Finnish Choral By Jeffrey Sandborg

Jeffrey Sandborg is Assistant Professor of Music and tion is a set of twenty "Piae Cantiones" for Chairman of the Department of Music at Pikeville College, mixed chorus by Heikki Klemetti. Pikeville, Kentucky. Between 1978 and 1979 Sandborg studied in , at both the and Helsinki University as an ITT Fellow. His D.M.A. in choral music is in progress at the University of Illinois, Urbana-Champaign.

Finnish choral music rarely has been performed in the nor has much been written in the English language on the subject. The repertory remains largely unex­ amined not for lack of interest but, for lack of ready informa­ tion and materials. The Finnish language presents a for­ midable barrier to any kind of bibliographic inquiry, and ~:;fr:ff$~*lE~:[f. translations ofeven the simplest Finnish text settings nearly ==~: ~~=t=~~~::;_L3..:==::::-= 0,. 1111 llurU1/J ~ mo hgger in pr"fi1'i 0<\1 (om e'olrn are impossible for a non-speaker or for someone without ac­ (tijncr cess to a Finn. Contributing to the problem is that Finland has not been a country to propagate its music outside its borders. Further, the principal music publisher, Fazer, relies on an agent in the U.S. to advertise and distribute its publications. Sad to say, the agent has no catalogues or lists and all orders go directly to Finland, followed by a wait of up wRh-S-'--~....------I--- to three months for delivery. Clearly acquisition of a score is ~- ~~:=~--j-=====

made by only the most determined customer. With these (,). ""{ph.:: (s 6-. tJ. kinds of obstacles it is not surprising thatthe repertory re­ mains a mystery to American choral directors. The purpose of this article is to provide some useful infor­ While Finland was a province of , (Abo)," on mation about Finnish choral music: first, to sketch the history of Finnish music; second, to discuss briefly a few con­ the western shore of Finland, was the capital. In 1790, the Turku Music Society was founded, marking an important temporary Finnish , offering examples of their step in the development of music in Finland. Later the Socie­ choral work; third, to present a list ofchoral literature with a Latin, German or English text; finally, to provide some ty was moved to Helsinki when that city became capital in sources for further information and materials. 1812 of the under the Russian Tsars. HISTORY In the second half of the nineteenth century several impor­ tant developments profoundly affected Finnish music: first, Finland's musical history is short compared to that of in 1812, the orchestra which today is the Helsinki Philhar­ most other European countries. Subordinate to Sweden from monic was founded as well as the Helsinki Music College ­ 1105-1809 and then to until 1917, Finland had no today the Sibelius Academy; second, the were court of its own to cultivate a musical culture. Early Finnish discovering their national identity largely through the music was mainly folk music. Vocal music was primarily publication of Elias Lonrot's in 1849. The Finnish rune-chanting with providing textual national epic Kalevala influenced creation in all of the arts content. This type of singing was accompanied by the string­ (several of Sibelius' works were inspired by it: "" ed "", the Finnish national instrument. Symphony, "Lemminkainen" Symphony, et all. Further, In the sixteenth and seventeenth centuries a collection of Kalevala raised the Finnish language to a stature equal to 1-4 part church and school became very popular in Swedish, until then the language of the educated classes. Finland (still part of Sweden). Published in 1582, the "Piae Musically, the emergence of (1865-1957) was Cantiones" is a very important monument in the history of one of the most important factors of the late nineteenth cen­ Finnish music because it provides most of what is known tury. Sibelius captured in music the "Finnishness" of his about the country's body of sacred non-liturgical Latin . culture at a time when Finns were looking for faith in their Early manuscripts of the collection and clues to its use have own identity and abilities. Therein he positively affected the been lost or destroyed. 1. country's push for independence which was won in 1917. - The Piae Cantiones is the source of two carols which have Though his legacy did much for Finland's international become famous through a variety of settings: "Puer nobis reputation, the confidence that his music inspired in the Fin­ nascitur" ("Unto us a son is born") and "In dulci jubilo". nish people was not shared by all Finnish composers who Fazer publishes a facsimile of the complete "Piae Can­ were his contemporaries. Instead, many composers worked tiones Ecclesiasticae et Scholasticae Veterum Episcoporum" in the long shadow of Sibelius for nearly half a century. (1582). The volume includes several pages of useful informa­ Three contemporaries of Sibelius who flourished even in tion in English by musicologist Timo Makinen. There are his presence were Selim Palmgran (1887-1947), two volumes which include songs from the 1582 and 1625 (1883-1918) and (1887-1947). All three, alo!1g editions set in modern notation. Another valuable publica- with Sibelius, wrote a significant amount of choral music, much of which is considered to be of superior quality. Because the texts of these compositions are almost entirely 'Left. "Puer nobis nascitur". Right. "In dulci jubilo". From "Piae Can­ tiones", Documenta Musicae Fennicae X, pp. 15 and 34, Fazer, 1967, Helsinki. in Finnish and because they are more difficult to obtain, they Used by permission. will be excluded from this brief discussion.

