DOCSLIB.ORG

Hannu Lintu, Conductor Juha Uusitalo, Baritone Uuno Klami

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Hannu Lintu, Conductor Juha Uusitalo, Baritone Uuno Klami Hannu Lintu, conductor Juha Uusitalo, baritone Uuno Klami: Laulu Kuujärvestä (Song of Lake Kuujärvi) 16 min Bohuslav Martinu: Pamatnik Lidicim (Memorial to Lidice) 9 min INTERVAL 20 MIN Gustav Mahler: Der Tamboursg’sell (The Little Drummer Boy) 6 min Gustav Mahler: Der Schildwache Nachtlied 6 min (The Sentry’s Night Song) Paul Hindemith: Mathis der Maler 26 min I Engelkonzert (Concert of Angels) (Ruhig bewegt) II Grablegung (Entombment) (Sehr langsam) III Versuchung des heiligen Antonius (The Temptation of St Anthony) (Sehr langsam, frei im Zeitmass – Sehr lebhaft) Interval at about 7.35 pm. Th e concert ends at about 8.40 pm. Broadcast live on YLE Radio 1 and the Internet (www.yle.fi /rso). Th e concert will be televised and broadcast on YLE Teema Kausikortti in spring 2010. 1 Uuno Klami (1900–1961): Song of Lake Kuujärvi (1956) Yrjö Jylhä (1903-1956) is mainly remembered Th e Song of Lake Kuujärvi was composed in in Finland for one particular type of poetry. His 1956 for a competition arranged by the Finn- great opus magnum was Kiirastuli (1941), a col- ish Cultural Foundation and won third prize. It lection based on and processing Finland’s ex- is Klami’s only large-scale work for solo voice, perience of its Winter War (1939-40) with the an epic for baritone and orchestra about men Soviet Union, and even in later years neither caught up in war and their desire to fi nd greater the man nor the artist ever broke free from substance and meaning in life. Klami’s Song be- thoughts of war. gins to a steady marching beat. A soldier recalls Th ough the war was virtually still raging as tramping the roads round Aunus (Olonets), Jylhä wrote his poems, he nevertheless suc- the heat and exhaustion of battle, when all at ceeded in giving them a highly humane feel. once a magical view unfolds: Kuujärvi (literal- Klami, by contrast, needed a temporal distance ly “Moon Lake”) in all its beauty. In the soldier’s in order to come to terms with the war. Th e mind it is transformed into an idyllic haven and overture Suomenlinna (1940/44) composed in his thoughts turn away from the war. Klami’s the shadow of the war is still battle music dazz- music is quick to react, without exaggerating, led by heroic patriotic visions such as befi tted to the weary soldier’s vision. But the vision is a nation at war, but the note of defi ance later but an empty dream, for the fellow soldier with faded. By the time Klami began his setting of whom he extolled the wonders of Kuu järvi fell Kuujärvi from Jylhä’s collection entitled Poems in the very next battle. (1943) more than a decade later, his attitude to war and its expression in music had complete- ly changed. Bohuslav Martinu ° (1890–1959): Pamatnik Lidicim (Memorial to Lidice) (1943) In May 1942 Reinhard Heydrich, one of the sent to concentration camps and the village most notorious leaders of the Nazi regime, was was razed to the ground. Finally its very name attacked by members of the Czech resistance in was erased from German maps. Prague. He was seriously injured, and not even News of Lidice spread around the world and the specialist doctors fl own in by Himmler were reached the ears of Czech composer Bohuslav able to save his life. Heydrich – known by the Martinů, who had settled in the United States Allies as “the blonde beast” and by his enemies for the duration of the war. Reeling from the as “Hangman Heydrich” – died in Prague on shock, he reacted as any artist: in art. In on- June 4. ly a few days in August 1943 he composed an Heydrich’s death sparked off a wave of Na- orchestral elegy in memory of the Lidice trag- zi retribution. In Berlin and Prague, more than edy. Th e premiere was in New York in October a thousand members (either real or suspected) of that year. of the resistance were put to death. Th e retalia- Memorial to Lidice is one of the best-known tion reached its tragic climax in the little Czech and most moving of all Martinů’s many works, mining village of Lidice on June 10. Th e villag- and one packed with powerful musical symbol- ers were groundlessly accused of taking part in ism. It contains a quotation near the beginning Heydrich’s assassination; all the men of 16 or of a medieval Bohemian chorale, the words over were shot, the women and children were of which “St Wenceslas, don’t let us die” have 2 served the Czechs for centuries as a protest already victorious in spirit, but the fate motif – against