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Download Booklet Composer Jean Sibelius (1865-1957) and artist Akseli Gallen-Kallela (1865–1931) are major figures in the history of the Finnish arts. Both created works inspired by the Kalevala, the Finnish national epic. This disc features Kalevala music by Sibelius and images of Gallen-Kallela’s JEAN SIBELIUS & AKSELI GALLEN-KALLELA INSPIRED BY KALEVALAMUSIC AND ART ODE1052-2 ONDINE best-known Kalevala artworks. Jean Sibelius 1 Pohjola’s Daughter 13:30 Tampere Philharmonic Orchestra, Tuomas Ollila 2 The Swan of Tuonela 9:56 3 Lemminkäinen’s Return 6:20 Helsinki Philharmonic Orchestra, Leif Segerstam INSPIRED BY 4 Väinö’s Song 9:44 5 Song to Lemminkäinen 3:16 Finnish National Opera Chorus and Orchestra, Eri Klas 6 Tapiola 19:21 Helsinki Philharmonic Orchestra, Leif Segerstam [62:42] ODE1052-2 DDD LC 3572 Manufactured in Austria. Unauthorised copying, hiring, lending, public performance and broadcasting of this record prohibited. Previously released ൿ 1990–1996 This Compilation ൿ 2004 JEAN SIBELIUS Ondine Inc., Helsinki • www.ondine.net © Lienau (1), Breitkopf & Härtel (2-6) AKSELI GALLEN-KALLELA 1052 booklet 23.4.2004 14:03 Page 1 Music & Art INSPIRED BY Kalevala JEAN SIBELIUS AKSELI GALLEN-KALLELA 1052 booklet 23.4.2004 14:03 Page 2 Runo I: “Thus I hear it spoken...” Illustration for the Great Kalevala 2 1052 booklet 23.4.2004 14:03 Page 3 Jean Sibelius 1 Pohjola’s Daughter 13:30 Tampere Philharmonic Orchestra, Tuomas Ollila 2 The Swan of Tuonela 9:56 3 Lemminkäinen’s Return 6:20 Helsinki Philharmonic Orchestra, Leif Segerstam 4 Väinö’s Song 9:44 5 Song to Lemminkäinen 3:16 Finnish National Opera Chorus and Orchestra, Eri Klas 6 Tapiola 19:21 Helsinki Philharmonic Orchestra, Leif Segerstam [62:42] 3 1052 booklet 23.4.2004 14:03 Page 4 The Kalevala – How Music and Nationalism Met and Mingled äinämöinen the wizard, Lemminkäinen 1840s that the Kalevala emerged. A short early version the death-defying adventurer and was published in 1835 and the considerably expanded Aino the young maiden who drowned final version in 1849. Today, the Kalevala has been herself rather than marry Väinämöinen. translated into more than 45 languages. These are some of the main The poetry of the Kalevala is in trochaic tetrameter, Vcharacters of the Kalevala, Finland’s national epic. an infectious rhythm. No wonder then that it has The poems of the Kalevala evolved over the course inspired composers, poets and artists over the years, of some two thousand years, and the oral tradition and even filmmakers and graphic novelists in our days. continued unbroken in Karelia, the region between The excitement sparked by the Kalevala was at its eastern Finland and Russia, until the early 20th highest in the 1890s. Artists in various fields took up century. The runo singers who passed the tradition themes from the epic to create artworks, among the down from generation to generation were important most important of which are those by composer Jean people in their communities; some of them, it is Sibelius and painter Akseli Gallen-Kallela. The 1890s believed, were shamans and healers too. have come to be known as the ‘Golden Age of Finnish The extensive stock of folk poetry that underlies the art’; the nationalist art movement is described Kalevala does not constitute a single uniform variously as Kalevala Romanticism and Karelianism. narrative. It was not until Elias Lönnrot, a physician Karelianism involved a political agenda too. From and a tireless collector of folk poetry, fashioned his 1809 to 1917, Finland was a Grand Duchy in the Russian collected material into a coherent tale in the 1830s and Empire and enjoyed, for historical reasons, an 4 1052 booklet 23.4.2004 14:03 Page 5 The Departure of Väinämöinen 5 1052 booklet 23.4.2004 14:03 Page 6 Runo III: “Väinämöinen, ancient minstrel...” Illustration for the Great Kalevala 6 1052 booklet 23.4.2004 14:03 Page 7 exceptionally high degree of autonomy. When the Russian Government began to encroach on these traditional rights in the 1890s, resistance erupted. Artists reacted to the situation by focusing on national Finnish features in their work. The Kalevala provided an excellent basis for this. Not that the Kalevala was easy to tackle by any means. Jean Sibelius and Akseli Gallen-Kallela were not the first artists to delve into the epic. Gallen- Kallela’s predecessors in fine arts were sculptor Erik Cainberg and painter R.W. Ekman. Cainberg borrowed his visualization of Väinämöinen from ancient Greek sculpture, while Ekman’s Kalevala paintings were too genteel to seem genuinely Finnish. In music, Sibelius’s work on the subject was preceded by Filip von Schantz's Kullervo Overture (1860) and Robert Kajanus’s orchestral work Kullervon kuolema (Death of Kullervo, 1880) and tone