APRIL 1982 Page 11 POST WAR YEARS poraries. Bergman's vocal effects include whispering, glissandi, declamation, vocalization of different vowels and World War II was a pivotal period for Finnish music. As in consonants, clusters and controlled improvisation. Very most other European countries, the war completely often his choral works are divided into main chorus, semi­ disrupted musical life. The following years provided fertile chorus and soloists. He uses speaking choruses frequently as soil for a new generation of Finnish composers who con­ part of a work or alone. sciously tried to avoid any Sibelian influence. "Nox", op. 65, scored for , mixed chorus, flute, A renewed interest in choral singing led to the establish­ English horn and sixteen percussion instruments, illustrates ment of new choirs and gradually to more refinement in Bergman's imaginative combination of vocal and instrumen­ musical and vocal skills. Though the decade and a half tal colors. Instruments, usually exotic combinations, are following the war was extremely productive in Finnish often used with his choral compositions. musical life in general, and choral activity in particular, it Tone clusters, "sprechgesang" and declamation are just a was not until the late 1950's and early 1960's that Finnish few of the musical means employed in "Nox" to capture the composers once again began to write steadily for that atmosphere of the four diverse "night" poems, each in a dif­ medium. Much of this interest was generated by several ferent language: first-rate choirs (such as the Finnish Radio Chorus) which I. Italian had matured from their early beginnings in the fifties and II. German these same choirs began to offer attractive commissions as III. French well. The result was a compositional surge in a wide variety IV. English of styles for men's, women's, and children's choirs. Three composers who stand out as the most significant The experimental dimension of Bergman's style may be contributors to Finnish choral music in the years since the observed in "Dreams", op. 85 for treble voices, an example of war are , Bengt Johansson, and Joonas Kok­ some of his most recent work (published in 1978, Fazer). The konen all of whom belong to the older generation of com­ composition reveals his interest in the expressive posers and who are still active today. possibilities of the voice. The himself describes "Dreams" as an attempt BERGMAN at a kind of "controlled improvisation", a technique which characterizes much of his recent work. Each of the three sec­ Erik Bergman (b. 1911) has been one of the most pro­ tions, about 4 minutes in duration, develops particular vowel gressive and creative of Finnish choral composers though he or consonant sounds. The result is a collage of gradually ac­ is not limited to that medium. Ifone attempted to generalize cumulated vocal effects. The thickening of texture is not ac­ about Bergman's style it would best be described as ex­ companied by an increase in volume. Rather, the dynamic perimental and eclectic. Among Finnish composers he was range is tightly controlled with each final climax all moving something of a pioneer in the exploration of non-traditional to a very low dynamic level. expressive possibilities of the human voice though his treat­ Dreams, 1978, Fazer. Used by permission. ment is by no means radical among his Western contem-

