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Fartein Valen · Orchestralorchestral Musicmusic Vol.Vol BIS-CD-1642BIS-CD-1522 FARTEIN VALEN · ORCHESTRALORCHESTRAL MUSICMUSIC VOL.VOL. III1 EINARELISE HENNING BÅTNES SMEBYEviolin · STAVANGER· STAVANGER SYMPHONY SYMPHONY ORCHESTRA ORCHESTRA · · CHRISTIANCHRISTIAN EGGENEGGEN FARTEIN VALEN, portrait by AGNES HIORTH FrontFront cover: cover: RosaRosa CentifoliaDamascena by by Mary Mary Lawrance, Lawrance, from from ‘A ‘A Collection Collection ofof RosesRoses fromfrom Nature’, 1799,1799, London. London. The Royal Horticultural Society, Lindley Library, London. ReproducedReproduced byby kindkind permission.permisson. BIS-CD-1642_f-b-2.indd 1 08-10-06 15.52.00 BIS-CD-1642 Valen:booklet 13/10/08 08:15 Page 2 VALEN, Fartein (1887–1952) 1 Kirkegården ved havet, Op. 20 (1933–34) 9'59 Moderato 2 La Isla de las Calmas, Op. 21 (1934) 4'35 Allegretto 3 Ode til ensomheten, Op. 35 (1939) 6'42 Symphony No. 4, Op. 43 (1947–49) 17'52 4 I. Allegro 5'32 5 II. Larghetto 5'32 6 III. Chaconne. Variation 1–16; Variation 17 (Coda); Variation 18 6'32 Concerto for Piano and Orchestra 8'28 Op. 44 (1949–50) 7 I. Allegro moderato 4'41 8 II. Andante 1'10 9 III. Finale. Allegro 2'00 TT: 49'00 Stavanger Symphony Orchestra Christian Eggen conductor Einar Henning Smebye piano [7–9] All works published by Harald Lyche & Co’s Musikkforlag 2 BIS-CD-1642 Valen:booklet 13/10/08 08:15 Page 3 artein Valen made his début as a com - plained in an interview that musicians performed poser in the Norwegian capital of Oslo in his music like his outward appearance: carefully, F1908 with a late romantic piece for the almost feebly, on account of his shyness and in - piano, Legende, which he had written earlier that tro version. But his music is full-blooded and at year. As we noted in conjunction with the first times impetuous. vol ume of this series devoted to Fartein Valen This disc contains the last three of Valen’s [BIS-CD-1522], shortly thereafter he moved to Ber - orchestral pieces, his final symphony and his lin which was the musical capital of the world at piano concerto. The single-movement orchestral that time. In Berlin he learnt to appreciate the Ger- pieces are in his characteristic, atonal style though man classics from Bach to Bruckner and Brahms. they have strong links with the ‘symphonic poems’ At the same time he also came into contact with of the Romantic period. Valen’s works often have the modern music of the day. Max Reger’s large- poetic titles which are reminiscent of the pro - scale works caused him excitement and he found gram matic titles of romantic music. But the orch - Richard Strauss’s operas interesting. But it was estral pieces are not direct descriptions or paint - the expressionistic music of Arnold Schoenberg ings; their titles rather serve as reminders for that was most radical – music in which tonality Valen of a particular mood, experience or chain of and ex pression were taken to the limit and where thought.. These pieces are stepping stones en route the limit was exceeded in the form of atonality. to Valen’s large symphonic works. Though the Valen wanted to be part of this modernity symphonies and concertos have a larger span with him self but he did not want to join the modernist clearly de marcated movements in the classical rupture. He maintained that all music relies on a tradi tion. classical tradition and that the well-tried forms of music could, rather, be filled with a new content. The Churchyard by the Sea, Op. 20 (1933–34) Back in Norway after the years in Berlin, he con - This remains the most frequently performed of tin ued to study scores as well as musical theory. Valen’s orchestral works and the piece has been Bach was at the centre of his interest and Valen the starting point for ballets and for a poetic film. tried his hand at different polyphonic principles The title is readily memorized. Valen’s inspiration on a daily basis, with Bach as his starting point. for this piece came from his visit to Majorca in But from 1924 onwards it was the atonal counter - 1932–33. He was sitting at a pavement café read - point that he had developed himself which be - ing a Spanish newspaper which had a translation came dominant in his music. Schoenberg’s music of Paul Valéry’s poem Le cimetière marin (1920). inspired him, as did aspects of Alban Berg’s works, This was a poem that Valen already knew in the but Fartein Valen created a style of his own which original French. Something in the typography and contains elements of their espressivo. Valen com - rhythm of the Spanish translation