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Ognian Vassiliev DDD Ognian Vassiliev, chorus-master, graduated from the Sofia conservatory as a choral conductor in 1977. OPERA CLASSICS 8.225317-18 He has been artistic director of for Bulgarian television and taught choral at the Plovdiv conservatory. He moved to in 1991 and has founded and directed several choirs in Pori, achieving success in notable choral competitions.

The Pori Musical Society PACIUS The Pori Musical Society established an orchestra in Pori, on the west coast of Finland, as early as 1877. This amateur ensemble performed principally light music and dances; started to appear on the programmes in 1902. The Pori City Orchestra, nowadays known as the Pori Sinfonietta, was established in 1938 when the amateur orchestra and Pori Orchestral Society joined forces. By the late 1970s all of the players (28) were professional musicians. The Pori Sinfonietta gives symphony, chamber and church concerts as well as performing The Hunt of light music and children’s concerts; it also plays at opera productions in Pori and Vaasa. The orchestra has also appeared in Sweden and Hungary, and its principal conductors have included Juhani Numminen, Hannu Koivula, Juhani Lamminmäki and Ari Rasilainen. King Charles Ari Rasilainen

Ari Rasilainen, conductor (b. 1959), started his career as a violinist in the Finnish Radio Symphony Orchestra and Philharmonic Orchestra. He studied conducting under Jorma Panula at the Sibelius Academy, and later under Arvid Jansons and Alexander Labko. He made Aalto • Kattelus his international breakthrough in 1989 when he won second prize in the Nicolai Malko competition in Denmark. He works regularly with major orchestras in numerous European countries and the USA. In Finland he has conducted the Pori Sinfonietta, Tampere Philharmonic Vesanto • Kähkönen Orchestra, Lappeenranta City Orchestra and Jyväskylä City Orchestra and has appeared at the Finnish National Opera. Further afield he has served as principal conductor of the Norwegian Radio Orchestra and Staatsphilarmonie Rheinland-Pfalz, and has been principal guest Orama • Heinikari conductor of the Aalborg Symphony Orchestra since the 2002/03 season. Saarman • Nuorsaari Pori Opera Pori Sinfonietta