F.or Er1'l1rl Poh}olQ and hi, Topiolu Choir PRESBYTERIAN ASSOCIATION Dreams OF I ANNOUNCES ERIK BERGMAN, op. 85 (5)15" @p" I :; ;; ,z" i ~4"

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Page 12 THE CHORAL JOURNAL JOHANSSON "spirit" is reflected in the sixteenth-century polyphonic style employed. Bengt Johansson (b. 1914) has composed mainly in the Two particular traits of the Mass provide good examples choral idiom. of some of Kokkonen's style characteristics. First, the entire Among his choral compositions the greatest number are Mass is unified by a single harmonic/melodic motive; set to English and Latin texts, thereby making much of his thematic unity and clarity of form are always his principal music accessible to non-Finns. objectives. Second, the music is tonal in the sense that it The characteristic which most clearly dominates possesses various tonal centers. The constant shifting of Johansson's style is a thick-textured homophonic setting of these centers bound by motives that grow out of them con­ text. He is more interested in vertical sonority than in tribute strongly to Kokkonen's individual sound. horizontal thematic development. Harmonically, his treat­ Missa a cappella, 1967, Fazer. Used by permission. ment is sometimes modal and frequently bitonal. Missa a cappella The Tomb at Akr Caar, 1965, Fazer. Used by permission.

have kept smooth on thee.

:)al1 thy robes have kept smooth on thee:----

all thy robes have kept smooth on thee. , :/ all thy robes have kept smooth on thee. Generally Johansson's settings are not vocally overdemanding yet they do require a group large enough to handle frequent divisi in all parts and musically sure enough to be independent in dense, dissonant textures. ~m. J " KOKKONEN Ky-ri·e e-lei son, Ky • • ri - e e- dim. (b. 1921), also a member of the older "If generation of Finnish composers, is one of the best known I" ri - J"y - ri - (' __ K.> _ ri - e e ­ and most respected composers. His Viimeiset "11" dim. kiusaukset (), has recently brought to him much international attention. Kokkonen's reputation is ~ p Ky - ri • e e - - scm, that of a master craftsman of chamber and symphonic ri - works. His total musical production is not large - only two "·---~I works for chorus. Kokkonen is mentioned here because of his I" +3t=~===~ stature in Finnish musical life and because his two choral __--:=:.jt works are excellent, highly individual compositions. Edt- .· __ :-::_::~ft Missa a cappella (1963), for SSATBB is, according to the composer "written in the spirit of the old masters." This i.. Edition Fazer, Urhinki. H167 W. t3555·R

Recent publications for Chorus Two New Musicals by HANK BEEBE now available from the composer: with Percussion "DAVE" 2812 Felciano-A Tweedle-ding-dong-dub-a- The story of David and Goliath dub Trilogy (children & percussion) .80 set in the American West (35 min) 3002 Felciano-Susani "REHEARSE, JONAH!" (SATB, organ, elec. tape & percussion) 1.00 The story of Jonah and the Whale 2833 Parker-A Sun, A Shield (young voices, told as a play in rehearsal (45 min) autoharp, elec. , perc. & solo instr.) .60 Seven musical numbers in each, 2960 Parker-Grace and Glory (SATB and simple staging requirements, one or two percussionists) 1.00 for chancel or auditorium use, 2838 Pinkham-Company at the Creche (treble theologically accurate, avail- voices, bells, and piano, organ or harp) 1.25 able separately. Write: 3081 Pinkham-When God Arose (SATB, HANK BEEBE soloists, harpsichord, organ & perc.) 1.50 308 Danforth Street \ 3028 Susa-Children's Begging Song (SSA or Portland, Maine 04102 E. C. Schirmer Music c~mpanf' TTB or SSATTB and percussion) .60 112 South Stre t Boston. Massachusetts 0211 Available at leading music stores or from the publisher.