made him sense 3 BIS-CD-1642 Valen:booklet 13/10/08 08:15 Page 4 the rolling waves of the sea and of eternity. Fun - The three principal elements in Valen’s music da mentally, Valéry’s poem is a philosophical para- are a deep, rocking theme in the bass which builds phrase of the ancient Greek philosopher Zeno of up large waves that create a form, chordal pas - Citium’s idea of an all-knowing, all-embracing and sages for the brass and a heaven-seeking theme in unchangeable God. Everything else, all ‘being’, he the brighter instruments. The first performance in regarded as corruptible and an illusion of the 1934 was a success and Valen was obliged to ap - senses. In actuality Valéry had described the pear on the platform where he stood wringing his church yard at Sète south of Montpellier, a cem - hands in embarrassment while the audience ap - etery that lies on top of a ridge (with, today, the plauded. When he left the platform a conservative Valéry museum behind it), affording a view music critic leapt from his seat. He realized that across the ever-changing sea beyond – and where the occasion was a success for Valen and he furi - the pigeons in flight still today flash like silver in ously pursued the composer who had to flee into the bright light from the constant eye of the sun. the toilet and lock himself in while the critic It is probable that Valen visited the cemetery on banged on the door. his trip to Majorca. But Valen also remem bered a small, abandoned cholera graveyard by a calm La Isla de las Calmas (The Silent Island), bay in his native Valevåg which he had often Op. 21 (1934) visited while collecting his thoughts and looking Majorca, ‘la isla de las calmas’, provided Valen out across the sea. with the peace and calm he needed after the leng - The first stanza of Valéry’s poem (in the thy debate in Norway about his atonal music. (trans lation by Cecil Day Lewis) reads: Valen wrote to his friend, the painter Hugo Lous Mohr: ‘it is so wonderfully beautiful to the eye, Ce toit tranquille, où marchent des colombes, everything is so lovely in the mild, humid air… I Entre les pins palpite, entre les tombes ; Midi le juste y compose de feux have sunshine and a beautiful view of the whole La mer, la mer, toujours recommencée ! of “Bahia” de Palma and the town itself with its Ô récompense après une pensée cath edral that is so beautifully situated as though Qu’un long regard sur le calme des dieux ! it had been brought there by angels and set down This quiet roof, where dove-sails saunter by, on the site, and every evening, as the sun goes Between the pines, the tombs, throbs visibly. down, it glows in a golden hue like buildings in Impartial noon patterns the sea in flame – the new Jerusalem… It feels as though time is al - That sea forever starting and re-starting. most standing still; one is on la isla de las cal - When thought has had its hour, oh how rewarding mas, the Isle of Bliss.’ Are the long vistas of celestial calm! The visual aspect was always important to Valen and, as in The Churchyard by the Sea, it 4 BIS-CD-1642 Valen:booklet 13/10/08 08:15 Page 5 was doves, sun and sea that inspired the music in in Oslo rapidly seemed far off. He could work so this new orchestral work. In a draft of a letter well in the countryside. ‘I cannot explain how de - Valen wrote: ‘It is true that my Calm Island owed lightful it is to know that I shall not have to rush its ori g in to a specific event that I experienced on back to Oslo on 1st September or 1st October. the day I left Majorca. As we sailed out of the And how wonderful, when I take a nap in the har bour I saw that the whole deck was covered afternoon, to be able to lock the door sym bolic - with bas kets full of racing pigeons and when we ally and tell myself: no students, no telephones, had proceeded for a certain distance the birds no visitors. You may find this cynical. But I feel were all released. Initially they circled around and that it is high time for me to experience solitude.’ then all of a sudden, in unison, they made for the Creative solitude, that is. cath e dral which stuck up out of the mist. Their Another reason for his seeking to be alone wings glistened like silver in the sinking sun. The was the situation in the world. Right from when mu si cal motifs came to me straight away and I Hitler came to power, Valen had seen Nazism as a started working with them as soon as I got home threat, not just to his beloved Germany but for to Vale våg… In my defence I must state that, like peace in the world.
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