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Fredrik Pacius Reijo Koivula (1809-1891) Reijo Koivula, -baritone, was born in Nakkila in 1962. After spending some time abroad he studied The Hunt of King Charles singing and electric guitar at the Pori College of Music, as a pupil of Mikko Latvala and later of Raija (Kung Karls jakt / Kaarle Kuninkaan Metsästys) Kemppainen. He remains active as a guitarist, and made his début as a classical singer as a soloist with the Pori Sinfonietta. An opera in three acts Libretto: – Sung in the Finnish translation by Jalmari Finne Seppo Kunttu Dramatis personæ Seppo Kunttu, -baritone, joined the Pori Opera Chorus in 1981. In addition to playing numerous King Charles XI, aged 16 ...... Tero Aalto (spoken rôle) operatic roles he has also appeared as an actor at the Pori Theatre and has taken part in various Queen Hedvig Eleonora, his mother ...... Kristiina Kattelus, mezzo- musicals. He is also a founder member of the Pori Philharmonic Choir. Kristian Horn, the King’s tutor ...... Mauri Vesanto, bass Gustaf Gyllenstjerna, the King’s confidant ...... Pekka Kähkönen, baritone Mårten Reutercrantz, equerry and King’s confidant ...... Heikki Orama, bass Banér, a nobleman in the King’s service ...... Matti Heinikari, tenor Sanna Elo Wachtmeister, a nobleman in the King’s service ...... Jukka Saarman, baritone Oxenstjerna, a nobleman in the King’s service . . . . . Heikki Nuorsaari, tenor/baritone Sanna Elo, soprano, studied singing at the Palmgren Conservatory in Pori under Raija Kemppainen. Lewenhaupt, a nobleman in the King’s service ...... Janne Sundqvist, bass Since she was twelve she has sung in many choirs in Pori; she has also taken part in Pori Opera Jonathan Pehrsson, a young seal hunter ...... Kai Pitkänen, tenor productions and appeared in the musical My Fair Lady and the operetta Die Csárdásfürstin at the Pori Leonora, a fisherman’s daughter ...... Niina Ahola, soprano Theatre. First lady-in-waiting ...... Tiina Tamminen, soprano Second lady-in-waiting ...... Sari Nordqvist, mezzo-soprano First peasant girl ...... Suvi-Maaria Virta (spoken role) Heli Latvala Second peasant girl ...... Sari Nordqvist, First conjurer ...... Jouko Ouramo, baritone Heli Latvala, mezzo-soprano, studied singing at the Pori College of Music under Seppo Torpo and later Second conjurer ...... Reijo Koivula, baritone at the Palmgren Conservatory, where she was a pupil of Raija Kemppainen. She has also studied Odds-and-ends merchant from Turku ...... Seppo Kunttu, tenor-baritone privately with Anssi Hirvonen, Jolanda di Maria Petris and Marja Eskola. She has sung in the Pori Bear ...... Sanna Elo, soprano Opera Chorus since its inception and is a founder member of the Pori Opera. Old Fisherwoman ...... Heli Latvala, mezzo-soprano Publican ...... Reijo Koivula, bass Courtiers, Peasants ...... Pori Opera Chorus Pertti Rasilainen

