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Magnus Lindberg Graffiti · Seht Die Sonne MAGNUS LINDBERG GRAFFITI · SEHT DIE SONNE Helsinki Chamber Choir FINNISH RADIO SYMPHONY ORCHESTRA · SAKARI ORAMO 1 MAGNUS LINDBERG (*1958) GRAFFITI (2009) (Text: ancient Roman graffiti) 31’32 1 4’12 2 (bar 111) 4’16 3 (bar 232) 6’13 4 (bar 403) 4’41 5 (bar 518) 6’28 6 (bar 682–end) 5’37 Helsinki Chamber Choir (Chorus master: Nils Schweckendiek) Seht die Sonne (2007) 25’40 7 First movement 12’17 8 Second movement 7’41 9 Third movement 5’43 Finnish Radio Symphony Orchestra SAKARI ORAMO, conductor Publisher: Boosey & Hawkes Recorded by the Finnish Broadcasting Company Recordings: Helsinki, The House of Culture, 4.–5.9.2008 (Seht die Sonne) & Finlandia Hall, 23.5.2009 (GRAFFITI) Executive Producer: Reijo Kiilunen Recording Producer: Laura Heikinheimo (GRAFFITI), Markku Veijonsuo (Seht die Sonne) Recording Engineer: Jari Rantakaulio (GRAFFITI), Antti Pohjola (Seht die Sonne) Mixing: Jari Rantakaulio, Enno Mäemets (GRAFFITI); Antti Pohjola, Enno Mäemets (Seht die Sonne) Digital Mastering: Enno Mäemets – Editroom Oy ℗ 2010 Ondine Inc., Helsinki © 2010 Ondine Inc., Helsinki Booklet Editor: Jean-Christophe Hausmann Cover Illustration: House of Fabius Rufus, Pompeii (“Quisquis amat valeat...” – see No. 13 on p. 12). Photo by Paavo Castrén, reproduced by permission of the Republic of Italy’s Ministry for Cultural Heritage Artist Photos: Saara Vuorjoki © FIMIC (Magnus Lindberg), Markku Pihlaja (Helsinki Chamber Choir), Adrian Burrows (Sakari Oramo) Cover Design and Booklet Layout: Armand Alcazar This recording was produced with support from the Foundation for the Promotion of Finnish Music (LUSES) and the Finnish Magnus Lindberg Performing Music Promotion Centre (ESEK). 2 3 agnus Lindberg (b. 1958) has come a long way as a composer, from his early defiant and edgy Modernism fragments form a compendium of human existence: disjointed outbursts, insults, slogans, advertisements, to his later softer and more sonorous style. He himself has described the progression as the difference philosophical contemplation and descriptions of love acts of various kinds. They reflect life as it was in Pompeii Mbetween cutting stone and shaping clay. The most notable transition in this development occurred in the just before the town was obliterated on 23 August in the year 79. As it happens, it was the day of Vulcanalia, the late 1980s, but even though changes in his music since then have been slower, he has continuously been acquiring festival of the god of fire. new emphases and points of view. Indeed, Lindberg’s output as a whole comes across as a process of systematic Lindberg was fascinated by the idea that two thousand years ago there was a living, functioning town that suddenly musical evolution. ceased to exist, leaving these writings behind. It is also eminently appropriate that Lindberg used the texts in the original Latin, a language that, as Stravinsky put it, is “not dead but monumentalised”. Seht die Sonne (2007) was written to a commission from the Berlin Philharmonic and the San Francisco Symphony Lindberg compiled and dramatised the text for GRAFFITI himself. He did not construct a narrative, however, nor did Orchestra and was premiered under Simon Rattle in Berlin in August 2007. Its title alludes to Schoenberg’s gigantic he write a spectacular description of the destruction of Pompeii. Instead, he provides us with a grand choral and early Romantic work Gurrelieder, whose concluding choral section opens with those words. orchestral fresco of the life of the town. The music moves in broad, soaring arcs instead of attempting to illuminate Seht die Sonne has a retrospective or summary function in Lindberg’s output, much like his previous monumental every little fragment of text. Bits of text also recur in different musical settings. orchestral works KRAFT (1985) and Aura (1994) did in their time. “If one wanted to see Aura as my first symphony, The challenge of writing for choir and orchestra has expanded Lindberg’s palette. GRAFFITI is simpler in terms of this would be the second,” Lindberg said at the time of the premiere of Seht die Sonne. But he added in the same tonality than most of his other works, and its rugged sounds have an archaic feel in many places. Indeed, Lindberg breath that he is not interested in writing symphonies as such. drew inspiration from the juxtaposition of modal choral writing and chromatic instrumental parts in Stravinsky’s Cast in three sections played without a break, Seht die Sonne is an expansive work. The sections are not profiled as Les Noces and from other major 20th-century vocal works. And although Lindberg’s work is not an oratorio with distinct in tempo or character. For example, the rugged brass chords opening the second section make it sound like a narrative, it is