Mashups seem to be everywhere these days! This is Beverly Sills doing her famous Sillsillana piece: a pastiche of every famous coloratura piece mashed together to make this hysterically fun piece. I have it as an MP3, and never thought I'd find it at Youtube, but there it was.
It was arranged by her coach and for those of you who know some of these pieces, you will hear the following excerpts:
Piano
intro -Una voce poco fa – Barber of Seville
Grossmächtige
prinzessin – Ariadne auf Naxos
Je
suis Titania – Mignon
Shemahka’s
aria - Coq d’or
Holle
Rache - Magic Flute
Richard
Strauss: Amor
Je
suis encore tout étourdie –Manon (with Una voce “ma” at end)
Vien
delitto – Puritani (with Una voce poco fa "ma" at end)
Schubert:
Shepherd on the Rock
Vocalize
on Chopin’s Etude in A-flat, Op. 25, no. 1
Spargi
d’amaro (Mad Scene) - Lucia
Vocalise
on Chopin Nocturne in E Flat Major, Op. 9, no.2
Les
oiseaux (Olympia)– Tales of Hoffmann
Sempre
libera - Traviata –with Gagnon as tenor
Sills’
cadenza used for O luce di quest’anima – Linda di Chamounix
The great Argentinian Folk Singer, Mercedes Sosa who gave voice to South American political protest, died yesterday. She was 74. You can read more about her here.
She formed part of the New Song movement in Latin America, which combined folk song traditions with contemporary music that often featured political messages in its lyrics. She was known throughout Latin America and Europe, with one of her most popular songs titled "Gracias a la Vida," heard in the performance above.
Rest in peace.
TEXT
Gracias a la vida que me ha dado tanto
Me dio dos luceros que cuando los abro
Perfecto distingo lo negro del blanco
Y en el alto cielo su fondo estrellado
Y en las multitudes el hombre que yo amo
Translated into English:
Thanks to life, which has given me so much
It gave me two bright stars that when I open them,
Today marks the 20th anniversary of the death of my teacher Jan DeGaetani. I find it difficult to believe that these twenty years have passed, perhaps because it’s difficult still to imagine a world without Jan in it.
Jan taught many students who would later go on to have successful careers. All were inspired by her gift: an uncanny ability to sound spontaneous, simple, unpretentious and yet sophisticated and profound. She taught by creating an environment in which questions stimulated the imagination.
Jan DeGaetani died at age 56, a tragically young death for her family, students and the musical world. She was among the most respected musicians of her generation, and considered one of the most eloquent and extraordinary song recitalists the United States has ever produced. Jan devoted her musical life to art song and music of every genre, and her longtime collaboration with pianist Gilbert Kalish produced many unforgettable performances. Theirs was a true partnership between, not only a singer and pianist, but between two very special musicians. And in their recordings, they left an important legacy for future generations.
"With the pianist Gilbert Kalish, she went straight to the heart of every song she sang, and never more directly and affectingly than in the world premiere of George Crumb's song cycle, ''Apparition.''
Below you will find two exquisite performances of two pieces from Poulenc's La Courte Paille. Poulenc is at the piano with Denise Duval,the legendary French soprano who created the roles of Elle in La voix humaine and Thérèse in Les mamelles de Tirésias. She also had much success with the role of Blanche de la Force in Dialogues of the Carmelites, although she didn't sing the world premiere. The artistry between these two is absolutely stunning. Like Britten, Poulenc is considered one of the all time great accompanists. Read this NY Times article by William Crutchfield for more information.
The video begins with a short interview between Poulenc and the host. In it, you can hear Poulenc speaking about the cycle, that he wrote it for Denise Duval and he refers to her as one of his favorite singers. (They toured together quite a bit towards the end of his life, forming in addition to his great partnership with Bernac, one of the great duos in Art Song performance.) Listen to the interview and see how good your French comprehension is!
From La Courte Paille/The Short Straw Text: Maurice Carème (1899- 1978)
# 2 Quelle aventure/What an adventure
A flea was pulling a little elephant in its carriage. They looked in all the jewelry store windows.
My God, my God! What an adventure! Who's going to believe me?
The baby elephant was absent-mindedly sucking on a pot of jam. The flea didn't mind, and pulled him with a smile on her face.
My God, my God! And it keeps right on! I'll start to think I'm crazy!
