Music from Finland; 22
This is music. Classical contemporary and folk music from the Sabbat Yes festival and the 50th anniversary of Finnish independence celebration in a series reviewing some of the current musical activity in Finland. This is festival of 1065 on the 50th anniversary celebration of 1967. Presented considerable quantities of music by outstanding composers other than Sabbat us and from a wide variety of historical periods. There were also several Illustrated lectures documenting interesting aspects of today's Finnish musical culture. This third series of programs of music from Finland is based almost entirely on recordings supplied by the Finnish Broadcasting Company or production by the University of Michigan. Throughout this a bit is festival year. There was intense activity in musical circles worldwide by
musicologists and performers alike. Recently critics have been pointing out the unusual number of performances of the works of civilians and attribute this upsurge of interest to enthusiasm generated for the composer's output by the emphasis they received during the festival of equal importance is the contribution made to our knowledge of Sabbat Yes and his works by musicologists the most outstanding of this rather small group is every type of professor of music at the University of Helsinki and the leading biographer of it yes. Professor tell it's you on AM visit at the University of Michigan campus during the civilian festival year to deliver a major lecture on the subject. Young Sabbat us in the contemporary musical scene in your todays broadcast of music from Finland will present part one professor Talbot's Yunus illustrated lecture here now is Professor Talbot's Yana. Who was all paid to us in life.
Such was the warnings he just gave himself while he was working on his fourth symphony. He regarded doctors hate us obviously as the mood of the installation the you refused to touch the wonderful travesties which for him where the essential conditions for creation the source of opposition perhaps with Pete OSS CBL use men to a special way of life and attitude to existence so Lottie's life here below is pathos with him in his diary he returned to eat time and time again and he saw it reflected in the events of his day. When Ian or boost 1940 he exclaimed what pay to US
varies in his day. When pathos appears in art it often reflects. The phenomena of a period of transition. The agency being used is collectivized quite simply by the nominal transition because he's ultimately. Should remember that. Beatrice was born in 1865 just a me you know when wildness to eastern and is all there was but perform for the first time in. A week. Because he's all the knowledge he has a great problem in music at the top of the century on air or others and CBL use realized he's in November
96 the Beatles wrote he's notes for the trial lecture he got he gave at his university on folk music and its influence on our music. There is a remarkable similarity between our time and the century before but at that time church modes were in a state already so use today. Well clearly see that the modern to nullity is totally. But one cannot go down the old without it without having something new to put in its place and constructing a tonal system isn't enough. It must be something I live in. Folk music. By doing a parallel between his own day and essentially before but
he believes was in fact defining the limits of the ascendancy of major minor tonality in the history of music. He cut through the but Oak period and the lead and people begin with the retreat modality and a breakthrough a major minor tonality that followed in their seventeenth century he's whole new show as a musician was firmly and colored in tonality and for him the victory over major minor. Finale modality was a more significant turning point that a tie on. Oh I'm on the all about Billy Bunny during the century after Bach. This was why for him you because of your position all major minority to anality in the middle
of the 1890s was a painful experience. He placed his own time you know wider perspective and saw it as not only the end of the century romanticism but something a much greater significance. And if you look to the whole ebook major minor anality which had lasted for some two hundred and fifty years. Thus before the turn of the century Sabinus had already foreseen the approaching the solution of anality and it would use names that would follow its a disappearance as a fact or uniformity. We don't want you to hold CBS up as a prophet. It's difficult to avoid being struck by the resemblance between his lecture notes and the statement oh say Donald Mitchell in the language of
modern music published in 1963 concerning the way you know each tonality held somewhere in some way over Western music for 300 years. And really it was the frog by the convolutions who troop music towards the end of the 19th century God Zack's the German Americans call out music. I need to tell it to you in places the turn of the century in an even wider perspective. For him it signifies no less than a final fear a giant cycle in the history of music a cycle that began at around a year 14 30 when harmony appeared for the first time as a vertical structural element in defies the phony and dies away some five hundred years later with a
dissolution. And their function is ization of harmony in the BBC's forbidden parallel interval Scrabulous force called at analysis. Zack's makes these giant sightless followed it up and down movement to all the periods of Cato's and he toss in the history of the form so out. At many points he says it's good motivation. He tries a little too hard perhaps to make the city given its pages in history music fitted into the system but. When he describes the beginning of the 21st century as the highly pathogenic part of the knowledge of the epoch itself appealed to its pathos forcing its basic nature in that he do and Hellenistic combination.
