Meet Finland: Finnish choral music in a nutshell

Jaakko Mntyjrvi, EMO Ensemble & Pasi Hykki 8th World Symposium on Choral Music, Copenhagen, Denmark July 2008 Jaakko Mntyjrvi 2008 This is an augmented version of the very brief handout that was given out at the workshop itself and covers things which I did not mention at all because of time constraints. -JM

A mercifully brief history of Finland

12th century 1809 Finland was part of Sweden. 1809 Following a pact between Napoleon and Tsar Alexander I of Russia, Finland was annexed by Russia in the Russo-Swedish War of 1808-09 and became a Grand Duchy in the Russian Empire with a high degree of autonomy: for example, Alexander pledged to uphold the [Swedish] pre-conquest Constitution of Finland. Late 19th century Nationalism began to grow in Finland as elsewhere in Europe. Finns had a strong need to see themselves as a nation among nations. We are not Swedish, we will not become Russians, let us therefore be Finnish. Although the cultural lite still spoke Swedish, Finnish came to be seen as the nations own language. The Kalevala Of immense importance to national self-esteem was the Kalevala, the national epic compiled by Elias Lnnrot and first published in 1835. The tales of the Kalevala did not form a coherent narrative entity in the oral tradition, but Lnnrot fashioned them into a continuous whole with remarkable sensitivity. Other folk poetry and folk songs were also eagerly collected. 1899 Tsar Nicholas II signed the February Manifesto, which was aimed at curbing the autonomy of Finland. This unconstitutional act sparked a broad-based passive resistance movement to which all the arts contributed too. 1917 Finland became independent in the aftermath of the October Revolution, and the new Soviet Government was one of the first to recognize Finland. 1918 The newly-independent country fell into a vicious Civil War between the German-backed right-wing Whites and Russian-minded left-wing Reds. The Whites won, but the scars never healed properly until the Second World War united the nation against a common enemy. 1995 Finland joined the EU.

Links
SULASOL (Finnish Amateur Musicians Association) www.sulasol.fi info@sulasol.fi sales@sulasol.fi Finnish Music Information Centre www.fimic.fi (see Contemporary Music > Composers) Jaakko Mntyjrvi web.mac.com/jaakko.mantyjarvi jaakko.mantyjarvi@welho.com

Meet Finland 8th World Symposium on Choral Music

Early beginnings to the 1950s Middle Ages

Liturgy of St Henry Complete service of offices for the patron saint of Finland, probably composed mostly in Finland. Piae Cantiones (1582, 1625) Collection of songs of priests and scholars, i.e. monastic and school songs, in Latin. Almost half of the 78 songs in the original edition are not known from any other source and were probably created in Finland. The rest are of Central European origin, and some have become very well known (e.g. Gaudete and Tempus adest floridum alias Good King Wenceslas). Most of the songs are monophonic, but some two-part, threepart and four-part songs are included. The 1625 edition added several more four-part songs, to a total of 90. No choral music composed in Finland between the 16th and 19th centuries is known.

19th century
Fredrik Pacius (1809-1891)
A German-born musician and composer who was appointed music teacher at the University (the only one in Finland at the time, moved from Turku to Helsinki in 1812) in 1835. He soon began to organize the musical life of his new homeland, founding choirs and orchestras. His work culminated in his writing the first opera ever written in Finland, Kung Karls jakt / Kaarle-kuninkaan metsstys (The Hunt of King Charles), to a libretto by Zachris Topelius. The premiere of this opera in an amateur production in Helsinki in 1852 was celebrated as an occasion of national importance. Pacius also wrote the song Vrt land / Maamme (Our land), which became Finlands national anthem.

F.A. Ehrstrm (1801-1850)

A school teacher who undertook to write simple partsong arrangements of folk songs, contributing to the efforts for creating an indigenous high culture for Finland. These were very popular and helped spread choral singing which in the 19th century was firmly tied ideologically to the Nationalist movement throughout the land. He also composed original partsongs.