Chorus-master: Ognian Vassiliev Pertti Rasilainen, choir répétiteur, has studied the , organ, singing and choral conducting at the Choir répétiteur: Pertti Rasilainen Sibelius Academy. He has worked as a freelance keyboard player with leading Finnish orchestras and has sung in all of the major Finnish choirs including the Finnish National Opera Chorus and Savonlinna Opera Festival Choir. He is also active as an accompanist. Pori Opera Choir • Pori Sinfonietta Ari Rasilainen

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Niina Ahola CD 1 65:06

Niina Ahola, soprano, started her career as a violinist in the Kouvola City Orchestra. She has been a Act I # Dialogue: Oletko yksin? (Are you alone?) member of the Finnish Radio Chamber Choir and has studied solo singing at the Sibelius Academy, winning the academy’s Cantarelli Competition and taking her Master’s degree in 1993. Since then she (King) 1:54 has appeared widely as an opera and concert soloist and recitalist. 1 Scene 1: Overture 6:52 $ Scene 6: Target-shooting Chorus: Kilvan nyt koittaa 2 Huntsmen’s Chorus: Halloo! Kautta synkeän voimme, ken voittaa! (Come, we shall try it, Marksmen Tiina Tamminen metsämaan (Hello! In the dark green woodland) will share it!) (Chorus) 2:30 (Chorus) 6:21 Tiina Tamminen, soprano, began her singing studies as a pupil of Raija Kemppainen at the Palmgren 3 Quintet: Kas niin, nyt veikot, pyssyt syrjähän (Well Conservatory. She has also studied at the Sibelius Academy and as a pupil of Anita Välkki. She met, my friends, now put your rifles down) Act II completed her training in Vienna and has since then taken a variety of operatic rôles. She was a finalist in the Timo Mustakallio Competition in 1995. (Gyllenstjerna) 3:09 4 Drinking Song: Juo, nauti, haavehet luo! (Drink, enjoy!) % Scene 1: Ballad: Ja nuori merenneito hän suvi-illalla (Gyllenstjerna) 2:03 (A mermaid in the ocean did roam summer night) Sari Nordqvist 5 Dialogue: Kuninkaan malja! (I toast the King!) (Leonora) 6:58 Sari Nordqvist, mezzo-soprano, began her singing studies at the Palmgren Conservatory in Pori under (Gyllenstjerna) 0:26 ^ Dialogue: Aina muistelen tuot pikku kuningasta Raija Kemppainen, continuing in Tampere and at the Sibelius Academy. Her repertoire ranges from 6 Quintet: Niin, marski tuuma hurja! (As Marshal and (It makes me think about the little King) Gluck and Puccini to Menotti and John Adams, and in 1998 she was named as opera soloist of the year most demanding!) (Leonora) 0:30 by the Finnish Opera Society. (Wachtmeister) 5:00 & Scene 2: Duet: Laps kaunis, ehtoota! (Good evening, 7 Scene 2: Duet of two ladies-in-waiting: Tuoll’ good child!) Suvi-Maaria Virta kukkuu käki! (The cuckoo sings!) (Reutercrantz) 5:02 * Scene 3: Duet: Käy kanssain armas, käy pois Suvi-Maaria Virta has taken part in numerous theatrical productions in Finland, not least at the Pori (First lady-in-waiting) 5:39 Theatre, and has also appeared in Prague; she has also studied classical singing at the Palmgren 8 Scene 3: Dialogue: Kuningas viipyy vielä (The King (Come my beloved, you must flee) Conservatory and joined the Pori Opera Chorus in 2000. She has been a soloist with the group is not coming yet) (Leonora) 6:17 Transkaakko since 1999. (Queen) 0:40 ( Dialogue: Pakene, Jonathan! (Flee, Jonathan!) 9 Ensemble: Min kauhean näin turmatyön! (Oh, what a (Leonora) 0:13 Jouko Ouramo shameful crime!) (Reutercrantz) 7:34 0 Scene 4: Dialogue: Min’ oot näköinen! (My child) Jouko Ouramo, baritone, studied singing privately and has appeared in operettas, musicals and plays at the Pori Theatre and elsewhere. He has sung for many years in the Pori Opera Chorus. Among the (Queen) 0:57 operas in which he has appeared are Smetana’s Bartered Bride, Verdi’s La Traviata and Puccini’s ! Scene 5: Dialogue: Äitinsä kera tuoll’ käy pienoinen Madama Butterfly. (There goes he with his mother, little brat) (Gyllenstjerna) 0:27 @ Recitative and Aria: Nyt on hän mun! (Now he is mine!) (Gyllenstjerna) 2:36