poem Aino (premiered 1885). In fact, Robert Kajanus was one of those who pointed Sibelius towards the Kalevala. Writers enthusiastically took up the metre of the Kalevala. However, even as late as in 1886 author Juhani Aho observed that he did not have enough patriotic vim to “go to Russian Karelia or Lapland or Estonia or to other Finnic peoples to collect poetry or to rummage through ethnic rags and tags”. Aho changed his tune, though, when he became involved in founding Päivälehti, the newspaper of the new ‘Young Finns’ party in 1890 and outlining a specific agenda for Karelianism in the arts. Jean Sibelius in Berlin (1889/1990) 7 1052 booklet 23.4.2004 14:03 Page 8 8 1052 booklet 23.4.2004 14:03 Page 9 By the River of Tuonela 9 1052 booklet 23.4.2004 14:03 Page 10 Nationalism and patriotism generated a new kind of Kämp because it was agreed to be “ugly”. Sibelius later solidarity which manifested itself in a number of ways, received an itemized bill where the list of drinks including lengthy informal social club meetings joined consumed was followed by “one (1) tiled stove”. by artists from various fields. The most notorious of Professor Erik Tawaststjerna, Sibelius’s biographer, these were the Symposion meetings at the Kämp said that at that time the music and writings of Richard restaurant (1892-1895), involving what was then the Wagner caused Sibelius to contemplate the creation of crème de la crème in Finnish art: composer Jean a comprehensive artwork, a Gesamtkunstwerk. In a Sibelius, painter Akseli Gallen-Kallela, author and letter to poet J.H. Erkko dated 1893, Sibelius rebelled publisher Eero Erkko, composer and conductor Robert against absolute music much like Wagner, saying: Kajanus and author Juhani Aho, among others. “Music can only attain its true strength when guided by There are plenty of colourful anecdotes about the a poetic purpose. In other words, when music and Symposion meetings. The artistic geniuses spent words unite.” In the same letter, Sibelius asked Erkko to inordinately long periods of time talking about adapt the content of the 8th and 16th runo (canto) of everything under the sun; at times the participants the Kalevala into a shape suitable for setting to music. succumbed to fatigue, only to soar to dizzying esoteric Sibelius’s first Kalevala composition, the tone poem heights in the next moment. Kullervo, was completed in 1892. Sibelius had gone to The point of the sessions at the Kämp was not so Karelia and met runo singer Larin Paraske in the same much the creation of something new as the year, and he had been greatly inspired. Still under the synthesizing of problems, in other words a sort of influence of Wagner, he planned to write an opera group therapy or mutual confidence-building exercises entitled Veneen luominen (The Building of the Boat), to strengthen the artists’ faith in their work and to but he soon became critical of Wagner and began to help them combat the demons that faced each of them favour a newer genre propagated by Liszt, the tone in the solitude of their studies or studios. poem. Sibelius recycled material from the opera project Jean Sibelius later dispelled some of the wildest in the Lemminkäinen Suite (1893-95/97/1900), whose tales about the sessions at the Kämp by observing that second movement, Tuonelan joutsen (Swan of there was really no reason for partaking of the Tuonela), was to have been the overture to the opera. offerings of Bacchus to excess, since the presence of These works were followed by Pohjolan tytär (Pohjola’s so many soul mates was inspiring enough. However, it Daughter, 1906) and Tapiola (1926), among others. was scarcely pure inspiration that one night prompted Contemporary reports reveal that the works of the brotherhood to dismantle the fireplace at the Gallen-Kallela had a profound impact on Sibelius. 10 1052 booklet 23.4.2004 14:03 Page 11 Kullervo Herding His Wild Cattle 11 1052 booklet 23.4.2004 14:03 Page 12 Joukahainen’s Revenge 12 1052 booklet 23.4.2004 14:03 Page 13 Sibelius frequently visited the studio of his painter and the conventional restraints of society. friend but might leave abruptly when a flood of For Sibelius, too, the natural environment was a musical ideas forced him to return to his own desk. symbol of freedom. The overture to the Karelia Suite One of the high points of National Romantic art in bears these lines written by Sibelius: “A soul seeking Finland was the pavilion designed by architect Eliel Karelia. / Seeking, not finding. / Anguish is Saarinen for the Paris World Fair in 1900. Gallen- overpowering. / Throws himself down, trying to kill Kallela painted the ceiling frescoes of the pavilion, joy. / Baccanal. / Retreats to solitude to a remote based on topics from the Kalevala.
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