Anónimo LAS LEYENDAS DE FINLANDIA Luonnotar, Virgen E Hija
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Wäinämöisen Sammon Palautuksen Veneretki Rotary Alustus 28.2.2019, Väinö Åberg
1 / 5 Wäinämöisen Sammon palautuksen veneretki Rotary alustus 28.2.2019, Väinö Åberg Louhi lupasi Ilmariselle Sammon takomisesta Pohjan Neidon, mutta pettikin lupauksensa ja piti sekä Sammon että Neidon. Runo 10. Ihmisyyden Sammon taonta - käsiohjelma: http://www.samponetti.com/Sampo-k_siohj.pdf avaa Kalevalan symbo- liikkaa ja Kalevala Kartan Päijänteen-Enoveden-Vuohijärven-Pyhäjärven ja Kymijoen alueilta Kalevalan tapahtumien järjestyksessä, jonka maist. Matti Malin löysi noin 40 vuoden Kalevalan paikannimien tutkimuksilla. 1. Kalevala, Lönnrot ja muinaisrunojen satumainen Wiisaus Lönnrotin kokoama vanha Kalevala ilmestyi 1835 ja uusi Kalevala 1849. Kalevalan mukaan SAMPO ANTAA KAIKEN HYVÄN maailmassa, aineellisen ja aineettoman, ja Lönnrotin mielestä siihen ei pysty mikään muu elämässä kuin Suuri Elämä eli Jumala. - Sampo on sanskritiksi Sambhu = Jumala (Hyvyys) ja Sammon kansi = Sambhu kanta, on jumalan puoliso (Rakkaus). Sanskritin kieli on kaikkien kielten äitikieli, jonka sanakirjan paksuus on n. 15 m, 600 volymiä, kertoi sanskr. prof Asko Parpola. ”Jokamies, taiatko takoa Sammon eli puhdistaa Pohjolasi, so. sielusi tunteilut ja luulotiedot? Osaatko hillitä mielesi ja puheesi, ja laulaa oman alitajuntasi rumahisten rutkusakin Rutjankoskeen?” Taonnan TEKELEET: Jousi, Hieho, Vene, Aura. Vain Hengen voimilla, Tuulettarilla, Sampo syntyy eikä lihaksilla lietsomalla. Lietsojaorjat kahlehdittiin kallioon, jotta väkivalta ei sotkisi taontaa eli sydämen puhdistusta. 2. Kalevala-Kartta, Sammon takaisinhaun retkestä, jonka Wäinämöinen, Ilmarinen -
Universita' Degli Studi Di Torino Alla Ricerca Dell
UNIVERSITA’ DEGLI STUDI DI TORINO FACOLTA’ DI LINGUE E LETTERATURE STRANIERE CORSO DI LAUREA IN LINGUE STRANIERE PER LA COMUNI- CAZIONE INTERNAZIONALE TESI DI LAUREA ALLA RICERCA DELL'ANELLO MANCANTE: ANALISI ANTROPOLOGICA DELL'OPERA DI TOLKIEN RELATORE: PROF.SSA Laura Bonato CANDIDATA: Elisa Mascali Matricola 759597 Anno Accademico 2012-2013 INDICE Introduzione...............................................................................................p. 1 Capitolo 1 - La narrativa popolare e lo sviluppo del genere fantasy 1.1 Origini, definizioni, forme...................................................................p. 3 1.2 La nascita e lo sviluppo del genere fantasy.......................................p. 11 1.2.1. Caratteristiche principali.............................................................................p. 12 1.2.2. I temi...........................................................................................................p.14 1.2.1. Le radici nel mito........................................................................................p. 15 Capitolo 2 - John Ronald Reuel Tolkien: vita e opere 2.1. Vicende biografiche.............................................................................p. 19 2.2. Le opere..............................................................................................p. 22 2.2.1. Lo Hobbit o la riconquista del tesoro.................................................p. 22 2.2.2 Il Signore degli Anelli......................................................................p. -
Tchaikovsky Violin Concerto