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CD 2 64:20 Matti Heinikari

Act II (contd.) ! Scene 4: Dialogue: Anteeksi, olette liian kaino vielä Matti Heinikari, tenor, studied at the Sibelius Academy under Pekka Salomaa. He was engaged as a soloist by the Finnish National Opera in 1975 and has appeared internationally in central Europe, at the (Forgive me, but I think you are too shy) Bolshoy Opera in Moscow, Metropolitan Opera in New York and in Los Angeles. For many years he 1 Scene 4: Dialogue: Vaan sano kuinka mahti meille (Gyllenstjerna) 0:38 has been a soloist at the Savonlinna Opera Festival. päätyy (So tell us, how shall we achieve this task) @ Scene 5: Roundelay: Ja tahdotte tietää, ja nähdäkin (Banér) 6:11 kenties (And would you now learn it) (Chorus) 2:38 Jukka Saarman 2 Scene 5: Aria: Oi yön kaukomaista taivon silmä # Dialogue and Chorus: Petosta! (Treason!) paista (O Moon, you silvery noble maiden) (King) 3:26 Jukka Saarman, baritone, studied at the Oulu conservatory, graduating as a singing teacher in 1995, and (Leonora) 9:49 $ Scene 6: Dialogue: Takaisin, taikka oitis ammun at the Sibelius Academy. He has sung in opera choirs and as a soloist all over Finland, in repertoire 3 Scene 6: Dialogue: On kelpo tuuli, meri vaahtoilee ranging from the title role in Mozart’s Don Giovanni to contemporary Finnish operas. He also appears sua! (Stop, or I will shoot!) (Leonora) 0:21 as a concert soloist with orchestras and as a recitalist. (A bracing wind, and the sea is whipping white) % Scenes 7-8: Trio and Chorus: Armahin tyttö hempeä! (Old Fisherwoman) 0:43 (Maiden so sweet and comely) (Gyllenstjerna) 4:55 4 Shanty and Chorus: Se miesi kehnoks’ sanotaan ^ Scene 9: Dialogue: Kaarle! (My Charles!) Heikki Nuorsaari (A scurvy tar is such a man) (Queen) 1:30 Heikki Nuorsaari, tenor, studied privately and has attended singing courses with Sauli Tiilikainen and (Jonathan) 3:51 & Scene 10: Dialogue: Nyt palkan saakoon uskollinen Kimmo Lappalainen. Recently he has been under the artistic guidance of Aki Alamikkotervo. He has 5 Scene 7: Dialogue: Kiitos teille! (My thanks to thee! kansa! (Our faithful folk shall now be well rewarded) sung in the Pori Opera Chorus since 1988 and in the Tampere Opera Chorus (1993), and taken rôles in That was a jolly tune!) operas by Verdi and Puccini. (King) 0:28 (Reutercrantz) 0:20 * Ballad: Ja meren nuori impi (The mermaid of the 6 Finale: Kuin? Jonathan? (What? Jonathan?) ocean, she smiled and softly said) (Leonora) 2:10 Janne Sundqvist (Reutercrantz) 5:53 ( Dialogue: Vapaasti valita saat, mitä mielit (You must Janne Sundqvist, bass, was born in Turku in 1973. He studied the trumpet at the Turku conservatory be free to choose) Act III and attended the Lahti military music college. As well as performing as a trumpeter he has studied (King) 0:41 singing since 1996, and in 1997 joined the soloist’s faculty of the Sibelius Academy as a pupil of Anssi ) Hirvonen. His repertoire extends from Charpentier to Weill/Brecht. 7 Chorus of the Market-people: Hei, nyt naurut soivat Finale: Armonsa tää lain kuolon kalvan estää (Come, rejoice in pleasure) (Chorus) 5:21 (Praises we sing) 8 Scene 1: Kaappiin tänne katschokaat (Who would (Chorus) 1:23 Kai Pitkänen ¡ Scene 11: Ties outo huhu uskomaton (We heard a see my cabinet) (First conjurer) 5:37 Kai Pitkänen, tenor, was born in Turku in 1961 and has been a keen singer since he was a child. In 9 Scene 2: Dialogue: Tottako, etta Jonathan Föglöstä rumour that the King had been captured by bandits) 1988 he started singing lessons under Lauri Lahtinen, subsequently becoming a pupil of Heikki Rainio, (Is it true, that Jonathan of Föglö is doomed to die?) (Kristian Horn) 2:06 Matti Piipponen, Kirsti Tuominen and Seppo Ruohonen. His repertoire extends from Mozart to works (First peasant girl) 0:31 ™ Hymn: Nyt kauaksi Suomi jääda saa (Though now by Aulis Sallinen. 0 Scenes 2-3: Couplet and Dialogue: Kuningas, nyt we depart from Finland’s shore) sen kuulet (A King, hear me, a King, I truly tell thee) (Chorus) 3:01 (Second peasant girl) – Vai niin (Indeed…) (King) 2:45

