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Sibelius, Busoni and Lesko the Dog

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Sibelius, Busoni and Lesko the Dog Vol. 5 no. 1 Kesäkuu 2016 TRIO vol. 5 no. 1 Kesäkuu 2016 Toimituskunta: professori Lauri Suurpää, päätoimittaja (SibA/Säte), MuT Ulla Pohjannoro, toimitussihteeri (SibA/DocMus), MuT Markus Kuikka (DocMus), MuT Laura Wahlfors Toimitusneuvosto: FT professori Erkki Huovinen (JYU), FT dosentti Timo Kaitaro (HY), professori Anne Kauppala (SibA/DocMus), FT Inkeri Ruokonen (HY), professori Hannu Salmi (TY), professori Veijo Murtomäki (SibA/Säte), MuT dosentti Timo Virtanen (KK/JSW) MuT Olli Väisälä (SibA/Säte), FT dosentti Susanna Välimäki (TY) Taitto: Tiina Laino Painopaikka: Unigrafia Oy, Helsinki 2016 Toimituksen osoite: Taideyliopiston Sibelius-Akatemia DocMus-tohtorikoulu PL 30, 00097 Taideyliopisto ISSN 2242-6418 (painettu) ISSN 2242-6426 (verkkojulkaisu) SISÄLLYS Lukijalle .................................................................................................................... 4 ARTIKKELIT CHIARA BERTOGLIO Four hands and four paws: Sibelius, Busoni and Lesko the dog ................................... 6 ASSI KARTTUNEN The music-related gestures of la danse grotesque in Rameau’s Les Sauvages .................. 34 LEKTIOT ILPO LASPAS Bachia uruilla ja cembalolla – lähestymistapoja soittamiseen ja sovittamiseen .............51 MARKUS MALMGREN Urut tasa-arvoisen musiikkiyhteisön työnjohtajana ....................................................57 KARI VAATTOVAARA Apollon asialla ..........................................................................................................67 KATsaus MATTI HUTTUNEN Musiikin ja musiikinteorian kytköksistä luonnontieteisiin: oppihistoriallisia näkökohtia .................................................................................... 72 RAPORTTI ELINA MUSTONEN Shakespearen naiset Lontoossa .................................................................................88 ABSTRACTS IN ENGLISH ................................................................................. 92 3 Trio_1_2016_5.indd 3 29.5.2016 18.22 Lukijalle Tämä Trio-lehti jakautuu aikaisempien numeroiden tavoin kolmeen osioon: artik- kelit, lectio praecursoriat sekä puheenvuorot, katsaukset ja raportit. Osioista jokaisella on oma tehtävänsä. Artikkelit-osio koostuu vertaisarvioiduista tutkimusartikke- leista. Näiden kirjoitusten kautta Trio liittyy osaksi laajaa musiikintutkimuksellis- ten julkaisujen verkostoa, jossa julkaistujen tutkimusartikkelien laatu varmistetaan vertaisarvioin nin avulla. Lektiot-osio on DocMus-tohtorikoulun näyteikkuna, joka esittelee valmistuneita tohtoritutkintoja tuoreiden tohtoreiden omin sanoin. Osiois- ta kolmas – puheenvuorot, katsaukset, raportit – on kahta muuta epämuodollisempi. Se tarjoaa forumin erilaisille puheenvuoroille, jotka liittyvät musiikin tutkimukseen vaikka eivät ole välttämättä suoranaista musiikintutkimusta. Tämän numeron kaksi artikkelia kietoutuvat musiikinhistorian ympärille. Chiara Bertoglion kirjoitus Four hands and four paws: Sibelius, Busoni and Lesko the dog käsittelee Jean Sibeliuksen ja Ferruccio Busonin Helsingissä alkanutta ystävyyttä. Bertoglio valottaa ennen muuta säveltäjien välistä suhdetta ja heidän suhtautumis- taan toistensa musiikkiin. Kirjoitus myös käsittelee sitä, miten Busoni esitti Sibe- liuksen musiikkia ja puhui sen puolesta. Assi Karttusen kirjoitus The music-related gestures of la danse grotesque in Rameau’s Les Sauvages tulkitsee Jean-Philippe Ra- meaun teoksen Les Sauvages kahdessa kontekstissa: toisaalta 1700-luvun tanssi ja sen eleet ja liikkeet sekä toisaalta 1700-luvun kolonialismin mukanaan tuoma ulko- eurooppalaisten kulttuurien eksotiikka. Karttunen myös suhteuttaa molemmat kon- tekstit Rameaun teoksen esittämiseen liittyviin kysymyksiin. Kaikki kolme nyt julkaistavaa taiteellisen tohtorintutkinnon lektiota liittyvät vanhan musiikin esittämiseen. Urkuri ja cembalisti Ilpo Laspas soitti tohtorikon- serteissaan Johann Sebastian Bachin urku- ja cembalomusiikkia. Tutkinnon kes- kiössä olivat soittimellinen idiomaattisuus ja sovittaminen – sekä Bachin itsensä tekemät sovitukset muiden säveltäjien musiikista että Laspaksen omat sovitukset. Urkuri Markus Malmgren korostaa lektiossaan urkurin ja urkujen vuorovaikutusta muiden muusikoiden ja soitinten kanssa. Hän käsittelee urkurin tehtäviä 1500-lu- vulta 1700-luvulle ja painottaa urkurin asemaa osana yhteisöä – urkuri sekä toimi osana muusikkojoukkoa että improvisoi ja täydensi musiikillisen kudoksen kullois- tenkin tarpeiden mukaan. Kirjallisessa työssään Malmgren ottaa kenraalibasson esi- 4 5 Trio_1_2016_5.indd 4 29.5.2016 18.22 merkiksi urkurin monitahoisesta toiminnasta. Luutisti Kari Vaattovaaran konsertit keskittyivät 1600-luvun ranskalaiseen luuttumusiikkiin. Lektiossaan Vaattovaara kuitenkin