oppression. At the fi nal climax the Me- three short notes and a long – also happens to morial quotes the famous opening “fate motif” be Morse code for the letter V, the fi rst letter of from Beethoven’s fi fth Symphony. Th is motif the word Victory. Th ere is also a spark of hope was used by the Allies during the war as a sym- in the fi nal bars of Martinů’s work, which ends bol of victory. Beethoven’s Symphony is in itself in a clear, serene C major. Gustav Mahler (1860-1911): Der Tamboursg’sell (THE LITTLE DRUMMER BOY) (1901) & Der Schildwache Nachtlied (THE SENTRY'S NIGht SONG) (1892) In early 1887 Gustav Mahler happened to penetrating eye on the life of the soldier con- come across a collection of German folk poetry stitute a touching, characteristic group of their called Des Knaben Wunderhorn (Th e Boy’s Mag- own. His musical lexicon of signals, march ic Horn). He was already familiar with a few of rhythms and drum beats here gives depth and the poems in it but was now particularly smit- sharpness to the many anguished emotions ex- ten. Over the next year and a half he set to mu- pressed in the poems. sic 24 poems from the collection – over half his Der Tamboursg’sell was to be Mahler’s last songs, in fact. He scored his earliest Wunder- Wunderhorn song. It is a bitter funeral march horn songs for voice and piano, but from 1892 with a heavy tread that accompanies the army’s onwards the piano was replaced by an orchestra. young drummer boy to the gallows as he takes He also used some of his Wunderhorn songs in his leave of life. In Der Schildwache Nachtlied his second, third and fourth Symphonies. Mahler allows dream and reality to collide head- Th e thing that appealed to Mahler most in on. Th e sentry’s words alternate with the calm the Wunderhorn poems was their authentic folk replies of the girl of his dreams. Th us the young quality. He saw beyond their deceptive simplic- sentry standing guard at night lets his thoughts ity and made their sentiments part of his orig- run free amid the harshness of war, and it ap- inal musical worldview embracing sharply con- pears from his fi nal words that his dreaming trasting moods. Th e songs in which he casts a turns out to be fatal. Paul Hindemith (1895-1963): Mathis der Maler (1934) Th e leading character in the opera Mathis der Hindemith was already working on Mathis in Maler by Paul Hindemith is the great German 1933, he received a commission from Wilhelm Renaissance painter Matthias (Mathis) Grüne- Furtwängler for the Berlin Philharmonic. For wald. Th e events are set in the German peas- this he decided to use some of the thematic ma- ants’ uprising of the 1520s. Th e main tensions terial from the opera on which he was work- are religious confl icts and the confrontations ing and gave its three movements titles allud- between peasants and nobles. Th is was a highly ing to the opera and to Grünewald’s paintings: explosive topic in 1930s Germany and one fur- Engelkonzert (Concert of Angels) Grablegung ther underlined by such details as the burning (Entombment) and Versuchung des heiligen An- of books in act three. tonius (Th e Temptation of St Anthony). Th ese Hindemith completed his opera in 1935. It paintings are in Grünewald’s best-known work, could not possibly be staged in Germany, so the Isenheim Altarpiece now in Colmar, France, the premiere was held in Zurich in 1938. While which he fi nishes in the last act of the opera. 3 Th e Symphony completed in early 1934 and his music in a more tonal, traditional direction, premiered in March with Furtwängler conduct- and the well-balanced counterpoint exudes a ing in Berlin won great audience and critical ac- respect for tradition. claim and a little later Hindemith conducted its Th e opening Concert of Angels is the overture recording for the German Telefunken label. But to the opera. Th e slow second movement, En- before the year was over, the wind had turned tombment, is also taken straight from the opera, and the composer began to come under attack. where it is an interlude before the fi nal scene. In December 1934 Joseph Goebbels, the Na- Th e biggest, most complex and most dynamic zi propaganda minister, denounced Hindemith movement in the Symphony is Th e Temptation as an “atonal noise-maker”, a “cultural Bolshe- of St Anthony crafted from music from the sec- vist” and a “spiritual non-Aryan”. Th at the at- ond half of the opera. tack on Hindemith began after the Symphony is ironical, for the Symphony marked a shift in Kimmo Korhonen (abridged) Hannu Lintu Lintu has conducted not only the leading or- of the Tampere Philharmonic Orchestra.
