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Ode_1055_booklet_Cover 3.3.2005 10:25 Page 1 C M Y CM MY CY CMY K TAUNO PYLKKÄNEN (1918–1980) MARE and her SON Opera in Three Acts Libretto by Aino Kallas Kirsi Tiihonen Raimo Sirkiä Esa Ruuttunen Mare Kirsi Tiihonen Juha Uusitalo Imant Raimo Sirkiä Goswin von Herike Juha Uusitalo Estonian National Opera Mango Esa Ruuttunen Chorus and Orchestra Minstrel Juha Riihimäki Hannu Lintu, conductor Man-at-arms Kai Valtonen TAUNO PYLKKÄNEN Estonian National Opera Chorus Estonian National Opera Orchestra and her Hannu Lintu, conductor MARE SON ODE 1055-2D Opera in Three Acts Composite Ode_1055_booklet_Cover 3.3.2005 10:25 Page 1 C M Y CM MY CY CMY K TAUNO PYLKKÄNEN (1918–1980) MARE and her SON Opera in Three Acts Libretto by Aino Kallas Kirsi Tiihonen Raimo Sirkiä Esa Ruuttunen Mare Kirsi Tiihonen Juha Uusitalo Imant Raimo Sirkiä Goswin von Herike Juha Uusitalo Estonian National Opera Mango Esa Ruuttunen Chorus and Orchestra Minstrel Juha Riihimäki Hannu Lintu, conductor Man-at-arms Kai Valtonen TAUNO PYLKKÄNEN Estonian National Opera Chorus Estonian National Opera Orchestra and her Hannu Lintu, conductor MARE SON ODE 1055-2D Opera in Three Acts Composite 1055 booklet 2.3.05 14:58 Sivu 2 2 1055 booklet 2.3.05 14:58 Sivu 3 TAUNO PYLKKÄNEN (1918–1980) MARE and her SON OPERA IN THREE ACTS COMPOSED IN 1942–43 LIBRETTO BY AINO KALLAS 1055 booklet 2.3.05 14:58 Sivu 4 Cast • Personen • Personnages • Henkilöt MARE soprano KIRSI TIIHONEN Widow of Valdeko, elder of Sakala Witwe von Valdeko, des Oberhaupts von Sakala veuve du doyen de village de Sakala Sakalan vanhimman leski 4 IMANT tenor RAIMO SIRKIÄ Her 19-year-old son ihr neunzehnjähriger Sohn son fils de dix-neuf ans hänen 19-vuotias poikansa GOSWIN VON HERIKE baritone JUHA UUSITALO Castellan of Viljandi Castle Burgvogt auf der Ordensburg Viljandi chef du Château de Viljandi Viljannin linnan komtuuri MANGO baritone ESA RUUTTUNEN An aging hunter ein älterer Jäger un vieux chasseur vanha eränkävijä 1055 booklet 2.3.05 14:58 Sivu 5 A MINSTREL tenor JUHA RIIHIMÄKI Stadtpfeifer un ménestrel leikari MAN-AT-ARMS bass KAI VALTONEN 5 Soldat un gardien armé asevartija Knights, canons, priests, monks, men-at-arms, peasants, women, young girls, children, youths, old men and women Ritter, Domherren, Priester, Mönche, weitere Soldaten, Landleute, Eheweiber, junge Mädchen, Kinder, halbwüchsige Jungen und alte Leute Chevaliers, chanoines, pasteurs, moines, gardiens armés, paysans, femmes, jeunes filles, enfants, adolescents, vieillards Ritareita, tuomioherroja, pappeja, munkkeja, asevartijoita, maarahvasta, vaimoja, nuoria tyttöjä, lapsia, keskenkasvuisia poikia ja vanhuksia Estonian National Opera Chorus Estonian National Opera Orchestra HANNU LINTU, conductor 1055 booklet 2.3.05 14:58 Sivu 6 Page CD 1 Playing time Page Introduction 6 [66:07] Act I Einführung 17 Ẅ Overture/Alkusoitto 2:05 39 Introduction 25 ẅ Mango Esittelyteksti 32 Sinun terveydeksesi (To your health) 2:58 39 Ẇ Mare Päivä on jo korkealla (The sun is high already) 6:10 40 ẇ Synopsis Mango Onhan sulla poikasi Imant! English 16 (But you still have your son Imant!) 4:48 41 Ẉ Mare 6 Deutsch 24 Imant on tulossa (Imant is coming) 4:01 42 Français 31 ẉ Imant Sata rekeä on lähdössä Suomi 38 (A hundred sleighs are setting off) 5:30 43 Ẋ Mare Tämä on elämän ja kuoleman paikka Libretto 39 (This is a question of life and death) 2:18 45 ẋ Imant Niin, tahdotko siis kysyttäväksi julki (Do you want people to ask in public) 3:37 45 Ẍ Imant Äiti! Miksi minut synnytit (Mother! Why did you bear me) 5:01 46 Act II ẗẻ Male chorus/Mieskuoro Bibit hera, bibit herus 2:30 48 ẗẗ Goswin Olkaat vahvassa turvassa (Your safety is assured) 1:33 48 ẗẘ Song of the Minstrel/Leikarin laulu 2:29 49 ẗẙ Sword Dance/Miekkatanssi 3:04 49 ẗẚ Fantastic Dance/Fantastinen tanssi 5:07 49 1055 booklet 2.3.05 14:58 Sivu 7 ẗẛ Male chorus/Mieskuoro Ẍ Imant Bibit hera 1:24 49 Mene tyköäni, äiti ẗẒ Mare (Be gone from me, Mother) 8:37 63 Se on minun ja Jumalan asia! ẗẻ Interlude/Välisoitto 3:56 65 (That is mine and God’s affair!) 