Gabriel Linsn (1838-1914)

Wrote a considerable number of solo and choral songs but is today remembered only for the following number, which is well known by virtually all Finnish choirs and is thus a must know piece in Finnish choral music for all that it is a simple tune. The resemblance to Liszts Les prludes is coincidental. e e e Kespiv Kangasalla (Summer day in Kangasala) Publisher: R. Westerlund
M oksalla ylimmll oon Harjulan seljnteen. Niin kauas kuin silm siint, nn jrvi lahtineen. Kas Lngelmvesi tuolla vin hopeisin hohtelee, ja Roineen armaiset aallot sen rantoa hyvelee. On the highest branch on Harjula ridge I am; as far as the eye can see I behold lakes and bays. Over there lake Lngelmvesi sparkles with silver sheen, and the gentle waves of lake Roine wash upon its shore.

(Z. Topelius; translation Jaakko Mntyjrvi)

All pieces mentioned in this handout are SATB and in Finnish unless otherwise specified.

Meet Finland 8th World Symposium on Choral Music

National Romantics
Is it spring in Finland? is the name of the collection of Finnish National Romantic music for mixed choir referred to in the workshop. It is published by Sulasol.

Jean Sibelius (1865-1957)

The first composer to discover Finlands own voice, although his idiom was so original and innovative that he never really inspired a school of followers as such. He was also the first to set texts in Finnish following the cadence of the language rather than imposing Central European general Romantic musical models on Finnish texts. Mainly known for his seven symphonies, tone poems, incidental music, Violin Concerto and solo songs. e e e Venematka (The boat journey) (also TB) Publisher: Breitkopf & Hrtel
Vaka vanha Vinminen laskea karehtelevi tuon on pitkn niemen pst, kyln kurjan kuuluvilta. Laski laulellen vesi, ilon lyen lainehia. Neiet niemien neniss katselevat, kuuntelevat: Mi lienee ilo merell, mik laulu lainehilla, ilo entist parempi, laulu muita laatuisampi? Laski vanha Vinminen, laski pivn maavesi, pivn toisen suovesi, kolmannen kosen vesi. Laski laulellen vesi, ilon lyen lainehia. Old and steadfast Vinminen, Steering the boat swiftly forward, On beyond the jutting headland, On beyond the wretched village, Singing songs on the waters, Joyous songs on the waters. Maidens waiting and watching, Looking and listening: What rejoicing from the waters, What song from the lake resounds, Greater joy than in the old times, And a finer song than any? Onward steered old Vinminen, For a day the boat went floating, For the next through marshy waters, For the third day through the rapids, Singing songs on the waters, Joyous songs on the waters.

(Kalevala; translation from the Kalevala translation by W.F. Kirby) Sydmeni laulu (Song of my heart) Rakastava (The lover) (also TB) c. 7 Mn frn sltten och havet (Men from plains and sea) Swedish + Finnish Drmmarna (Dreams) Swedish

Meet Finland 8th World Symposium on Choral Music

Selim Palmgren (1878-1951)

A late National Romantic whose music is very closely related to Impressionism; generally credited with bringing Impressionism to Finland. Primarily known for piano works, including five piano concertos, earning him the soubriquet Chopin of Scandinavia. He wrote a handful of other instrumental works and one opera, and numerous choral works for both mixed and male voice choir. e e e Poppelit (Poplars) Publisher: Suomen Laulu
Poppelit illassa itkek! Ilmojen rannat hmrt. Tummuu kehr auringon: Phaton, veljes kuollut on! Poppelit, illassa itkek, ah, itkek! Syleili tulisydn kerta, syleili taivasta, maata ja merta, mittasi auringonvaunuillaan ikuisuutta ja aikaa maan. Phaton kuollut on, Phaton kuollut on! Keskell aavojen ylhisten kuunteli kulkua thtien, Phaton kuollut on, kuollut poika auringon, sammunut sydn tulisin, kylmiin kylmiin aaltoihin! Ken nyt ajaa taivaan teit? Maailma yksi hmrt. Kyyneleit, kyyneleit poppelit, illassa itkek, ah, itkek! Poplars in the evening weep! Into night the world sinks deep Suns bright disk is darkened oer: Phaton, your brother, is no more! Poplars in the evening weep, ah weep! Embraced the heart of fire too nigh, Embraced the earth, the sea, the sky: In the suns gold chariot climbed Past the reach of mortal time. Phaton is no more, Phaton is no more! Midst the lordly heights afar Heard the passage of a star. Phaton is no more, Dead is now Apollos son. Ever quenched his fiery breath In the chilly waves of death. Who now drives the heavenly ways? Into night the world sinks deep. Tears, tears, Poplars in the evening weep, Ah, weep!