Tchaikovsky Violin Concerto Friday, January 12, 2018 at 11 am Jayce Ogren, Guest conductor Sibelius Symphony No. 7 in C Major Tchaikovsky Concerto for Violin and Orchestra Gabriel Lefkowitz, violin Tchaikovsky Violin Concerto For Tchaikovsky and The Composers Sibelius, these works were departures from their previ- ous compositions. Both Jean Sibelius were composed in later pe- (1865—1957) riods in these composers’ lives and both were pushing Johan Christian Julius (Jean) Sibelius their comfort levels. was born on December 8, 1865 in Hämeenlinna, Finland. His father (a doctor) died when Jean For Tchaikovsky, the was three. After his father’s death, the family Violin Concerto came on had to live with a variety of relatives and it was Jean’s aunt who taught him to read music and the heels of his “year of play the piano. In his teen years, Jean learned the hell” that included his disas- violin and was a quick study. He formed a trio trous marriage. It was also with his sister older Linda (piano) and his younger brother Christian (cello) and also start- the only concerto he would ed composing, primarily for family. When Jean write for the violin. was ready to attend university, most of his fami- Jean Sibelius ly (Christian stayed behind) moved to Helsinki For Sibelius, his final where Jean enrolled in law symphony became a chal- school but also took classes at the Helsinksi Music In- stitute. Sibelius quickly became known as a skilled vio- lenge to synthesize the tra- linist as well as composer. He then spent the next few ditional symphonic form years in Berlin and Vienna gaining more experience as a composer and upon his return to Helsinki in 1892, he with a tone poem. -
Magic Songs of the West Finns, Volume 1 by John Abercromby
THE PRE- AND PROTO-HISTORIC FINNS BOTH EASTERN AND WESTERN WITH THE MAGIC SONGS OF THE WEST FINNS BY THE HONOURABLE JOHN ABERCROMBY IN TWO VOLUMES VOL. I. 1898 Magic Songs of the West Finns, Volume 1 by John Abercromby. This edition was created and published by Global Grey ©GlobalGrey 2018 globalgreyebooks.com CONTENTS Preface The Value Of Additional Letters Of The Alphabet Full Titles Of Books Consulted And Referred To Illustrations Chapter 1. Geographical Position And Craniology Of The Finns Chapter 2. The Neolithic Age In Finland Chapter 3. Historical Notices Of Classical Authors Chapter 4. The Prehistoric Civilisation Of The Finns Chapter 5. The Third Or Iranian Period Chapter 6. Beliefs Of The West Finns As Exhibited In The Magic Songs 1 PREFACE In this country the term Finn is generally restricted to the natives of Finland, with perhaps those of Esthonia thrown in. But besides these Western Finns there are other small nationalities in Central and Northern Russia, such as the Erza and Mokša Mordvins, the Čeremis, Votiaks, Permians, and Zịrians, to whom the term is very properly applied, though with the qualifying adjective—Eastern. Except by Folklorists, little attention is paid in Great Britain to these peoples, and much that is written of them abroad finds no response here, the 'silver streak' acting, it would seem, as a non-conductor to such unsensational and feeble vibrations. Although the languages of the Eastern and Western Finns differ as much perhaps among themselves as the various members of the Aryan group, the craniological and physical differences between any two Finnish groups is very much less than between the Latin and the Teutonic groups, for instance. -
This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: • This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. • A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. • This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. • The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. • When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Social Reality and Mythic Worlds Reflections on Folk Belief and the Supernatural in James Macpherson’s Ossian and Elias Lönnrot’s Kalevala Ersev Ersoy PhD THE UNIVERSITY of EDINBURGH OILTHIGH DHÙN ÈIDEANN 2012 Abstract This thesis investigates the representation of social reality that can be reflected by folk belief and the supernatural within mythic worlds created in epic poetry. Although the society, itself, can be regarded as the creator of its own myth, it may still be subjected to the impact of the synthesized mythic world, and this study seeks to address the roles of the society in the shaping of such mythic worlds. The research is inspired by an innovative approach, using James Macpherson’s Ossian (1760-63) and Elias Lönnrot’s Kalevala (1835-49) as epic models that benefit from mythical traditions. -