2:31 50 ẗẗ Female chorus/Naiskuoro ẗẓ Goswin Viekää hautaan (Bear to the grave) 1:49 65 Finis festo! 1:04 51 ẗẘ Mango ẗẔ Mare Imant, Valdekon poika on kuollut Tahdon ensin poikani, Herra! (Imant, son of Valdeko is dead) 4:01 66 (First I want my son, Lord!) 4:18 51 ẗẙ Mare ẗẕ Goswin Nyt saatte viedä hautaan poikani Imantin Kalparitarit! (Knights of the Sword!) 2:06 53 (Now you may take to his grave Imant my son) 2:39 67 ẘẻ Mare ẗẚ Mare Herra... (Lord…) 3:14 54 Nyt sanosta minulle, Sakalan vanhin 7 (Give word now, Sakala’s eldest) 5:16 68 ẗẛ CD 2 Playing time Page Mare Nyt hän on kuollut (Now he is dead) 6:10 70 [72:01] ẗẒ Mare Act III Taas tuo laulu! (That song again!) 4:26 72 Ẅ Orchestral introduction/Orkesterijohdanto 3:07 56 ẗẓ Chorus/Kuoro ẅ Mare Lyökää hänet maahan! Seisa veri, seisa veri 1:24 56 (Strike her to the ground!) 1:10 73 Ẇ Goswin ẗẔ Mare Minä pidin komtuurinsanani, vaimo Suviöinä joutsenet lahdeltasi joikui (I kept the Castellan’s word, woman) 4:39 56 (On summer nights the swans cried from the bay) 3:04 74 ẇ Mare ẗẕ Mare Emo vei heijan heinämaalle Tuolla ylhäällä pilvien palteilla (Mother took the crib to the meadow) 3:23 57 (Up there on high, on the edge of the clouds) 3:08 74 Ẉ Imant Jätä lastenlorut äiti! (Cease your nursery rhymes, Mother!) 2:33 58 ẉ Mare He ovat tapetut! (They have been slain!) 4:06 60 Ẋ Imant Älä sekoita äiti! (Do not ramble, Mother!) 2:40 61 Set in 1343, during the rule of the Livonian Order, ẋ Mare at around St Thomas’s Day. Kuule minua, poikani Imant Tapahtuu vuonna 1343 Ordon hallituksen aikana, joulun alla, (Hear me, Imant my son) 5:41 62 Tuomaanpäivän vaiheilla 1055 booklet 2.3.05 14:58 Sivu 8 8 Irja Aholainen (Mare), Jorma Huttunen (Imant) 1953 1055 booklet 2.3.05 14:58 Sivu 9 9 Irja Aholainen (Mare), Alfons Almi (Imant), Lauri Lahtinen (Mango) 1945 1055 booklet 2.3.05 14:58 Sivu 10 Tauno Pylkkänen a natural opera writer awakening, towards opera.” “He is a theatre man from top to toe, concerned not so His home also fostered another feature characteristic of much with the ethical and aesthetical value of his works Pylkkänen’s output: the use of texts by Aino Kallas and as with their dramatic impact. Modelling himself most Estonian topics. Hilma Rantanen knew Aino Kallas in closely on Puccini, he writes for the singing voice in a way person and helped her son to adapt the libretto for Mare. that is extremely rewarding.” As a child, Tauno and his mother often visited Aino The composer in question could well be Tauno Kallas’s summer home on the Estonian island of Pylkkänen but is in fact Pylkkänen’s description of Gian Saaremaa. Carlo Menotti. The words do, however, apply equally well to Pylkkänen, sometimes hailed as the Puccini of the Precocious talent North and Finland’s Menotti. These likenesses could From his early years onwards, Tauno Pylkkänen was 10 suggest the absence of an independent style, but they interested first and foremost in opera and composed his can also be taken as tokens of respect. Few Nordic first opera, Jaakko Ilkka, before the age of 20. composers have aspired to the finest traditions of Italian Specialising in opera was already possible for Pylkkänen’s opera as successfully as Tauno Pylkkänen. generation, since Finland had by that time acquired a Born on 22 March 1918, Tauno Pylkkänen