(V.A. Koskenniemi; translation by Marja & Philip Binham) Rukous (Prayer) Takamailla (In the backlands) Juhannus (Midsummer)

Meet Finland 8th World Symposium on Choral Music

Toivo Kuula (1883-1918)

A deeply patriotic National Romantic composer whose highly passionate music contains a dash of French influence. He could have been a serious rival to Sibelius had he not died in a shooting incident at the age of 35. e e e Auringon noustessa (Sunrise) Publisher: Suomen Laulu
N, oi mun sieluni, auringon korkea nousu ylitse kivisen kaupungin kattojen, katuin, ylitse vuossatain valheen ja tuntien tuskan, koittava kirkkaus! N, oi mun sieluni, katoovan elmn autuus! Niinkuin retn temppeli on se sun eesss, alla sen holvien on ikiaikojen netn hartaus mestarin hengen. N, oi mun sieluni, ysskin korkehin kirkkaus, tuskassa tummien hetkien rauha ja riemu, vuossatain valheessa, elmn valheessa valkein, ijisin totuus! See, O my soul, how the sun rises over the rooftops, Over the wide stony wilderness of this bleak city, Over the centuries of falsehoods and moments of misery, Bold dawning brightness! See, O my soul, see the bliss of our life frail and fleeting! Like an infinite temple it stands before thee: Under its sombre vaults in ancient silence the soul of the Master Breathes never-ending. See, O my soul, how the blackest of nights turn to dawning, Moments of darkest despair to relief and rejoicing, See how amidst ancient falsehoods of life still the brightest Truth stands eternal!

(V.A. Koskenniemi: translation by Jaakko Mntyjrvi) Meren virsi (Hymn of the sea) 10 Rukous (Prayer) Siell on kauan jo kukkineet omenapuut (Over yonder the blossoming apple tree stands) Karavaanikuoro (Caravan chorus) Choir + orchestra: Stabat Mater Latin 15

Meet Finland 8th World Symposium on Choral Music

Leevi Madetoja (1887-1947)

The most notable composer in the generation after Sibelius. Mainly an instrumental composer who wrote three symphonies and two operas (one of them Pohjalaisia [The Ostrobothnians], the most frequently performed Finnish opera of all time), a considerable body of chamber music and solo songs, and numerous choral works for mixed choir and male voice choir. He could be described as a late National Romantic or even a Neo-Classicist; his music contains a strong French influence up to and including Impressionistic features. Madetoja is certainly one of Finlands leading choral composers in terms of both the quality and the quantity of his output. e e e De profundis, 1st movement Publisher: Laulu-Miehet
De profundis clamavi ad te, Domine, Domine, exaudi vocem meam. Fiant aures tuae intendentes in vocem deprecationis meae. Out of the depths have I cried unto thee, O Lord. Lord, hear my voice: let thine ears be attentive to the voice of my supplications.

Integer vitae Latin Ihmisen henki (The spirit of man) Metsn kuninkaalle (To the king of the forest) Kevtunta (Springtime dream)

Meet Finland 8th World Symposium on Choral Music

Composers who began their careers in the 1910s...1940s

Heikki Klemetti (1876-1953)
A pioneering choir conductor who founded the Suomen Laulu mixed choir and commissioned a great many choral works from young upcoming composers such as Sibelius, Kuula and Madetoja. Also wrote numerous arrangements, including arrangements of Piae Cantiones songs, and some original works such as Christus pro nobis passus est.

Aarre Merikanto (1893-1958)

Son of Oskar Merikanto (1868-1924), composer of a great number of hugely popular songs. Aarre began his career as a Modernist in the 1920s, moderate by European standards but considered very radical in Finland. His magnum opus was the opera Juha (1922), which the Finnish Opera (today the Finnish National Opera) rejected as unperformable and which was not performed until after his death. His style mellowed towards a Neo-Classical approach towards the end of his career. His output includes a number of carefully crafted choral pieces, including Sydmeni laulu (Song of my heart, also set by Sibelius and Rautavaara) and Visa (Song).

Nils-Eric Fougstedt (1910-1961)

An orchestra conductor and composer the majority of whose output consists of works for mixed choir and male voice choir, mainly to texts in Swedish. Sommarsvit (Summer suite), Under hggarna (Under the bird-cherries) and I folkviseton (In folk song style) are among his enduring favourites. His style is free-tonal and tinted with fourths but retains a Romantic warmth.