Conceptualising the North at the Fin De Siècle Frances Fowle and Marja Lahelma
Towards the end of the nineteenth century, the idea of its inhabitants, and that the art world of the period was Introduction: North was becoming worryingly enmeshed with issues of deeply affected by these debates. The remaining essays in race and national character, and these ideological debates this special volume expand and develop this analysis of Conceptualising the North affected the art world on many levels. The surge of cultural northernness from a multitude of perspectives, focusing in revivals that swept across Europe in the 1890s brought particular on Nordic, Scottish, and Canadian visual culture. at the Fin de Siècle questions of national identity to the foreground, while in the field of social anthropology debates were raging RE-INSTATING THE CELTS about the superiority of one ethnic group over another. In 1858 the Reverend Duncan McCallum observed: “That This phenomenon, which was fuelled at least in part by the ancient Scots were of Celtic origin is past all doubt,” Frances Fowle and the publication of Darwin’s On the Origin of Species adding that “the Celtae, the great and mighty people [were] (1859), is reflected in Joseph Deniker’s 1899 map of the altogether distinct from the Goths and Teutones.”2 Celticism Marja Lahelma races of Europe showing a patchwork of “principal” and was associated with specific parts of Britain, Ireland and “secondary” racial groups (fig. 1). The French anthropologist northern France. The Irish ethnologist Augustus Henry and naturalist was one among many fin-de-siècle scientists Keane (1833–1912), for example, defined the “Keltic fringe” who attempted to create a system of racial classification based as “the strips of territory on the skirts of the Teutonic and on physical characteristics. -
Program Notes November 9, 2019 Wagnerian Music Dramas
Program Notes November 9, 2019 Wagnerian music dramas. Sibelius soured on Wagner’s The Swan of Tuonela from Four Legends compositional methods soon thereafter, and The Swan from the Kalevala, Op. 22 of Tuonela was published with three other short symphonic poems as the suite Four Legends from JEAN SIBELIUS (1965 - 1957) the Kalevala, Op. 22. Each of the four works depicts an adventure from the life of the mythic Finnish hero As Jean Sibelius came to maturity as man and Lemminkäinen, the central figure of the Kalevala, musician, his country lived under the growing A the national epic of Finland. threat of absorption into the Russian Empire. Finland Sibelius inscribed the following words on the score: had been a Grand Duchy of Russia since 1809, but “Tuonela, the land of death, the hell of it enjoyed a great degree of autonomous freedom, Finnish mythology, is surrounded by a with its own parliament and court system. Starting large river of black waters and a rapid during the reign of Czar Alexander III and continuing current, in which The Swan of Tuonela with Nicolas II, Russia began to limit the rights of glides majestically, singing.“ Finns, curtailing the authority of parliament, mandating Sibelius scores the work for solo English horn, military service and eventually dissolving the oboe, bass clarinet, two bassoons, four horns, three Finnish army. trombones, timpani, bass drum, harp and muted Rather than taking up arms, the Finns fought back strings – an ensemble of dark orchestral colors suitable with their culture against the encroachment on their for depicting the desolation of Tuonela. -
Classical Music