Suddenly, by a fence, the flea blew away in the wind and I saw the little elephant break down walls as he ran away.
My God, my God! It surely happened, but how will I tell Mother?
# 5 Les anges musiciens/ The musical angels
Upon the threads of the rain the Thursday angels play on the harp for a long time. And beneath their fingers, Mozart tinkles, deliciously, in drops of blue joy since it is always Mozart which is played endlessly by the musician angels who, all day Thursday, make their harps sing the sweetness of the rain.
Complete translations for La Courte Paille found here.
Denise Duval, soprano and Francis Poulenc, piano
Next, listen to this fabulous find! Singer/actress, Yvonne Printemps sings "Le Chemin de l'amour" with orchestra in this very affecting performance. Pay close attention to the wonderful portamenti and her superb attention to the text.
Les Chemins de l'amour/ The Pathways of Love Text: Jean Anouilh (1910-)
The pathways that go to the sea have kept from our passage some plucked flowers and the echos under the trees of our sweet, clear laughter.
Alas! Some days of happiness, radiant times flown away, I go on without finding traces of them in my heart.
Pathways of my love, I search for you always, Lost pathways, you're not there any more and your echos are deafened. Pathways of desperation, Pathways of memories, Pathways of that first day, Divine pathways of love!
If I have to forget one day, life erasing everything; I want that in my heart one memory remains stronger than any other love: the memory of the pathway, where radiant and delirious one day I felt your hands burning upon me.
Pathways of my love, I search for you always, Lost pathways, you're not there any more and your echos are deafened.
Pathways of desperation, Pathways of memories, Pathways of that first day, Divine pathways of love!
Yvonne Printemps, soprano
One Final Performance: "C" Text: Louis Aragon (1897-1982) This is one of Poulenc's most beautiful and moving compositions. It's not on the listening list, but you must be familiar with it!
Aragon, who was a member of the Communist Party since 1927 and was a high ranking member of the French Resistance wrote the poem. It is filled with imagery about the war, nostalgia for the past and hope for the future. Note that each line in the French ends with the rhyme Cé. Hugues Cuenod is the tenor. The pianist is unfortunately not noted.
Le Pont de Cé/ The bridge of Cé
I have crossed the bridges of Cé It was there that it all began A song of times past Speaks of a wounded knight Of a rose upon the road And of a bodice unlaced Of the castle of a mad duke And of the swans in its moats Of the meadow where will dance An eternal fiancée And like cold milk I drank The long lay of false glories The Loire carries off my thoughts Along with the overturned cars And the defused weapons And the tears not rubbed away Oh my France, oh my abandoned one I have crossed the bridges of Cé.
Hugues Cuenod, tenor, pianist, unfortunately not noted.
"In the year 1889 there was revolution in Paris. No shots were fired, no buildings torched, no palaces looted. But on the Champ de Mars and the Esplanades des Invalides, the past and the future fought a world war of ideas. Iron battled stone, Javanese ritual music defied the siege of German orchestration, electricity triumphed over gas. It was a year to celebrate a revolution's centennial, a time to consolidate one hundred years of industry, art and social ideals that flowed from the great events of 1789."
The above paragraph is from an article written by Arthur Chandler entitled: Revolution The Paris Exposition Universelle, 1889. It captures the energy and ambience of this extraordinary time in history and this event. Complete article found here.
Now imagine that you're Debussy living in Paris in 1889. A young, brilliant composer determined to avoid the German tradition.
Naturally, you are drawn to music of other cultures. The Paris Exposition of 1889 comes to town. You hear Rimsky-Korakov conduct his Capriccio espagnol" at the Trocadéro Palace.
You go to the Javanese Pavillion, which was a model "Kampon"-- a village, recreating all aspects of communal village life from agricultural practices to religion. You spend hours listening to the gamelan music from this island in the Malay Archipelago.
You use some of the different scales you've heard when you improvise on the piano, and also the sense of floating qualities of the form and rhythym in Javanese music. All these find a way into your formally composed music-- especially for piano. In six years, you will compose "La Mer."
Imagine the excitement of living in Paris when he did. He witnessed the building of the Paris metro system and the Eiffel Tower. (See below.) He lived alongside Monet, Renoir, Gaughin, Rodin, Baudelaire, Verlaine, Proust, Mallarmé, Emile Zola to mention only a few. In a few years, the Dreyfus Affair of 1894 would shake the foundations of the French Third Republic. You would have to choose-- Dreyfusard or anti-Dreyfusard? Not a time to sit on the fence. Fin de siècle Paris-- an important nexus of artistic and social activity. What a time to be alive! The Belle Époque has arrived.