Eero Sipil (1918-1972)

A church musician who wrote only a handful of highly intriguing choral works, chant-based yet with a powerful Modernist flavour, such as Super flumina Babylonis Latin and Miserere Latin.

Meet Finland 8th World Symposium on Choral Music

Contemporary (from the 1950s onwards)

Bengt Johansson (1914-1989)
One of the first major choral composers to take advantage of the chamber choir movement in the 1950s, chiefly after the founding of the Finnish Radio Chamber Choir (1962) by Harald Andersn (Finlands equivalent of Eric Ericson), who commissioned many new choral works. Johansson was not a Modernist in the strict sense of the world; his music is mainly based on bitonal structures and clusters, a sort of Neo-NeoClassicism. e e e The Tomb at Akr aar English Publisher: Edition Fazer / Fennica Gehrman
I am thy soul, Nikoptis. I have watched these five millennia, and thy dead eyes moved not, nor ever answer my desire and thy light limbs, wherethrough I leapt aflame burn not with me nor any saffron thing. See, the light grass sprang up to pillow thee, and kissed thee with a myriad grassy tongues; but not thou me. I have read out the gold upon the wall, and wearied out my thought upon the signs. And there is no new thing in all this place. I have been kind, see, I have left the jars sealed Lest thou should wake and whimper for thy wine. And all thy robes I have kept smooth on thee. O thou unmindful! How should I forget! Even the river many days ago, the river? thou wast over young, and three souls came in upon thee and I came. And I flowed in upon thee, I beat them off, I have been intimate with thee, known thy ways, have I not touched thy palms and fingertips, flowed in and through thee and about thy heels? How came I in? Was I not thee and Thee? And no sun comes to rest me in this place, and I am torn against the jagged dark, and no light beats upon me, and you say no word day after day. O, I could get me out, despite the marks, and all their crafty work upon the door, out through the glass-green fields. Yet, it is quiet here; I do not go

(Ezra Pound) Three Classic Madrigals English A Double Madrigal English Venus and Adonis English Examine me (SA) English

Meet Finland 8th World Symposium on Choral Music

Erik Bergman (1911-2006)

Finlands pioneering Modernist who was at the cutting edge of Finnish music from the 1950s until a stroke ended his career in 2004. His extensive output includes orchestral and instrumental works, chamber music, vocal music, one opera (Det sjungande trdet The Singing Tree) and several choral works including ground-breaking works such as Lapponia. e e e Dreams: 1. Echoes (SA) Publisher: Edition Fazer / Fennica Gehrman (vocalise) Vier Galgenlieder (speech choir) German 12 Lapponia (vocalise) 15 Lemminkinen 20 Petrarch Suite Italian 10 Choir and instruments: Hathor Suite German 10 Nox French, German, English 10

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Joonas Kokkonen (1921-1996)

Best known for his orchestral works (four symphonies and several other works) and his opera Viimeiset kiusaukset (The Last Temptations), Kokkonen wrote only a few choral works. Laudatio Domini is one of the few extensive sacred Finnish choral works that is not a mass; his Requiem is the only modern Finnish setting of the text. e e e Qui emittis fontes from Laudatio Domini Latin Publisher: Edition Fazer > Fennica Gehrman (total duration: 12)
Laudate Dominum. Qui emittis fonts in convallibus inter medium montium pertransibunt aquae. Potabunt omnes bestiae agri expectabunt onagri in siti sua. Super ea volucres caeli habitabunt, inter ramos dabunt voces. Rigans montes de superioribus suis de fructu operum tuorum satiabitur terra. Producens foenum jumentis et herbam servituti hominum ut educas panem de terra et vinum laetificet cor hominis. Praise the Lord. He sendeth the springs into the valleys, which run among the hills. They give drink to every beast of the field, the wild asses quench their thirst. By them shall the fowls of the heaven have their habitation, which sing among the branches. He watereth the hills from his chambers; the earth is satisfied with the fruit of thy works. He causeth the grass to grow for the cattle, and the herb for the service of man, that he may bring forth food out of the earth; and wine that maketh glad the heart of man.

