Jordens sing, Op,93 I'm going to do it - I have to do it.') smn wiled. Per- The city of Turku (in Swedish Abo) in the south-west haps he wu neryous about tie quality of perfomilce of what was once the Grmd Duchy of Finlmd was the that he could expect: after receiying a letter from the capital city until, following the conquestof Finlmd by conductor of the Turku orchesta, Kul Ekmm (father the Russiansin 1809,the administrativecentre moved of Sibelius'sfriend md biographerKal Ekmil Ji), Si- eastwardsto Helsinki. For a while the university belius noted in his diary that 'the musical resources in remained in Turku, but it too was rel@ated to Helsinki Turku rye impossible'. Many yers later, in 1943, he after a devastating fire in Turku in 1827. It was not told his son-in-lawJussi Jalas: 'I commsed the cotata until after the Russim Revolution. Finlmd's declara- for Abo Akademi very relucuntly. Neither the text tby tion of independencemd civil wu that conditionswere Jarl Hemmer) nor the occasion itself filled me with right for a new, Swedish-lmguageuniversity to be set enthusiasm.I did it only becauseI was being paid.' But up in Tuku; Abo Akademi was establishedin 1918. Sibelius was hardly in a position to turn down the For its inauguration, planned to take place the fol- chance to em 6,000 maks at a time when post-wil lowing spring,the Alademi comissioned a new work inflation w6 taking its toll on his finmces. Despite his from Sibelius - who at the time was still working on later indifference, Sibelius thought highly enough of the final version of his Frfft Symphony - and a young the piece to include it in the concert in Helsbki on 24th lyric poet nmed Jtrl Hemer (1893-1944).The result November 1919.when the definitive version of the was Jordens sdng (Song ofthe Eanh). Fifth Symphorrywu played for the fint time in tlle pres- Sibelius personally delivered a score of Jordens ence of the first Finnish president, Kaalo Stihlberg. rdng to Turku in February 1919. The inaugwation of Since then, despite a few high-profile performances, Abo Atademi wro postponed from the spring until the Jordens sdng hu fallen into relative obscuity. autum, however, md he thus took the opportunity to make some alterations to the cmtata. Sibelius put the The Captive Queen, Op.4E finishing touches to it at his home, Ainola, on 23rd Fram 1898 until 1904 Finland was ruled by Nikolai September1919, md conductedits fi$t p€rfomance at Bobrikov, a Russim govemor-generalwhose policies the Old Academy Hall in Tuku on llth October of of Russificationwere as exteme as they were unpop- that yeil with an unnmed nixed choir md the orch- ulil. But o. 16th June 1904 Bobrikov was fatally shot estraof the Tuku Musical Society. md, under his successorIyan Obolensky,the situation Jal Hemer's text falls into cleuly defined sec- grew calmer In 1905 Tstr Nicholro II issued a mai- tions, and the poet provided suggestions- which Sibe- festo that cancelled some of tbe measures that had lius basically ignored - for setting theseas recitatives, been introducedin the FebruaryMmifesto of 1899 md solos or for mixed, male or female choir. Despite the removed the dictatorial powers of tbe govemor-gen- pomp md grmdeur of the opening,much of the music eral, paving the way for a demmratically electedpr- is bright ild optimistic in tone. liment. Not that this preventedthe Finns from show- The commission was undoubtedly a prestigious ing their independenceof spirit at the etrliest oppor- one, but Sibelius'sinitial excitement('We ile going to tunity, however.Such an opportunityarose in 1906 retum to t}le atrnospherein Tuku from before the fire. I with the centenaryof the birth of the Fimish national- hope Jtrl Hemer is going to surpds himself. Anyway, ist statesmanand Hegelim philosopherJohm Vilhelm Snellman(1806-81), an influentialchmpion of the eilly 1891, re Sibelius's euliest orchestralworks. In Finnish languagewho played a major role in the estab- fact. howevel the two chorales Herr du bist ein Fels lishment of a Finnish cultural identity. His centenary (Lord, you are a rock) atd Herr erzeige uns deine was lavishly celebrated. Gnqde (lard, show us your mercy) were written some Sibelius's contribution was Ifte Captive Queen, a eighteen months euliet while Sibelius was a student cantata freely based on a ballad by Paavo Cajmder of Albert Becker in Berlin in the autumn of 1889. (1846-1913) who, like Sibelius, was bom in the town These pieces do not reflect my desire on the part of the of Hameenlinna. This ballad, which had originally young Sibelius to composeconventional religious been published to celebrateSnellman's 75th birthday music, but were evidently written as academic exer- in 1881,tells of a queen,imprisoned in a cstle, who is cises for Becker. A lilge number of chorales for choir liberated by a young hero (indeed, a more accurate a cappella from this period have also survived. Sibe- 'The translation of the title is Liberated Queen'). So lius felt that Becker's thorough but pedantic tuition evident was the allegory of this tale that the piece had was stifling his creativity and famously called his 'a to be perfomed under a more neutral name, Siell' lau- teacher stuffed shid from top to t@', but he undoubt- lavi kuningatar (There Sings the Queen). Character- edly b€nefited from the Gemm's academic thorough- istic Sibelim features abound in this work, from spic- ness. In the circumstancesit almost goes without cato sfr\g arpeggios - so similu to the opening of En saying that the music of these two chorales does not saga - to thematic motifs that both melodically and sound much, if at all, like Sibelius. The manuscripts rhythmically resemble the finale of the Second Symp- (md an unfinishedvssion of Hery du bist ein Fels for hon!. Might this be a neat musical sleight of hmd on mixed choir md pimo) fom part of the major collec- Sibelius'spart? There was a widespreadbelief that this tion donated by the Sibelius estate to Helsinki Uni- symphony bore a patriotic message(eyen in the mid- versity in 1982 (HLrL 1260-1266). 1940s, the musicologist Ilmtri Krohn was to call it the 'Liberation Symphony', though Sibelius was always Prcmotional Cantata, JS 105 resolute in his denial of such suggestions);one could Tbe Prcmotional Cantota - o\ morc exrctly, Cantata almost imagine tiat his choice of thematic material was for the University Graduqtion Ceremoniesof 1894 - designedto exploit this misconception.In the second was the first cantata that Sibelius composed, one of half of the piece a milch theme is intoduced that betrs tbree such pieces that he produced for specific occa- a conspicuous resemblmce to Wagner's Meistersinger. sions in Helsinki in the 1890s. He did not write the Sibelius himself conducted the first perfomance piece from any pMiculil inner compulsion,but rather 'symphony of The Captive Queen with a chorus' and becauseit was expectedof him: during the spring of the orchestra of the Philhmonic Society in Helsinki 1894 the music teacherRichad Faltin had securedfor on 12th May 1906; he later made m mangement for him a temporary lecturing position at the Impedal male choir md orchestra. Alexander Uniyersity in Helsinki, md the provision of a promotional cantata was m associatedduty. The at TWo Chorals times slightly inelegut text is by Kasinir Ltintbohm It is often thought that tJ]leOyenure in E rujoL lS 145, (=Leino; 1866-1919),elder brother of Eino Leino, md and Scine de ballet, JS 163, composed in Vienna in it is reported that the relationship between author ud composer was not without strain. According to Erik own, Veneenluominen (The Building of the Boat) Tawaststjema'sexlaustive Sibeliusbiography, the can- which, as is well known, he was eventually to aban- tata was written in great haste m4 after its fust perfor- don, using some of its material in the lcmminkiiinen mance on 31st May 1894, the piece was soon forgot- Srite instead.Might Sibelius, in his hasteto complete ten, except for m a cappella mngement of tbe much the university prcject, also have bonowed some ideas section at the end of the second movement that was ftom the prcjected opera for his cantata? As with folk published separately under the title of Jahlamarssi music, so too with Wagner: Sibelius never attemptsto (FestiveMarch) in 1896. The soloistsat the premidre copy the style directly, but assimilateselements of the were Aino Acktd md Abrahm Ojmperli, both mong original into his own unmistakableidiom. the leadingFinnish vocalistsoftheir era. Unlike