He's a very interesting person. It will perhaps be too below to maintain that CBL use like Zack's combine to pathos in his own name and that of the spirit of the age will be he's using to melody. So I don't say that CB The spate of IIS actually the same size as a sax such as hate us but in it's abusive to beat us this exaltation not to tear down the old read out having something new to put in its place. There are undoubtedly lies a touch of Hellenistic tragedy harmonizing. Well we did a series of Saxony to much or later theories of physics. Each lecture was discussed and extremely topical Feet
Two days later on November 28 96 in Munich because Strauss conducted his tone as all splattered toast. That's dealing a harder blow to the foundations of tonality as you know it in his work. C major and the Major are placed. Over one another and the only theme for their research just contains all 12 notes of the chromatic scale or each will refer to five different tonal centers. Two years prior to these BBC had completed the form and was then engaged on the composition of the federal show biz Ollie who was probably already busy developing the ideas for new tonal scales that he was to present in his paper. It would only annoy a stay to
talk first. He might even have discussed these ideas with his friend CBS but in 96 at least Bill Use had a prior adopted and negative attitude to the idea of building constructing what he had written in the rough draft of his late show but he crossed it out and building a tonal system lacking a living prototype in folk music. She views the ball against the rejection rejection of atonality. Back at the same time he feels attracted to the Borderlands 2 like in this way he exemplifies the you know country which according to Paul Henry learn after ID is
a mantra and which came to a head in the traditional period or late from a disease. Impressionist with its sliding harmony its shimmering lights and its every stick seems enticed to be loose with the enchantment of how things are in here but we'll know at the same time after meeting DBC in London in 1990 when he heard him conduct the orchestra. You'll be loose but I have entirely new points of view in my music. I've been in a trance. I lived in the nick of time. She views and stimulated a number of stylistic elements and adopted them to music. The beginning I
should say as two met. By. The BBC. Why.
Why. Why. You're.
You're. Attracted by expect that he was bi. He was at least momentarily interested in Sherman barracks ferry's crew member second string quartet made at deep impression on him when he heard it in Berlin in a 1940 a few days earlier. How are you scribe the same composer as Chamber Symphony. Come in funny something resulting from said a brass training and is that torture to the year. But at the same time he could sense the devil was something great in the work. Although he doubted whether it was given to him better to accomplish his ideas.
I'll get tell you that she be reported to have said. They did their best composition of symbolic E's album back. But poor Sybil use semantics. I don't know. Expressionism was not the subject of an inner conflict. It was in any case too alien to him. He was much more passionate about ID in expressionism or Strauss Electra electorate also appealed to him as a symbol or the world over which he had many times made up his mind to conquer. At certain stages of his life when he was torn between Opera and to see if the inattention he seemed to
accumulate around Electra. My attitude to modern or better is as I'm decided as ever. But in his heart he knew that as an art form open I was alien to him. It never found everywhere I was sounding more in him as he said himself. He wrote it down in German last in Munich East. CB Hughes defended himself from the germs over each. He couldn't find within himself don't elbow nobilities triads. We'd all thought and so on. To take you from your work. It isn't everybody who can be a pioneering genius as an individual and try and oust invalid. Being from the forests.
You would make your own modest little mark that is there a particular background. The irony contained in these words CBL used them while he was working on his philosophy a work which even today can surprise us. We always notice the minted force as a structural interval between ality feet oh no you know I said yes and I bow. It's organic development for. Work. Why.
What. You have been listening to. Part one of a lecture by the foremost disobey Yes authority
Professor Eric Talbot's Yana of Helsinki on the Young's a bit yes in the contemporary musical scene in Europe a lecture delivered and recorded on the University of Michigan campus during the Sabbat years festival year and presented here as another program in the series of music from Finland. Part two in this illustrated lecture will be heard next week. Boy a good. Night was. It worth. Knowing what. It was. It was. At Burroughs speaking and inviting you to listen again next week at the same time for another program of
music from Finland. This is the national educational radio network.
- Music from Finland
- Episode Number
- Producing Organization
- Finnish Broadcasting Company
- University of Michigan
- Contributing Organization
- University of Maryland (College Park, Maryland)
- AAPB ID
- Series 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.
- Event Coverage
- Media type
Host: Burrows, Ed
Producing Organization: Finnish Broadcasting Company
Producing Organization: University of Michigan
- AAPB Contributor Holdings
University of Maryland
Identifier: 69-7-22 (National Association of Educational Broadcasters)
Format: 1/4 inch audio tape
If you have a copy of this asset and would like us to add it to our catalog, please contact us.
- Chicago: “Music from Finland; 22,” 1969-05-08, University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed September 23, 2023, http://americanarchive.org/catalog/cpb-aacip-500-7h1dpc5z.
- MLA: “Music from Finland; 22.” 1969-05-08. University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. September 23, 2023. <http://americanarchive.org/catalog/cpb-aacip-500-7h1dpc5z>.
- APA: Music from Finland; 22. 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-500-7h1dpc5z