(Bible, Psalm 104: 10-15) Missa a cappella Latin 20 Choir + orchestra: Requiem Latin 40

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Einojuhani Rautavaara (1928- )

Finlands best-known living composer (with the possible exception of Kaija Saariaho). He went through a number of styles including dodecaphony before arriving at a Neo-Romantic synthesis style. He has written eight symphonies, several concertos, several operas and a great body of vocal and choral music, of consistently high quality. e e e Sydmeni laulu (Song of my heart) from Halavan himmen alla (In the shade of the willow) Publisher: Edition Fazer > Fennica Gehrman (total duration 12)
Tuonen lehto, inen lehto, siell on hieno hietakehto, sinnep lapseni saatan. Siell on lapsen lysti olla, Tuonen herran vainiolla kaitsia Tuonelan karjaa. Siell on lapsen lysti olla, illan tullen tuuditella helmassa Tuonelan immen. Onpa kullan lysti olla, kultakehdoss kellahdella, kuullella kehrjlintuu. Tuonen viita, rauhan viita! Kaukana on vaino, riita, kaukana kavala mailma. Grove of Tuoni, grove nocturnal! Finest sand for sleep eternal, safe for my baby to slumber. May my child have pleasant hours, in the Dark Lords fields and bowers, tending the cattle of Tuoni. May my child have pleasant hours, falling fast asleep midst flowers, rockd by the gentle Dark Lady. Happy darling in safekeeping, in a golden cradle sleeping, hearing the song of the nightjar. Grove of Tuoni, grove of calmness! Far away from worldly madness, far from all strife and beguiling.

(Aleksis Kivi; translation by Jaakko Mntyjrvi) Vigilia 70 Katedralen (The Cathedral) Swedish 15 Magnificat Latin 15 Canticum Mariae Virginis Latin 7 Suite de Lorca Spanish + Finnish Och gldjen den dansar (With joy we go dancing) Swedish Cancion de nuestro tiempo (Song of our time) Spanish 10 Elmn kirja (The book of life) (TB) 11 movements, Finnish, English, French, German, Swedish Choir + orchestra: On the Last Frontier English

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Pekka Kostiainen (1944- )

A practically oriented choral composer who is himself a choir conductor. He is based in the town of Jyvskyl in central Finland, which has an exceptionally vibrant choral life. His output consists mainly of very accessible free-tonal choral works, a large portion of them based on the Kalevala and other folklore texts (and melodies). In this sense, he is somewhat akin to Estonias Veljo Tormis. e e e Joko nyt sanon sukusi (Shall I tell you of your lineage?) from Pakkasen luku (The Frosts Incantation) (SA / TB / SATB) Publisher: SULASOL
Joko nyt sanon sukusi, kuuluttelen kunniasi, tiemp sinun sukusi, tiedn kaiken kasvantasi. Pakkanen pajuilla syntyi, kova ilma koivikolla. Pohjolan koan perss Pimentolan pirtin pss. Ikiturmasta isosta, emosta epattomasta. Kukas Pakkasen imetti, kovan ilman kostutteli kun oli maammo maiotoinna, emonen utaretoinna? Kyyhyt Pakkasen imetti, kyy imetti, krme sytti nnnill nenttmll, utarella uuttomalla; pohjaistuuli tuuitteli, viluilma viihytteli pahoilla pajupuroilla, hereill hettehill. Sai poika pahantapainen, tuli turmionalainen. Ei ollut nime viel pojalla eppll, pantihin nimi pahalle: pantihinpa Pakkaseksi. Shall I tell you of your lineage, And shall I make known your honours? Surely do I know thy lineage, All I know of thine uprearing; For the Frost was born 'mid willows, Nurtured in the sharpest weather, Near to Pohjola's great homestead, Near the hall of Pimentola, Sprung from father, ever crime-stained, And from a most wicked mother. Who was it the Frost who suckled, Bathed him in the glowing weather? Milkless wholly was his mother, And his mother wholly breastless. Adders 'twas the Frost who suckled, Adders suckled, serpents fed him, Suckled with their pointless nipples, Suckled with their dried-up udders, And the Northwind rocked his cradle, And to rest the cold air soothed him, In the wretched willow-thicket, In the midst of quaking marshes. And the boy was reared up vicious, Led an evil life destructive, But as yet no name was given, To a boy so wholly worthless; When at length a name was given, Frost it was they called the scoundrel.