the central movement of Kullemo which If the fires of Sibelius'sinspiration bum rather less begins very effectively in 5/4-time, the cmtata move- brightly in tbe Promotional Cantata thm in some of ment remains in a steady four crotchets to the bar his other works from the 1890s, the piece does not throughout. In both works the solo passagesby md quite deserve the invective that has been poured upon Itrge altemate with choral sections.The soloists and 'a it. Even Erik Tawaststjemadismisses it as banal, choir do, however,join forces in the splendidty bon- homophonicchoral piece'. Much of the weight of the bastic mtrch with which tlte cmtata movement ends. first movement is concentrated in the chorale-like Naturally the cantata lacks the vivid narrative and theme herd fron the choir at the begiming. The choir drmatic storyiine of Kulleno, We also seuch Kasi- themeremains essentially unchmged during the course mir Liinnbohm's text in vain for the hypnotic metrical of its four appeilances, though the orchestral writing is regulrity and linguistic resourcefulnessof the Kale- more vuied, incorporating a fugue md culminating in v4l4 text used in Kulleno, even if there is a passing a furious t tti. Sibelius had used the sme procedure - reference in the text to the old magicim in tlrc Kale' vtrying the texture of the accompaniment rather than vcla, Viiiniimdinen. deyeloping the theme itself - the previous yeu in the The third movement of the Promotional Cantata slow movement of his Piqno Sonata in F rujor, Op.12. was originally perfomed sepmtely in the degree cere- The long second movement featues soprmo and mony, and can thus be seen almost as an appendix. b[itone soloists as well as choir and orchestra.Only Thcrc is no choir in this movemented, unfortunately, two years had elapsed since Sibelius had presented in the version perfomed here there is no soloist either Kulleno, nother major work whose centxal moYement Originally there had been a soprmo solo in the brief is a huge piece for soloists,choir and orchestra- and, central trio section, but the solo part is now lost. llke Kulleruo, the cmtata movement gives some idea Luckily the lack of a solo ptrt does not render the of what m opem by Sibelius night have sounded lite. piece unperfomable. The main section of the piece The movement opens with a characteristic Sibelian (and da capo) is a stylish minuet that features two theme that bears the imprint of folk music without themes that, many yetrs later, Sibelius incorporated resorting to direct quotation, Later the music betrays into At the Draw-bridge, the last Piece in the second that this was a period during which Wagner loomed set of Scenerhistoriques, Op.66 (1911/12).For Sibe- large in Sibelius'smusical consciousness;since the lius, whose interest in dmce foms of vuious kinds is sumer of 1893 he had been plmning m opera of his often underestimated,minuets were evidently of great interest at this period: for instance, the well-known together,they chmpioned Sibelius's music assiduous- Ballade from the Karelia music had been written just a ly, both in Finlmd md abroad. One might have imag- few months eulier. The suryiving orchestal accom- ined that Sibeliuswould hayebeen keen to write some- puiment in the trio section of t}le cetata movement - thing for these musicims, but this seemsnot to have rising cello pizzicati figures, beneathethereal chords been the case.In Januily 1919,while working on,/o/- 'And from the upper strings - has a clear affinity to the denssdng, he noted in his diry: then there's the orchestal writing at the beginning of tbe Serenade for promise I made Klemeti for a work for Suomen Lau- buitone and orchestxa,JS 168, to words by Stagnelius lu. He is by no mems one of my "admirers". It moys (1894/95). There is, it should be noted, a vast differ- me that he only wants to use my name as a decora- ence between the stately, gracious minuets that Sibelius tion'. composedin the 1890sand the bolder, more stylized Time dragged on, and the promised choral piece attempts at the same dance form from later in his failed to apper; Klemetti grew increasinglyexasperat- ctreer. ed with Sibelius's delaying tactics. Klemetti's wife 'Heikki Ami recalled: bombuded Sibelius time after Scout March, Op.91b time, as we really wanted to be able to perform this On llth January l9l8 Ilmari Vainio, a member of a new choral work at our twentieth amiversary celebra- Helsinki scout group named MetsAnkiivijlit, asked tions in the spring of 1920. In the end Heikki became Sibelius to provide a musical setting of a text that had quite depressedwhen Sibelius always replied to his been written the previous year written by Jalmari profound wishes in the sme way: "Yes, yes, I'[ do it, Finne (1874-1938).A preliminary version ofthe Scoar but so fil I haven't found a suitabletext".' In the end, March was rcady the next day. In fact Sibelius had not with the choir's twentieth anniyersary looming, Kle- written a completely new piece but had re-useda short metti gave up, and it was only the intenention of Ami mtrch that he had sketchedfor brass septet and per- Klemetti, tround Cbdstmas 1919,that persuadedSibe- cussionas ealy as 1897-99 (manuscript:HUL 0504). lius to stan work on the new cantata Finne subsequently reworked the text together with Initially Sibelius planned to set Aleksis Kivi's Sibelius; the final musical setting, for pimo with text poem Suomenmqa but he later decided upon a poem written above,was completedon 27th November.The by Eino Leino (1878-1926):Maan virsi (Hymn to the version for mixed choir md orchestra was probably Earth) . T\e choice of p@m was unfortunate insoftr as made at about the sametime, although the first men- its tide led people to believe that it was nerely a Fin- tion of it is in a letter from Sibelius to his publisher nish trmslation of "/ordenssdng. Mun vi^i is a patriot- Wilhelm Hmsen in June 1921 - the yeil in which he ic piece but, in newly independentFinlmd, its patriot- also made a version for mixed choir md pimo. There ism is mtrked by serenity md the celebration of nature is also m edition for two female voices md Dimo from in the mmner of Oza ru (to a text by Kallio, which as late as 1952. Sibelius had set in 1918) or indeed Jordens sdng, mther than by the frushated belligerence of The Cap- Mmn virsi, Op.95 tive Queen.The new cantata- which Sibelius dedicaG The great Finnish choral conductor Heikki Klemetti ed to Klemetti was completedon 28th Janury 1920 (1876-1953)fouded the SuomenLaulu choir in 1900: md first perfomed on at Suomen Laulu's anniversry concert on 4th April (EasterSunday) of that yeu: the I lth May 1939at the May festival of the University of choir was joined by the Helsinki Philhmonic Orch- Michigm in Ann Arbor, conducted by Eill Moore. estraunder Klemetti's baton. @Andrew Barnett 2005
Prccessional,Op, 113 No,6 Helena Jutunen beganher vocal studiesat the age of The Masonic movement reachedFinlmd via Sweden 15 at the Oulu Conseryatoire.In the autum of 1996 in the mid-eighteenthcentury: the Lodge of St. Augus- she erolled as a pupil of Adta Vlilkki at the Sibelius tin was founded in 1756, though it was shut down by Academy.She has also studied under Etisabeth the Russims in 1809. In 1922 a new lodge was set up Schwuzkopf, Hartmut Hdll, Mitsuko Shirai md llmo (Suomi loosi l), and Sibelius becamea member - Ranta.Her competition successesinclude first prize in though, essentially a pantheist, he was not much in- the Timo Mustakallio md Lappeemta Singing Com- volved with organized religion (this did not prevent petitions and the Tampere Opera Grmd Prix. She has him from setting religious texts if the need uose). It an extensive opera repertoire; as well as appetring at was proposedthat 'Jem Sibeliuswill composespecial, the Finnish National Opera, she has also perfomed in genuinely Finnish music for the lodge', but at this the USA, singing the r6le of Marguerite (Foust) in stagethe idea cme to nothing. In 1926 the tenor Wiil- Connecticutmd giving a recital at Cmegie Hall. She ntj Sola also suggestedthat Sibelius should write has appeued as a soloist with most of the major Fin- music for the lodge. It was not until Jmuary 1927 that nish orchestrasand conductors. - encouragedby a generouspayment from the lodge - he actually produced a series of songs for tenor and Juha Hostikka hasbeen a pupil of PeterLindroos and hmonium. Irina Gavrilovici at the Sibelius Academy. He has been T'heMusique religieuseor Masonic Ritual Music, making