korostaa, että 1600-luvun luuttumusiikin soittaminen edellyttää sekä ai- kakauden muun musiikin että varhaisemman renessanssin luuttumusiikin syvällistä tuntemusta. Vasta tällöin soittaja voi muodostaa tarvittavan kokonaiskuvan ja välit- tää kuulijoille soitettavan musiikin hienovaraisia sävyjä. Puheenvuoroista Matti Huttusen kirjoitus käsittelee musiikinteorian suhdetta luonnontieteisiin. Teksti perustuu Luonnonfilosofian seurassa pidettyyn esitelmään. Carl Dahlhaus on esittänyt usein siteeratun musiikinteorian jaon kolmeen aluee- seen: spekulatiiviseen, regulatiiviseen ja analyyttiseen. Näistä kaksi jälkimmäistä ovat monille tuttuja: regluatiivinen musiikinteoria liittyy erilaisiin sääntöihin ja oh- jeisiin, selkeinä esimerkkeinä vaikka kontrapunkti- tai kenraalibasso-oppaat, kun taas analyyttinen kytkeytyy jo sävelletyn musiikin analyyttiseen tarkasteluun. Spe- kulatiivinen musiikinteoria puolestaan liittyy esimerkiksi akustiikkaan tai musiikin lukusuhteisiin. Huttusen käsittelemät musiikinteoreettiset kirjoitukset kuuluvat spekulatiiviseen perinteeseen. Elina Mustosen kirjoitus kertoo Englannissa pide- tystä Shakespeare and Scandinavia -konferenssista. Mustosella oli oma esitys Her Infinite Variety – Shakespearen naiset sanoin ja sävelin, joka muodostui Shakespearen monologeista ja aikakauden virginaalimusiikista. Lauri Suurpää 4 5 Trio_1_2016_5.indd 5 29.5.2016 18.22 TRIO 1/2016 – Artikkelit: Chiara Bertoglio CHIARA BERTOGLIO Four hands and four paws: Sibelius, Busoni and Lesko the dog Introduction Ferruccio Busoni and Jean Sibelius first met in Helsinki, when young Busoni was a teacher at the Institute of Music. In spite of the many differences between the two musicians, their friendship would continue throughout their entire lives, as this article will narrate.1 At the beginning of their acquaintance, indeed, Busoni was already a famous performer and an acclaimed musician, while Sibelius was still a student. However, Busoni’s entire life was marked by his effort to be recognised as a composer and a conductor and not merely as a pianist; conversely, Sibelius half-jokingly wrote that his failures as a performer were his own existential tragedy. Moreover, Sibelius and Busoni had deeply dissimilar attitudes to the concept of music: the latter was constantly fascinated by philosophical approaches to music, while Sibelius was differently minded. Notwithstanding all this, and in spite of occasional divergences, as well as the perplexities expressed by both as regarded each other’s works, their friendship was true and intense. It is abundantly documented by their letters, by the memories of their friends and acquaintances, by musical works such as Busoni’s Geharnischte Suite and by other documents which I will discuss in the following pages. In particular, I will take into account several letters by Busoni to his publisher, Breitkopf & Härtel: Busoni’s interest in Sibelius’ works is revealed by his requests for performance materials for his concerts, by his enquiries about the advancement of certain works by Sibelius, and by Busoni’s reactions to the positive or negative reception of his friend’s compositions. Thus, this article will take into account, in sequence, some features of the relationship between Busoni and Sibelius: first, I will discuss some purely biographical aspects, with particular focus on Busoni’s time in Helsinki and on the composition 1 I am indebted and wish to express my gratitude to the following persons, who kindly helped me with the research leading to this article: to Eva Viljanen and Antonia Weber for their linguistic support, to Komal Flo- rio, Markus Mantere, Simo Örmä and Timo Virtanen for allowing me to consult important documents. 6 7 Trio_1_2016_5.indd 6 29.5.2016 18.22 of the Geharnischte Suite; later I will examine the occasions on which Busoni actively promoted Sibelius’ career (by presenting him to publishers or other important music professionals, and by inserting some of his works into the programmes of Busoni’s concert series); I will also consider the performances of Sibelius’ works by Busoni himself, and finally I will discuss the opinions expressed by each of the two musicians – both privately and publicly – about the artistic achievements of the other. A lifelong friendship: biography and anecdotes In 1888, Ferruccio Busoni was twenty-two years old; Hugo Riemann introduced him to Martin Wegelius, the director of Helsinki’s Music Institute. Busoni’s musical qualities had already emerged at an international level; however, Wegelius showed noticeable acumen, perspicacity and audacity in inviting so young a musician to teach piano and theory at the Institute. Wegelius was in fact trying to give an international dimension to his faculty, and was recruiting high-level musicians for its ranks. Notwithstanding this, when he arrived in Helsinki,
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