2020– 21 2020– 2020–21 Music Classical Classical Music 1 2019– 20 2019– Classical Music 21 2020– 2020–21 Welcome to our 2020–21 Contents Classical Music season. Artists in the spotlight 3 We are committed to presenting a season unexpected sounds in unexpected places across Six incredible artists you’ll want to know better that connects audiences with the greatest the Culture Mile. We will also continue to take Deep dives 9 international artists and ensembles, as part steps to address the boundaries of historic Go beneath the surface of the music in these themed of a programme that crosses genres and imbalances in music, such as shining a spotlight days and festivals boundaries to break new ground. on 400 years of female composition in The Ghosts, gold-diggers, sorcerers and lovers 19 This year we will celebrate Thomas Adès’s Future is Female. Travel to mystical worlds and new frontiers in music’s 50th birthday with orchestras including the Together with our resident and associate ultimate dramatic form: opera London Symphony Orchestra, Britten Sinfonia, orchestras and ensembles – the London Los Angeles Philharmonic, The Cleveland Symphony Orchestra, BBC Symphony Awesome orchestras 27 Orchestra and Australian Chamber Orchestra Orchestra, Britten Sinfonia, Academy of Ancient Agile chamber ensembles and powerful symphonic juggernauts and conductors including Sir Simon Rattle, Music, Los Angeles Philharmonic and Australian Choral highlights 35 Gustavo Dudamel, Franz Welser-Möst and the Chamber Orchestra – we are looking forward Epic anthems and moving songs to stir the soul birthday boy himself. Joyce DiDonato will to another year of great music, great artists and return to the Barbican in the company of the great experiences. -
Sibelius: Symphony No 2, Pohjola's Daughter
LSO Live Sibelius Symphony No 2 Pohjola’s Daughter Sir Colin Davis London Symphony Orchestra Sibelius Page Index Pohjola’s Daughter, Op 49 (1906) Symphony No 2 in D major, Op 43 (1901–02) 3 English notes Sir Colin Davis London Symphony Orchestra 5 French notes 7 German notes 9 Composer biography 10 Conductor biography 11 Orchestra personnel lists 12 LSO biography 1 Pohjola’s Daughter* 14’32’’ Symphony No 2** 2 Allegretto 9’05’’ 3 Tempo Andante, ma rubato 14’53’’ 4 Vivacissimo 6’06’’ 5 Finale: Allegro moderato 14’02’’ Total time 59’17’’ *Recorded live on 18 September and 9 October 2005 at the Barbican, London **Recorded live on 27 and 28 September 2006 at the Barbican, London James Mallinson producer Classic Sound Ltd recording, editing and mastering facilities Jonathan Stokes for Classic Sound Ltd balance engineer Ian Watson and Jenni Whiteside for Classic Sound Ltd audio editors A high density DSD (Direct Stream Digital) recording P 2007, London Symphony Orchestra Ltd, UK C 2007, London Symphony Orchestra Ltd, UK Cover image © Corbis Published by Breitkopf & Härtel 2 Photo: Alberto Venzago Jean Sibelius (1865–1957) It isn’t hard to relate the words of the poem to similarities: both works pit an active, ardent Pohjola’s Daughter, Op 49 (1906) events in Pohjola’s Daughter. The sombre male element against a more delicate, teasing beginning, with a wonderful array of bass female; and in both works this opposition leads Sibelius’s Pohjola’s Daughter is usually classified sonorities (low horns, solo cello, bassoon, bass to a thrilling depiction of struggle. -
Composers and Works List