Milagro Vargas, 2009
A FEW IMAGES FROM THE PARIS EXPOSITION 1889
Built between 1887 and 1889, the Eiffel Tower was contructed as the entrance arch for the Exposition Universelle, the 1889 World's Fair.
Original poster from the 1889 Exposition Universelle
Panorama of the Place de la Concorde at the Exposition Universelle held in Paris in 1889.
Russian House Exhibition at the 1889 Exposition Universelle
Crowd of people along parterre beside illuminated fountains, view toward the Central Dome, Paris 1889 Exposition Universelle
Illustration of the interior of the Galerie des Machines, designed by Ferdinand Dutert,1889 Exposition Universelle
Gallery of various industries,1889 Exposition Universelle
Entrance to the Javanese Pavillion,1889 Exposition Universelle
Female Javanese dancer, seated in costume,1889 Exposition Universelle
Six people posed before Javanese house in Javanese village, 1889 Exposition Universelle
WATCH THIS FILM! It's an excellent compilation of photos with an interesting voice over at about 1:30 that gives a flavor of the times!
Fauré (1845- 1924) Ninon Vallin sings "Les Berceaux" (Piece begins around 2 minutes in, if you're in a hurry. Also, I'm not sure, but it may be Cortot at the piano!)
Elly Ameling sings "Après un rêve"; Dalton Baldwin, piano
Georges Thill sings "Après un rêve"
Nicolai Gedda sings "Nell"
Two different versions of Kiri Te Kanawa singing "Nell"
Kiri Te Kanawa sings "Nell"; Richard Amner, piano (First Version)
Kiri Te Kanawa sings "Nell"; Roger Vignoles, piano (Second Version)
Six or so years ago, I was asked to be on a panel to discuss the topic of "Definitive Performances" or something like that. The panel discussion never took place. I don't quite recall why, but I was relieved. I really didn't want to take part in it and I didn't even know whether I believed there was such a thing. I still don't know, but if I did, this Les Nuits d'été with Janet Baker would certainly be one of my choices.
When it comes to Les Nuits d'Été, the Régine Crespin recording with Ansermet has always been the acccepted gold standard. I remember listening to it until the LP was worn down, same thing with Crespin's recording of Ravel's Shéhérazade.
Coming across these videos of a live performance of Janet Baker singing these pieces with Herbert Blomstedt conducting was such a thrill! Her performance is utterly transcendent.
Having never seen Baker or Crespin perform "live" is one of my greatest disappointments, so this is really an amazing treat. No better way to start our journey into Mélodie.
After watching these, I would encourage you to also view the Crespin performance of Spectre d'une rose, which is at YouTube HERE. Crespin's approach focuses on the ethereal quality of the "spectre." Her ability to control her sound to achieve this is astonishing.
Note: This is the only one that is out of sink. The rest are fine.
All translations are from the Lied Art Song Texts Page- Link at left of blog.
Villanelle
When verdant spring again approaches,
When winter's chills have disappeared,
Through the woods we shall stroll, my darling,
The fair primrose to cull at will.
The trembling bright pearls that are shining,
Each morning we shall brush aside;
We shall go to hear the gay thrushes
Singing.
The flowers are abloom, my darling,
Of happy lovers 'tis the month;
And the bird his soft wing englossing,
Sings [carols sweet]1 within his nest.
Come with me on the mossy bank,
Where we'll talk of nothing else but love,
And whisper with thy voice so tender:
Always!
Far, far off let our footsteps wander,
Fright'ning the hiding hare away,
While the deer at the spring is gazing,
Admiring his reflected horns.
Then back home, with our hearts rejoicing,
And fondly our fingers entwined,
Lets return, let's return bringing fresh wild berries
Wood-grown.
Open your closed eyelid Which is gently brushed by a virginal dream! I am the ghost of the rose That you wore last night at the ball. You took me when I was still sprinkled with pearls Of silvery tears from the watering-can, And, among the sparkling festivities, You carried me the entire night.
O you, who caused my death: Without the power to chase it away, You will be visited every night by my ghost, Which will dance at your bedside. But fear nothing; I demand Neither Mass nor De Profundis; This mild perfume is my soul, And I've come from Paradise.
