Helena Juntunen Gustav Djupsjöbacka 995 Booklet 24.10.02 12:23 Sivu 2
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ODE 995-2 Leevi Madetoja Complete Lieder Vol. 2 Helena Juntunen Gustav Djupsjöbacka 995 booklet 24.10.02 12:23 Sivu 2 Leevi Madetoja (1887–1947) Complete Lieder Vol. 2/2 1 Tuulinen sää – Windy Weather, Op. 25/3 (L. Onerva) 1:14 Kaksi laulua Okon Fuokosta – Two Songs from Okon Fuoko, Op. 58 2 Hymyi Hypnos – Hypnos Smiled, Op. 9/2 (L. Onerva) 2:29 16 Yiais Sang I – Song of Yiai I (P. Knudsen) 2:37 3 Tule kanssani – Take My Hand, Op. 9/3 (L. Onerva) 2:05 17 Yiais Sang II – Song of Yiai II (P. Knudsen) 2:14 4 Rukous – Prayer, Op. 9/4 (L. Onerva) 2:16 18 Heijaa, heijaa – Swing, Swing, Op. 60/1 (L. Onerva) 4:06 5 Geisha, Op. 9/5 (L. Onerva) 1:59 6 Kristallikukkia – Crystal Flowers, Op. 16/2 (Larin-Kyösti) 2:19 Laulu näytelmästä Vuoksen varrella – Song from the play Vuoksen varrella (On the banks of Vuoksi river): 7 Kehtolaulu – Lullaby, Op. 16/3 (L. Pohjanpää) 2:37 19 Uskottomalle – To an Unfaithful One (Wuori) 2:07 8 Jää hyvästi – Farewell, Op. 26/1 (L. Onerva) 2:07 9 Vieno siipi – Soft Wing, Op. 26/2 (L. Onerva) 1:59 Syksy-sarja – Autumn song cycle, Op. 68 10 Merituuli – Sea Wind, Op. 26/4 (L. Onerva) 1:39 20 Syksy – Autumn (L. Onerva) 1:58 11 Talvikuutamolla – By Winter Moonlight, Op. 26/5 (Larin-Kyösti) 3:28 21 Lähtö – Departure (L. Onerva) 2:38 22 Luulit, ma katselin sua 12 Far, hvor flyver Svanerne hen? – Why Did You Think That I Watched You (L. Onerva) 2:59 – Father, Whither Fly The Swans? Op. 44/2 (L. Holstein) 3:27 23 Ilta – Evening (L. Onerva) 2:59 13 Det gyldenhvide Himmellys – The Golden-white Light of Heaven, Op. 44/3 (L. Holstein) 3:04 24 Lintu sininen – Bluebird (L. Onerva) 2:01 14 Vaarsang – Spring Song, Op. 44/4 (S. Michaelis) 2:25 25 Ijät hyrskyjä päin – Forever Against The Breakers (L. Onerva) 2:23 15 Romance sans paroles [64:44] – Romance Without Words, Op. 36 (P. Verlaine) 4:25 Helena Juntunen, soprano • Gustav Djupsjöbacka, piano 2 3 995 booklet 24.10.02 12:23 Sivu 2 Leevi Madetoja (1887–1947) Complete Lieder Vol. 2/2 1 Tuulinen sää – Windy Weather, Op. 25/3 (L. Onerva) 1:14 Kaksi laulua Okon Fuokosta – Two Songs from Okon Fuoko, Op. 58 2 Hymyi Hypnos – Hypnos Smiled, Op. 9/2 (L. Onerva) 2:29 16 Yiais Sang I – Song of Yiai I (P. Knudsen) 2:37 3 Tule kanssani – Take My Hand, Op. 9/3 (L. Onerva) 2:05 17 Yiais Sang II – Song of Yiai II (P. Knudsen) 2:14 4 Rukous – Prayer, Op. 9/4 (L. Onerva) 2:16 18 Heijaa, heijaa – Swing, Swing, Op. 60/1 (L. Onerva) 4:06 5 Geisha, Op. 9/5 (L. Onerva) 1:59 6 Kristallikukkia – Crystal Flowers, Op. 16/2 (Larin-Kyösti) 2:19 Laulu näytelmästä Vuoksen varrella – Song from the play Vuoksen varrella (On the banks of Vuoksi river): 7 Kehtolaulu – Lullaby, Op. 16/3 (L. Pohjanpää) 2:37 19 Uskottomalle – To an Unfaithful One (Wuori) 2:07 8 Jää hyvästi – Farewell, Op. 26/1 (L. Onerva) 2:07 9 Vieno siipi – Soft Wing, Op. 26/2 (L. Onerva) 1:59 Syksy-sarja – Autumn song cycle, Op. 68 10 Merituuli – Sea Wind, Op. 26/4 (L. Onerva) 1:39 20 Syksy – Autumn (L. Onerva) 1:58 11 Talvikuutamolla – By Winter Moonlight, Op. 26/5 (Larin-Kyösti) 3:28 21 Lähtö – Departure (L. Onerva) 2:38 22 Luulit, ma katselin sua 12 Far, hvor flyver Svanerne hen? – Why Did You Think That I Watched You (L. Onerva) 2:59 – Father, Whither Fly The Swans? Op. 44/2 (L. Holstein) 3:27 23 Ilta – Evening (L. Onerva) 2:59 13 Det gyldenhvide Himmellys – The Golden-white Light of Heaven, Op. 44/3 (L. Holstein) 3:04 24 Lintu sininen – Bluebird (L. Onerva) 2:01 14 Vaarsang – Spring Song, Op. 44/4 (S. Michaelis) 2:25 25 Ijät hyrskyjä päin – Forever Against The Breakers (L. Onerva) 2:23 15 Romance sans paroles [64:44] – Romance Without Words, Op. 36 (P. Verlaine) 4:25 Helena Juntunen, soprano • Gustav Djupsjöbacka, piano 2 3 995 booklet 24.10.02 12:23 Sivu 4 Leevi Madetoja (1887–1947) wrote more solo output. He only wrote six settings of Larin- percussion instruments and brass (Departure, 1930) and Ijät hyrskyjä päin songs than Toivo Kuula but fewer than Jean Kyösti, who ranks next, and only two settings respectively, bring an incantation-like power (Forever against the breakers, 1930) of the Sibelius or Yrjö Kilpinen. His output includes of Eino Leino, the leading contemporary poet to this song, which is one of the first Syksy (Autumn) cycle are poetically related to about 65 solo songs, although some are of the period. This is scarcely surprising when Madetoja ever wrote (1908). the sea-songs. The frail Vieno siipi (Soft songs intended for communal singing and do we consider the context: Leino and Madetoja Tule kanssani (Take my hand) is one