Nordensongs by Jean Sibelius Pia Freund, Soprano Tommi Hakala, Baritone Kristian Attila, Piano Untako Vain ? Kurkistuksia Jean Sibeliuksen Liedien Maailmoihin

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Nordensongs by Jean Sibelius Pia Freund, Soprano Tommi Hakala, Baritone Kristian Attila, Piano Untako Vain ? Kurkistuksia Jean Sibeliuksen Liedien Maailmoihin NORDENSongs by Jean Sibelius Pia Freund, soprano Tommi Hakala, baritone Kristian Attila, piano Untako vain ? Kurkistuksia Jean Sibeliuksen liedien maailmoihin Jean Sibeliuksen teosten kriittisen laitoksen laulusävellyksiä käsittelevien niteiden ilmestettyä hänen liediensä kokonaismääräksi on yleisesti hyväksytty 109, joista kaksi itse asiassa on duet- toja. Kun levyllä esiintyy kaksi laulajaa, on luontevaa ottaa ensimmäiseksi numeroksi toinen niistä. Esittäjien tämäkin valinta on onnistunut; Tanken-laulun loppuhuipennus ajatuksen ko- hoamisesta ”kohti korkeampia maailmoita” sopii sitä paitsi myös motoksi paitsi yhdelle levylle myös kaikelle muullekin taiteelliselle ilmaisulle. Avauslaulu on sävelletty Johan Ludvig Runeber- gin tekstiin, kuten liki neljäsosa (26) säveltäjän liedtuotannosta ja yli puolet tästä levyllisestä; mm. sen nimikkolaulu Norden. Kuten tunnettua, liedien tekstien yleisin aihe on rakkaus eri vivahteissaan - ylevä, romanttinen, intohimoinen, ihanteellinen, eroottinen, puhdas, julma, kaunis rakkaus. Iloineen ja suruineen, onnenhetkineen ja tuskineen. Tämänkin levyn teksteistä 17 käsittelee juuri tätä teemaa. Puo- lisen tusinaa sivuaa maailmankatsomuksellisiä kysymyksiä, joskus vilahtaa myyttisiä hahmoja (Under strandens granar, Kaiutar), luontoa, surua, jopa pilailevia bagatellejakin… Sibeliuksen laulutuotanto on pääsääntöisesti ruotsinkielistä. Mukana, joskaan ei tällä levyllä, sinnittelee muutama saksan- ja yksi englanninkieleen sävelletty. Suomalaisia lauluja on orkes- terilaulut mukaan luettuina kaikkiaan 11 kappaletta; niistä kaksi kenties suosituinta löytyy levyl- tämme, jonka suurin yksittäinen kokonaisuus on opuksen 13 seitsemän Runeberg-laulua. Ne ovat nuoren Sibben voimannäyte, mukana äärimmäisen sensitiivisiä herkkävireisiä lauluja kuten Kyssens hopp, joka syntyi Sibeliusten Karjalaan tehdyn häämatkan aikana, mutta myös nuore- kasta voimaa ja maskuliinisuutta, välillä ahdistuneisuuttakin, uhkuvia kuten Till Frigga. Was it a dream? The Sibelius Lieder and a glimpse at the worlds behind them Since the publication of the song volumes in the critical edition of his works, the Lieder by Jean Sibelius have generally been accepted as numbering 109. Two of the songs are in fact duets. As there are two singers on this disc, it seemed only natural to begin with one of these. The singers also thought this was a good choice, for the climax of Tanken (The Thought) – the idea of a thought rising “to loftier worlds” – may serve as both a motto for this disc and indeed for all artistic expression. The words are by Johan Ludvig Runeberg, as are nearly a quarter (26) of Sibelius’s solo songs and over half the ones on this disc, including the title song Norden (The North). The most common subject in Lieder is love in its myriad nuances – noble, romantic, passion- ate, ideal, erotic, pure, cruel, beautiful. Its joys and sorrows, its moments of happiness and pain. Seventeen of the texts on this disc are about love. Some half a dozen touch on world- view, and there are occasional glimpses of mythical figures (Under strandens granar/Beneath the Fir-trees on the Shore, Kaiutar/The Echo Nymph), nature, grief. There are even some joking bagatelles. Most of Sibelius’s songs have texts in Swedish. He did compose a few in German and one in English, but they are not on this disc. Including the orchestral songs, there are 11 in Finnish. The two possibly most popular ones in Finnish are on this disc, the biggest set being the seven Runeberg Songs opus 13. They are the masterly stroke of the young Sibelius and include such exquisitely delicate songs as Kyssens hopp (The Kiss’s Hope), composed during his honey- moon in Karelia, and Till Frigga (To Fricka), a song bursting with youthful , masculine strength and at times even anxiety. Tällainen levyprojekti panee tulkitsijan myös tutustumaan uudella tavalla Sibeliuksen persoo- naan, Jannen ja Ainon väliseen kirjeenvaihtoon ja koko perheen dynamiikkaan. Hämmästyt- tävän hyvin monien laulujen tekstivalinnat ”osuvat yksiin” perheen sisäisten ilojen surujen ja jännitteiden kanssa. Tuntuu todennäköiseltä, että säveltäjä on mahdollisesti valinnut eri runoja heijastelemaan omia henkilökohtaisia tunnelmiaan ja parisuhteen pohdintaa, joka tapauksessa esim. runsas puolisoiden välinen kirjeenvaihto avaa uudenlaisia tulkinnallisia näkökulmia moniin laulujen teksteihin. Vem styrde hit din väg? : ”Kuka johdatti tiesi tänne?” Kuinka sinusta, jota en tuntenut, jonka polkua en tiennyt - kuinka sinusta tuli minulle kaikkeni? Laulu henkii sitä valtavaa uskollisuutta johon Aino ripustautui suhteessaan Janneen; jotain miltei ”ylimaallista” puolison pal- vomista, suurta ymmärrystä tämän musiikin voimasta ja ainutlaatuisuudesta. Entäs sitten Lasse liten ? Teksti on kuin Ainon kyselyä Jannen ”menohalujen” perään ”missä viihdyt parhaiten? – Borta bra men hemma bäst.” Ainoko ne tekstit valitsi? Tuskin. Kyllä ne varmaankin Jannen valit- semia ovat – mutta mitkä tekijät vaikuttivat tekstien valintoihin? Sitä on mielenkiintoista arvuutella. Myös humoristiset laulut kuten esim. ”Vilse” ja ”Små flickorna”, kutkuttavat mielikuvitusta. Mikä on saanut muuten melko melankolisissa maisemissa viihtyvän säveltäjän tarttumaan näihin hul- vattomiin teksteihin? Procopé’n Små flickorna on sitä paitsi melko modernikin ajatuksiltaan ja Bollspelet i Trianon tuo keskelle kevyen farssin kohellusta myös yhteiskunnallisia ulottuvuuksia. Mukaan on päässyt myös "hittejä" jotka ovat näille esittäjille muodostuneet erityisen tärkeiksi, kuten esimerkiksi Säv, säv susa, Illalle tai Var det en dröm? Myös todella harvinaisia lauluja, eri- tyisesti En visa, joka vakavasta sanomastaan huolimatta on hengeltään hyvin poikkeuksellista, rentoa, hyväntuulista Sibeliusta. Se on myös ensimmäinen säveltäjän julkisuuteen hyväksymä lied, joka valmistui vuonna 1888. Epätavallisella tavalla mielenkiintoisia lauluja ovat myös esim. Marssnön, joka on tosi lähellä skandinaavista kansanlaulua, ja I natten yksinkertaisen sugges- tiivisine ja samanaikaisesti impressionistisine tunnelmineen. Sibeliuksen koko liedtuotantoa ja jo pelkästään tämän levyn lauluvalikoimaakin pohtiessa tun- tuu uskomattomalta, miten yksi säveltäjä on voinut oman tyylinsä ja maailmankuvansa ke- A record project such as this forces the interpreter to take a new look at Sibelius the man, his correspondence with his wife, Aino, and the whole Sibelius family dynamics. In a surprising number of cases, the choice of text “coincides” with joys, sorrows and tensions within the family. Sibelius may quite possibly have selected his poems to reflect his own feelings and relations with his wife; in any case, the numerous letters that passed between husband and wife afford some completely new interpretations of many of the songs. Vem styrde hit din väg (Who Led Your Flight This Way?): How did you, whom I did not know, whose path I did not know – how did you come to mean everything to me? The song radiates the tremendous loyalty on which Aino’s love for “Janne” rested. There is something almost divine in her worship of her husband, a great understanding of the power and uniqueness of his music. Then what about Lasse liten (Little Lasse)? The words could be Aino enquiring about his desire to be out enjoying himself: – Borta bra men hemma bäst – literally “It’s good to be away but home is best”. Did Aino choose the texts? Probably not. They must surely have been Jean’s choice, but what factors influenced it? It is interesting to conjecture. The humorous songs such as Vilse (Astray) and Små flickorna (The Little Girls) also tickle the imagination. What made a composer who otherwise favoured somewhat melancholy land- scapes grasp at these amusing lyrics? Procopé’s The Little Girls is, furthermore, quite modern in its sentiments, and Bollspelet vid Trianon (Ball-Game at the Trianon) is a farce that has social dimensions. There are also some “hits” that have become especially dear to their performers. Examples are Säv, säv susa (Sigh, Rushes, Sigh), Illalle (To Ilta) and Var det en dröm? (Was it a Dream?). Some of the songs are truly rare; these include En visa (A Song), which despite its serious message shows a very exceptional, relaxed and jovial Sibelius. It is also the first Lied he allowed to be published, and it dates from 1888. Examples of songs that are interesting in an unusual way are Marssnön (The March Snow), which comes very close to a Scandinavian folk song, and I natten (In the Night), with its simply evocative and impressionistic moods. hityksen ja toisaalta maailman muuttumisen puitteissa säveltää niin valtavan erilaisia lauluja; Tshaikovski-vaikutteisesta romantiikasta (Tanken) ja suorastaan biedermeiertyylisistä Hausmu- sik-lauluista (Demanten på marssnön) weltschmerziä huokuviin nuoren vihaisen miehen lauluihin (Hjärtats morgon), ja ylitsevuotavasta intohimoisesta melodiikasta (Flickan kom ifrån sin älsklings möte) eksistentiaalisiin ydinkysymyksiin (Långsamt som kvällskyn, Och finns det en tanke) ja – tä- män levyn ulkopuolella – jopa ekspressionistisiin tunnelmiin (Theodora, Die stille Stadt). Kuitenkin kaikki täysin tunnistettavaa Sibeliusta. Äkkiä ei tule mieleen toista tällaista säveltäjää. Erkki Pullinen yhteistyössä levyn taitelijoiden kanssa Tanken Ajatus Tanke, se, hur fågeln svingar Ajatus, katso, miten lintu liitelee under molnet lätt och fri; pilven alla kevyesti ja vapaana; även du har dina vingar sinullakin on omat siipesi och din rymd att flyga i. ja avaruutesi, jossa voit lentää. Klaga ej, att du vid gruset Älä valita, että olisit sidottu som en fånge binds ännu;
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