(Kalevala; translation from the Kalevala translation by W.F. Kirby) Rikasmies ja aarreaitta (The rich man and the treasury) Viatonten valssi (The waltz of the innocents) Jaakobin isot pojat (SA: Jaakobin pojat) (The sons of Jacob) Missa in Deo salutari meo Latin 20 Regina angelorum (SA) Latin Sulhasen tulolaulut I-II (The bridegrooms arrival songs) Choir + orchestra: Triduum Paschale 3h

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Composers who began their careers in the 1950s...1960s

Jouko Linjama (1934- )
Choral composition runs in the Linjama family, as Joukos father Jaakko Linjama and his nephew Jyrki Linjama (see below) are also notable choral composers. Jouko Linjama writes in a Neo-Classical style heavy on superimposed triads with added ninths, somewhat reminiscent of Bengt Johansson. Most of his choral works are in Finnish; they include the Kalevala Suite and La sapienza Italian.

Aulis Sallinen (1935- )

Principally known for his operas and orchestral works, Sallinen has also written a number of frequently performed choral pieces in a simple and accessible style, including Songs of the Sea (SA) English, The Beaufort Scale (also SA) English and Onko Suomessa kevt? (Is it spring in Finland?) (from the opera Punainen viiva (The Red Line)). Choir + orchestra: Elmn ja kuoleman lauluja (Songs of life and death)

Paavo Heininen (1938- )

Finlands foremost Modernist after Erik Bergman (see above) and teacher of several generations of composers at the Sibelius Academy. His music has a reputation for being extremely challenging to perform, and his choral works, such as The Autumns, rank among the technically most difficult choral scores ever written in Finland.

Kaj-Erik Gustafsson (1942- )

A church musician whose Neo-Classically simple compositions include works for all kinds of choir. His bestknown work is probably Nelj laulua rakkaudesta (Four songs about love) 10

Mikko Heini (1948- )

A composer with a varied, colourful and eclectic style, Heini has written orchestral music, operas, chamber music and a number of vocal and choral works. Landet som icke r (The land that is not) (SA+pno) Swedish 10 and Luceat Latin 10 have been particularly successful.

Erkki Salmenhaara (1941-2002)

Salmenhaara began his career as a radical Modernist but soon turned towards a mellow, even nave, NeoRomantic idiom. His best-known choral work Kuun kasvot (The face of the moon, Finnish + English) is rarely performed in Finland today though it deserves a wider audience.

Kalevi Aho (1949- )

Aho is a symphonic composer whose choral reputation rests on a technically tricky but expressive piece for womens choir, Lasimaalaus (Stained glass) (SA).

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Juhani Komulainen (1953- )

A primarily choral composer who has been very successful in composition competitions. He writes in a sonorous neo-tonal style with occasional sharper spicings. He has written works for treble choir, mixed choir and male voice choir alike. e e e Le panneau The Panel from Fantaisies Dcoratives English Publisher: SULASOL
Under the rose trees dancing shade / There stands a little ivory girl, Pulling the leaves of pink and pearl / With pale green nails of polished jade. The red leaves fall upon the mould, / The white leaves flutter, one by one, Down to a blue bowl where the sun, / Like a great dragon, writhes in gold. The white leaves float upon the air, / The red leaves flutter idly down, Some fall upon her yellow gown, / And some upon her raven hair. She takes an amber lute and sings, / And as she sings, a silver crane Begins his scarlet neck to strain, / And flap his burnished metal wings. She takes a lute of amber bright, / And from the thicket where he lies Her lover, with his almond eyes, / Watches her movements in delight. And now she gives a cry of fear, / And tiny tears begin to start; A thorn has wounded with its dart / The pink-veind sea-shell of her ear. And now she laughs a merry note: / There has fallen a petal of the rose Just where the yellow satin shows / The blue-veind flower of her throat. With pale green nails of polished jade, / Pulling the leaves of pink and pearl, There stands a little ivory girl / Under the rose trees dancing shade.