was the regular professional company, the Finnish Opera adopted son of Väinö Pylkkänen, an office manager, and (predecessor of the Finnish National Opera) in 1911. his actress wife Hilma Rantanen-Pylkkänen. Through his Several notable operas in Finnish had also been adopted mother he was immediately introduced to the composed, so there was no shortage of models. In world of drama, for Hilma Rantanen was a leading light Pylkkänen’s youth, the most popular Finnish opera was on the Finnish theatre scene. She first entered the Finnish Leevi Madetoja’s The Ostrobothnians premiered in 1923, Theatre as early as 1895, translated Estonian plays into but Aarre Merikanto’s Juha, another major Finnish opera, Finnish and later wrote her memoirs. had not yet been performed. Thus Tauno Pylkkänen himself recalled his childhood In the preceding generation, Väinö Raitio and Armas experiences of the theatre: “My mother was greatly loved Launis had addressed themselves to opera, and the latter, and respected as an artiste, a tragedienne in the grand especially, served as a model for Pylkkänen. In a letter style. My first memories are in fact of the fascinating written in 1947 Pylkkänen said that a performance of atmosphere of the theatre. I was there when plays were Launis’s Kullervo in 1934 had marked a decisive turning being directed, I listened hidden behind doors when roles point in his career. Watching it, he had realised that “the were being rehearsed, and all the games I played with my blending of dramatic and lyrical elements on a purely pals in the yard were theatre games. Growing up in this Finnish basis was the ideal Finnish opera”. atmosphere and environment developed my dramatic Bathsheba of Saaremaa, his first opera using a text by sense and guided my interests, after my musical Aino Kallas, was written when he was only 22 and was 1055 booklet 2.3.05 14:58 Sivu 11 the earliest by him to be performed, though not until Radio in 1950.
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    CONCERT PROGRAM PRESENTED BY 1 – 12 aPRIL 2014 | MELBOURNe rECITAl cENTRE MSO PARTNERS PRINCIPAL PARTNER GOVERNMENT partners MAESTRO PARTNER ASSOCIATE PARTNERS SUPPORTING PARTNERS 2 CONTENTS CONCERT GUIDES PROGRAM Joanna MacGregor - Musical Toys (1 April) 5 INFORMATION Plexus - Pantheon (2 April) 12 Forest Collective - The Garden of Ice (4 April) 13 MSO Programs can be read online or downloaded up to a Six Degrees Ensemble - Garden of Earthly Desire (5 April) 14 week before each concert, from mso.com.au Stefan Cassomenos and Judith Dodsworth - Sappho's Butterflies (9 April) 15 If you do not need this printed program after the concert, (5 April) 16 The MSO and Olli Mustonen - Tapiola we encourage you to return it to The MSO and Olli Mustonen - Frescoes of Dionysius (9 April) 28 a member of staff. Please share one program between two people ( ) Syzygy - Logic 10 April 33 where possible. The MSO and Olli Mustonen - Concert Champêtre (12 April) 34 This program has been printed Aura Go - Dichotomie (12 April) 39 on FSC accredited paper. For news and updates on the Melbourne Symphony Orchestra MSO Partners 2 (MSO) follow us on Facebook MSO Supporters 25 or Twitter. Commissioning the Future 27 Sign up for MSO's monthly e-news, at mso.com.au, to receive Meet Your Musician 40 special offers from the MSO and partner organisations. The Orchestra 41 Sign up for Melbourne Recital Melbourne Recital Centre Supporters 42 Centre's eNews for special offers, priority booking and giveaways at melbournerecital.com.au COVER image: Soundscape: Sibelius Tapiola Find your work-life groove From laid back to more upbeat, you’ll find a range of inspirations in our Business Class.
