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Download Booklet Bts-cD-657STEREO lEpEl Toratptaying time: 65'35 SIBELIUS,Johan (Jean) Julius Christian {1865-1 957) tr SAngenom korsspindeln,Op.27 No.4 3'31 (fromthe incidentalmusic to AdolfPaul's play King Christian ll) (1898; Text: Adolf Paul) @reitkopr& HeileD FiveChristmas Songs,Op.l 6un1 12'53 E l. Nu star jul vid sn<iigport (1895,rev. 1913; Text: Zachris Topelius) 1'45 tr ff . Nu si kommeriulen (1895,rev. 1913; Text: Zachris Topelius) 2'16 E ff f . Detmdrknar ute (1895[?];Text: Zachris Topelius) 2'46 tr lV.Giv mig ej glans,ej guld,ej prakt(1909; Text: Zachris Topelius) 3'43 tr V.On hangetkorkeat, nietokset (1901; Text: Vilkku Joukahainen) 2'06 Eight SOngs, Op.57 (1909;Texts: Ernst Josephson) qienaul 21',48 tr L Alvenoch snigeln 2',46 E ll. Enblomma stod vid vagen 2'06 tr lll.Kvarnhjulet 2'51 @ lV.Maj 2',35 E V.Jag iir ett triid 2',46 tr Vl.Hertig Magnus 3'17 tr Vll.Vdnskapens blomma 2'36 tr Vlll.Ndcken 2',10 @ Hymn tO ThaiS (1909;Text: Arthur H. Borgstrom) (Faze, 1'53 Six SOngS, Op.72 (SongsNos. l& ll arelosl) (Breitkoil&Herat) 8'39 tr fff.Kyssen (1915; Text: Johan Ludvig Runeberg) 2'22 tr lV.Kaiutar (1915;Text: Larin-Kyosti) 3'10 @ V.Der Wanderer und der Bach(1915; Text: Martin Greif) 0'47 @ Vl. Hundravdgar har min tanke(1907[?]; Text: Johan Ludvig Runeberg) 2'03 Six Songs, Op.86 (withetmHansen) l1',42 @ l. VArftirnimmelser(1916; Text: Karl August Tavaststjerna) 1'12 E ll. Ldngtanheter min arvedel(1916: Text: Erik Axel Karlfeldt) 3'11 @ lll. Doldfcirening (1916; Text: Carl Snoilsky) 0'53 tr lV.Och finns det en tanke?(1916; Text: Karl August Tavaststjerna) 2',15 tr V.SAngarlon (1916; Text: Carl Snoilsky) 1'45 tr Vl. I systrar,I brcider,I iilskande par ('1917;Text: Mikael Lybeck) 2'.01 @ Smi fliCkorna (1920;Text: Hlalmar Procop6\ Lucitet,1s20) 3'09 MonicaGroop, mezzo-soprano Love Derwinger,piano INSTRUMENTARIUM GrandPiano: Steinway D Pianotechnicran: Conny Carlsson ean Sibelius(1865-1957) wrote nearly a (Outsideit is growingdark) - are straightforward, hundredsolo songs, from monumental nature unoretentious0ieces with attractivemelodies. portraitsto the lightestof bagatelles,the Theyprobably all datefrom 1895,although the overwhelmingmajorily with Swedishlyrics. His firsttwo wererevised in 1913.The textsare by stylisticstarting-point was the Swedishr.omans Zachris(Zacharias) Topelius, who alsowrote the tradition,on occasioncoloured by Finnishfolk- wordsfor the famousfourth song, Giv mig ej poetryor by more eclectic,international glans, ej guld, ej prakt (Give me no splendour, aspirations.lvlost of his songswere written goldor pomp;1909), which has becomeone of betweenthe early 1890s and about 1918; none of Finland'sbest-loved Christmas carols. The fifth his majorsets of songsis contemporaneouswith song,which has also achievedwidespread his lasttwo symphoniesot Tapiola.Only a handful recognition,is in Finnish:a settingof Vilkku of his songsare to Finnishtexts; in fact a greater Joukaharnen'sOn hangetkorkeat, nietokset (High '1901). numberare settingsof German.Swedish was the arethe Snowdrifts; As befitstheir intended composer'sown first language, and his handling use, all five songs are simple strophic of it is distinguishedby supplenessas well as composrtrons. subtlety;moreover it was the languageof someof Tne Eight Songs,Op.57 were all composed the poetsto whom he respondedmost sincerely, in 1909and all of the poemsare by Ernst amongthem the FinnJohan Ludvig Runeberg Josephson.Nevertheless, they do not form an (1804-1877)and the SwedeViktor Rydberg integratedcycle in the mannerof, for example, (1828-1895).Sibelius returned to the poetryof Schubert's Winterreise(BlS-CD-253). By thesemen regularlyduring his song-writing comparisonwith the songswritten around the turn career. of the century,for exampleOp.36 or Op.37,a Althoughthe suitefrom the incidentalmusic to clearstylistic change can be seen.Especially in AdolfPaul's historical d'ama King Christian llwas the secondhalf of the Op.57group the textures one of the firstof Sibelius'sorchestral works to be are sparer,the harmoniesless opulent,although heardinternationally, the play itselfsoon fell into at timesrestraint gives way to searinglydramatic oblivion.Sdngen om korsspindeln (The Fool's utterances- not leastin No.5,Jag er eft ftd (l Songof the Spider;1898) is the onlyvocal am a Tree).A similardevelopment can be seen numberin the suiteand thereforeenjoys some both in the smaller-scaleorchestral works of the measureof independence.An uncomplicatedbut period (e.9. Belshazzar'sFeast, Swanwhite,The memorablevocal line has ensuredthis strophic Dryad)and in the pianomusic (e.9. TenPieces, song'scontinued popularity. Op.58l.By contrastthe firstfour songsare Althoughit includesmusic written between relativelyconventional. In the first,Alven och 1895and 1909,the sel of