Composers and Works List Adams, John Coolidge (American, 1947-) Common Tones in Simple Time Grand Pianola Music Harmonielehre Shaker Loops The Chairman Dances Two Fanfares for Orchestra Adams, John Luther (American, 1953-) Dark Waves The Farthest Place The Light that Fills the World Addinsell, Richard Stewart (British, 1904-1977) A Christmas Carol Suite Warsaw Concerto Agapkin, Vasily Ivanovich (Russian, 1884-1964) Farewell to Slavianka Albéniz y Pascual, Isaac Manuel Francisco (Spanish, 1860-1909) Suite española, Op 47 Alexandrov, Alexander Vasilyevich (Russian, 1883-1946) Sacred War Soviet National Anthem Alfvén, Hugo Emil (Swedish, 1872-1960) Symphony 1, Op 7 Symphony 2, Op 11 Swedish Rhapsody 1, Op 19 'Midsummer Vigil' Symphony 3, Op 23 The Mountain King, Op 37 Symphony 4, Op 39 'From the Outermost Skerries' Andriessen, Hendrik Franciscus (Dutch, 1892-1981) Ricercare Symphony 2 Symphony 3 Andriessen, Jurriaan Hendrik (Dutch, 1925-1996) Rococo Concerto Antheil, George (American, 1900-1959) A Jazz Symphony Capital of the World Hot-Time Dance Jazz Sonata 4 Specter of the Rose Symphony 3 ‘American’ Symphony 4 ‘1942’ Symphony 5 Symphony 6 Arnič, Blaž (Slovenian, 1901-1970) Overture to a Comic Opera, Op 11 Symphony 5, Op 22 'Particularistic' Artyomov, Vyacheslav Petrovich (Russian, 1940-) Guria Hymn Requiem Atterberg, Kurt Magnus (Swedish, 1887-1974) Symphony 1, Op 3 Symphony 2, Op 6 Auerbach, Lera (Russian-American, 1974-) Icarus, symphonic poem Symphony 1 ‘Chimera’ Bach, Johann Sebastian -
Kalevala: Land of Heroes
U II 8 u II II I II 8 II II KALEVALA I) II u II I) II II THE LAND OF HEROES II II II II II u TRANSLATED BY W. F. KIRBY il II II II II II INTRODUCTION BY J. B. C. GRUNDY II II II II 8 II II IN TWO VOLS. VOLUME TWO No. 260 EVEWMAN'S ME VOLUME TWO 'As the Kalevala holds up its bright mirror to the life of the Finns moving among the first long shadows of medieval civilization it suggests to our minds the proto-twilight of Homeric Greece. Its historic background is the misty age of feud and foray between the people of Kaleva and their more ancient neighbours of Pohjola, possibly the Lapps. Poetically it recounts the long quest of that singular and prolific talisman, the Sampo, and ends upon the first note of Christianity, the introduction of which was completed in the fourteenth century. Heroic but human, its men and women march boldly through the fifty cantos, raiding, drinking, abducting, outwitting, weep- ing, but always active and always at odds with the very perils that confront their countrymen today: the forest, with its savage animals; its myriad lakes and rocks and torrents; wind, fire, and darkness; and the cold.' From the Introduction to this Every- man Edition by J. B. C. Grundy. The picture on the front of this wrapper by A . Gallen- Kallela illustrates the passage in the 'Kalevala' where the mother of Lemminkdinen comes upon the scattered limbs of her son by the banks of the River of Death. -
BIS-CD-1585 Inlay
BIS-CD-1697-00 Q7 Sib 15 box:booklet 16/10/06 14:41 Page 2 2 BIS-CD-1697-00 Q7 Sib 15 box:booklet 16/10/06 14:41 Page 3 PRELUDE TO A DREAM Karl Fredrik Wasenius – known to his readership as Bis – was a much feared music critic in Helsinki around the turn of the last century. He was also a rather minor composer, but he was perspicacious enough to recognize true genius when he saw it. Thus he became Jean Sibelius’s first music publisher and one of his first true supporters, as well as taking part as a viola player in several Sibelius pre- mières. Karl Fredrik’s son, Carl-Johan, was solo cellist in the Helsinki Philhar - monic Orchestra and himself participated in many performances of Sibelius’s music, both orchestral and chamber. Carl-Johan’s daughter Margaretha is known as a prima ballerina assoluta at the Finnish Opera, and mine is the honour to be her son. Basically, since I started BIS in 1973, I have had a dream to record ‘every-note- he-ever-wrote’ by Sibelius, but not before I met Andrew Barnett, one of today’s great Sibe lius cognoscenti, did any firm plan materialize. True, the recording of the complete piano music had been started, as had that of the symphonies, but Andrew injected plan ning and system into the project. Great help was also received from the legendary Sibelius biographer Erik Tawaststjerna, as well as from the doyen of present-day Sibe lius scholars Fabian Dahlström. The project was not an easy one.