  • Artistic Alliances and Revolutionary Rivalries in the Baltic Art World, 1890–1914

    Artistic Alliances and Revolutionary Rivalries in the Baltic Art World, 1890–1914

    INTERNATIONAL JOURNAL FOR HISTORY, CULTURE AND MODERNITY www.history-culture-modernity.org Published by: Uopen Journals Copyright: © The Author(s). Content is licensed under a Creative Commons Attribution 4.0 International Licence eISSN: 2213-0624 Artistic Alliances and Revolutionary Rivalries in the Baltic Art World, 1890–1914 Bart Pushaw HCM 4 (1): 42–72 DOI: 10.18352/hcm.503 Abstract In the areas now known as Estonia and Latvia, art remained a field for the Baltic German minority throughout the nineteenth century. When ethnic Estonian and Latvian artists gained prominence in the late 1890s, their presence threatened Baltic German hegemony over the region’s culture. In 1905, revolution in the Russian Empire spilled over into the Baltic Provinces, sparking widespread anti-German violence. The revolution also galvanized Latvian and Estonian artists towards greater cultural autonomy and independence from Baltic German artistic insti- tutions. This article argues that the situation for artists before and after the 1905 revolution was not simply divisive along ethnic lines, as some nationalist historians have suggested. Instead, this paper examines how Baltic German, Estonian and Latvian artists oscillated between com- mon interests, inspiring rivalries, and politicized conflicts, question- ing the legitimacy of art as a universalizing language in multicultural societies. Keywords: Baltic art, Estonia, Latvia, multiculturalism, nationalism Introduction In the 1860s a visitor of the port towns of Riga or Tallinn would have surmised that these cities were primarily German-speaking areas of Imperial Russia. By 1900, however, one could hear not only German, but Latvian, Estonian, Russian, as well as Yiddish on the streets of Riga 42 HCM 2016, VOL.
  • 128 Muzička Izvođenja I Partiture

    128 Muzička Izvođenja I Partiture

    COMARC/B 128 128 MUZIČKA IZVOĐENJA I PARTITURE Polje opisuje oblik muzičkog dela i podrobnosti o instrumentima i/ili glasovima. Potpolja & ponovljivost POLJE/POTPOLJE PONOVLJIVOST 128 Muzička izvođenja i partiture r a Oblik muzičkog dela r b Instrumenti ili glasovi ansambla r c Instrumenti ili glasovi solista r d Tonalitet ili modus muzičkog dela nr Indikatori Vrednosti indikatora nisu definisane. OPIS POTPOLJA 128a Oblik muzičkog dela Dvomesni (tromesni) kod, unet u potpolje, označava oblik muzičkog dela. Potpolje ponavljamo, ako je reč o više oblika. abs apsolucija Takođe absolutio. acc akademija Takođe accademia. acl aklamacija Koristimo i za laudes regiae, acclamatio i sl. acm actus musicus agn agnus dei ai napev Koristimo i za air, ayre; za instrumentalne napeve koristimo kod "ain" – instrumentalni napev. ain instrumentalni napev aka akatist Takođe akatistos i akafist. ala alba alb list u albumu Takođe albumblat. © IZUM, jun 2016, prevod: septembar 2016. 128 - 1 128 COMARC/B all aleluja alm alemanda ame amener Koristimo i za paseđatu. an anglikanska himna A cappella ili vokalno-instrumentalni oblik muzičkog dela u anglikanskoj crkvi. ana anagramma ane ante evangelium ant antifon Takođe antifona. app applauso Koristimo i za singgedicht. ar arija Koristimo za vokalni oblik muzičkog dela, za instrumentalni oblik koristimo kod "arn" – instrumentalna arija. ara arabeska ari arijeta ark auresku Koristimo i za bajle real, desafio, eskudansa i sl. arn instrumentalna arija ars ariozo aub obada Koristimo i za instrumentalnu albu, obu i alboradu. azm azione musicale Koristimo za dela iz 20. veka sa tom oznakom; takođe za azione lirica i sl. azs liturgijska drama Uglavnom bečka dela iz 17.