(Oscar Wilde) Three Songs of Shakespeare English 10 Four Ballads of Shakespeare English 12 Shakespeare Settings (SA) English 10 Choir + orchestra: Mysterium (SA + orch) 15 (excerpt from m. 9)

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Olli Kortekangas (1955- )

Best known in choral circles for his collaboration with the Tapiola Choir, for which he has created a number of pieces and happenings. He has also written instrumental works and three operas. e e e Three Romances English Publisher: Edition Fazer / Fennica Gehrman (total duration 5)
1. Cherry robbers Under the long dark boughs like jewels red In the hair of an Eastern girl Hang strings of crimson cherries, as if had bled Blood-drops beneath each curl. Under the glistening cherries, with folded wings, Three dead birds lie: Pale-breasted throstles and a blackbird, robberlings, Stained with red dye. Against the haystack a girl stands laughing at me, With cherries hung round her ears. Offering me her scarlet fruit: I will see If she has any tears.

(D.H. Lawrence) MAA (Earth) (SA) 13 A, Water music with the Tapiola Choir (SA) 15-20 Verbum Latin + English 7 Vlimeri (Mediterranean) 10 Ikikaiku (Eternal echo) (SA) Finnish, English, Spanish 10

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Composers who began their careers in the 1970s...1980s

Harri Wessman (1949- )
A practically oriented and consciously simplistic composer who has termed his style Neo-Pathos. He has written a lot of music for pedagogical purposes. He is principally known for one work, Vesi vsyy lumen alle (Water under snow is weary) Finnish + English SA + fl, pft [+ string quintet]

Kaija Saariaho (1952- )

One of Finlands best-known living composers. Her output consists mostly of instrumental music. She has also written several solo vocal works, but only a handful of choral works. Her music is more about atmosphere than about rhythm or melody, with an elegant sense of colour. Her choral works include Nuits, adieux French and the more extensive Tag des Jahrs (+electronics) Choir + orchestra: Oltra mar 30

Jouni Kaipainen (1956- )

A moderate Modernist who has written orchestral music, chamber music and vocal music, and also a handful of choral works which are difficult but extremely colourful: Lacrimosa Latin 10 and Des Flusses Stimme (The sound of the river) German, Swedish 20

Esa-Pekka Salonen (1958- )

Well known as a conductor, he is also a composer, though his output is limited because of his conducting commitments. His Two songs to poems by Ann Jderlund is a complex and fascinating choral score.

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Jaakko Mntyjrvi (1963- )

A professional translator, also an active semi-professional musician involved in choral singing. Consequently, most of his output as a composer consists of choral works, some 40 of which have been published to date. He describes himself as an eclectic traditionalist. He was composer-in-residence of the Tapiola Chamber Choir from 2000 to 2005. Publisher: SULASOL e e e Die Stimme des Kindes (The voice of the child) German + English
English version published by Walton Music, USA Ein schlafend Kind! o still! in diesen Zgen knnt ihr das Paradies zurckbeschwren; es lchelt sss, als lauscht es Engelchren, den Mund umsuselt himmlisches Vergngen. O Schweige, Welt, mit deinen lauten Lgen, die Wahrheit dieses Traumes nicht zu stren! Lass mich das Kind im Trume sprechen hren, und mich, vergessend, in die Unschuld fgen! Das Kind, nicht ahnend mein bewegtes Lauschen, mit dunklen Lauten hat mein Herz gesegnet, mehr als im stillen Wald des Baumes Rauschen; ein tiefres Heimweh hat mich berfallen, als wenn es auf die stille Heide regent, wenn im Gebirg die fernen Glocken hallen. A child asleep! O still! Behold, unfearing, In innocence how Paradise rejoices. He smiles so sweet, he must hear angel voices, A bliss divine about his mouth endearing. Desist, O world, from thy deceitful blaring, Disturb not this true slumber with thy noises! O, let me join his dreams, where my heart poises, And flee, forgetting, finding peace past caring! The child, not knowing of my silent scrying, In sombre sounds of sleep my heart now blesseth, More sweetly than the woodland softly sighing. I yearn to see my pathway homeward rolling, More deeply than when rain the heath caresseth Or in the hills the far-off bells go tolling.

(Nikolaus Lenau; translation by Jaakko Mntyjrvi) Four Shakespeare Songs 12 + More Shakespeare Songs 15 English Pseudo-Yoik + El Hambo Kosijat (The Suitors) 20 Canticum calamitatis maritimae Latin 10 SALVAT 1701, choral drama 70 Armahda meidn pllem (Have mercy upon us) 12 Tentatio, 40-part motet Latin 12 Choir + orchestra: Kouta Finnish + English + Swedish 15 Stabat Mater Latin 12

Meet Finland 8th World Symposium on Choral Music

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Composers who started their careers in the 1980s...1990s

Jyrki Linjama (1962- )
Nephew of Jouko Linjama (see above), a moderate Modernist who is well acquainted with the choral idiom because he is a choral singer himself. His choral works are mostly in Finnish and include Venetsialainen ylaulu (Venetian nocturne), an Easter vesper and Piae Cantiones arrangements.