Load more

Recommended publications
  • Leevi Madetoja (1887–1947) Symphony No
    Leevi Madetoja (1887–1947) Symphony No. 2 / Kullervo / Elegy 1. Kullervo, Symphonic Poem, Op. 15 14:13 Symphony No. 2, Op. 35 2. I. Allegro moderato – 13:23 LEEVI MADETOJA II. Andante 13:36 SYMPHONY NO. 2 III. Allegro non troppo – 9:39 KULLERVO IV. Andantino 4:53 ELEGY 3. Elegy, Op. 4/1 (First movement from the Symphonic Suite, Op. 4) 5:53 –2– Leevi Madetoja To be an orchestral composer in Finland as a contemporary of Sibelius and nevertheless create an independent composer profile was no mean feat, but Leevi Madetoja managed it. Though even he was not LEEVI MADETOJA completely immune to the influence of SYMPHONY NO. 2 his great colleague, he did find a voice for KULLERVO ELEGY himself where the elegiac nature of the landscape and folk songs of his native province of Ostrobothnia merged with a French elegance. Madetoja’s three symphonies did not follow the trail blazed by Sibelius, and another mark of his independence as a composer is that his principal works include two operas, Pohjalaisia (The Ostrobothnians, 1924) and Juha (1935), a genre that Sibelius never embraced. Madetoja emerged as a composer while still a student at the Helsinki Music Institute, when Robert Kajanus conducted his first orchestral work, elegy (1909) for strings, in January 1910. The work was favourably received and was given four further performances in Helsinki that spring. It is a melodically charming and harmonically nuanced miniature that betrays the influence of Tchaikovsky in its achingly tender tones. Later, Madetoja incorporated Elegia into his four-movement Sinfoninen sarja (Symphonic Suite, 1910), but even so it is better known as a separate number.
    [Show full text]
  • ODE 1211-2 BOOKLET.Indd
    ODE 1211-2 HELSINKI PHILHARMONIC ORCHESTRA JOHN STORGÅRDS LEEVI MADETOJA SYMPHONIES 1 & 3 OKON FUOKO SUITE John Storgårds20 ALSO AVAILABLE ODE 1212-2 For more information please visit www.ondine.net LEEVI MADETOJA (1887–1947) Symphony No. 1 in F Major, Op. 29 21:13 1 I Allegro 6:39 2 II Lento misterioso 8:07 3 III Finale (Allegro vivace) 6:27 Publisher: Fennica Gehrman Symphony No. 3 in A Major, Op. 55 31:24 4 I Andantino-Allegretto 7:22 Recordings: Helsinki Music Centre, 19, 22-23.4.2013 5 II Adagio 8:03 A 24-bit recording in DXD (Digital eXtreme Definition) Executive producer: Reijo Kiilunen 6 III Allegro (non troppo) 9:00 Recording producer: Seppo Siirala 7 IV Pesante, tempo moderato-Allegretto 7:00 Recording and mastering: Enno Mäemets – Editroom Oy ℗ 2013 Ondine OY, Helsinki Okon Fuoko Suite, Op. 58 13:40 © 2013 Ondine Oy, Helsinki 8 I Okon Fuoko, the Dream Sorcerer 4:26 Photos: Heikki Tuuli (John Storgårds, Helsinki Philharmonic Orchestra), Atelier Universal, c. 1930 (Leevi Madetoja) 9 II The Guests Arrive 2:30 Cover: Lampi, Vilho: Silta/Bridge, 1928. The Aine Art Foundation, Aine Art Museum, Tornio, Finland. 10 III Dance of the Puppets 2:31 Design: Armand Alcazar 11 IV Dance of the Man and the Woman: Dance Grotesque 4:14 This recording was produced with support from The Finnish Music Foundation (MES). HELSINKI PHILHARMONIC ORCHESTRA JOHN STORGÅRDS, conductor 18 3 LEEVI MADETOJA (1887–1947): SYMPHONIES NOS. 1 AND 3; OKON FUOKO SUITE Helsingin kaupunginorkesteri (HKO) on Pohjoismaiden pitkäikäisin ammattimainen sinfoniaorkesteri. Sen alkuituna oli Robert Kajanuksen vuonna 1882 perustama Helsingin “What you wrote about your symphonic business delights me exceedingly.
    [Show full text]
  • The Role of the Kalevala in Finnish Culture and Politics URPO VENTO Finnish Literature Society, Finland