guest appearancesat the Finnish National Op. I 13, however, is not confined to the original Opera since 1999,md has also sung at the Vaasa,Pori sequenceof pieces from 1927: Sibelius revised some and Oulu Operasmd has m ever-increasingrepertoire movements and added some new ones in the 1940s: of Finnish md intemational opera rdles, rmging ftom some of the later additionsrequire a male-voice choir Purcell (Aeneasin Dido and Aeneas)to contemporily An English edition was preptred in New York in 1936, music (for instancein Jaakko Kuusisto's Canine Kale- with texts adapted by Mmshall Kemochm. vala at the Savonlinna Opera Festival). Outside Fin- In the case of the Processional(originally called land he has also appearedin concert in Estonia, Salem), a dignilied anthem, Sibelius originally set a Sweden,England and Frmce. text basedon the 'Philosophy' section of Viktor Ryd- berg's poem Cantate,originally written for the gradua- Dominante is a mixed choir that was establishedin tion caremoniesat UppsalaUniversity in 1877.The 1975 and draws the majority of its membersfrom the choral part, with somealterations to its text to facilitate Helsinki University of Technology.The choir has non-Masonicuse, was manged from the original solo gained an intemational reputationas a dynamic group vocal line by ChanningLefebvre, and in 1938 Sibelius of young singersthat is renownedfor its boldnessand was askedto provide m orchestralmangement of the versatility. Since l98l the choir's adistic director has accompmiment; in this fom it was first perfomed on been Seppo Murto. Dominante has performed major works with such orchestras as the Finnish Radio Sym- co-principal’s chair in the Helsinki Philharmonic Orch- phony Orchestra, Tapiola Sinfonietta, Helsinki Philhar- estra for several years. After studying conducting at monic Orchestra and Lahti Symphony Orchestra, and the Sibelius Academy in Helsinki, he won first prize in has collaborated with the Finnish National Opera and the 1982 Besançon International Young Conductor’s Helsinki City Theatre. Concert tours have taken Domi- Competition. His conducting career has featured sub- nante all over the world. stantial commitments to such orchestras as the Tapiola Sinfonietta, Iceland Symphony Orchestra and BBC The Lahti Symphony Orchestra (Sinfonia Lahti) was Scottish Symphony Orchestra. Currently he is prin- municipalized in 1949 to maintain the orchestral tradi- cipal conductor of the Lahti Symphony Orchestra in tion that had existed in Lahti since 1910. Under the Finland and, since 2003, musical director of the direction of its conductor Osmo Vänskä the orchestra Minnesota Orchestra. has in recent years developed into one of the most not- He is increasingly in demand internationally to able in Europe. The Lahti Symphony Orchestra gives conduct orchestral and operatic programmes, and his most of its concerts in the wooden Sibelius Hall de- repertoire is exceptionally large – ranging from Mozart signed by architects Kimmo Lintula and Hannu Tikka, and Haydn through the Romantics (including Nordic with acoustics designed by the internationally composers such as Sibelius, Grieg and Nielsen) to a acclaimed Artec Consultants Inc. from New York. broad span of contemporary music; his concert pro- Among the orchestra’s achievements have been grammes regularly include world première perform- Gramophone Awards (1991 and 1996), the Grand Prix ances. His numerous recordings for BIS continue to du Disque from the Académie Charles Cros (1993) and attract the highest acclaim. In December 2000 the the Cannes Classical Award (1997 and 2002). In 2004 President of Finland awarded Osmo Vänskä the Pro the orchestra gained a platinum disc for its recording Finlandia medal in recognition of his achievements ‘Sibelius – Music from Timo Koivusalo’s film’; it has with the Lahti Symphony Orchestra, and in May 2002 also earned several gold discs, for example for its he was given the Royal Philharmonic Society Music recordings of the original version of Sibelius’s Violin Award in London in recognition of his work with the Concerto (1992) and Finnish Hymns (2001). The orch- music of Sibelius and Nielsen. estra has performed and recorded the music of its com- poser-in-residence, Kalevi Aho, and other Finnish composers. The Lahti Symphony Orchestra has per- formed at numerous music festivals, including the BBC Proms in London. The orchestra has also per- formed in Germany, Russia, France, Sweden, Spain, Japan and the USA. In 2003, Japanese music critics voted the orchestra’s performance of Sibelius’s Kul- lervo as Japan’s best classical concert of the year.
Osmo Vänskä (b. 1953) began his professional mu- sical career as a respected clarinettist, occupying the 8 Jordero sing op.93 sessatilanteessa, jossa hiin olisi voinut olta kayfidmatci Turku oli Suomen paakaupunki aina siihen saakka mahdollisuudenansaita 6.000 mukkaa aikma, jolloin kunnes maan hallinnollinen keskus siirtyi itAan Hel- sodanjiilkeinen inflaatio vaati veronsa hdnen raha- sinkiin vendliisten ottaessaSuomen valtaansavuonna asioissaan.Huolimatta myiihemmiistaviilinpitamattd- 1809. Yliopisto pysyi jonkin aikaa Turussa,mutta myydestaan,Sibelius mosti kappalettatarpeeksi kor- sekin siirettiin Helsinkiin Turun kaupungin pahoin kealle sisallytt:iessaansen konserttiohjelmaansa tuhonneentulipalon jiilkeen vuonna 1827. Vasta Ve- 24.I l. 1919, jolloin viidennensinfonian lopullinen ver- niijan vallankumouksen,Suomen itsenaisyysjulistuk- sio esitettiinensi kenan presidenttiK.J. Stihlbergin senja kansalaissodanjdlkeen olosuhteetolivat otolliset ollessayleisaissa. TAmiin jAlkeen Jordezs sring on kui- uuden, ruotsinkielise! yliopiston saamiselleTurkuun: tenkin ollut melko unohduksissa. Abo Akademi perustettiinvuonna 1918.Uusi akatemia tilasi seuravana vuonnajarjestettAviin avajaisjuhliinsa Vapautettu kuningatar op. 48 teoksenSibeliukselta - joka tuohon aikail tyiiskenteli Vuosina 1898-1904Suomea hallitsi venAlainenken- \ield viidennensinlonlarsa lopullisen versionpuissa - raalikuvem r4 sehl widerwillig komponiert.Weder der Text (von Jtrl lichten Gedicht von Paavo Cajmder (1846-1913), das Hemer) noch der ArlaB erliillten mich mit Begeiste- von einer Kiinigin erz:ihlt, di€ in einer Burg gefmgen- rung. Ich habees nur gemacht,weil es Geld dafiir gab." gehalten und von ihrem volk befreit wird (eine ge- Sibeliuswar kaum in der Situation,6.000 Mrk auszu- nauere Ubersetzungdes Titels lautet,,Die befreite schlagen, denn die Nachkdegsinflation wirkle sich auch Kdnigin"). Die Symbolik dieserGeschichte wa so auf seine Finanzen aus. Trotz seiner spdterenGleich- offenkundig, daB das Stiick unter einem neutraleren gtiltigkeit achteteer das Stiick doch genug, um es auf Titel aufgeflihrt werden muBte: Siell' laulavi kuningatar das hogram des Konzerts vom 24. November 1919 (Dort singt die Kahigin). Sibelius didgierte die Urauf- in Helsinki zu setzen, als die delinitive Fassung der fiihrung von Die gefangeneKdnigin m 12. Mai 1906 FilnJienSymphonie in Anwesenheitdes finnischenPrd- mit einem ,,SymphonischenChor" und dem Orchester sidentenKaarlo Stehlberguraufgefiihrt wurde. Seither der Philharmonischen Gesellschaft Helsinki; spiiter jedoch ist Jordens sdng ziemlich in Vergessenheitge- fertigte er eine Fassungfiir Mennerchorund Orchester raten. an. Die gefangeneKiinigin op.4E Zwei Chorile Von 1898bis 1904 wurde Finnlmd von Nikolai Bobri- Oft wird behauptet,daB die friihesten Orchesteryerke kov, einem russischenGeneralgouverneur, regiert, von Sibeliusdie im Friihjahr 1891 in Wien kompo- dessenRussifizierungsmaBnahmen ebenso radikal wie nierte Ouvertilre E-Dur und die Scine de ballet seien. unpopuldrwuen. Aber am 16. Juni 1904 wurde Bobri- Tatsiichlich aber wurden die beiden Chord:leHerr du kov durch ein Attentat tiidlich verletzt. und unter seinem bist ein Fels tnd Herr erzeige uns deine Gnade rund Nachfolger Ivan Obolensky entspanntesich die Lage. achtzehn Monate friiher komponien, als Sibelius im 1905 edierteZr Nikolaus II. ein Mmifest, das einige Herbst 1889 bei Albert Becker in Berlin studierte. der MaBnahnen zuriicknahm. die mit dem Februar- Diese Stiicke bekunden nicht den etwaigen Wunsch manifest von 1899 eingefiihn worden wilen, und das des jungen Sibelius, traditionelle religidse Musik zu die diktatodalen Befugnisse des Generalgouvemeurs komponieren.sondem sind oftenbil als Ubungenfiir aufhob. Auf diese Art war einem demokratisch ge- Becker entstanden;auBerdem ist aus jener Zeit eine wahlten Pillament der Weg geebnet.Nicht daB dies groBe Zalrl von Chordlen fiir Chor a cappella iberlie- die Finnen gehinderth:itte, bei der erstbestenGelegen- fen. Sibelius fand, daB Beckers griindlicher, aber pe- heit ihre geistige Unabhiingigkeit zu demonstrieren. dantischer Untenicht seine Kreativitiit erstickte utrd Eine solcheGelegenheit ergab sich 1906bei den Feier- bezeichneteseinen Lehrer mit einer beriihmt gewor- lichkeiten zum 100. Geburtstagdes Stmtsmanns und denen Fomulierung als ,,ein Schulmeister vom Scheitel PhilosophenJohm Vilhelm Snellmm (1806-81),einem bis zur Sohle"; zweifellos aber profitierte er von der einfluBreichen Befiiruorter der finnischen Sprache, der akademischenGriindlichkeit des Deutschen.Unter eine wichtige Rolle spielte bei der Schaffung deI diesen Umstinden verstehtes sich von selbst,daB die kulturellen finnischen Identitat. Sein Jubiliium wurde beiden Choriile an so gut wie keiner Stelle nach Sibe- mit groBemEnthusiasmus gefeiert. lius klingen. Die Manuskripte gehiiren zu der bedeu- Sibelius' Beitrag war Die gefangeneKdnigin, erne tenden Sammlung, die der Universitat Helsinki 1982 Kantate frei nach einem einige Jahe zuvor verijffent' von der Familie Sibeliusgestiftet wurde. 