Erkki Melartin (1875-1937) the SOLO PIANO WORKS MARIA LETTBERG

CLASSICS

Erkki Melartin (1875-1937) THE SOLO PIANO WORKS MARIA LETTBERG

CD 1 1-6 Lastuja I, Op. 7, Kuusi pianokappaletta / Späne I, Op. 7, Sechs Klavierstücke Chips I, Op. 7, Six Pieces for Piano

7 Legend II, Op. 12 / Die Legende II, Op.12 / The Legend II, Op. 12

8-12 Surullinen puutarha, Op. 52 / Der traurige Garten, Op. 52 The Melancholy Garden, Op. 52

13-17 Lyyrisiä pianokappaleita, Op. 59 / Lyrisches, Op. 59 / Lyric Pieces for Piano, Op.59

18-23 Den hemlighetsfulla skogen, Op. 118, Sex pianostycken Der geheimnisvolle Wald, Op. 118, Sechs Klavierstücke The Mysterious Forest, Op. 118, Six Pieces for Piano

24-29 Sex pianostycken, Op. 123 / Sechs Klavierstücke, Op. 123 Six Pieces for Piano, Op. 123

CD 2 1-24 24 Preludier, Op. 85 / 24 Präludien, Op. 85 / 24 Preludes, Op. 85

25-29 Noli me tangere, Op. 87, Stämningsbilder / Stimmungsbilder / Impressions

30 Legend I, Op. 6 / Die Legende I, Op.6 / The Legend I, Op. 6

2-CD-Set: N 67 048 31 Sonata I, Op. 111, Fantasia apocaliptica per il pianoforte Jewelcase mit Banderole MARIA LETTBERG, Klavier / piano 4 0 4 9 7 7 4 6 7 0 4 8 0 WG: 10 PIANO RARITIES · ERKKI MELARTIN THE SOLO PIANO WORKS Lastuja I, Op. 7 · The Legend II, Op. 12 · The Melancholy Garden, Op. 52 The Mysterious Forest, Op. 118 · 24 Preludes Op. 85 · Fantasia apocaliptica Maria Lettberg

The Finnish Composer Erkki before his death he stood up Melartin was a captivating and tern Finland. Later, in the Second Melartin and his Piano Works quietly, in secret, and locked the multi-talented person. His hobbies World War, the area was ceded to door to his study in order to com- extended from drawing, painting the Soviet Union. He studied com- pose without distraction. and photography to art history, position with the same teachers Composing meant everything in literature, languages and garde- as his 10-year-older contem- life to Erkki Melartin (1875–1937) ning, not to mention his extensive porary Jean Sibelius: with Martin and he regarded his profession as Nevertheless, Melartin succeeded travelling. He was also an avid Wegelius 1892–1899 in Helsinki a composer as his only true voca- to combine this lifelong mission collector of stamps, ex libris and and Robert Fuchs 1899–1901 in tion. ‘If only I were allowed to com- with many other professional post cards. Idealism and strong Vienna. He early made his name pose, this is my daily prayer,’ he activities. He worked 1908–1911 ethics dominated his world view known by producing piano works, wrote as a convalescent of tuber- as the conductor of the Viipuri and in his later years he was invol- solo songs, incidental music and culosis. ‘I simply cannot bear the (Vyborg) Orchestra and devoted ved, not only in theosophy, but chamber music. His actual break- inner pressure without exploding himself to teaching music theory further in Indian philosophy and through in Finland came with his if I’m not at last able to write down for nearly 30 years. In his life- mysticism. stage music to Sleeping Beauty music,’ he uttered after having an time he was for twenty-five years 1904 and his three first sympho- utmost busy period of conduc- known as director and professor nies premiered in 1903, 1905 and ting. This passion he was loyal to of composition at the Helsinki Melartin was born in 1875 in Käki- 1907. Practically taken, he was until the very end. He didn’t obey Music Institute, which is today the salmi (Kexholm), a Karelian town the only symphonist in Finland his doctors, but still a few weeks Sibelius Academy. situated by the Lake Ladoga in Eas-