    Nordic Journal of African Studies 1(2): 82–93 (1992) The Role of the Kalevala in Finnish Culture and Politics URPO VENTO Finnish Literature Society, Finland The question has frequently been asked: would Finland exist as a nation state without Lönnrot's Kalevala? There is no need to answer this, but perhaps we may assume that sooner or later someone would have written the books which would have formed the necessary building material for the national identity of the Finns. During the mid 1980s, when the 150th anniversary of the Kalevala was being celebrated in Finland, several international seminars were held and thousands of pages of research and articles were published. At that time some studies appeared in which the birth of the nation state was examined from a pan-European perspective. SMALL NATION STATES "The nation state - an independent political unit whose people share a common language and believe they have a common cultural heritage - is essentially a nineteenth-century invention, based on eighteenth-century philosophy, and which became a reality for the most part in either the late nineteenth or early twentieth century. The circumstances in which this process took place were for the most part marked by the decline of great empires whose centralised sources of power and antiquated methods of administrations prevented an effective response to economic and social change, and better education, with all the aspirations for freedom of thought and political action that accompany such changes." Thus said Professor Michael Branch (University of London) at a conference on the literatures of the Uralic peoples held in Finland in the summer of 1991.
    [Show full text]
  • Sasha Mäkilä Conducting Madetoja Discoveries About the Art and Profession of Conducting
    Estonian Academy of Music and Theatre Sasha Mäkilä Conducting Madetoja Discoveries About the Art and Profession of Conducting A Thesis Submitted in Partial Fulfilment of the Requirements for the Degree of Doctor of Philosophy (Music) Supervisor: Prof. Mart Humal Tallinn 2018 ABSTRACT Conducting Madetoja. Discoveries About the Art and Profession of Conducting For the material of my doctoral project, I have chosen the three symphonies of the Finnish composer Leevi Madetoja (1887–1947), all of which I have performed in my doctoral concerts during years 2012–2017. In my doctoral thesis, I concentrate on his first symphony, Op. 29, but to fully understand the context it would be beneficial to familiarize oneself with my doctoral concerts on the accompanying DVDs, as well as with the available commercial and archival recordings of Madetoja’s three symphonies. The aim of this thesis is to understand the effect of scholarly activity (in this case working with manuscripts and recordings) on the artistic and practical aspects of a conductor’s work; this is not a study on the music of Madetoja per se, but I am using these hitherto unknown symphonies as a case study for my research inquiries. My main research inquiry could be formulated as: What kind of added value the study of composer’s manuscripts and other contemporary sources, the analysis of the existing recordings of the work by other performers, and the experience gained during repeated performances of the work, bring to performing (conducting) the work, as opposed to working straightforwardly using only the readily available published edition(s)? My methods are the analysis of musical scores, manuscripts and recordings, critical reflection on my own artistic practices, and two semi-structured interviews with conductor colleagues.