APRIL 1982 Page13 Several contemporary composers have made significant contributions to Finnish choral literature in a wide variety of

- son, Ky~ri- e e - lei - 500, __ styles. Among them are (b. 1941), Eino­ I 1.1 - :P~ "" juhani Rautavaara (b. 1929), Jouko Linjama (b. 1934), Sulo Salonen and Eero Sipilii (1918-1972). ~ lei - - 500._ K"-ri - e e - lei - son, The following list provides the names of easily obtainable p~ ,,;, choral scores by several contemporary composers. The list includes only compositions with English, Latin or German Ky-ri -e e - lei - sun, texts, either as the original language or as a singing transla­ pp tion. Another criterion used to select these pieces is their availability; all are presently in print as part of Fazer's Ky - :PJ: ___ - ri - Chorus Sarja (Chorus Series) or listed in Fazer's most recent catalogue. Ky ­ - ri - Should the reader wish to investigate Finnishchoral music further, there are a few sources that will be particularly "" useful. The first is the Finnish Music Information Center Ky - .. ri­ which not only provides information on the subject but also /, '0 " offers such helpful materials as discographies, catalogues,

I~ biographical profiles, articles and copies of unpublished or out-of-print scores. Examination scores may be obtained directly from Fazer along with up-to-date catalogues and price lists. Finally, a listing of choral recordings available , from records, as well as a list of American distributors may be acquired by writing:

"TI' dim. The Finnish Music Information Center Runeberginkatu 15 A I~ 0 - lei - - son. Ky - ri - 0 0 - lei - 500._ 00100 Helsinki 10 dim. = "If' I,. . ~ FINLAND

0 - lei - - son, Ky - ri 0 - 101 - 500._ Publishing Department Kevin Kleinmann dim. '!II" Fazer Music Finlandia Records Hoylaamotie 16 Takomontie 3 0 - lei - son. Ky - rl - 0 o - 101 - 500._ 00380 Helsinki 38 00380 Helsinki 38 FINLAND FINLAND

Seventh Annuar Semi'nar

INTERNATIONAL HAYON YEAR EISENSTADT, AUSTRIA AUGUST 1982 Don V Moses, Musical Director

Celebrate the 250th birthday of Joseph Haydn in the most appropriate locale - Eisenstadt, Austria, where Haydn lived and worked for more than thirty years. Make the Esterhazy Palace, the Haydn Conservatory, the Bergkirche, and other historical buildings in the environs of Eisenstadt and Vienna your primary destination for musical activity this summer! The 7th Annual Classical Music Seminar offers master classes and lectures in English by outstanding Austrian and American musicians, Concerts will feature orchestral and vocal works, , and an Austrian premiere of Haydn's opera Le Pesctltrici. A special exhibit of Haydn artifacts gathered from around the world and an expedition to the Schloss Esterhaza at Fertod, Hungary, will be among the highlights of the program. The Seminar is sponsored by the Burgenland State Government of Austria. Undergraduate and Graduate credit is available. For more information please write Classical Music Seminar-F, P. O. Box 2779, Iowa City, Iowa 52244­ 2779. Phone 319-351-5459.

