui kuva säveltäjästä, joka oli miltei sairaalloisen ujo, taipuvainen masennukseen ja alkoholismiin ja kykeni huonosti luomaan yhteiskunnallisesti merkittäviä ver- kostoja tai säväyttämään kuulijansa virtuoosisilla esityksillään. Esiin nousi myös poliisivaltion tapaan toiminut yhteiskunta, joka provosoi nuorukaisia kapinahenkeen ja uhmaan. Nuorten miesten lukupiirit ja satiiriset taiteilija- seurat vetivät puoleensa myös Schubertia, eikä hän itsekään välttynyt avoi- melta konfliktilta ilmiantajien verkoston avustamien poliisivoimien kanssa. Pitkään Schubert vaikutti tyytyvän mahdollisuuteen musisoida ystävien turvallisessa piirissä. Hänen laulujaan ja tanssejaan sekä nelikätisiä pianote- oksia myös julkaistiin huomattavia määriä kotimusisoinnin tarpeisiin. Vasta ystäväpiirin vähitellen murentuessa ja sairauden varjostaessa tulevaisuutta hän alkoi päämäärätietoisesti säveltää laajamuotoisia julkiseen käyttöön tar- koitettuja teoksia, joiden kautta hän halusi profiloitua suuren formaatin sä- veltäjänä. Tärkeänä osana tuota pyrkimystä oli toive järjestää oma konsertti, jonka esikuvana ja innoittajana toimi häntä paljon vanhempi mestari Beetho- ven. Kymmenen vuoden tauon jälkeen tämä järjesti nimittäin keväällä 1824 suuren konsertin, jossa sai kantaesityksensä hänen yhdeksäs sinfoniansa. Beethoven kuoli kolme vuotta myöhemmin, 26.3.1827, ja päivälleen vuoden kuluttua siitä toteutui Schubertin konsertti. Beethovenin varjo oli jo väistynyt, mutta samalla viikolla kaupungin valloitti toinen titaani, italialainen viuluvir- 4 tuoosi Niccolò Paganini, jonka konserttien synnyttämä huuma jätti Schubertin konsertin täysin varjoonsa. En halunnut lähestyä Schubertin ainutkertaista konserttia vain aikalais- dokumenttien ja aiemman Schubert-tutkimuksen valossa, vaan alusta saak- ka yhtä tärkeällä sijalla tutkimuksessani oli sen kohteena olevan konsertin toisinnon järjestäminen Helsingissä konkreettisena aikaan ja paikkaan sidot- tuna tapahtumana jousikvartetteineen, pianotrioineen, kuoroineen ja monine laulunumeroineen. Näin pääsin sisälle konserttiin aivan toisella tavalla kuin pelkästään siitä lukemalla, ja tätä kautta historiallinen ja taiteellinen tutki- musote liittyvätkin työssäni kiinteästi toisiinsa. Avainsanat: Schubert, konsertti, Wien, 1828, mikrohistoria 5 ABSTRACT Risto Kyrö. Tracing Schubert’s Only Concert of His Own in the “zum roten Igel” Concert Hall in Vienna. Sibelius Academy. DocMus Department. 2016. 145 pages + 112 attachment pages. The theme of my artistic doctoral project is Franz Schubert’s Last Year, and the specific focus of the written part of my work has been the single public concert that Schubert arranged in his lifetime and the path leading up to it in the context of the lively musical scene of 19th-century Vienna. My ultimate aim in my written work as well as my concerts has been to provide for reader and listener a glimpse into Schubert’s life and work in the last year of his life and into the unique motivations and decisions that lead to his concert. I also wanted to bring back to life, as it were, what was to have been the first of many annual concerts but which ultimately proved to be Schubert’s first and last one during his lifetime. My approach has been microhistoric in the sense that I have focused on a single event, i.e. his one and only public concert, because despite its importance to Schubert’s life, in most writings on Schubert, this concert is mentioned only in passing. In researching this topic, I was able to immerse myself in details about Viennese artistic life in the early decades of the 19th century and specifi- cally about the “zum roten Igel”, the Music Society concert hall that Schubert used, as well as in the social networks that enabled him to stage his concert in March 1828, all of which revealed important insights into Schubert’s fragile mindset towards the end of his life. The question emerges of why Schubert chose not to present his works for a wider public much earlier, since most composers did so regularly. Comments from friends and contemporaries reveal a composer who was almost pathologi- cally shy, prone to depression and alcoholism, and who was capable neither of building networks that the bourgeois society of the day demanded nor of as- tonishing his listeners with virtuoso performances. Despite a temporary peace that Schubert seemed to have found in opportunities of making music in the safe circle of his friends, which led to the publication of many songs, dances and piano duets for use in the home, the turning point came when that circle of friends began to pull apart around him and illness began to cast a shadow on his future. It was then, in order to be seen as a composer of greater stature, that he decided to compose larger works for public use. Schubert was inspired in this aspiration by the old master Beethoven, who, having not arranged a concert of his own for ten years, put together a grandiose concert in the spring of 1824 that included the premiere of his ninth symphony. Beethoven died three years after this premiere, and one year later to the day, on 26 March 1828, Schubert staged his own concert. Tragically, however, al- though Beethoven no longer cast his long shadow over Schubert, within a few days of the concert, Vienna was overtaken by another musical giant, the Ital- ian violin virtuoso Niccolò Paganini, whose performances caused a frenzy that totally overshadowed Schubert’s long-awaited concert. In addition to highlighting documents from his time as well as earlier re- search on Schubert, I felt that to truly enter that singular moment in Schubert’s life, it was important to arrange in Helsinki in real space and time a replica of his public concert – complete with string quartet, piano trio, choirs and vocal pieces. In so doing, I felt privileged to experience the concert in a more tangible way than words alone could convey. It is by bringing back to life that singular event that my project links historical and artistic research. Keywords: Schubert, concert, Vienna, 1828, microhistory 7 Kiitokset Kymmenisen vuotta sitten alkoi mielessäni kyteä ajatus Schubert-resitaalista. Olen aina arvostanut ja ihaillut Schubertin musiikkia ja arvelin, että kypsään keski-ikään ehdittyäni kykenisin ehkä esittämään sitä itsekin kokonaisen konsertin verran. Kun sitten pari vuotta myöhemmin perehdyin tarkemmin Schubertin elämään ja hänen tuotantoonsa, hämmästyin sitä, kuinka monet hänen mestariteoksistaan syntyivät vasta hänen viimeisen elinvuotensa ai- kana. Kaiken lisäksi hän tuon viimeisen vuotensa aikana järjesti myös elä- mänsä ainoan julkisen sävellyskonsertin. Resitaali alkoi kasvaa ajatuksissani konserttisarjaksi, jossa olisi mukana myös liediä ja kamarimusiikkia. Halusin myös paneutua perusteellisesti tämän musiikin ja Schubertin käsittämättö- män hedelmällisen viimeisen vuoden taustoihin. Niinpä mieleeni nousi ajatus hakeutua Sibelius-Akatemian tohtorikoulutukseen. Olin suhtautunut välillä hiukan skeptisestikin taiteellisiin tohtorintutkintoihin, mutta nyt oivalsin, että jatko-opiskelijana saisin sekä tukevat raamit projektilleni että ainutlaa- tuisen mahdollisuuden oppia uusia työskentelytapoja ja saada asiantuntevaa ohjausta näin ison kokonaisuuden läpiviemiseen. Nyt, kun katson näitä intensiivisiä vuosia taustapeilistä, on aika kiittää. Aikamatkani Schubertin elämän viime vaiheisiin
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