15 Prcmotionskantate JS 105 Mittelsatz ein groBesStiick fiir Soli, Chor und Orches- Die Promotionskantdte oder, genauer, die Kantate ter bildet - ttd, wie Kullemo, gibt dieser Satz eine fiir die Abschluffeierlichkeitender Universitajtim Jahr Ahnung davon, wie eine Oper von Sibelius geklungen 1894- war die erste Kantate,die Sibelius kompo- habenkijnnte. Der Satz beginnt mit einem fiir Sibelius nierte, eines von dreien solcherWerke, das er im Hel- charakteristischenThema. das volksmusikalisches sinki der 1890erJahre fiir besondereAnliisse kompo- Flair hat, ohne Volksmusik zu zitieren. Spliter offen- nierte. Er schriebdieses Stiick nicht aufgrundetwaigen bart die Musik, daB Sibelius zu JenerZert sttrk von imeren Drucks. sondemweil mm es von ibm eryartete: Wagner beeinfluBtwu; seit dem Sommer 1893 hegte Im Friihjahr 1894 hane ihm der Musiklehrer Richmd er den Plm zu einer Oper mit dem Tilel Veneenluo- Faltin eine Dozentur an der Kaiserlichen Alexander- minen (Der Bootsbau),den er bekanntlichverwarf. Universitat Helsinki verschafft: zu den damit einher- Wie mit der Volkmusik, so nit Wagner: Sibelius ver- gehendenPflichten gehdnedie Komposition einer Pro- sucht nie, seinen Stil direkt zu kopieren, sondern motionskantate.Der mitunter etwas uneleganteText nimt Elementedes Originalsin seineneigenes. un- stamt von Kasimt Ldnnbohm (=Leino; 1866-1919), verwechselbuesIdiom auf. dem :ilteren Bruder von Eino Leino. und es wird be- Anders als der mittlere Satzvon KulleNo. der aus- richtet, daB die Beziehungzwischen Autor und Kom- gesprochenwirkungsvoll im 5/4-Takt beginnt, bleibt ponist nicht ohne Spannungenwu. Nach Erik Tawast- der Kantatensatzeinem steten4/4-Tirkt treu, In beiden stjemas erschaipfenderSibelius-Biographie wurde die Werken wechseln sich die Solopassagenim GroBen Kmtate in groBerEile komponien; nach ihrer Urauf- und Ganzen mit den Chorabschnittenab: in dem fiihrung m 31. Mai 1894 wurde das Werk rasch ver- praichtigen,bombastischen Mtrsch m Ende des Satzes gessen- bis auf eine a-cappelld-Bearbeitungdes dagegen vereinen sie ihre Kriifte. Marsch-Teils aus dem zweiten Satz, die 1896 als Der dritte Satz der Promotionskontate wvde bei Juhlamarssi( F estmd6cr) veriiffentlicht wurde. den AbschluBfeierlichleitenm mderer, spdtererStelle Wenn das Feuerder Inspirationin der Promotions- gespieltals die beidenersten Satze. Hier gibt es keinen kantateweniger stark brennt al. in einigenseiner Chor und, in der hier eingespieltenFassung, leider anderen Werke aus den l890em. verdient das Stiick auch keinen Solisten.Urspriinglich wu in dem kurzen denn@h nicht die Schmiihung,die ihm zuteil wurde. Trio-Abschnitt ein Sopransolovorgesehen, doch sind SelbstErik Tawaststjematut es ab als ,,einbanales, ho- die Noten hierzu verloren. Gliicklicherueise bedeutet mophonesChorstiick". Das Gewicht des erstenSatzes dies nicht, daB das Werk unauffiihrbar wiirde. Der ist in dem Choral-Themakonzentriert. das der Chor zu Hauptteil dieses Satzesist ein stilvolles Menuett mit Beginn anstimmt. Das Chor-Thema bleibt im Laufe zwei Themen,die Sibelius viele Jahre spaterin An der seiner vier Auftritte im wesentlichenunverandert, Zugbriicke aus der zweiten Folge der Scines histo- wiihrendder Orchestersatzvriabler ist - u.a. enthalter riques op.66 (l91lll2) verwendete.Die iiberlieferte eine Fuge und kulminiert in einem furiosen Tutti. Orchesterbegleitungdes Trios besteht aus aufsteigen- Der umfangreiche zweite Satz sieht neben Chor den Cello-Pizzikatos unter AtherischenAktorden der und Orchesterauch Sopran-und Baitonsolo vor. Erst hohenStreichel zwei Jahre waen seit der Urauffiihrung yon Kullervo vergmgen, einem anderenbedeutenden Werk, dessen Pfadfind€maNch op.91b des Chors stand kurz bevor, doch schlieBlich wu es Am ll. Jmur 1918 bat Ilnili Vainio, Mitglied einer nur der Interyention von Klemettis Ehefrau Ami um Pfadfindergruppeaus Helsinki mit dem Namen Met- Weihnachien1919 zu verdanken.daB Sibelius mit der s?inkavijiit,Sibelius um die Vertonungeines Textes, der Arbeit an der neuenKmtate begann. im Vo{ahr von Jalmri Fime (1874-1938)geschrieben Anftinglich wollte Sibelius Aleksis Kivis Gedicht worden wr. Am niichsten Tag wr eine vorliiufige Fas- Suomenmaavertonen, dmh dmn entschieder sich fiir sung von Sibelius' Pfadfindemarsch fertig. Ta$Ach- ein Cedicht von Eino Leino (1878-1926):Maan virsi lich hatte Sibeliuskein vollkomen neuesStiick kom- (Hrmne von der Erde). Diese Textwahl war insofem poniert, sondem einen kurzen Milsch wiederyerwen- ungliicklich, als der Titel zu der Vemutung Anla0 gab, det. den er bereitsin den Jahren1897 bis 1899 fnr hier hmdele es 'ich lediglichum eine finnischeUber- Bleserseptettund Schlagzeugskizziert hatte.Finne setzung von Jordens sdng. Zwar rst Maon virsi er\ iiberarbeitete den Text gemeinsam mit Sibelius; die patriotisches Werk, doch im nunmehr unabhiingigen endgiiltige Vertonung - fiir Klavier mit dadiberge- Finnlild ist sein Patriotismusgekemzeichnet von Hei- setztemText, wurde am 27. November fertiggestellt. terkeit und Naturbegeisterung.Die neue Kantate, die Die Fassung fiir gemischten Chor und Orchester Sibelius Klemeni widmete. wurde m 28. Jiluil 1920 stmt muunaBlichaus derselbenZeit, wenngleiches fertiggestelltund beim Jubilaumskonzertvon Suomen erstmals im Juni 1921 in einem Brief Sibelius an Laulu am 4. April (Ostersonntag)desselben Jahres seinen Verleger Wilhelm Hansen eruahnt wird - das uraufgefuhrt; der Chor wude begleitet vom Philhmo- Jahr,in dem er auch eine Fassungfiir gemischtenChor nischenOrchester Helsinki unter Klemettis Leitung. anfertigte. Daneben existiert eine splite Ausgabe fiir zwei Frauenstimmenund Klavier aus dem Jafu 1952. Prczessionshynne op. 113 Nr 6 Die freimaurerischeBewegung eneichte Finnlmd in Maan vini op.95 der Mitte des 18. Jahrhundertsiiber Schweden: 1765 Im Jatr 1900 griindete der groBe finnische Chorleiter wurde die Loge des Hl. Augustin gegiindet, die 1809 Heilfti Klemetti (1876-1953)den SuomenLaulu-Chor, von den Russenverboten wurde. 1922 wurde eine neue mit dem er sich in Finnland wie im Ausland mit Loge gebildet (Suomi l@si 1), und Sibelius wurde ihr groBemEifer fiir Sibelius' Musik einsetztq Man sollte Mitglied - obschoner aufgrund seinerpantheistischen meinen, daB Sibelius groBesInteresse daran hatte, Uberzeugungenmit institutionalisierterReligion nicht etwas fiir diese Musiker zu komponieren, doch dies viel zu tun hatte. ,Jean Sibelius", so hieB es, ,,wird fiir scheintnicht der Fall gewesenzu sein.Im Jmuil 1919, die Loge besondere,genuin finnische Musik kompo- als er an Jordens sring arbeitete, schrieb er in sein nieren". doch daraus wurde erst einmal nichts. 1926 Tagebuch:,,Und dann ist da noch das Versprechen,das schlug auch der Tenor Waind Sola Yor, Sibelius solle ich Klemetti gab, ftir SuomenLaulu ein Werk zu kom- Musik fiir die Loge komponieren.Doch erst im Janua ponieren.Keinesfalls ist er einer meiner ,Bewunderer'. 