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based on a poetic text and with mentary expression, use of both per il pianoforte), its genuine national feeling it soon low and high register in unisono Op. 111 (1920) is Melartin’s most made Melartin’s name widely plus semitone and whole-scales, extensive piano work, and it can known in Finland. tritones and flageoletti. be seen as his main achievement in the field of piano composition. Legend II, Op 12 (1900) was Six Piano Pieces, Op. 123 (1924- In 1921, the composer himself composed in Vienna, but most 25) is a collection, where Melar- wrote that he had created ‘a wild of the material was derived from tin returned to a more traditional apocalyptic fantasy, the modern Melartin’s own incidental music pianism without loosing any of flavour of which is too strong for a symbolistic play by G. Haupt- his individual tone and musical even for the three people who mann. There is much virtuosity quality. The opus contains a lot of have ever studied the work’. The and youthful romanticism in the fresh and naturally flowing music, very expressive and expressionis- alongside Sibelius till the middle piece, which made it valued by but, in addition, cromaticism and tic sonata was, indeed, practically of the 1910’s. As a composer Mel- performers and piano students in self-dependent modern harmony taken forgotten for decades. In artin was versatile and productive Melartin’s own times. at times. Finnish musical circles, the unpu- like no other: six symphonies, the blished sonata had become a opera Aino and the ballet Blue distant legend in all its apocalyp- The Melancholy Garden [Surulli- 24 Preludes Op. 85 (1913–1920). Pearl, a Violin Concerto, sympho- tical and fantasy-like modernity. nen puutarha], Op. 52 (1908) is In the 24 preludes Melartin joins nic poems, orchestral suites and a Fortunately, the manuscript was one of the finest lyrical compo- the tradition of many keyboard variety of instrumental and vocal found in the 70’s, and the sonata sitions by Melartin, who origi- composers, and perhaps also compositions. It is true that his was recorded for the first time in nally planned it for the orchestra. plans to give a response to the music is often characterized by 1984. These five impressionistic tone challenge set by his Finnish colle- National Romanticism and lyrical poems were composed in Viip- ague Selim Palmgren, a contem- Finnish folk music features, but uri (Vyborg) and at those times, porary of his and a composer spe- © Dr. Tuire Ranta-Meyer in addition, his output reflects Melartin’s personal life was colou- cialized in piano music, who had the influence of Late Romantic red by heartfelt disappointment composed his 24 preludes already expressiveness, Symbolism and and loneliness. Melartin dedica- in 1907. Melartin started the work Impressionism. Later, the Moder- ted, however, this masterpiece to in 1913, but it took him seven nism of the era left its clear mark his contemporary Jean Sibelius, years to complete the cycle. Stylis- on Melartin’s composition. sending his sincere regards and tically, the preludes are connected utterance of admiration to the both with classical and romantic The piano was Melartin’s own ‘dear big brother Jean’ in a let- models, but also with Debussy, instrument, but he acted not as ter. Sibelius answered saying he Ravel, Scriabin and Sibelius. Each a soloist, but rather as a Lied pia- was very proud of Melartin’s fine prelude has a descriptive title, nist and an expert on free impro- gesture: ‘I thank you for the Suite, which reflects the musical idea, visation. Melartin’s piano music the letter and for the kind words. like ‘Japanese Cherry Blossom’ or is very much rooted in lyrical The Suite is an outstandingly poe- ‘Autumn Night’. The preludes got Nordic sentiment in the spirit of tical work. You have there found a very good reviews e.g. by German Grieg. However, in comparison to very apt expression for solitude. I critics in the 1920’s. Sibelius’ darker Northern tone , understand you very well.’ The Melartin’s musical idiom often has cycle has inner pathos and virtuo- Noli me tangere, Op. 87 (1914), a lighter and more ethereal tinge. sity, and in those times in Finland meaning ‘touch me not’, is a cycle In general, a distinctive feature for it represented a fresh new style of five impressions, often held to Melartin’s piano works seems to with its whole-tone scales and be among Melartin’s most impor- be a synthesis of Nordic Impres- unconventional harmonies. tant piano works. The style in sionism, Late Romanticism and these short pieces refers clearly to Russian Modernism. Lyric Pieces for Piano, Op. 59 the more or less ascetic Scandina- (1909) is a collection of five clas- vian Impressionism. Some of the Melartin was completely bilin- sically titled character pieces for pieces, in addition, unfold quite gual. He named his works, often the piano, composed in Viipuri modern dissonant harmonies or alternatingly, either in Finnish or (Vyborg). The charm of these even atonal features. The atmos- in Swedish, if not using German ‘album leaves’ was recognised phere is filled with introverted or classical Italian and French tit- and appreciated by piano stu- melancholy and desolation. les. In this recording, the titles of dents and amateur players in Fin- Melartin’s piano works are given nish homes. Many of the pieces Legend I , Op. 6 (1898) has in Finnish or Swedish, German are dedicated to his music loving been through the years one of and English. friends or admiring young ladies of the local high society. Melartin’s most popular piano piece. It has its roots in lyrical Chips I [Lastuja I], Op. 7 (1898– Nordic tone as Melartin admired 1900) is a collection of six charac- The Mysterious Forest [Den hem- Grieg in his early years. Melartin ter pieces or ”Lieder ohne Worte” lighetsfulla skogen], Op. 118 (pub- uses at times delicately modal har- for the piano. The name Lastuja lished 1923) is an exquisite cycle monies, but in the middle part he refers to a set of detached lyrical of impressionistic pictures. It is opens his young heart to romantic thoughts or short novels in Fin- flavoured by pianistically effective pathos, too. nish National Romantic literature. and quite modern ideas ranging Every piece of this collection is from obstinate repetition to frag- Sonata I (Fantasia apocaliptica