was father Järnefelt’s second home, since he Europe had a decisive effect on Kilpinen’s style, emboldening him to adopt a more radical SOLO SONGS spent a couple of decades as conductor of the Yrjö Kilpinen by Royal Opera in Stockholm. He concentrated idiom that at times was almost free-tonal. almost exclusively on solo songs, the reason no Paving the way for this bolder idiom were the FINNISH COMPOSERS doubt being that his father-in-law was Jean Si- settings of poems by Ernst Josephson (Fantasi belius, a master of large-scale form. Järnefelt’s och verklighet) and Pär Lagerkvist (Reflexer), in vocal lyrics spring from the National-Romantic which his intellectual approach is increasingly Past and Present ethos nurtured on the archaic rune-singing of succinct and animated. He reached the peak of the national epic, the Kalevala, and the distant his artistic powers in the settings of German poets, especially Christian Morgenstern, and it Warner/Chappell Music Finland has published a gratifying lands of Karelia. The folk-like elements of his youthful songs were in time joined by Im- was here that his chamber music-like and at number of Finnish solo song collections over the past few pressionistic and in places even Expressionistic times sparse and ‘difficult’ Lied style was taken years. There are many reasons for this, one being a desire to timbres. to extremes. The 75 Morgenstern songs are among the ones best known in the inter- honour major Finnish song composers on various anniversaries. The publication of the songs by Heino Kaski, national arena. Some of the most popular at The primary reason has, however, been the practical need for a contemporary of Järnefelt, in a separate home in Finland are the Songs of the Fells, collected editions of songs by a given composer in a single volume was likewise decided partly by chance: drawing on texts by the Lapp poet V. E. Tör- the discovery only recently of a large number of mänen. The Kanteletar op. 100 collection of 64 volume rather than on individual sheets. Heino Kaski previously unpublished manuscripts in a songs may be regarded as Kilpinen’s testament. Like Hugo Wolf, Yrjö Kilpinen concen- he collections cover a considerable time surprising considering that Merikanto himself private Helsinki home. These songs have filled trated on producing portraits of selected poets span in the history of the Finnish solo was an excellent pianist and organist. The Me- out the picture of Kaski as a true lyricist and rather than settings of individual poems. The song. Thomas Byström (1772-1839) rikanto songs cover the entire gamut of human the composer of direct, melodic music devoid T result was an all-round perspective of the poet’s even belongs to the period that predated the emotion and thought, in moods transformed in of mighty dramatic build-ups. The strength of works. In this sense Kilpinen was, though by “post-Schubert” era proper headed by the most a flash from mystical meditation to nostalgic his songs lies in their warm, lyrical mood and nature a miniaturist, a master of large-scale popular 19th century Finnish song composer, longing and utmost jubilation, yet always over simple construction rather than complex ex- form. It is regrettable that his songs have to a Karl Collan. Among the conventional vocal an undercurrent of flowing melody. periment often seeking to emulate the fashion- great extent fallen into almost complete ob- romances by Byström are some real gems that able trends of the time. Apart from the songs, livion in the past few decades. The new Kilpi- still have a surprisingly fresh appeal and a Toivo Kuula, who met an untimely death in most of the music by Kaski is for piano. nen collections are therefore all the more musical quality above and beyond that of most 1918, left only 24 solo songs, but they are welcome, for he was, after all, one of the few 19th century Finnish songs. The songs by Col- among the finest of their kind ever composed Tw o volumes containing the main solo songs masters of the Lied in Central Europe in the lan clearly reflect the influence of the great in Finland. They perfectly reflect the serious by Erkki Melartin were published in spring period before the Second World War. Another European Lied composers in both the handling mindscape, the richness of melody and under- 2000 on the 125th anniversary of his birth. incentive to publish some of the major songs of the text and the construction of the piano lying melancholy of the national soul. The Melartin was one of the most prominent mu- was the international singing competition held Leevi Madetoja part. broad, dynamic range of expression calls for a sical personalities of his day: composer, pianist, in Stuttgart in April 2001 with a repertoire Oskar Merikanto good vocal technique, a wide vocal span and conductor and administrator. As a composer he built round the works of Richard Strauss, In speaking of 19th century Finnish song considerable powers of interpretation. Most of was exceptionally prolific and versatile, but he Hans Pfitzner and Yrjö Kilpinen. Aarre Merikanto was nevertheless a composer Volume I of the solo songs by Rautavaara composers it is impossible not to include Fred- the songs are settings of Finnish poems. This is best remembered today for his three hundred of rare vitality regardless of his style. contains items that have by now become rik Pacius, a man who, though of German de- possibly explains why his songs speak so closely solo songs and hundreds of piano pieces. His Einari Marvia contributed about a hundred classics, volume II songs of the past few de- scent, composed the first real Finnish opera, to singers here, who look upon them as staple choice of song texts reveals that he was ex- solo songs to the Finnish Lied tradition estab- The very latest project at Warner/Chappell cades – some of them extremely exacting both The Hunt of King Charles (Kung Karls jakt), repertoire. A new, revised edition of the