1927 komponierteer emuntert von einer grollzi.igi- Es ?irgertmich, daBer meinenNamen nur als Schmuck gen Zuwendungder Loge eine Reihe von Liedem fiir benutzenwill". Die Zeit verging, und das versprrchene Tenor und Hmonium. Chorstiick blieb aus: Klemetti wurde immer wiitender Die Musique religieuse ader Rituelle Freimaurer' iiber Sibelius' Verziigerungstaktik.Das 20. Jubilaum Musik op. ll3 folgt indes nicht der originalen StiicKolge aus dem Jabr 1927: Sibeliusiiberubeitete einige Satze wachst stetig und reicht von Purcell (Aeneasin Drdo und fiigte in den 1940erJahren neue hinzu; einige der and Aeneas)bis hit zu zeitgeniissischerMusik (2.B. in spaterenErgAnzungen verlangen einen Mdnnerchor. Jaakko Kuusistos Das Kalevala der Hunde beim Savon- 1936 wurde in New York eine englische Edition mit lima Opemfestival).AuBerhalb Finnlands hat er in Est- Textadaptionenvon Mushall Kemochm mgefertigt. land, Schweden,Englmd und Frankreichkonzefiiert. Im Fall der Prczessionshymne(wspnnllicher Titel: Salem), einem wiirdevollen Choral, hatte Sibelius ur- Dominilte, 1975 gegriindet,ist ein gemischterChor, spriinglich einen Text von Viktor Rydberg vertont. dessenMitglieder mehrheitlich der Trchnischen Univer- Channing Lefebwe mmgierte den Chorpart auf der sitiit von Helsinki entstammen.Intemational hat sich der Grundlage der originalen Solostimme (einige Textan- Chor als dynamischesEnsemble junger SAngerinnen derungen sollten die Veruendung auBerhalb der Frei- und Sanger etabliert, das ebenso ftr seine Kiihnheit maurerkreiseerleichtem); 1938 wurde Sibelius gebe- wie fiir seineVielseitigkeit geriihmt wird. Seit l98l ist ten, die Begleitung zu orchestrieren.In dieserFom er- SeppoMurto KiinstlerischerLeiter des Chores.Domi- klmg das Werk erstmalsm 11. Mai 1939 beim May nmte hat bedeutende Werke mit Orchestem wie dem Festival der University of Michigm in Ann Atbor unter FinnischenRadio-Symphonieorchester, der Tapiola der Leitung Yon Eill Moore. Sinfonieha.dem Helsinki Philhmonic Orchestraund I Andrew Bamett 2(ns dem Lahti Symphony Orchestraaufgefiihni auBerdem hat er mit der FinnischenNationaloper und dem Stadt- Helena Juntunen begann ihre Vokalausbildung im theater Helsinki zusammengearbeitet.Konzertreisen Aher von 15 Jahrenm Konservatoriumvon Oulu. Im habenDominante in die gmze Welt geftihrt. Herbst 1996 schrieb sie sich als Studentin yon Anita Viilkki m der Sibelius-Akademieein. AuBerdem stu- Das Lahti Symphony Orchestra (Sinfonia Lahti) dierte sie bei Elisabeth Schwilzkopf, Hartmut Hdll, wude im Jahr 1949 in stiidtische Trageschaft iiberfiihrt, Mitsuko Shimi und Ilmo Rmta. Zu ihren Wettbewerbs- um die seit I 9 I 0 existente Orchesiertradition Lahtis auf- erfolgen ziihlen Erste Preise bei den Timo Mustakallio- recht zu erhalten.Unter der L€itung von Osmo Vdnskd und Lappeenranta-Gesmgswettbewerbensowie beim hat sich das Orchesterin den letzten Jatren zu einem Tampere Opera Grand Prix. Ihr Opemrepertoire ist der mgesehenstenin Euopa entwickelt. Das Lahti Sym- umfangreich; neben Auftritten an der Finnischen Na- phony Orchestra gibt die Mehrzahl seiner Konzerte in tionaloper gastiertsie auch in den USA, etwa als Mil- der htilzemen Sibelius-Halle,die von den Architekten guerite (Faust) in Comecticut oder mit einem Recital in Kimmo Lintula und Hannu Tikla erbaut und deren der Cmegie Hall. Als Solistin ist sie mit den meisten Alustik von der intemational renomierten Art@ Con- iinnischenOrchestem und Dirigenten aufgetreten. sultmts Inc. aus New York betreut wurde. Zu den Er- folgen des Lahti Symphony Orchestrasgehiiret Gramo- Juha Hostikka studierte bei Peter Lindroos und Irina phone Awards(1991 und 1996),der Grand Prix du Gavrilovici an der Sibelius-Akademie.Seit 1999 gas- Disque der Acad6mieCharles Cros (1993) und der tiert er an der Finnischen Nationaloper sowie u den CannesClassical Award (1997, 2002). Im Jahr 2004 Opemhausemvon Vaasa,Pori und Oulu, Sein Reper- erhielt das Orchester eine Platin-Ehrung fi.ir seine CD toire an finnischen und internationalen ODernrollen ,,Sibelius- Music from Timo Koivusalo's film"; da- neben sind ihm mehrere goldene Schallplatten verliehen sanqon.Als Didgent widmete er sich intensiv der Ta- worden, u.a. frir seine Einspielungen der Originalfassmg piola Sinfonietta, dem Isllindischen Symphonieorchester von Sibelius' Violinkonzert(1992) trd der Finnischen und dem BBC Scottish Symphony Orchestrain Glas- Kirchenlieder (2001). Seit 1992 hat das Orchesterdie gow. Neben seiner Tiitigkeit als Chefdfuigent des Sym- Musik ihres ,,composer-in-residence"Kalevi Aho md phonieorchesten tahti wirkt Osmo Viinskii von 2003 m mderer limischer Komponisten aufgefiihrt und aufge- als kinstlerischer Leiter desMinnesota Orchestra. nomen. Das Lahti SymphonyOrchesha tritt bei zahl- Als Dirigent von Orchester-und Opemprogram- reichenFestivals auf, u.a. bei den BBC Proms in Lon- men ist Venske auf intemationalerEbene sehr gefragt. don. Gastspielefi.ihrten das Orchester nach Deutsch- Sein Repertoire ist auBerordentlich groB - von den land, St. Petersburg,Frmkreich, Schweden,Spmien, Wiener Klassikem bis hin zu einer breiten Spmne der GroBbritannien, Japan und New York. Im Jahr 2fi)3 Musik des 20. Jahrhunderts.Vanskes Konzertpro- wiihlten Musikkritiker seine Auffiihrung von Sibelius' grame umfassenregelmi8ig Urauffiibrungen. Seine Kulleno it lapan zum bestenKonzert desJahres. zahlreichen Aufnahmen fiir BIS werden mit groBer Be- geisterungaufgenomen. Im Dezember 2000 verlieh Osmo Vdmkii begmn seinemusikalische Kmiere als der finnische PrAsidentOsmo V?insklidie Pro Finlm- angeseherKlarinettist: mehrere Jahre spielte er als dia Medaille in Anerkennung seiner Leistungen mit zweiter Soloklilinettist im Philhmonischen Orchester dem Lahti Symphony Orchestra, und im Mai 2002 Helsinki. Nach Dirigierstudien m der Sibeliusakademie erhielt er in Anerkennung seiner Auseinmdersetzung in Helsinki gewam er 1982 den ersten Preis beim Inter- mit dem Schaffenvon Sibelius und Nielsen den Royal nationalen Wettbewerb fiir junge Dirigenten in Be- Philhmonic SocietyMusic Awud in London. OrHenSrseLrus REcoRDTNGs oN BISBy rHE L.enrt Svtupnonv ORcHESTRA AND OsMo VANSKA: Violin Concerto in D minor (odginal & final venions) Irmmink:iinen Suite I2onidas Kawkos.violi .....BIS-CD-500 (includingoriginal versions of Nos. I & 4) ...... BIS-CD-1015 Finlaildia o Festiral of Finnish Music includinq Finlmdia; Suite for volin md String Orchesfta . BIS-CD-575 PressCelebrations Music (complete); The Melting of the Ice on tlE Oulu Ri!€r et BIS-CD-11I5 The Tempesl acompletel BIS-CD,581 - Ereryman: Behhazztr s Feast acomplele) pli. . . . BIS-CD-735 Sibelius lahti Vdnskii Finlandia; The Swan of Tuonela; Tapiola etc...... BIS-CD- | I 25 Slmphon' No.5: En saga{oriprnal rersronJ.... BIS CD.8OO Kulleno ...... BIS-CD 1215 The Wood-Nymph; Swanwhite (complete) ?t . . . BIS-CD815 Tone Poems: En saga; Pohjola's Daughter; S)mphonyNo.l:SlmphonyNo.4 ...... BIS CD.86I Night Ride md Sunrise; The Oc€ilides €t BIS-CD,1225 SymphonyNo.2. Symphon) No.1...... BIS-CD-862 Sndfridi Coronation Ciltatai Oma maa; Symphony No.5 aoriginal & final !er'ion'). .... Bts cD-861 Rakasbva €tc. BIS-CD,1265 S) mphon' No.6: S) mphon) \o 7: Tapiola. . Bts-cD,864 The Conplete Sr-nphonier (including Symphony No.5 Kffilia rcompleter: Kuolema /complelej ?r .. . BIS CD.9I5 longinal versionl dd Tapiola) BIS-CD,1286/l288 "fhe Kilelia Suire; King Christian II (complete): Rondo ofthe waves: Ocemides (Yale & final versions)r Pell6a.dndM€lismdeacompletej...... BIS-CD,918 Casszione (original v€rsion); Condge et...... BIS-CD-14'15 Jordero sing op.93 l'occasion ne m'enthousiasmaient.J'ai fait le travail La ville de Turku au sud-ouestde ce qui fut une fois le pilce qu'on me payait. Mais Sibeliusn'6tait pas telle- " Grmd Duchd de Finlande,en fut la capitalejusqu'i ce ment en position de refuser la chmce de gagner6,000 que le centre administratifpreme la route de I'est vers maks d une epoqueoir I'inflation aprCsla guene gru- Helsinki apris la conquetede la Finlmde pr les Russes geait son 6conomie.Malgr6 son indiff6renceult6- en 1809. L'universit6 resta quelque temps a Turku rieure, Sibelius aima assezla piice pour l'inclure d un mais elle d6m6nageaelle aussi d Hetsinki aprdsun in- concert i Helsinki le 24 novembre 1919 alors que la cendie ddvastateuri Turku en 1827. Les conditions version finale de la Cinquiime symphonie f\t jo\ee ndcessairesi la fondation d'une nouvelle universit6de pour la prenidre fois en la pr6sencedu pr6sidentfin- langue suddoisei Turku ne se r6unirent qu'aprds la landais,Kaulo Stihlberg. Depuis lors cependant,"/or- r6volution russe, la d6claation d'ind6pendancede la dens siing bai'gne dans une certaine obscurit6. Finlande et la guene civile ; l'acad6mie d'Abo (Tuku en suddois)ful fonddeen 1918.Pour son inauguration La Reine captiY€op.4E I'ann6e suivante.I'acaddnie commanda une euvre d Le gouvemeur-g6n6ralrusse Nikolai Bobrikov, dont la Sibelius - qui, arca momenq travaillait encore sur la politique de