My destiny is worthy of envy; And to have a fate so fine, More than one would give his life For on your breast I have my tomb, And on the alabaster where I rest, A poet with a kiss Wrote: "Here lies a rose, Of which all kings may be jealous."
My beautiful love is dead, I shall weep always; Into the tomb, she has taken My soul and my love. Without waiting for me, She has returned to heaven. The angel which took her there Did not want to take me. How bitter is my fate! Ah! without love, to go to sea!
The white creature Is lying in the coffin; How all in Nature Seems bereaved to me! The forgotten dove Weeps and dreams of the one who is absent; My soul cries and feels That it has been abandoned. How bitter is my fate, Ah! without love, to go to sea!
Above me the immense night Spreads itself like a shroud; I sing my romanza That heaven alone hears.
Ah! how beautiful she was, And how I loved her! I will never love Another woman as much as I loved her; How bitter is my fate! ah! without love, to go to sea! To go to sea!
Come back, come back, my dearest love! Like a flower far from the sun, The flower of my life has drooped, removed from the charm of your smile.
Between our hearts how long a distance! What a wide space our kisses divide! O bitter fate! O cruel absence! O longing vain, unsatisfied!
To that far land where dwells my love, Alas! if I could only go! If wings were tied to my body, As to my soul, then I would fly!
Far away, above the green hill tops, The lofty mountains with peaks of blue, The meadows gay, the babbling rivers, With quick, sure wing I'd take my flight!
The body can't keep up with thought! With me the spirit goes ahead, Just like a poor dove that is wounded And lights on the roof of his cot.
Do you know the white tomb Where floats with plaintive sound, The shadow of a yew? On the yew a pale dove, Sad and alone under the setting sun, Sings its song:
An air sickly tender, At the same time charming and ominous, Which makes you feel agony Yet which you wish to hear always; An air like a sigh from the heavens of a love-lorn angel.
One would say that an awakened soul Is weeping under the earth in unison With this song, And from the misfortune of being forgotten, Moans its sorrow in a cooing Quite soft.
On the wings of the music One feels the slow return Of a memory. A shadow, a form angelic, Passes in a trembling ray of light, In a white veil.
The beautiful flowers of the night, half-closed, Send their perfume, faint and sweet, Around you, And the phantom of soft form Murmurs, reaching to you her arms: You will return!
Oh! never again near the tomb Shall I go, when night lets fall Its black mantle, To hear the pale dove Sing on the limb of the yew Its plaintive song!
Say, young beauty, Where do you wish to go? The sail swells itself, The breeze will blow. The oar is made of ivory, The flag is of silk, The helm is of fine gold; I have for ballast an orange, For a sail, the wing of an angel, For a deck boy, a seraph.
Say, young beauty, Where do you wish to go? The sail swells itself, The breeze will blow.
Is it to the Baltic? To the Pacific Ocean? To the island of Java? Or is it well to Norway, To gather the flower of the snow, Or the flower of Angsoka? Say, young beauty, Where do you wish to go? Lead me, says the beauty, To the faithful shore Where one loves always! This shore, my darling, We hardly know at all In the land of Love.
Edward Grieg (1843- 1907)
Swedish baritone,Håkan Hagegård, baritone, Warren Jones, piano
"En Svane" (A Swan) Poem: Henryk Ibsen
The text and translations are in the video. It is in Norwegian.
The next performance is from "Haugtussa, op 67 (The Mountain Maid), 8 songs in Norwegian.
It is a song cycle to poems by Arne Garborg (1851-1924). "Grieg himself maintained that the 'Haugtussa' songs were the best he ever composed. Grieg's Haugtussa" cycle is a richly varied poetic work which nonetheless possesses a high degree of unity. The poems are centred around Veslemoey, a visionary young herd girl from a wilderness area in southwestern Norway. Rejected by her lover, she tries to escape life's harsh realities and the indiference of those around her. In her visions she comes into contact with nature itself and the powers of the underworld." by FinnBenestad; Cd. "Grieg; Songs Lieder"
ENTIRE HAUGTUSSA SONG CYCLE
Swedish mezzo, Anne Sofie von Otter singing, Bengt Forsberg, piano.