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Tero Aalto Fredrik Pacius (1809-1891) The Hunt of King Charles Tero Aalto is a young actor – aged 21 at the time of this recording – who has performed numerous rôles with Teatteri Ulpu, an amateur dramatic society of professional standard founded in 1993. Much of the history of Finnish music before the 1880s Pacius’s arrival was not the only major was dominated by figures born elsewhere. Until 1882 development in Finnish culture in 1835. That year saw the country did not possess a professional symphony the publication of the Kalevala, an epic poem collected orchestra, and it was in that same year that the Helsinki from folk sources in the Karelia region over almost a Music Institute was established, soon to be regarded as decade and combined into a single entity by Elias Finland’s foremost music conservatory. Perhaps Lönnrot (a revised edition followed in 1849). At that Kristiina Kattelus surprisingly given the absence of a significant time the language of the educated classes in Finland was infrastructure, however, opera was a flourishing genre, Swedish. The Kalevala was written in Finnish and Kristiina Kattelus, mezzo-soprano, studied both acting and music and has performed in such works as and it was in this area that Fredrik [Friedrich] Pacius provided a mouthpiece for the champions of the Finnish Puccini’s Manon Lescaut and Kurt Weill/Bertolt Brecht’s Mahagonny and Seven Deadly Sins. She has was to make his most significant contributions as a language, which from then on was increasingly seen as also sung in the Finnish National Opera Choir, Tampere Opera Choir and Savonlinna Opera Festival composer. viable in the context of literature. The powerful imagery Choir, and appeared as an oratorio soloist. She also teaches the piano and choral singing. In 1809, after ruling there for almost 700 years, and hypnotic metrical regularity of the Kalevala became Sweden finally ceded control of Finland to Russia, and a magnet for artists of every discipline and contributed Tsar Alexander I set the country up as an autonomous to the rise of the ‘Karelianism’ movement, which Mauri Vesanto Grand Duchy. Just ten days earlier, on 19th March, enthusiastically championed Finnish folk culture. In Friedrich Pacius had been born in . He studied helping to awaken a national identity, the poem also Mauri Vesanto, bass, has been a member of the Pori Opera since its inception. He has taken such rôles the violin and composition in Kassel, Germany, where played a role in Finland’s quest for independence from as Colline in La Bohème and has won acclaim for his performances in Verdi’s Macbeth, Puccini’s he became a pupil of Louis Spohr and assimilated the Russia, which was declared in 1917. The heyday of Tosca, Donizetti’s L’Elisir d’amore and Mozart’s Don Giovanni. He has also appeared in Jorma ideas of central European romanticism as represented by Karelianism came after Pacius’s death, but by then the Panula’s opera Lalli ja Pyhä Henrik with the Tampere Opera. Carl Maria von Weber. At the age of seventeen (1826) Kalevala was well established as an inspiration for he composed an Overture in E flat major, but before musical compositions, often stylistically close to long he was to emigrate: he accepted a position as a German models (such as the Kullervo overture [1860] Pekka Kähkönen violinist in the Royal Court Orchestra in Stockholm. by Filip von Schantz). Pacius used the Kalevala as the Still only in his mid-twenties, he moved from source for his opera Prinsessan av Cypern (The Princess Pekka Kähkönen, baritone, studied at the Kuopio conservatory, the Sibelius Academy and in Berlin. Stockholm to Helsinki in 1835 to take up a teaching of Cyprus, 1860), ironically with a Swedish libretto by He gained his singing diploma in 1987 and made his début in 1991. He has appeared as a soloist at the position at Helsinki University. He soon proved himself Zachris Topelius. Savonlinna Opera Festival, with the Vantaa Opera (of which he is artistic director) and in Tallinn, to be an able and persuasive administrator: he established In 1845 Pacius wrote a single-movement Violin . He is also in demand as an oratorio soloist. an orchestra, a student choir and a musical society. He Concerto in F sharp minor. He started to compose a also put on large-scale concerts – oratorios and symphony in D minor, and its first movement was even symphonic music – using capable musicians from all performed in 1850, but he never completed the project. Heikki Orama walks of life. A number of the players were of German His greatest contribution as a composer was in the origin; indeed, German musicians played an important genres of opera and song. Among his songs are a Heikki Orama, bass, started singing in the Cantores Minores boys’ choir. He graduated from the part in Helsinki orchestral life until long after Pacius’s number with texts by the Finnish national poet, Johan Sibelius Academy in 1978. That year he won second prize at the Lappeenranta Competition and a prize death. Among the other major figures in mid-nineteenth- Ludvig Runeberg, including Suomen laulu (The Song of at the Timo Mustakallio Competition. He has a wide repertoire and has appeared as a soloist at various century Finnish music, Conrad Greve (1820-51) and Finland) and Vårt land (Our Country), which many festivals, with the Finnish National Opera and at various German opera houses. Richard Faltin (1835-1918) were also of German origin. years later was adopted as the Finnish national anthem. It was to Germany, rather than to Russia, that their Kung Karls jakt (The Hunt of King Charles, often Finnish-born protégés – including Sibelius – turned performed in Finnish translation as Kaarle kuninkaan when they came to study music abroad. metsästys) was first performed in Helsinki in 1852. The