Riikka Talvitie (1970- )

A modernist member of the young generation of todays composers, she writes in a polished and restrained idiom with translucent textures and a bright sound, flavoured with subtle noise effects and microintervals. Examples: Kolme laulua Uuno Kailaan runoihin (Three songs to poems by Uuno Kailas), Kuvan kuva (Image of an image), Tulen vrin (Flicker of fire) (TB)

Lotta Wennkoski (1970- )

A composer of miniatures and minimal, lyrical moments that almost always explore the threshold of silence. e e e Ennen vett (Before the water), 5th movement Publisher: SULASOL
Ennen vett min tapasin tmn pohjan, ennen vett se oli katsetta vasten niin rvhtnyt ja vaiti, ett min kuulin kyll, min kuulin silmillni miten hiljaa hiekassa virtaa hiekka. (Mirkka Rekola; translation by Jaakko Mntyjrvi) Before the water I met this seabed, before the water it was, so abrupt in my sight and silent that I could hear, I could hear with my eyes how quietly sand flows in sand.

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Crossover from popular music

Heikki Sarmanto (1935- )
A jazz musician who has worked in the USA a lot. He has written a number of enduring melodies, many of which exist in choral arrangements. His principal work for choir and orchestra is the New Hope Jazz Mass.

Jukka Linkola (1955- )

Linkola began his career as a jazz musician but has in recent years been making serious inroads into concert music, writing concertos, operas and choral works. However, even in this his writing retains a strong jazz feel. e e e Punapaula (Red ribbon) from Mieliteko (Urge)
On neidolla punapaula kun tanssihin ky. Ksvartehen kultansa solmii hn sen. Miks niin lujalle s solmit, oi armahani? Vai luuletko ett m karkajan pois? The maiden goes dancing with a red and gold ribbon. She ties it to the arm of her sweetheart. Why did you tie it so tightly, O my beloved? Do you think that I will run away?

(Trad.; translation by Jaakko Mntyjrvi)

Jussi Chydenius (1972- ) Mia Makaroff

Jussi Chydenius is the founder of and principal composer for the Rajaton vocal ensemble, whose repertoire also includes several pieces by Mia Makaroff. Rajaton pioneered an exploration of the borderlands between classical and light music that developed with the emergence of vocal ensembles in the 1980s, and this repertoire began to trickle into choral concerts too. One of the major contributors to the vocal ensemble boom was (and is) the contest for vocal ensembles at the biennial Tampere Vocal Music Festival.

Folklore revival in the 1990s inspired choral music too (mostly SA)
Sanna Kurki-Suonio Jenny Wilhelms Tellu Turkka (ne Virkkala)
Suden aika (The time of the wolf) (SA)

Anna-Mari Khr
e e e Kuka nukkuu tuutussasi (Who is sleeping in thy cradle?)
Kuka nukkuu tuutussasi? Tuska nukkuu tuutussani niinkuin virta vuoren alla, vesi virrassa syvss. Mit ktket kmmeniisi? Tyhjn ktken kmmeniini, kaikki haikeat haluni, oudot mielenailahtelut. Tuutisinpa tuutussani armaan silmien sine, niinkuin tuutii tumma lampi taivaan auringon valoa. Nukkuis thti tuutussani, pieni taivas polvillani, pieni aurinko povella. Who is sleeping in thy cradle? Pain is sleeping in my cradle Like a river under mountain, Like a stream in darkest deeping. In thy hands what art thou hiding? In my hands I nought am hiding. All my longings and desires, All my weird and wondrous musings. Oh but had I in my cradle Blueness of the eyes beloved Like a dark pond in my cradle, Like the light of all the heavens. Sleeping star within my cradle, Heaven on my knee a-slumber, Tiny sun upon my bosom.

(Sirkka Selja; translation by Jaakko Mntyjrvi) This is an extremely condensed presentation and should not be considered even a representative cross-section of Finnish choral music. Hopefully it will inspire you to find out more...