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This is music from a serious reviewing some of the current musical activity in Finland. From recordings supplied by the British Broadcasting. Company for production by the University of Michigan. Today's broadcast is another straighted lecture on the subject. Finnish music in the 20th century from notes and illustrations prepared for the Finnish Broadcasting Company by Pablo hella stuff. It's not easy to be a composer in the country of Seville Yes. A Finnish composer was reputed to have said in the 1980s this was indeed an ambivalent truth during the first three perhaps four decades of this century. No one in Finland could or wanted to question the mastery of Sabbat Yes. Every Finn from composers to the smallest elementary school children knows the overwhelming significance of Sabbat is in Finnish music. Without Him there is not much to be said about it in an international sense. But one artist standing head and shoulders above other artists casts a shadow like an enormous tree over a great part of his
surroundings. The Finnish composer who began his creative work in the 1980s for instance had an inferiority complex from the start and not without reason. However civilians did not have the worst kind of shadowing effect on his contemporaries immediately. He was the first to encourage and support other composers without regard to their age or their particular field of musical activity. His brother the kindness was experienced by many generations of composers from Dean. Do I know Johann I wrote of our own. But the general public stuck to its opinion that his works represented some kind of stylistic norm in Finnish music without paying attention to what Sabet just himself had to say. He himself paid close attention to the musical trends of this period of change but the rest of the world of music critical authority the leaders of Finnish musical life did not do the same. Contemporary Finnish musical periodicals convey this clearly. Debussy. It's a bit just as contemporary was virtually
ignored and impressionism came to Finland about 20 years late because Strauss is mentioned but then only as something of a curiosity and someone to be avoided. Sure and bad was anathema to these critics. Those composers could only draw the following conclusions. The influence of foreign trends had to be avoided. And because of bed yes it established a worldwide reputation as an orchestral composer. They had to concentrate on some other form of composition. So say embalm gran devoted himself to works for the piano. Here you're here put him to lead and lead a Monday TOI. Although he began as a symphony just turned in his later years to vocal music and opera. You are a medic on top of the most notable of Finnish composers at the beginning of the century went through the most unusual course of development open to a composer. He began by using an atonal technique but later fell back on a more traditional manner of composing. He can't be blamed for turning to the kind of music that would
guarantee him at least a few performances in Finland. The culprit is once again that vague an indefinable phenomenon the spirit of the age. It was Ono clomb a contemporary of his born at the beginning of the century. Bill finally succeeded in making a compromise between his own personality as a composer and this spirit of the age. He struck a new free and uninhibited note in Finnish music. Stylistically it was no newer than impressionism but entirely personal expression. Could not but help having a liberating influence on other composers. But let's return to the beginning of the century.
I. Sent him upon Grange music as well as the development of his career reveals characteristics that are typical of Nordic music at the beginning of the century. To begin with he was an uncomplicated composer of metal days even to the extent that listener oriented to symphonic music felt for a long time on a slight interest in his small scale works. So an embalmer reign was born in 878 So his best creative period began at the beginning of the century. It was a real artistic figure and a cosmopolitan who did not feel entirely at home in Finnish cultural surroundings apart from Helsinki. He was equally familiar
with Berlin Weimar Rome and Stockholm in the 1920s he spent several years in the USA and among other things was a professor of Composition at the Eastman School of Music. He returned home in the 1930s and worked as a professor of piano and later as Professor of Composition at the sebaceous Academy he died in 1051. Young problem brains I doze was shroom on list and Chopin the greatest names in romantic piano music. Today seen in perspective his work still shows that these same composers were his household gods the lyricism of his metal days of the sensitivity of his use of harmony are always the bases of his music. He was a master of style who made use of his thorough knowledge of harmony. The Chopin Finland as they epithet connected with his name more and more often and generally speaking an accurate one provided that we remember that the beat of the Polonaise in the mazurka lie here replaced by the more contemplative landscape of the north.
It's clearly apparent in his composition for the piano on wrote it.
But gran also resembles his great model in that the attraction of his piano concertos is not to be found in the development of themes as much as in the expansive and highly melodious pianistic writing but take it on a modern conception of the concerto. But impressive in its own way. Pomfret wrote five piano open shadows and all between 1004 and 940 Concerto Number two via top successfully conveys a picture of a sweeping Finnish landscape and is an expansive and romantically lyrical view of art. A.