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Finnish composer Carl Ludvig Lithander (1773-1843) In the case of Kung Karls jakt, Topelius originally Synopsis belt that belongs to her fiancé Jonathan. Reutercrantz had already composed several Singspiele, a genre to formed the impression that the work would be a short realizes with satisfaction that he now knows who the which Bernhard Henrik Crusell (1775-1838) also entertainment, and only discovered the true scale of the Act I culprit is and leaves. Jonathan arrives and hears from contributed – but these works had only been performed project when he heard excerpts from the unfinished Leonora to his horror that he has just shot the King’s (if at all) in Sweden. Kung Karls jakt was thus the first work at a concert in 1851. King Charles XI of Sweden has arrived in the Åland elk. The lovers decide to run away together. Jonathan true opera written in Finland. There are occasional hints Following its success in Helsinki, Kung Karls jakt Islands for a hunt. It is not a hunt in the usual sense of the tries to find a boat to escape in, but Reutercrantz of the Finnish folk style, and in Act III Pacius even was also performed to packed houses in Stockholm in word, however, since by law only the King is allowed to captures him. Leonora goes to the ruins of Kastelholma quotes the well-known Porilaisten marssi (March of the 1856, and again in 1859 and 1860. In 1875 Pacius kill elk. While the hunters strike up a drinking song, the Castle, where she has hidden her inheritance. She Pori Regiment), which has been the honorary and embarked on a major revision to the score, which was noblemen in the King’s entourage plot a coup. The year unwittingly hears the scheming of the noblemen plotting parade march of the Finnish armed forces since 1918 not ready in its definitive form until four years later. is 1671, and the King is only 16 years old. Supplanting against the King. She resolves to thwart their plans. and is played at official ceremonies involving the Towards the end of his life Pacius composed his him also requires the elimination of the true rulers, the President of Finland, but the opera does not really aim to third and last opera, Loreley, with a German libretto by King’s guardian and his mother, Queen Eleonora the Act III establish a specifically Finnish idiom. Its first Emanuel Geibel, which was first given in 1887. This Queen Mother. Then, something incredible happens: a performance was nonetheless seen as a landmark in work is a skilful exploitation of the possibilities of the poacher has shot an elk. This is a crime which carries the The market provides an excellent opportunity for Finnish music. The choice of subject matter played no Grand Opera style, but by then Finnish music was death penalty. It is not yet known who the marksman abducting the King. As the conspirators go to work, small part in this: it is a tale based on historical events guided by new currents. Despite their mutual animosity was, but his belt has been found. Leonora entraps their ringleader, Gyllenstjerna. Leonora involving King Charles XI of Sweden-Finland (1655- in other respects, two of its most influential figures – then summons the people to help her and releases the 97), and is set in 1671, a year before the teenage Charles Martin Wegelius, founder of the Music Institute, and Act II captive King. As her reward, she requests that Jonathan assumed full responsibility for government. The music Robert Kajanus, conductor of the Philharmonic Society be pardoned. The King grants this. The good people of itself remains close to models such as Weber’s orchestra – were enthusiastic Wagnerians. Just over a Leonora, a fisherman’s daughter, sings of the young Åland, who have helped free their King, are given Freischütz and Oberon, and there are also reminders of year after Pacius’s death, Jean Sibelius made his King. She had been involved in rescuing him when his exemption from taxes for ten years. The King, grown Beethoven, not least in the choice of the name Leonora spectacular breakthrough with Kullervo, based on the boat had capsized at sea the previous summer. into a mature monarch, bids farewell to Finland. for the heroine. Among the musical highlights are Kalevala. During the next few years, as the Russians Reutercrantz, the King’s stable master, begins to flirt Leonora’s ballad from the beginning of Act II (‘Och eroded Finland’s powers of self-determination, the with Leonora. Leonora notices Reutercrantz holding a English translation: Jaakko Mäntyjärvi/The English Centre havets unga tärna’/‘A mermaid in the ocean’/‘Ja nuori cultural climate in the Grand Duchy was changed merenneito’) and her aria ‘O du nattens höga silverklara beyond recognition by movements such as Karelianism öga’/‘ O Moon, you silvery noble maiden’/‘Oi yön and Symbolism, and by the emergence of a specifically kaukomaista taivon silmä paista’. Despite its Swedish Finnish artistic identity. And yet Pacius’s pre-eminence libretto and Germanic musical style, however, Kung as a composer of Finnish opera remained unchallenged Karls jakt has always been regarded as a celebration of for many years. The first Finnish-language opera, Oskar Finnish nationalism. Merikanto’s (1868-1924) Pohjan neiti, was composed For the libretto, Pacius collaborated closely with in 1897 but not performed until 1908. Even Sibelius did Zachris Topelius (1818-98), a doctor’s son from not succeed in writing an opera of the scale and Ostrobothnia who occupied a dominant position in mid- popularity reached by Pacius’s works; he laid the nineteenth-century Finnish literature. A well-loved foundations of what has become a flourishing operatic figure, idealistic by nature and artistically conservative, tradition in Finland. It is not for nothing that Pacius has he worked as a professor of history and newspaper earned the epithet ‘the father of Finnish music’. editor, and published various collections of lyric poetry and historical novels, and also tried his hand at drama. © Andrew Barnett

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