    [Show full text]
  • ODE 1212-2 DIGITAL.Indd
    HELSINKI PHILHARMONIC ORCHESTRA JOHN STORGÅRDS LEEVI MADETOJA SYMPHONY NO. 2 KULLERVO · ELEGY Composing the Second Symphony in Oulunsalo in summer 1918. Toista sinfoniaa kirjoittamassa Oulunsalossa kesällä 1918. LEEVI MADETOJA (1887–1947) 1 Kullervo, Symphonic Poem, Op. 15 14’13 Symphony No. 2, Op. 35 41’33 2 I. Allegro moderato – 13’23 3 II. Andante 13’36 4 III. Allegro non troppo – 9’39 5 IV. Andantino 4’53 6 Elegy, Op. 4/1 (First movement from the Symphonic Suite, Op. 4) 5’53 Helsinki Philharmonic Orchestra JOHN STORGÅRDS, conductor Publishers: Suomen Säveltaiteilijain Liitto (Kullervo), Edition Fazer (Symphony No. 2), Fennica Gehrman (Elegy) Recordings: Helsinki Music Centre, 29–30.5.2012 A 24-bit recording in DXD (Digital eXtreme Defnition) Executive Producer: Reijo Kiilunen Recording Producer: Seppo Siirala Recording and mastering: Enno Mäemets – Editroom Oy ℗ 2013 Ondine Oy, Helsinki © 2013 Ondine Oy, Helsinki Booklet Editor: Elke Albrecht Photos: Finnish National Library (Leevi Madetoja), Heikki Tuuli (Helsinki Philharmonic Orchestra, John Storgårds) Cover: Auringonlasku (Sunset, 1930) by Vilho Lampi (1898–1936), from the Liminka Landscapes series, Oulu Museum of Arts Design: Armand Alcazar 3 o be an orchestral composer in Finland as a contemporary of Sibelius and nevertheless create an Tindependent composer profile was no mean feat, but Leevi Madetoja managed it. Though even he was not completely immune to the influence of his great colleague, he did find a voice for himself where the elegiac nature of the landscape and folk songs of his native province of Ostrobothnia merged with a French elegance. Madetoja’s three symphonies did not follow the trail blazed by Sibelius, and another mark of his independence as a composer is that his principal works include two operas, Pohjalaisia (The Ostrobothnians, 1924) and Juha (1935), a genre that Sibelius never embraced.
    [Show full text]
  • 5042242-6Cb18c-5060113445254.Pdf
    HARRI AHMAS, PAINTER OF DEEP WATERS AND DARK TONES by Jan Lehtola Harri Pentti Ahmas was born in Vaasa, Finland, on 25 April 1957, the youngest child of Rauni and Pentti Ahmas. He graduated from Kokkola High School in 1976, having taken piano lessons privately with Vera Froloff from 1967. From 1973 to 1976 he studied piano, guitar, bassoon and music theory at the Central Ostrobothnian Music Institute. Playing light music in a band was also important to him in his youth. On leaving school, he entered the Sibelius Academy, where he studied first in the school-music department (1976–81) and then in the general department (1981–84): bassoon with Emanuel Elola and composition with Einar Englund and Einojuhani Rautavaara. Graduating in the bassoon in 1984, he was the first in Finland to give a debut bassoon recital at the Sibelius Academy, in 1986. He studied further with Karl Öhlberger at the University of Music and Performing Arts in Vienna in 1982, and took private lessons with Milan Turkovic in Vienna in 1983–84, and with Gábor Janota at the Liszt Academy in Budapest in 1984. In 1981 and again from 1985 to 1989 he taught the bassoon at the Sibelius Academy. Ahmas played the bassoon in the Finnish Radio Symphony Orchestra, first as a deputy in 1980–82 and thereafter as a member of the Orchestra until 1989. Since then, he has been Principal Bassoon of the Lahti Symphony Orchestra. He also played in the Savonlinna Opera Festival Orchestra from 1983 to 1996. He has appeared as soloist and in chamber ensembles at the Helsinki Festival, the Bergen Music Festival, in St Petersburg, Stockholm and Vienna, and at the Kuhmo and Crusell Chamber Music Festivals, and has been the soloist with a number of Finnish orchestras.