russification6tait aussi extCme qu'impo- version finale de sa Cinqui?me symphonie - et a un pulaire, dirigea la Finlandede 1898 d 1904.Le 16juin jeune podtelyrique du nom de Jarl Hemmer (1893- 1904, Bobrikov fut tu6 d'un coup de fusil et la situa- 1944)i le rdsultatfut Jordenssdng lChant de la Terref. tion se calma sous la tutelle de son successeur.lvan Sibelius en dirigea la cr6ation d la vieille salle de Obolensky.En 1905,le tsil Nicolas II publia un mmi- I'academied Turku le 1l octobre 1919 avec un chcu festemnulmt cefiainesdes mesuresintroduites dans le mixte sansnom et l'orchestrede la S@i6tede musique mmifestede fdvrier 1899et retirml au gouvemeur-ge- de Turku. Le texte de Jul Hemmer est moul6 en sec- n€ral ses pouvoirs dictatoriaux, ce qui aplmit la voie tions nettementdelinies et le podte fomit des sugges- menantd un prlement 6lu de fagond€mocratique. Cela tions que Sibelius ignora au fond - pow les manger n'empecha cependant pas les Finlandais de montrer en r6citatifs,solos et partiespour chcur mixte, leur esprit d'inddpendmcel la premidreoccasion. Une d'homes ou de femes. Malgrd I'apptrat et la splen- telle occasionse prdsentaen 1906lors du centenairede deur du ddbut, une grande partie de la musique est la naissmcedu philosopheet home d'Etat Johil Vil- clale et optimiste. helm Snellman(1806-81). un d6fenseurinfluent de la La commande6tait 6videment prestigieusemais langue finlandaise et un des pdncipaux acteurs dans Sibeliusne ressentitque peu d'enthousiasmepour cette l'etablissementd'une identit6culturelle finlandaise. tache. La qualit6 de I'ex6cution i laquelle il pouvait Son centenairefut c€l6br6en grandepompe. s'attendrele rendait peut-ere nerveux: apris avoir La contribution de Sibelius fut ln Reine captive, regu une lettle du chef de l'orchesae de Turku, Karl une cmtate bas6elibrement sur un podme publi6 quel- Ekman, Sibeliusnota dans son journal que les res- quesmn6es plus tdt pu Pevo Cajander(1846-1913), sources musicales i Turku etaient impossibles. Plu- traitant d'une reine emprisonn6edans un chateau, sieus ann6splus tard, il dit e son gendre Jussi Jalas: libdr6e par son peuple (une traduction plus juste du 26 Jag är en skål, I am a chalice, fylld med sällsamt blandade safter, Filled with a rare blend of juices, där under våndans jäsande fragga There, under the fermenting froth of agony, still i djupen vagga Silently in the depths are cradled segrande evighetskrafter. Victorious powers of eternity. Vem har mätt deras mål? Who has determined their goal? Livet är jag. I am life. Lyssna, mitt gåtfullt susande slag Listen, my enigmatic, sighing pulse lustens och lidandets vidder mäter. Measures the extent of joy and suffering. Paradisdrömmar och domedag, Dreams of paradise and the day of judgement, himlar och Hades och evigheter The heavens and Hades and eternities – allting skapade jag. – I made all of them. V. DEN EVIGA DRÖMMEN V. THE ETERNAL DREAM Jordens döttrar och Jordens söner, The earth’s daughters and the earth’s sons, stora, stormiga människohav – A great, tempestuous sea of people – ingen himmel hör våra böner, No heaven hears our prayers, väger vår ropande längtans krav. Considers the demands of our beseeching yearning. Själva måste vi bryta oss vägen We ourselves must forge a path fram genom ondskans vallar av is, Forward, through evil’s icy ramparts, själva måste vi här på vår egen We ourselves must plant our own paradise jord plantera vårt paradis. Here on our own earth. Hjärtat, det segrande hjärtat är med oss! The heart, the victorious heart is with us! Kräves det mer att trygga sig till? Does one require more to attain security? Stjärnljus ur höjden, lys oss och led oss! Starlight from on high, light us and guide us! Släkte på släkte i världen gått vill. Race upon race has gone astray in the world. Ändå så visst som i själarna skälver And yet, as certainly as there quivers in our souls drömmen om sonande tusen år, The dream of a thousand redeeming years, randas en tid, då rymden sig välver A time will dawn when space will span renare blå kring en jordisk vår. In purer blue around the vernal earth. VI. EPILOG VI. EPILOGUE Vårt släkte fick ur ödets skålar tömma From the cups of fate our race could drain en dryck med våndans beska jäst. A drink with the bitter yeast of suffering. Men är det något värt att ändå drömma, But if dreaming is still worth anything at all, då höra vi till dem som fingo mest. Then we are among those who have been granted the most. Vi drömma att en tid en gång skall randas, We dream that an age will one day dawn då ljusa sånger ifrån Jorden blandas When bright songs from earth will be combined med sfärernas musik vid Alltets fest. With the music of the spheres at the universe’s festivities. Jarl Hemmer 27 tr Vnpnurerru KUNTNGATAn/ THe Clprrvr QUEEN,op.48 On vuoren huipulla linna, se katsovi laaksohon, On the hilltop lay a casde,l@king down into the valtey, Mut' niinkuin hautajylheja kolkko se on eloton: But, like the dretry and desolategrave, it was lifeless: Lukoss on rautaportit, valon viilkefia sielt' ei nAy Its iron gateswere locked, from there no light could be seen, Vaan Aanetiniin kuin aaveet,sen tomissa vahdit kAy. Just the gutrds in its towet as silent as ghosts. Valin )d kun t))nl)).ja aurinkomailr' on pois. Sometimesin the calm ofnight, when the sun had left the lmd, on niin Luin lauluahell;; ja \ ienoasrelta sois: It was as though a bnder and gentle song thence cme; Kuningatil siellii laulaa, niin ke(otam, It was said that a queen sings there, Mut ken hrn on seka mista, ei tiede ainoakMn. But no one knew who she was and where she was fTom. Sanotau on han ollut maan valtija ylhiiinen, She was rumoured to be the country's proud tuler. Ja kauneudestaankuulu yli menen mamerten; Her beauty was fabled actoss lmd md sea; Mut amu keran kun koifti han havinnyt on pois... But once, when moming dawned, she was missing... Yijt pziivatvahtivi saalistmn linnan hera nyt. The lord of the castle warched over his prey, night and day. Vam kun vdijat nukkuu ja tyyoen:i saapuu yii, Only when the gutrds were asleepand the calm night fell, Kuningafttren rinta silloin vapahmin lyii, Would the queen's hed beat more freely, Hiin yiille laulavi murheitam, She smg to the night of her sonou, Kadoteftua kauneuthsa, toiveitail. Ofher lost beauty and hopes. Tuli nuorukainen keranja saapuilinnm luo, There once came a young man, miving at the castle, Ja linnasta laulut kuuli oli tutilja laulut nuo. And the songshe heud from the castle were fmititr to him. Kiiy sydAmen nyt outo tuli He had such a sfilge feeling in his hem Povensasyttyyjelleen hiin laulaa With fire in his breast he sug once more, Hiin [ihievi maalleenja laulaa kansalleen. He retumed to his counfy and sangto his people. Ja on kuin ilma lamin nlr hengiiil:iis)li mran. And it was d though a wim brcezenow passedover the lmd, Runoruhtinasintounccna koskevi kannelman. The prirce ofpoet$ was inspired ro take up his kantele again. Ei ennen kuultu soifto [sen kielill?i] kukeloi, A tune, never before hedd, danced forth ftom its strings, Valtavat elon tunbet maine lempi soi. Its lusde ed love smck powerful, Iife giving emotions. Ken tuost ei humautuisi? Ken [ena:i] kylmiiks jiiis? Who could resist their chms? Who could remain unmoved? Ken miekkaa nlt ei tahkois, ken keihiisraei ter:ist?iis? Whose sword and spetr could stay unsharpened? Mur kuningatd laulavi linnassamurheitaan; But the queenin the casrle.mg of herdisress: Vapauttajaviel' on poissa, ties saapuukomilloinkaan! Her liberator was still absent;would he ever come? Oi smpuu, saapuu!Sankdi kiirehtii, Oh, he's coming, he's coming! The hero made hasE, kyp:t:istii viilkkyvi p?iiva, miekasta kuu slidehtii: Daylight sptrkled from his helmet and moonlight from his sword: Han huutavi kansalleen! He called out to his people! 'The "Pelastettavamm on aiti, Ken nyt mua seuraaken?" mother ofour country must be saved; who will follow me?' ''Oi 'It's rurhaa.pois on pois\a: Hiin aslu\i eesp:iinraan. in vain, what's gone is gonel' He merely forged ahead. 'Oh, "Oi. sumasi helmun kiidet!" Ei katso han raakseenlail. you hastento your demise!' He did not look back. Yliis vuoren rinneftAnousee, jo sepuvi linne luo, He climbed the hill, and mives ar rhe castle, Sadm miehen voimat halla, kun ryntavi urho tuo. The hero rushed in with the shength of a hundred men. Jo rautaponit munuu, jo aukevi haudan suu, Already the iron gates bu6t open, the mouth ofthe gmve op€ned, Sen vdijajoukkojo huojuu, kuin raju ilmassa puu. Its gueds were shakenlike a tee in a stom. Jo lehde oksia taittuu, jo kaatuvi runkoki!, The leaves and brmches bent, the hnk crasheddown; kuin Dliimersiin kautra kulkevi \ankfiin rie. The hero advmced as if through a fallen lorest. 