difficult not to experience the abrupt halt of the music towards the end, plunging to a sustained a slow movement, but the music gradually becomes more lively. The work as a whole is based on a motif presented D note, as a musical symbol of the sudden ending of all life in the lost town of Pompeii. by the horns at the opening – not a theme as such, but a germ from which the musical material grows. Seht die Sonne progresses in a dextrously written orchestral flow that is so typical of Lindberg. It has its culminations Kimmo Korhonen and tranquil spells that occur with the inevitability of natural forces. At times, the texture is full and dark, almost late Translation: Jaakko Mäntyjärvi Romantic in its abundance, yet it may suddenly turn translucent and bright and reminiscent of chamber music. The most obvious dramaturgical turning point in terms of texture is the solo cello cadenza towards the end of the second section, leading to the concluding section. On the final pages, after the last culmination, Lindberg bids an intensive and emotional farewell to the piece. If the opening horn signal could be regarded as harking back to the opening of The Helsinki Chamber Choir was founded in 1962 as the Finnish Radio Chamber Choir. It assumed its current the Fifth Symphony of Sibelius, the conclusion is much closer to the sphere of his Sixth. name in May 2005, when the Finnish Broadcasting Company, YLE, withdrew its funding. Since then, the choir has maintained a critically acclaimed presence as Finland’s only independent professional choir. It has continued to Instrumental music has formed the core of Lindberg’s output from the very first, and the orchestra is his foremost perform and record the most demanding choral works in the contemporary repertoire, including many Finnish instrument. Vocal music, by contrast, plays a rather marginal role. Against this background, GRAFFITI (2009) – a commissions. commission from the Southbank Centre in London, the Finnish Broadcasting Company, and the Oslo Philharmonic The Finnish composer Kimmo Hakola became the choir’s Artistic Director in 2005. The German conductor Nils Orchestra, with funding from the Arts Council Norway – opens up a new path for him, being his first work for Schweckendiek succeeded him as Artistic Advisor in June 2007. The Helsinki Chamber Choir appears frequently choir and orchestra. Clocking in at 30 minutes, it is also one of his most extensive works of any kind, and his first at Finnish music festivals, collaborates regularly with Finnish orchestras, and has performed in recent years at the substantial work of vocal music. GRAFFITI was awarded the prestigious Teosto Prize in 2009. Fribourg International Church Music Festival in Switzerland, the Schleswig-Holstein Music Festival, the Haarlem For a composer of vocal music, choosing texts and the relationship between text and music are crucial issues. Choir Festival, and the Vale of Glamorgan Festival. Lindberg ended up using ancient Roman GRAFFITI discovered on the walls of the ruined town of Pompeii. These www.helsinkichamberchoir.fi · www.schweckendiek.org 4 5 The Finnish Radio Symphony Orchestra is the orchestra of the Finnish broadcasting company YLE. Founded as a agnus Lindberg (s. 1958) on kulkenut säveltäjänä pitkän tien varhaiskautensa uhittelevasta, ten-member ensemble in 1927, the Radio Orchestra grew to symphony orchestra strength in the 1960s. The list of teräväsärmäisestä modernismista myöhemmän tyylikautensa pehmeämmin ja täyteläisemmin soivaan its chief conductors includes Toivo Haapanen, Nils-Eric Fougstedt, Paavo Berglund, Okko Kamu, Leif Segerstam and Mmusiikkiin. Hän on itse luonnehtinut eroa kivenhakkaajan ja savenmuotoilijan eroksi. Merkittävin Jukka-Pekka Saraste and, since 2003, Sakari Oramo. murroskausi tässä kehityksessä sijoittuu 1980-luvun lopulle. Vaikka muutokset ovat sen jälkeen olleet hitaampia, Contemporary music is a major item in the repertoire of the FRSO, which each year premieres a number of YLE hänen musiikkiinsa on jatkuvasti tullut uudenlaisia painotuksia ja näkökulmia. Lindbergin tuotannon kokonaiskuva commissions. The recordings of the FRSO, now numbering over 100, include a historic gem from 1939: a live näyttäytyykin ennen muuta määrätietoisena musiikillisena evoluutiona. performance featuring Jean Sibelius and his Andante festivo – the only known recording of Sibelius in the role of conductor (ODE 1037-2). The FRSO has given over 250 concerts abroad, including two tours of the Far East. All of Seht die Sonne (2007) syntyi Berliinin filharmonikkojen ja San Franciscon sinfoniaorkesterin tilauksesta ja sai its concerts both in Finland and abroad are broadcast, usually live, on YLE Radio 1 and online. kantaesityksensä Berliinissä elokuussa 2007 Simon Rattlen johdolla. Teoksen nimi Seht die
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