    [Show full text]
  • Ma Chère Petite Aïno». the Role of a Paris
    УДК 78.03 «Ma chère petite Aïno». The Role of a Paris Conservatoire Singing Professor as Architect of an Opera Singer’s Career, as Seen through Letters of Edmond Duvernoy and Aïno Ackté Helena Tyrväinen (Helsinki) «Моя милая Айно». Роль профессора пения Парижской консерватории в создании карьеры оперной певицы (по материалам переписки Эдмона Дювернуа и Айно Акте) Хелена Тюрвяйнен (Хельсинки) Аннотация. Собрание рукописей оперной певицы Айны Акте-Яландер (Aino /Aïno Ackté-Jalander; 1876– 1944) в Национальной библиотеке Финляндии (Хель- синки) содержит одну из самых обширных и интерна- ционально ориентированных эпистолярных коллекций в архивах финских музыкантов- профессионалов. Кол- лекция не только проливает свет на солидную между- народную репутацию талантливой представитель- ницы Великого княжества Финляндского в поздний период истории Российской империи, но и свидетель- ствует о динамичном процессе интернационализации финской музыкальной жизни. В настоящей статье рассматриваются этапы про- фессионального становления певицы в связи с дина- мичным, постоянно менявшимся полем воздействия существовавших одновременно культурных столиц. Основу публикации составляют 117 писем, почтовых открыток, записок, которые преподаватель по классу пения Эдмон Дювернуа (1844–1927) писал Айно Акте в течение тридцати лет. Письма Дювернуа дают пред- ставление о карьерной стратегии оперной певицы прежде всего в Париже; раскрывают вопросы взаи- модействия Парижской оперы с другими оперными театрами того времени, в частности Метрополитен- 226 опера Нью-Йорка. Письма же самой Акте к Дювернуа неизвестны. Представленная переписка свидетельствует о ключе- вой роли преподавателя вокала в Париже как учителя пения, репетитора, опекуна и посредника между уча- щимся и оперным учреждением на протяжении всей профессиональной жизни певца. Учитель договари- вался с оперными режиссерами об ангажементах, ко- торые давали бывшему ученику роли, подходившие ему по типу.
    [Show full text]
  • Orchestral Works He Had Played in His 35-Year Tenure in the Orchestra
    KALEVI AHO ORCHESTRAL WORKS KALEVI AHO – a composer of contrasts and surprises alevi Aho (born in Finland in 1949) possesses one of today’s most exciting creative voices. A composer with one foot in the past and one in the pres- K ent, he combines influences from the most disparate sources and transforms them through his creative and emotional filter into something quite unique. He does not believe in complexity simply for the sake of it. His music always communicates directly with the listener, being simultaneously ‘easy’ yet ‘difficult’, but never banal, over-intellectual, introvert or aloof. In his own words, “A composer should write all sorts of works, so that something will always evoke an echo in people in different life situations. Music should come to the help of people in distress or give them an ex- perience of beauty.” Kalevi Aho is equally natural and unaffected in his symphonies and operas as he is in his intimate musical miniatures. Monumental landscapes painted in broad brush- strokes go hand in hand with delicate watercolours, serious artistic confessions and humour. The spectrum of human emotions is always wide, and he never lets his lis- teners off lightly. He poses questions and sows the seeds of thoughts and impulses that continue to germinate long after the last note has died away. “His slightly unassuming yet always kind appearance is vaguely reminiscent of Shosta- kovich, while his musical voice, with its pluralistic conception of the world and its intricate balance between the deliberately banal and the subtle, is undoubtedly closer to late Mahler.” It is easy to agree with this anonymous opinion of Kalevi Aho.