Page 14 THE CHORAL JOURNAL The relative lack of exposure to Finnish choral music has JOHANSSON, BENGT prevented any kind of broad critical evaluation. It is hoped The Tomb ofAkrCaar; SSAATTB, bar. solo English that the information presented here will increase interest in Canticum Zachariae; SATB Latin this sizeable body of literature, some of which may well find a Three Classic Madrigals; SSAATTBB English permanent position in the choral repertory. PaterNoster,' a3 Latin Miserere mei; SSATTB, soli Latin Two Extracts from the 'Song ofSoloman;- SSATTB English Bibliography 2:3,4; 8:6 Missa a quattro voci; SATB Latin Bergman, Erik, Dreams, Helsinki: Fazer, 1978. Cum essemparvulus; a3 Latin Bergman, Erik, Nox, Helsinki: Fazer, 1970. Venus andAdonis from "The Passionate Pilgrim" English Heikinheimo, Seppo, "Musical Life in Finland", Notes from Europe First Encounter; SSAATTBB -European Quarterly Cultural Review, Hamburg, 1974. Second Encounter; SSAATTBB Third Encounter; SSAATTBB Johansson, Bengt, The Tomb at Akr Caar, Helsinki: Fazer, 1964. Fourth Encounter; SSATTB Kankaianen, Jukka, "Finnish Choral Music - The Development of Epilogue SSATTB a Tradition", (article) Music Information Center, Helsinki (Eng­ A Double Madrigal; SSATBB, , , soli English lish translation). Kokkonen, Joonas, Missa a cappella, Helsinki: Fazer, 1963. KOKKONEN, JOONAS Laudatio Domini; SSATBB, soprano solo Latin Makinen, Timo, Piae Cantiones, Documenta Musicae Fennicae X, Helsinki: Fazer, 1967, pp. 211-219. RAUTAVAARA, EINOJUHANI Richards, Denby, The , Hugh Evelyn Ltd., Lon­ MissaDuodecacononica,' a3 (Kyrie, Sanctus, Agnus Dei) Latin don, 1968. Suite de Lorca; SSAATTBB Spanish Sermila, Jaako, "Finland's Composers", Helsinki: 1976. A Children's Mass; Children, string orchestra FAZER "CHORUS SERIES" SALLINEN, AULIS Suita Grammaticale; Children's Choir German trans. BERGMAN, ERIK Nox; Bar. solo, English horn, percussion, SSAATTBB 1. Italian SALMENHAARA, ERKKI II. German Kun kasvot (Face of the Moon); SATB Finnish, Eng. Trans. III. French IV. English SALONEN, SULO Missa in honorem Sancti Henrici; SATB, organ, solo voice, Latin Deprofundis; SATB Latin Hathor-Suite; Sop., Bar. Soli, mixed chorus, flute, English Missa cumjubilo; SATB, organ, percussion Latin horn, harp, percussion. German Two Karelian Folksongs; TTBB Finnish, Eng. SIPILAA, EERO trans. Miserere; SSAATTBB Latin Laments; SATB The Lasses (3 Finnish Folksongs); SSATB Finnish, Eng. BERGMAN, ERIK trans. Vier Galgenlieder,' SATB German Bim Bam Baum; Narrator, tenor, TTBB, instrumental Springtime; Mixed chorus, baritone ensemble; German Voices in the Night; TTBB, Baritone Remarks inEng. KOKKONEN, JOONAS -no text Missa a cappella; SSATBB Latin Dreams; SSAA, (Children or Women), solos Remarks inEng. -no text MADETOJA,LEEVI De profundis; Mixed chorus, bass solo ENGLUND, FINAR Chaconne, Hymnus Sepulcralis; SATB, Trombone, Piae Cantiones: Moniaaniset Laulut (Part Songs) Latin double bass Latin Timo Makinen and Harold Andersen, editors 2-4 parts

GUSTAFSSON, KAJ·ERIK Piae Cantiones, Practical Issue, Andersen Makinen, editors Deprojundis; TTBB Latin Salve Regina; TTBB Latin Piae Cantiones, Ecclesiasticae et Scholasticae Veterum Episcorum (1582) facsimile HEINIO, MIKKO Drei Finnische Volkslieder, (Tirill, Sommernacht, Piae Cantiones, 20 arrangements for mixed chorus, arr. Der Spielman); double choir German trans. Heikki Klennetti LOVELYLYRIC CHOIR GOWNS We've dressed adult and choirs with varieties of styles. colors. and fab­ rics since 1955. Write for our new catalogue and fabric samples. Satisfac­ tion is. absolutely guar­ anteed. Adult gowns from $19.95, youth gowns from $16.95. LYRIC CHOIR GOWN CO. RO. Box 16954-AZ Jacksonville, Rorida 32216 (904) 725-7977

APRIL 1982 Page 15