Kuula tremely well-read, and equally at home with lished by Yrjö Kilpinen but drew his musical Finland is the publication in two volumes of tonally and technically. There are also some and some 70 songs that laid the foundations for songs is being planned. Finnish and foreign poetry. Stylistically the influences more from his teacher, Erkki Melar- the major songs by Einojuhani Rautavaara, arias and monologues from his operas Aleksis the Finnish solo song. In style these songs come songs range from National-Romantic mood tin, than from Kilpinen. Marvia turned for the best-known Finnish composer outside Fin- Kivi and Thomas. Volume II ends with four close to German Romanticism with their The solo songs of Leevi Madetoja (1887- pieces to Impressionistic and at times distinctly inspiration to ancient Finnish folk poetry and land. The Rautavaara vocal works have been duets from four seasons to texts by four poets numerous Lied influences. Unfortunately, they 1947), a versatile composer, are in Finnish Expressionistic tones. One of his favourite the nature lyrics of Finnish poets. His songs are inspired by poets both Finnish and foreign: the in four languages. are almost totally overlooked by singers today, National-Romantic vein mixed with influences poets was V. A. Koskenniemi, 24 of whose characterised by rich musical, melodic in- former headed by Edith Södergran and Aaro even though Edition Fazer did publish a drawn from French music. Most of his 50 or so texts he set to music. Volume I contains popu- vention enhanced by colourful, distinctive har- Hellaakoski, the latter by Rainer Maria Rilke. Scheduled for publication at the end of 2001 is comprehensive collection in the 1950s to mark songs are settings of poems by his wife, L. lar songs in nationalistic spirit to Finnish lyrics, monies. The texts are taken from a number of Rautavaara has also composed songs to texts of a collection of solo songs by Selim Palmgren the 150th anniversary of his birth. Onerva, and include the Autumn songs, Op. 68, while volume II examines Melartin from a sources, which proves that he read widely and one of the best-known Finnish song cycles. broader stylistic and linguistic perspective. his own. to mark the 50th anniversary of his death. was familiar with poetry. Also a successful symphony and opera com- Like the works of Einojuhani Rautavaara Palmgren is looked upon as the first real Fin- National Heritage poser, Madetoja avoids unnecessary drama and in general, his songs are unusually broad and nish piano composer and the father of the Fin- Aarre Merikanto was a second-generation external effects in his songs and meditates on From Kilpinen to varied in scope, covering numerous styles from nish piano concerto. He also wrote a hundred Some of the finest songs by Oskar Merikanto, composer and differed from many of his Fin- such themes as loneliness, death, and the Rautavaara Neo-Classicism to varying degrees of dode- or more solo songs and a large volume of the most popular Finnish song composer, have nish contemporaries who began with National enigma of eternity. A new critical edition of the caphony, serialism and finally neo-tonality. choral music. The works for male choir are been rescued for posterity in a one-volume Yrjö Kilpinen is, after Jean Sibelius, the Fin- Romanticism and later experimented with Madetoja songs, some of the finest in Finnish The early Three Sonnets of Shakespeare (1953) among the finest in this genre. Also appearing edition entitled “Oskar Merikanto: The Most nish song composer best known to inter- Impressionism and Expressionism. For Aarre solo song literature, is in preparation. and Fünf Sonnette an Orpheus (1956) are shortly is a collection of solo songs by Taneli Beautiful Songs”. Merikanto composed some national audiences. All in all he composed Merikanto started out as a Modernist who clearly Neo-Classical, whereas the Die Lieben- Kuusisto, Finnish composer, pianist, 150 songs in all that may well be termed part of more than 700 songs, a good half of which sought to put as much distance as possible den song cycle represents dodecaphony, though musicologist and a great musical influence in Finland’s national heritage. They are charac- Manuscripts Discovered have been published. His early songs were between himself and the folk-like idiom of his not of the strictest variety. A man of numerous his day. terised by a folk-like style of composition – so tinged with National Romanticism, and like father, Oskar, and to follow the star of the dimensions, Rautavaara often displays a mix- much so in fact that many are frequently The collection of the main solo songs by Ar- Melartin, he was inspired most profoundly by 1920s Modernists further south in Europe. His ture of the cosmopolitan and the man-in-the- Matti Tuloisela thought to be genuine folk songs. The melodies mas Järnefelt in a single volume was acce- V.A. Koskenniemi, choosing no fewer than 40 early songs thus bear the stamp of Modernism street, and this is reflected in his songs. The are in places of the type associated with Lieder, lerated by a donation made by his son, Arvi, in of his poems to set to music. These songs also but the fate of his opera Juha – the biting Three Sonnets and Fünf Sonnette thus repre- The author is Emeritus Professor in Singing and often bear the dramatic brilliance of Italian Stockholm to the University of Helsinki: marked the beginning of Kilpinen’s career as a criticism it received and its rejection as being sent the cosmopolitan Rautavaara, the Sacred from the Sibelius Academy. opera. The accompaniment tends to make great dozens of previously unpublished manuscripts Lied composer. too difficult for the times – appears to have Feasts (Pyhiä päiviä) cycle, for example, the demands of the pianist, but this is hardly thus found their way home to Finland. Sweden The musical trends of 1920s Central driven him back to a more traditional idiom. more homeward-looking.