Haugtussa (Op. 67):
1. Det syng 00:00
2. Veslemøy 03:51
3. Blåbaer-li 06:20
4. Møte 09:03
5. Elsk 12:56
6. Killingdans 15:11
7. Vond dag 16:52
8. Ved gjaetle-bekken 19:21
The fourth song in this beautiful cycle is Møte, (The Enounter) and can be heard at 09:03
Text is Norwegian (Nynorsk)
Translation below:
Ho sit ein Sundag lengtande i Li;
det strøymer på med desse søte Tankar,
og Hjarta fullt og tungt i Barmen bankar,
og Draumen vaknar, bivrande og blid.
Då gjeng det som ei Hildring yver Nuten;
ho raudner heit; - der kjem den vene Guten.
Burt vil ho gøyma seg i Ørska brå,
men stoggar tryllt og Augo mot han vender;
dei tek einannan i dei varme Hender
og stend so der og veit seg inkje Råd.
Då bryt ho ut i dette Undringsord:
"Men snille deg då, at du er så stor!"
Og som det lid til svale Kveldings Stund,
alt meir og meir i Lengt dei saman søkjer,
og brådt um Hals den unge Arm seg krøkjer
og øre skjelv dei saman Munn mot Munn.
Alt svimrar burt. Og der i Kvelden varm
i heite Sæle søv ho i hans Arm.
******************************************* Translation:
One Sunday she sits pensive on the hillside,
while sweet thoughts flow over her,
and her heart beats full and heavy in her breast,
and a shy dream wakens within her.
Suddenly, enchantment steals along the hilltop.
She blushes red; there he comes, the boy she loves.
She wants to hide in her confusion,
but timidly she raises her eyes to him;
their warm hands reach out for one another,
and they stand there, neither knowing what to say.
Then she bursts out in admiration:
"My, how tall you are!"
And as the day moves softly into evening,
they turn to each other full of longing,
their young arms wind around each other's necks,
and trembling mouth meets mouth.
Everything shimmers away, and in the warm evening
She falls blissfully asleep in his arms.
Here is something that I found completely by chance. This is Lynni Treekrem singing a beautiful composition by Ketil Bjørnstad, a composer I knew nothing about until today. It's actually hard to pin the style, straddling folk and a more modern idiom. I thought it would be interesting to hear what this rich poetry would sound like in the hands of a contemporary composer.
This is the prologue of the Haugtussa, Text: Arne Garborg (1851-1924) I wasn't able to find a translation.
Til deg, du Hei og bleike Myr
med Bukkeblad,
der Hegre stig og Heilo flyr,
eg gjev mitt Kvad.
Til deg, du visne Lyng um Haug,
der Draumar sviv,
eg gjev min Song um Dimd og Draug
og dulde Liv.
Eg kjenner deg, du Trollheim graa,
du Skugge-Natt!
Eg rømde rædd; men stundom maa
eg sjaa deg att.
Eg kjenner deg, du Havsens Marm,
med Galdre-Song;
du gauv meg Gru i rædde Barm
so mang ein Gong.
Eg kjenner Striden tung og sein
mot Trolldoms Vald.
Gud hjelpe oss for brotne Bein
og Mannefall!
Eg kjenner deg, - eg kjenner deg,
som ikkje vann! --
Eg saag din Strid, eg veit din Veg
i Skugge-Land.
Eg røynde sjølv den Striden stygg
i mange Aar,
med ville Mot, med bøygde Rygg,
med svære Saar.
Du um meg sviv, du hjaa meg sit,
du arme Aand!
I meg du enno riv og slit
i dine Baand.
Eg veit det væl: dei sterke Troll,
den Vilje rik;
ein Baat i Foss, eit Kvad i Moll,
sløkkt i eit Skrik. Â--
Men Lerka stig fraa gløymde Grav
med Sigers Ljod;
og Vinden stryker inn av Hav
so frisk og god.
Og um me kjenner Graat og Gru
og Saknad saar,
so maa me Lerkesongen tru,
som lovar Vaar.
Some things to note:
A majority of his songs are in Swedish. Sibelius was brought up in a Swedish-speaking family, but he entered a Finnish-speaking school and was bilingual, Swedish however was his mother tongue.
A couple of interesting facts concerning the language issue in 19th century Finland:
From about the year 1200 until 1809 Finland was a part of Sweden, which explains the important position of the Swedish language in the 19th century. The Swedish language remained in this position even when Finland became a Grand Duchy of Russia in 1809 and after Finland gained its independence in 1917. Today Swedish is the second official language of Finland. During the 19th century Swedish was the language of the educated classes, while Finnish was regarded as a language of the peasants. It was not until the second half of the 19th century that Finnish was recognised as the official language of Finland and the Finnish-language secondary school system was founded.