of the wing, 1915), the austere Jää hyvästi (Farewell, not belong to the concert repertoire. were rivals in courting L. Onerva, who finest gems in all Finnish art song. Its wonder- 1915) and the gentle Heijaa, heijaa (Swing, Madetoja’s songs have not enjoyed as wide a eventually married the latter. On the other fully free melody, which sensitively bends swing, 1921) form a welcome contrast. Erkki popularity as Kuula’s, for several reasons. The hand, Madetoja did collaborate with Leino in itself to the finest nuances of the poem, and Salmenhaara wrote in his Madetoja biography full-blooded yet empathic melodic vein of writing incidental music (Shakkipeli [Chess the shimmering, colourful piano texture form (Tammi 1987) that the piano part for Heijaa, Kuula’s songs and their rich harmonies appeal game], Alkibiades), choral songs and cantatas. a completely integrated whole. The middle heijaa was actually written before the poem to the listener, whereas Madetoja’s diffident Madetoja’s op. 9, completed in 1911, section is astonishing: an exotic Spanish- – L. Onerva wrote the lyrics to a piano piece! ascetic nature and intellectual attitude render contains his earliest settings of poems by tinged passage echoing the rhythms and Of the other songs in the Syksy cycle we his music less accessible. This reticence is a L. Onerva. The best-known of its five songs is harmonies of flamenco! Geisha is quite must mention the minimalist Lintu sininen typically Finnish characteristic, and foreigners probably no. 1, Yrtit tummat (Dark herbs). conventional in comparison, praising the (The blue bird, 1919), where the melody often mistake it for intractability. However, Hymyi Hypnos (Hypnos smiled) and Rukous poet’s beloved in a hymn-like yet glitteringly stutters a two-note mantra against a shifting beyond the expansive vistas and fundamental (Prayer) reflect L. Onerva’s interest in ornamented fashion. It seems indicative that harmonic background. Madetoja’s settings of elegiac tone of Madetoja’s solo songs lies a Antiquity. Hypnos, the god of dreams, heals Madetoja never touched the other, considerably poems by Larin-Kyösti showcase the powerful and glowing emotional pulse. the poet’s sick mind by casting her memories bolder geisha poems written by L.Onerva (who traditional Finnish winter landscape in Most of Madetoja’s solo songs (as indeed of illness into the River Lethe, the river of was once described as a ‘priestess of love’)! conventional ABA Lied form. The flanking most of his choral works) are settings of texts forgetfulness. The god’s message is carried by L. Onerva sought support for her persona sections of Kristallikukkia (Crystal flowers, in Finnish. Exceptions to this are the songs in a dove, which can be heard in the piano part. as a poet in the strength of natural forces. 1912) are a majestic though youthful paean of Danish in opp. 44 and 58 (Songs of Yiai), the Hymyi Hypnos is a gentle internal dialogue, The unbound sea in particular inspired her praise for the beauty of the Finnish natural Romance sans paroles op. 36 in French and the which proceeds through a dramatic to ecstasy. Merituuli (Sea wind, 1916) and environment. In the restrained and intimate patriotic Land i vår sång (Land in our song). recitative to a bright insight. In Rukous, Tuulinen sää (Windy weather, 1915) are very Talvikuutamolla (By winter moonlight, 1916), He wrote his earliest songs to texts by V. A. Clotho (one of the three Fates) weaves the different from one another musically: the the sound of a clock striking midnight Koskenniemi, who was a schoolmate of his in thread of life. The expansive leaps in the former is a nobly arching invocation full of interrupt the thoughts of the narrator holding Oulu, but soon L. Onerva became his primary vocal part reflect the concern and anguish of pathos, while the latter is a brisk, airy scherzo his silent vigil. source for texts. His settings of L. Onerva (21) the human child. The tremolos and sonorous which nevertheless concludes in an open This silent contemplation may also be outnumber settings of any other poet in his chords in the piano part, alluding to unresolved chord. The massive songs Lähtö found in Romance sans paroles, a setting of 4 5 995 booklet 24.10.02 12:23 Sivu 4 Leevi Madetoja (1887–1947) wrote more solo output. He only wrote six settings of Larin- percussion instruments and brass (Departure, 1930) and Ijät hyrskyjä päin songs than Toivo Kuula but fewer than Jean Kyösti, who ranks next, and only two settings respectively, bring an incantation-like power (Forever against the breakers, 1930) of the Sibelius or Yrjö Kilpinen.