The finish. I don't still prevailed at the time of the birth of this concerto in 1014 and in fact only Sabbat Yesa tried to shatter it with his fourth symphony internationalism was however appearing in Finnish music in a more limited form of expression lead you know your kid up in it was completing his studies in Berlin and was soon to be ready to embark upon a work which in the years to come was to produce about 700 songs for a solo voice. This was indeed a veritable army of songs invading the microcosm of the lead in the world of music. They give an amazingly manifold picture of you know your Kilbane ends art at the same time reveal the economy of his musical idiom. At the beginning of his career it was close to a way of thinking reminiscent of folk music and this was apparent in his choice of texts. They were mainly small scale lyrics by Finnish speaking poets and the songs created from them used clearcut melodies and harmonies. The song Say or summer night is a very good
example of coping in this Folk Song taek a type of lead in the eye of the poem is alone on a summer night on which silence is descending and only a distant dance tune accompanies the memory of the poet's painful experience. An ode to finnish dance tune is heard at the beginning of the accompaniment and thus a small scale art acquires almost tragic dimensions.
However Gilpin did not long follow this idyllic line is work was extended to the form of great song psychos in the best tradition of romanticism. The text became Swedish and German which helped the song to become known in Germany the traditional home of lead. They gained in stature sometimes they had an almost undecorated simplicity in their use of church modes in their modulations and their often ascetic the compliments. This was music developing from the native soil and becoming international. Oh.
Yeah.
Good.
In the 1920s finish literatura became European and urban thanks to the influence of a strong group of writers. At the same time Finnish music went through a period that could have been inestimably significant to the development of creative music in Finland had audiences been ready to appreciate adiabatic condo's works. However this was not to be met a conta was alone and his atonal way of writing came as a shock to the followers of the Finnish idol. When we don't need to imagine his concerto for violin clarinet French horn and string sextet in the concert made you have the 1020 is alongside the lyricism upon grain and the gentleness of Maillard teen to understand the nature of the shock. A.
Oh. You're. A.
Why. Why. Why. The age old holiday that autumn in a condo represented cannot be traced back to any particular mottos it came about of its own accord and it first appeared in a small scale opera in 1900. It was almost surprising that this kind of musical thinking should have appeared in him the son of the most devoted of melody a scholar but a condo. Nor did his studies and composition of Mach's Rageh encourage the radical element in his musical
personality as he concentrated mostly on technique and the Art of Fugue. Later he was to master this thoroughly which was to be of considerable advantage to him in the future as a professor of composition in the 1920 is automatic Konto wrote a lot of modern chamber music among other things the non-IT which has attracted a great deal of attention in Finland today. There is a primitive tone poem upon dates back to 1994 and represents the wildest and most attractive music ever played by a Finnish orchestra. You are.
You're. Right. The illustrated lecture on the subject Finnish music in the 20th century prepared for the Finnish Broadcasting Company by Apollo helis will be concluded next week. Boy A. Good thing.
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Series
Music from Finland
Episode Number
17
Producing Organization
Finnish Broadcasting Company
University of Michigan
Contributing Organization
University of Maryland (College Park, Maryland)
AAPB ID
cpb-aacip/500-154ds19s
If you have more information about this item than what is given here, or if you have concerns about this record, we want to know! Contact us, indicating the AAPB ID (cpb-aacip/500-154ds19s).
Description
Other Description
Music from Finland is a series of programs focused on classical, contemporary, and folk music from two musical events in Finland; the Sibelius Festival of 1965 and the 50th Anniversary of Finnish Independence Celebration of 1967. The series is based on recordings from the Finnish Broadcasting Company for production by the University of Michigan, and was distributed by the National Educational Radio Network.
Date
1969-04-03
Genres
Event Coverage
Topics
Music
Education
Local Communities
Recorded Music
Media type
Sound
Duration
00:29:59
Credits
Host: Burrows, Ed
Producing Organization: Finnish Broadcasting Company
Producing Organization: University of Michigan
AAPB Contributor Holdings
University of Maryland
Identifier: 69-7-17 (National Association of Educational Broadcasters)
Format: 1/4 inch audio tape
Duration: 00:29:45
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Citations
Chicago: “Music from Finland; 17,” 1969-04-03, University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed January 18, 2022, http://americanarchive.org/catalog/cpb-aacip-500-154ds19s.
MLA: “Music from Finland; 17.” 1969-04-03. University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. January 18, 2022. <http://americanarchive.org/catalog/cpb-aacip-500-154ds19s>.
APA: Music from Finland; 17. Boston, MA: University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from http://americanarchive.org/catalog/cpb-aacip-500-154ds19s