Fiye ChristmasSongs snigeln(f he Riverand the Snajl),urgency is was Dublishedas Sibelius'sO0.1. The first three impaftedby the pianosyncopations heard at the songs- Nu stArjul vidsnorg porl (NowChristmas outset,a musicalimage of the rushingnver, Standsat the SnowyGate), Nu se kommerjulen thoughthe vocalline itselfis not especially (NowChristmas has come)and Det morknarute characteristicof Sibelius.The secondsono. En 4 blommastod vid vegen(A Flowerstood by the Classicalrather than Finnish mythology for Wayside)is simpleand poignantwith an attractive inspiration. veinof melancholy,whilst the pianopart at the All that remainsof the firsttwo of the Six beginningof the third,Kvarnhiulet (The Mill- Songs, Op.72is the titles:Vi sesigen (Fareweil) wheel),seems to imitatethe sounds of machinery. and Ononsbdlle (Orion's girdle). Both were No.4, Maj (l\4ay)is cheerfulif somewhat writtenin 1914and the manuscriptswere lost. predictable. probablyin the wartimepost to the German Tne remarningfour songs are ta'n'ore oublisherBre tkoDf & Hdrtel.Their loss is personal.and No.5.Jag dr ett lrad (l an a T'ee). especiallyto be regrettedas theywere settings of is oftenregarded as thefinest of the Op.57set. lts two of Sibelius'sfavourite poets: Rydberg and boldnessof linehas alreadybeen noted, but Topeliusrespectively. Kyssen (The Kiss;1915) whilstthis songcould be saidto anticipatethe and HundravAgar har min tanke(A Hundred masterpieceLuonnotar lot sopranoand orchestra Ways)are both Runebergsetlings; K/ssen is a (1913),its successorHertig Magnus (Duke surprisinglyagitated piece and mostof its musical lvlagnus)looks the otherway. Boththe tempo interestlies in the strikingvocal line. Der marking (Andantinoquasi allegretto) and lne Wandercrund der Bach (The Wayfarerand the melodicline itself recall the slowmovement of the Stream;1915), to a Germantext by MartinGreif, ThirdSymphony (1907). The seventl'song. is a dialoguebetween a wayfarerand the stream Vdnskapensblomma (fhe Flowerof Friendship) rushingdown to the sea.The end of the poem is oneof twoquite different settings Sibelius made hintsat the relationshiobetween the transient of this poem;the secondremains unpublished. natureof humanlife and the self-renewingpower Thevocal line rs strongand memorable,and the of nature,but Sibeliusrightly resists the firmoiano chords of theaccompaniment exude an temptationto turn thisdainty little morsel into a airoi confidence.No.8, N;icken (The Watersprite). profoundprofession ol Iaith.Kaiutat (The Echo- inhabitsan anguishedworld of dreamsand Nymph:1915), a moreambitious song to a fantasies.lt is an impressivesong with a Finnishtext by Larin-Kyosti,describes the plight threatening,unpredictable piano part and a of an abandonedlover. Both in styleand in spirit suddenshift of moodat the end to oppressive ths iinesong owes more to the worldof Finnish despondency(Lento assai), when the singer naturemysticism than to thatof the Swedish awakes. romansot GermanLled, and the middlesection Theonly song Sibelius originally composed to - in whichthe nymphsearches the moorsand an Englishtexl is Hymn to Thais (1909)- a forestin vainfor her lover- brieflytakes us back highly-chargedsetting of a poem by the to 1892and the middlemovement ol Kullervo Swedish/Englishindustrialist Arthur Borgstrom Hundra vAgar shows something of the The subject-matterof the songis atsounusual: concentrationand innerstrength of Sibeliuss althoughSibelius was verywell acquainted with inspiratlon;it is a nobleand refinedsong in a classicalliterature, he very rarelyturned to mixtureof 512,412 and 3/2 time. A considerably earliersong than the othersin the group,lt was writtennol laterthan 1907,i.e. the periodof the Procop6takes a not entirelyserious view of the Third Synphony. lifestyleof youngcity officegirls and the middle- All of the Six Songs, Op.86were written agedSibelius responds with a delightfullybright, dur ng the First World War. The first, vivacioussong in the mannerof a Frenchwaltz. VArlorninnelser(The Coming of Spring;1916), is @Andrew Barnett 1994 characterisedby the regularalternation between crotchetsin 3/2 and quaversin 212,creating a The Finnishmezzo-soprano Monica Groop stop-starteffect which highlights the skilful studiedat the SibeliusAcademy in Helsinkiand metricalpattern of Tavaststjerna'stext. The graduatedin 1985.Two years later she madeher secondsong, Lengtanheter min arvedel(Longing d6butat the FinnishNational Opera as Charlotte (Werthe4.Following her successin the 1989 is my Heritage;1916) is a songof rarebeauly. 'Singer Sibeliusis responsiveto every nuanceof Cardiff of the World'competjtion, she has Karlfeldt'stext, and producesa sublimesong, the sung Dorabella(Cosi fan tuffe),Cherubino (Ihe tranquil,understated melancholy of whichhas a Marriageof Figaro)and Sextus (La
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