    [Show full text]
  • The Brass Band Tradition in Finland
    KARJALAINEN 83 THE BRASS BAND TRADITION IN FINLAND Kauko Karjalainen Introduction The oldest continuously functioning Finnish amateur bands are now 125 years old. All were originally brass bands. To be more precise, all have their roots in the brass septet, a specifi c and typical ensemble in Finland since the 1870s. One can say that the period encompassing the end of nineteenth century and the fi rst decade of twentieth was the golden age of Finnish brass bands. In order to understand the development of the relatively young band tradition in Fin- land it is necessary to examine Finland’s history, fi rst as a dependency of her neighboring countries and later as an independent nation. Important phases can be clearly identifi ed, primarily by following the models established for military bands. Parts of Finland belonged to the kingdom of Sweden as early the thirteenth century. Historical documents reveal that Finland and especially the town of Turku (Åbo in Swedish) experienced their initial contacts with Renaissance music when Gustaf Wasa was King of Sweden (1523-1560). He maintained a royal corps of trumpeters, who accompanied him when he visited Finland. Gustaf Wasa began to establish a national army, and the fi rst military trumpeters are documented in the 1540s. It is known that there were some trumpeters in the Finnish cavalry at least by the 1550s. In addition, the King mentioned in a letter in autumn 1555 that there were all kinds of large and small wind instruments in Finland.1 Gustaf Wasa’s favorite son, John, was named Duke of Finland in 1556.
    [Show full text]
  • Uuno Klamin Kamarimusiikkia – Chamber Music by Uuno Klami
    UUNO KLAMIN KAMARIMUSIIKKIA – CHAMBER MUSIC BY UUNO KLAMI ABCD 460 Booklet.indd 1 9.9.2020 13.00 Uuno Klami syntyi Klamilassa, Virolahdella 20. syyskuuta vuonna 1900. Virolahti ei ollut temia) vuonna 1915. Pääsykokeissa hän oli esittänyt pianolla Säkkijärven polkan. Alku- mikään syrjäinen, epäaktiivinen kolkka, vaan sivistyksellisesti edistyksellinen. Vuonna 1857 vaiheessa Klami opiskeli yleistä musiikkioppia ja analyysiä, pianon- ja viulunsoittoa sekä sinne oli perustettu Suomen ensimmäinen kunnallinen kansakoulu ja kunnallinen kirjas- säveltapailua. Klamin ensimmäinen säilynyt sävellys on tehty sooloviululle joko vuonna tokin vuonna 1861. Kuninkaantie kulki Klamilan kautta, ja yhteydet Viipuriin sekä Pietariin 1914 tai 1915. Ensimmäinen pianokappale on vuodelta 1916, ja sen jälkeen seurasi myös olivat hyvät. Klamilan vilkkaan kalasataman kautta kaukomaatkin olivat jollain tavalla läsnä kamarimusiikkisävellyksiä. virolahtelaisten elämässä. Myös yhteydet Viroon olivat tiiviit. Haminan upseerikoulun aktii- Suomi itsenäistyi joulukuussa 1917, ja seuraavassa tammikuussa alkaneesta vapausso- vinen seuraelämä näkyi Virolahdellakin, ja alueen suurissa kartanoissa harrastettiin paljon dasta muodostui sisällissota. Klami oli isänmaallinen, ja itsenäisyys oli hänelle tärkeä asia. musiikkia. Kuoro- ja puhallinorkesteritoimintakin oli vilkasta. Hän oli ensin Haapasaaressa punakaartilaisia paossa ja osallistui huhtikuussa valkokaar- Uunon suvussa oli merenkulkijoita ja talonpoikia. Hänen isänsä toimi kaupanhoitajana tilaisena taisteluun Ahvenkoskella.