28 'And "Ja nyt olet vapa, aitil Tule piiiviin valkeuteen, now, mother you tre freel Come to the daylight, nyt memyt on pitkii y6! Taas syftyvi silmas uike Now the long night is over! Your eyes stm to spdlde ilew Ja voi sirii ken hiuskeffi nyt piiest?isinotkistaal" And woe betide dyone who touches a hair on your headl' Ja linnasta h:in taluttaapi kuningafttren ilmoillen. And he led the queen out from the castle into the open. Ja vastaankusanjoukkojo dent?i?iriemuillen. Towilds them a throng was alrcady rushingjoyfully Ja on kuin laulua vienoaja hellaii taaskin sois, And, it seemed,the tendel md gende song w6 hetrd again. Mut on se amulaulua, iiiks' yii on memyt pois. But it was the moming song; the night had passedforever Poatu Cajander E-E Two CHoRALES(1889) Herr du bist ein Fels Lord, you are a rock Her dubist ein Fels, Du [und]wirst mich leiten. Lord.you de a rock,you [andlwill guideme Herr erzeige uns deine Gnade Lord, show us your mercy He( erzeigeuns deine Gnade, und hilfuns. Lord.show us your mercy, md helpus. trl-E KnNrnnrfl ToHToRIN- tA MAtsrERIN-vl H KUAIsIssA 31 pArvAr.rArouKoKUUrA 7894 | PnomortorunLCnntnrn,,s ro5 l. Mollo maestoso eil adagio l. Molto maestoso ed adagio Syntyikun mMilmat, luonto kun luotiin whenthe pldets werebom, when nature was created, Luoja kun lemmesseenloi mam. when the Creator through His love did make the eafth, Hengen sopusointuun ja aineen h?in aikoi - He strove for hmony of spirit md mafter syntyi kun maailmaja ihminen luotiin, when this world was bom and hunar*ind was created, Valkeus suotiin Light was given to man Tiellense 6hdeksi, ettei eksyis hlin htrhaan. As a std above his way, so that he would not go astay. Tiellemme peikot esteitaluokoon, Alfiough the goblins may plrce hindrancesin ou path' Luopua ei voi maalishm We cannot abmdon our goal Henkeme ilmaksi tieto onpi tullut For knowledge has become air for us to breathe; Uuftaja puhdastaain' yh?imeille May freedom always bring us Vapaustuokoon, Something new md pure' Niinpa ei seisauskulkua kohtaa konsam. lndeed nothing should blek our progress. Huoltensa alla kuD ihminen huokaa, when man groms under the weight of his womes. Luojd hiin kiitt?ieunhoftaa; He forgets to show Sratitudeto Cod: Vam elo halvinkin Kuoleman voisaa. But even the most modest life is preferable to death, Valkeusja tleto ne huoleme huotaa Li8ht and knowledge relieve our cres Kiitosta suokaa Let thanks ting out Halle, ku on elon antaja yksin ja valkeus. To Hin, the sole giver of life and li8ht. 29 Luoja on valkeus: valkeus tulkmn! The Lord is light: let there be light! Tieto on valta, mi voift@n viel Knowledge is power, which leads us to victory. Voitto on hemus luomon ja luonteen, Victory is commd over Mother nature md humm nahre. SiinA on onnemme luottavin pohja, That is what lays the foundation for our happiness, Kiiletty olkoon han May thanks be given Hiin, joka viiftasi onnehen miste kiiy tie! To Him, who showed where the path to happinesslies! ll, Allegro assai lL Allegro usai Kiiiiri: K*keksi korvet ne raadettiin, Choirr We tore down and bumed the woods for fields, Vaivalla toukoja tehtiin, Laboriously we sowed the crops, Henkeme taimia hoidettiin, We tended the seedlingsof our spirit, Vaikliakin niilke?i nlihtiin. Although we exp€rienced hunger Nytpli jo vmehen himet sai, Now the seedlingsde coming into bud, Kohta ne kukkia kantais, Soon they will burst into bloom, Kun vam Luoja nyt mossaan If the Lord now, in His mercy, Paivaaja liilrminte soisi! Will give us daylight md wmth! Mut ilma on kolkkoja kuurffisa maa, But the weather is drcary ild the lmd is frosted ovet Taivahan pilvyet peift?ia, Clouds cover the sky, Priv:ista merkkiii yhtii:in ei niiy, There is not a single sign ofdaylight, Kai teytyy toivehet heiftii:i? Probably our hopes will be dashed? Sopmani: Vaikka on synkee syksyinen yd, Sopreo: Even though it is a ddk, autumal night, Sent?ihen huomen koitu; Tomonow will still dawn; Vaikka on pystyja vaikea tie, Though the way is obsmcted and difficult, KestiivAtaistelun voift aa. He who persevereswill win the baftle. Luoja ei lastaM hyljAta voi, The Lord cmnot abddon His child, Koiftava kohta on p?iiva, Soon will come the daybreak, Aurinko lempdii tuottaa, The sun will bdng wmth, Haihtuva on joka hiiivii! All our ctres will evaporate. Kiidrii Niin kauvan me tuotajo toivoniin, Choir: Long though we nufrured ou drcams, Vam vihdoin mutui jo toiveet, In the end our hopes were dashed, Kun Luoja ei merkkia suonut ees, when the Lord did not deignlo give us a sign Jost' olisi saatunahoiveet. That would have aeassutedus. Henkemme siemenetsurkastuu The seedsof our spirit wilt kaipaillessap:iivea, As we long for the mival of day, Tahtome tmokin lannistuu Our will and energy tre subdued Tuhia taistellessa. By the pointless shggle. Niin kauvan me tuotajo toivottiin, Long though we ndured our dreams, Vam vihdoin munuijo toiveet, In the end ou hopes were dashed, Kun Luoja ei merkkie suonut ees, When the Lord did not deign to give us a sign Jost' olisi saasna hoiveet. That would have reassurcdus- 3o Baryton: Muinoin Väinämö tai’allaan Baritone: Old Väinämöinen, with his sorcery, Päivyen vuoresta lauloi, Sang the day out of a mountainside, Hallitsi luonnon ja kansat myös, He ruled nature and also over humankind, Sorteli Louhen vallan. He broke Louhi’s power. Vielähän Väinöjä Suomessa lie, Even now, maybe, some Väinämöinens can be found in Finland, Valkeus vielä ei sammunut, The light is not yet extinguished, Tieto on loihtiva pilvyet pois, Knowledge must drive away the clouds, Siin’ oli Väinämön taika. Therein lay Väinämöinen’s magic. Sopraani: Tieto on yksin kun kalpea kuu Soprano: Knowledge alone is like the wan moon Taikka kun talvinen päivä, Or like a winter’s day, On kun ontolta kaikuva puu, It is like a hollow, echoing tree, Lämpöä, voimoa vailla. Without warmth or strength. Rakkaus tietäjän mahtina on, Love empowers the wise man, Jolla hän vuoria siirtää With it he moves mountains. Lämpönsä mahdilla päiväkin vain The day, with the power of its warmth, Uusia muotoja luopi. Creates new variety. Kööri: Rakkaus tietäjän mahtina on, Choir: Love empowers the wise man, Jolla hän vuoria siirtää. With it he moves mountains. Lämpönsä mahdilla päiväkin vain The day, with the power of its warmth, Uusia muotoja luopi. Creates new variety. Tietohon taipuva henkemme on Our spirits long to attain knowledge Niin kuni kukkanen päivähän, As the little flower longs for the daylight, Mutta ken, ken viittovi meille tien, But who, who will show us the way Kenpä nyt joukkoja johtaa? Who will now lead the people? Kenpä nyt joukkoja johtaa, ken? Who, who will now lead the people? Baryton: Tietäjät johtohon aiottu on, Baritone: Wise men are the ones who should lead, Heillä on työ sekä taakka, The hard work and the burden are theirs. Tieto ja viisaus velvoittaa Knowledge and wisdom compel Kansojen yhteistyöhön. The peoples to collaborate. Sopraani: Rakkaus kaikkia velvoittaa Soprano: Love compels all Kansojen yhteistyöhön The peoples to collaborate, Rakkaus kaikkia vapauttaa, Love liberates all, Työtä ja taakkoa huotaa. It alleviates the hard work and burden. Baryton: Kaikkia rakkaus velvoittaa Baritone: Love compels all Tiedolle johto kuuluu, Knowledge and power belong together, Tietäjät kansoa huolestaa, Wise men bear the worries of the people, Vallan ehto on tieto. Knowledge is a precondition of power. Sopraani: Keillä on lämpöä hehkuvin syön, Soprano: Those whose hearts radiate warmth Johtokin joutuvi heille, Are the ones who should lead us, 31 Nuorison rinhhan liimpimin lyii, Young people's he4ts b€at wannly Pyrkien tiedon tielle. As they wish to follow tle path of knowledge. Sillepii, toivo k@se ja mam, Herein lies hope for the people md for the country, Ylm?i[e oikea aikas, Undershd that this is the right time for you, Nouse jo kmsoja nostatt@am, Now trise and .aise up the people, Sun oli muinoin se taikas! Yours was that ancient magic! Baryton: Siin' oli Vain;imiin taika. Baritone: Therein lay Viiln?imdinen5 magic. Baryton ja Sopreni: Rakkaus kailkia velvoittaa Baritone and Sopruo; lnve compels all Kdsojen yhteistytihijn, The peoples to collaborate, Ralkaus kaikkia vapauft aa, Love liberates all, Tyittii ja bakkoa huotaa. It alleviates the hdd work md burden. Tyithdn, yhteistyithdn, tydhiin. To wo.k, collaborate