Dave Lampson <[log in to unmask]> wrote:

>While I wouldn't compare Englund and Madetoja stylistically, I do think
>Madetoja's music is very worthwhile.

I wouldn't comapre Madetoja with Englund either.  The first seems more
rooted in the romantic tradition, while the latter more in the modern.

>a group of talented Finnish composers who were born in the last quarter
>of the 19th century.  These composers are:
>
>Erkki Gustav Melartin  (1875-1937)
>Leevi Antti Madetoja   (1887-1947)
>Yrjo Henrik Kilpinen   (1892-1959)
>Aarre Merikanto        (1893-1958)
>Uuno Kalervo Klami     (1900-1961)
>
>I only know Kilpinen from his cello sonata (Vox Cum Laude MCD10050, NLA),
>though he was primarily a composer of nearly one thousand songs.

If I had made that list, I would have left Kilpinen out.  It might just be
me, but I can see his greatness.  Maybe I had left out Klami too.  Klami
could compose one sort of music very well, like Savonlinna, but another
sort not good at all, like Karelia.

>Symphonic Poem "Kullervo", Op. 15  (1913)
>Symphony #1 in F Major, Op. 29  (1916)
>Symphony #2 in E Flat Major, Op. 35  (1918)
>Opera Suite "The Ostrobothnians", Op. 52  (1923)
>"Comedy" Overture, Op. 53  (1923)
>Symphony #3 in A Major, Op. 55  (1926)
>Ballet Suite "Okon Fuoko", Op. 58  (1927)

Of which "Pohjalaisia" the by meters most successful composition, in the
sayings both aspects.

>Let's back up for a minute and talk abut Melartin.  I would characterize
>Melartin and Madetoja as very similar in style.

Agreed.

>This gives us nine major symphonic works on CD so far, and they are (in
>chronological order):
>Suite "Sleeping Beauty", Op. 22  (1911)

I could add that the Suite "Sleeping Beauty" (or literary "Rosemaiden") is
his most played work.

>Forward nearly a generation, we come to Aarre Merikanto.  I'm relatively
>new to Merikanto, having had my first exposure to his music this summer.
>Based on my limited exposure so far, I would characterize Merikanto's music
>as being the most "modern" of the five composers listed.

Peu a peu!  I would hestiate on "modern" as a general label on him.
His orchestral output, ok let go!  But not to forget that his main
contribution to music repertoire is his many romances, of them best known
"Naer Bjoerkarna Susa" in Swedish language (Swedish was official language
in Finland for very long into 19th century, and the language that was
learned in school).  But what I wanted to say was that there is nothing
particualry "modern" with his romances.

>You could say that Klami's music represents maturation of an
>international Finnish style begun by Sibelius.  Of the five composers
>discussed here in depth, I tend to enjoy Klami's music the most.  It's
>evocative, imaginative, full of joy, and much of it is just plain fun
>without a trace of silliness.

Although I expressed my opinion above that Klami only knew how to compose
one sort of music (as best exemplified in Savonlinna) I must say that that
music is exciting.  The more "meditative" pieces don't do anything for me.

I'd wondered if you want to clarify "International style".  As I interpret
it, it goes for late Sibelius, but not for the young.  And Klami was
nationalist in his politics, and thats the reason to why he composed
"Savoinlinna".  But I would agree that there are influences from Stawinsky
in Klami, and maybe some others.  So perhaps a compsoer can be
international in style but not in politics, or he changed political wiew
during his lifetime, like Bartok for example.  [As I couldn't care less
about a cxomposer's politics, I was referring to his musicical style [As
I couldn't care less about a composer's politics, I was referring to his
musical style being both international in influences and in interest.
-Dave]

>Though it may be hard to find, there is some great music from this
>century beyond the handful of best-known composers.

I think thats a very good point too.

Mats Norrman
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