    [Show full text]
  • The Harold E. Johnson Jean Sibelius Collection at Butler University
    Butler University Digital Commons @ Butler University Special Collections Bibliographies University Special Collections 1993 The aH rold E. Johnson Jean Sibelius Collection at Butler University: A Complete Catalogue (1993) Gisela S. Terrell Follow this and additional works at: http://digitalcommons.butler.edu/scbib Part of the Other History Commons Recommended Citation Terrell, Gisela S., "The aH rold E. Johnson Jean Sibelius Collection at Butler University: A Complete Catalogue (1993)" (1993). Special Collections Bibliographies. Book 1. http://digitalcommons.butler.edu/scbib/1 This Book is brought to you for free and open access by the University Special Collections at Digital Commons @ Butler University. It has been accepted for inclusion in Special Collections Bibliographies by an authorized administrator of Digital Commons @ Butler University. For more information, please contact [email protected]. ^ IT fui;^ JE^ Digitized by the Internet Archive in 2010 with funding from Lyrasis IViembers and Sloan Foundation http://www.archive.org/details/haroldejohnsonjeOOgise The Harold E. Johnson Jean Sibelius Collection at Butler University A Complete Catalogue Gisela Schliiter Terrell 1993 Rare Books & Special Collections Irwin Library Butler University Indianapolis, Indiana oo Printed on acid-free paper Produced by Butler University Publications ©1993 Butler University 500 copies printed $15.00 cover charge Rare Books & Special Collections Irwin Library, Butler University 4600 Sunset Avenue Indianapolis, Indiana 46208 317/283-9265 Dedicated to Harold E. Johnson (1915-1985) and Friends of Music Everywhere Harold Edgar Johnson on syntynyt Kew Gardensissa, New Yorkissa vuonna 1915. Hart on opiskellut Comell-yliopistossa (B.A. 1938, M.A. 1939) javaitellyt tohtoriksi Pariisin ylopistossa vuonna 1952. Han on toiminut musiikkikirjaston- hoitajana seka New Yorkin kaupungin kirhastossa etta Kongressin kirjastossa, Oberlin Collegessa seka viimeksi Butler-yliopistossa, jossa han toimii musiikkiopin apulaisprofessorina.
    [Show full text]
  • SPRING 2017 Signature Events for Finland 100
    Finlandia Foundation® National Our Mission is to sustain both Finnish-American culture in the U.S. and the ancestral tie with Finland by raising funds for grants and scholarships, initiating innovative national programs, and networking with local chapters. SPRING 2017 Signature Events for Finland 100 n tribute to Finland’s Declaration of Independence Finland 100 Signature Events taking place in 2017: Ia century ago, Finlandia Foundation National September 18 Santa Fe, New Mexico: Finland’s is hosting several former President Finland 100 Signature Tarja Halonen will Events throughout participate as a 2017. guest of the Women’s The first of these took International Study place in Florida on Center (WISC). February 18 in the September 22-23 Lake Worth/West Minneapolis: An all- Palm Beach area, Finnish concert by the with FFN as a major Minnesota Orchestra sponsor of the Finland under the baton of 100 Gala at the Delray Music Director Osmo Beach Marriott. A Vänskä. delegation from the Finnish Parliament, November 4 Seattle: led by Speaker Maria Finland 100 concert Lohela, graciously Dignitaries at the February 18 Finland 100 Gala include (far left) Consul by the Northwestern attended the event. General of New York Manu Virtamo; (center) Florida’s Honorary Consul Symphony Orchestra. Peter Makila; and Finnish Parliament Speaker Maria Lohela (in blue he Gala was gown). Photo by Rodney Paavola November 9 New one of several York City: FFN is a T Ossi Rahkonen (below, left) and Consul General Manu Virtamo visit at activities that sponsor of the Finland the Chamber luncheon. Photo by Timo Vainionpaa, usasuomeksi.com weekend, including Centennial Forum the Finnish American at the Union Club, Chamber of Commerce with Keynote Speaker luncheon; Speaker President Martti Lohela addressed the Ahtisaari.
    [Show full text]