work. Sopmani, Baryton ja Kiiirir Soprano, Bsilone and Choir: Nouse kansa kaikki hengen tyiihiin Adse, people, may the spirit lead us; Eessekayijs joukko nuorison! onwad leads the youthful bmd! Tieto olkohon nyt as@nillme, If,t knowledge be our weapon Ratkaus voima on. Love is power Riennii kilpasille vmhaja nuori, Let young md old alike compete Tyittii vainiolta viljoin on: In reaping a ripe heest. Rimet hallaiset me valmistmme Frozen fields we shall prepee T6ille auringon. So the sun cm do its work. Nouse kmsa kaikki hengentydhdn Arise, people, may the spirit lead us; Eessakayiis joukko nuorison! Onwud leads the youthtul bmd! Tieto olkohon nyt oppamalme, Let knowledge be our guide Rakkaus voima on- Love is power Nytjo ensi kylvtttjourua alkaa, Now the crop begins to ripen, ViUa saatavaon koduuseen, And we must hNest it, Hengen viljakin on hallm trka, Fragile, too, is the hNest of the soul, Tuuli on kaakkoinen. The wind is coming from the south-east. TUlta sytytt?imfi?in nuoriso reipd! Sprightly youth, go and light the lire ! Liimpii hengen viljd suoja on. Wmth will protect the spiritual hNesl Tieto hallayiitkin torjua voipi, And knowledge can wild offthe frosty nights, Tieto vapaus on. Knowledge is freedom. Nouse kmsa kaikki hengen tydhtin Arise, people, may the spirit lead us; Eessekiiyiis joukko nuorison! Onwtrd Ieadsthe youthful bmd! Tieto olkohon nyt oppadmme, Let knowledge be ou guide Rakkaus voima on. Love is power Rakkaus onpi voimaa. Love is indeed power. Kasimir linnbo hm I lc ino ] )2 8 Partiolaisten marssi / Scout March, Op. 91b Kun usko puhdas, säihkyvä on, When faith is pure and radiant Niin vuoret siirtää voi. It can indeed move mountains. Tää sielun varmuus horjumaton This unhindered certainty of the soul Ain sankareita loi. Makes heroes. Jos uskos hyvään, oikeaan If your faith in what is good and just Vain syttyy uudestaan, Can be reignited, Käy joukkohon, ja horjuttaa Come and join us, and no hindrances Ei milloinkaan sua esteet saa. May ever again affect you. Ja täysi raikas rakkaus luo And love in all its full richness Kuin ihmeet itsestään, Can create miracles, Se elon kukkaseppelen tuo With the garland of life Myös kruunuks’ ihmispään. It will also crown a human head. Jos työt ja toimet vaikeat If difficult work and tasks On sulle rakkahat, Are the ones you hold dear, Käy joukkohon, ja taivas suo, Come and join us, and Heaven will grant you Ett’ toimintaan se tulta tuo. Fire with which to accomplish them. Vain toivo, voima taivahinen Only hope and the power of Heaven Voi maalin kirkastaa, Can illuminate our goal, Kun kulkee eespäin suojassa sen, When, protected by them, we travel forward, Ain suurta aikaan saa. Our achievements will be great. Jos toivo mieles jännittää, If hope excites your mind, Ja aikees puhtaiks’ jää, And your aims remain pure, Käy joukkohon ja kulje ties Come and join us, and travel Kuin voimakas ja terve mies. As a strong, healthy man. Jalmari Finne 9 Maan virsi / Hymn of the Earth, Op. 95 Kehto ja hauta, harmaja valta Cradle and grave, mysterious realm muhkean mullan, Of fruitful soil, sateen ja paahtavan päivyen kullan, Of rain and the bright gold of the sunlight, nouseva norosta, turpehen alta, Rising from a trickle, beneath the peat, antaja elon, Giving life, kantaja ikuisen kuoleman pelon. Bearer of the eternal fear of death. Maa! olet mahtaja sykkivän suonen, Earth! You are the ruler of the pulsating vein, kukkivan kedon, Of the flowering field, vierivän villan ja juoksevan pedon, Of the roaming livestock and running wild beasts, peri-isä pellon ja tuttava Tuonen, Ancient father of the fields and acquaintance of Death, 33 jumaluus jyvän, Deity of the corn, kaitsija kasvun huonon ja hyvän. Protector of growth, both good and bad, Maa! sulle kiitosta kantele soikoon, Earth! May the kantele play to you in gratitude, suvilaulu Suomen, Finland’s summer song, tuoksussa juhannuskoivun ja tuomen, With the scent of the midsimmer birch and cherry tree, rikkaana riemuita virtemme voikoon, May our hymns rejoice richly, elonhuolet voittaa, And vanquish the cares of life, kauneuden korkean sydänkieltä soittaa. Playing the heart-strings with great beauty. ”Maa iki-heilivä, Maa hius-häilyvä, ‘Ever blooming earth, earth with ever-waving fields of hair, kesäpäivän-päilyvä, Radiant on a summer day, tuulessa kultaisten laihojen lainehet, Golden stalks undulating in the breeze, emo syli-lempeä, emo sydän-hempeä, Warm maternal lap, tender maternal heart, luo meihin lämpöä, Grant us warmth, suo meissä kypsyä ajan alku-ainehet! Allow the first fruits of time to ripen in us! Maa elon-kaitsija, Maa manan-loitsija. Earth, protector of life, magician of death, hengen-haltioitsija, Inspirer of the soul, tule meille turvaksi työssä ja taistossa! Come and protect us at work and in combat! Kun korpi kohisee, syystuuli tohisee, When the forest murmurs, the autumn wind whistles, yön siipi suhisee, And the wing of night sighs, vieri kesävirtenä veressä ja vaistossa! The summer hymn resounds in our blood and our spirit. Maa iki-nuortuva, Maa suvi-suortuva, Ever-rejuvenating earth, with summery tresses, tuhatrinta-tuortuva, Refreshing a thousand breasts, ole meille armias riemumme retkellä! Be generous to us as we proceed joyously! Emo ilta-ripsinen, emo aamu-hapsinen, Mother with eyes of evening, hair of morning, aurinko-lapsinen, Child of the sun, katso meihin kauniisti kuoleman hetkellä.” Watch us sweetly at the moment of our death.’ Lauluun yhtyvät laaksot ja korvet, The valleys and woodlands unite in song, paisuvat pellot, And the fertile fields, laitumet laajat ja karjojen kellot, Wide pastures and cowbells, raikuvat taivahan rantojen torvet The horn calls ring from the shores of heaven valkeuden juhlaa; In celebration of light Maa pyhä, laupias lahjoja tuhlaa. Holy earth, merciful, gift-bearing. Laupias Maa, Maa, pyhä Maa! Merciful earth, earth, holy earth! Eino Leino 34 @ PnocesstoNAL,0p.113 No.6 Onwtrd, ye peoples, strive fbr the Light! Fires are gleaming, \oices tre singing The Light that the Lord hath givcn us for our guide, Fo(h from Moum Neboh's heaven-srormingheighr. Who through murk and darknessolnight Salem! Saleml Hark, they call us Hath led us in safely unto our reward. Upr'rrd and on, to our Father's hoile. Seehow the llery pillar is gleaming. Salem!Salerr! on the horizon, Lighting our steps,when dark is the way. Llrging us on to God and our home; And the Light of thc World. it cleaveth the gloorn! And thc hea\enlv choir doth ring from Mount Neboh. Blacknessofnightthatelsewouldengult'us. Piercingrhebluelikealivinglighr. Seethe cloudy pillarto shieldus Saleml Saft trhen the sun would blister us. Then forward, where faith revealeththe wayl For God is our guide. and Hc will never fail I Viktor R,-.lberg/ Marshall Kernochan kJ. E.totlus l3:21 ; Deuteronon,- 31) TheJS numbering used in this productionrefers to the alphabeticallist ofJeanSibelius's compositions without opus number,as found in Fabian Dahlstton's JeonSibelius: Thenatisch bibliographisches Vetzeichnisseiner l,yerke(Breitkopf & Hartel 2oo3). lttpl Recordedon 7th-1oth lanuary 2oo4 (tracks 1, 2 & 9) and 2lst 24th August 2oo4 (Xacks I 8 & 10) at the Sibelius Hall, Lahti, Finland Recording producers: fMarionSchwebel (tiacks 1, 2 & 9); lngo Petry (tracks 3 8 & 10) Sound engineers: Thore Brinkmann (tracks 1, 2 & 9); iens Braun (tracks I 8 & 10) Digital editing: Christian Starke, Matthias Spftzbailh Recordingequipment: Neumann microphones; Studer Mic AD 19 pre-amplifier;Yamaha DMlooo mixer; Pro Tools Digi 02 HD recording; Stax and Sennheiser HD 600 headphones (tracks 1, 2 & 9); Neumann microphon€s; Yamaha O2R mixer; ProToolsand Digi Design l_lDrecording; Sennheiser headphones (tracks 3'8 & 10) Projectadviser: Andrew Barnett Executiveproducer: Robert Suff TheLahti Symphony 0rchestra issupported in thisrecording BooKLErAND GRAPtsrc DEs cN projectby theFinnish Performing Cover text: O Andrew Barnet 2oo5 MusicPromotion centre (ESEK) ;r"# :;;"; il"o",""*ilniii tiin?.r,1, soo, o. tchorz (Germanl;Ailere Lemieux.chene (French) Photograph of Osmo Vanska: O Seppo l.i. Sirkka / EastpressOy Typesetting,lay.out: Andrew Barnett, Compact Design Ltd., Saltdean, Brighton, England B S CDs can be ordered from our di5tributors worldwide. lfwe have no representation in yourcountrI please contact: BIS RecordsAB, Stationsviigen 20, SE 184 5o Akersberga, Sweden Tel.:08(lnt.+468)544102 30 Fax:08(nt.+468) 54 4r02 4a [email protected] www.bis.5e BIS-CD-1365O &@ 2005,BIS Records AB, Akersberga.