The main source of Sibelius' inspiration comes from Swedish lyric and nature poetry, whether by Finnish poets writing in Swedish such as Runeberg, Tavastjerna or mainland Swedes like Fröding and Rydberg. One quarter of his song output are by Runeberg, who was much admired by Brahms.
Both Sibelius and Swedish composer Stenhammar set the famous poem by the Finnish poet, Runeberg- "Flickan kom ifrån sin älsklings möte," which was written in Swedish. Stenhammar's is the earlier setting by seven years. Is anyone confused?
This is Sibelius' setting.
Flickan kom [från]1 sin älsklings möte,
kom med röda händer. Modern sade:
"Varav rodna dina händer, flicka?"
Flickan sade: "Jag har plockat rosor
och på törnen stungit mina händer."
Åter kom hon från sin älsklings möte,
kom med röda läppar. Modern sade:
"Varav rodna dina läppar, flicka?"
Flickan sade: "Jag har ätit hallon
och med saften målat mina läppar."
Åter kom hon från sin älsklings möte,
kom med bleka kinder. Modern sade:
"Varav blekna dina kinder, flicka?"
Flickan sade: "Red en grav, o moder!
Göm mig där och ställ ett kors däröver,
och på korset rista, som jag säger:
En gång kom hon hem med röda händer,
ty de rodnat mellan älskarns händer.
En gång kom hon hem med röda läppar,
ty de rodnat under älskarns läppar.
Senast kom hon hem med bleka kinder,
ty de bleknat genom älskarns otro."
*******************************************
The girl came from meeting her lover,
came with her hands all red. Said her mother:
"What has made your hands so red, girl?"
Said the girl: "I was picking roses
and pricked my hands on the thorns."
Again she came from meeting her lover,
came with her lips all red. Said her mother:
"What has made your lips so red, girl?"
Said the girl: "I was eating raspberries
and stained my lips with the juice."
Again she came from meeting her lover,
came with her cheeks all pale. Said her mother:
"What has made your cheeks so pale, girl?"
Said the girl: "Oh mother, dig a grave for me,
Hide me there and set a cross above,
And on the cross write as I tell you:
Once she came home with her hands all red,
... they had turned red between her lover's hands.
Once she came home with her lips all red,
... they had turned red beneath her lover's lips.
The last time she came home with her cheeks all pale,
... they had turned pale at her lover's faithlessness."
I found this particular performance interesting because it introduced me to the singing of tenor, Rickard Söderberg, whom I hadn't known and also because I've heard this piece only done by women.
LUONNOTAR by SIBELIUS
When I first heard Luonnotar, I was completely overwhelmed by the myth and the primeval atmosphere created in this extraordinary piece. If you're not familiar with this piece, I think you're in for a marvelous treat. Finnish soprano, Karita Mattila is singing here.
Luonnotar (Daughter of Nature)
Language: Finnish and English translation beneath
“Olipa impi ilman tyttö,“Air’s daughter was a virgin,kave Luonootar korea,Fairest daughter of creation.ouostoi elämaätään.Long did she abide a virgin,Aina yksin ollessansaDwelling ever more so lonelyavaroilla autioillaIn those far-extending deserts.Laskeusi lainehilleAfter this the maid descendingaalto impeä ajeli,Sank upon the tossing billowsvuotta seitsemänsataa.Seven long centuries togetherVieri impo ve’en emonaThen she swam, the Water-Motheruipi luotehet,Southward swam and swam to North-West,etelät uipi kaikki ilman rannat.Swam around in all directions.Tuli suuri tuulen puuska,Then a sudden mighty tempestmeren kuohuille kohotti.Drove the billows of the waters.Voi poloinen päiviäni,Oh how wretched is my fortuneparempi olisi ollutBetter were it I had tarriedilman impenä elääVirgin in the airy regionsOi, Ukko, YlijumalaUkko, thou of Gods the highestkäy tänne kutsuttaissaHasten here for thou art needed.Tuli sotka, suora lintuThen a beauteous teal came flyinglenti kaikki ilman rannat,Flew round in all directions,lenti luotehet, etelät,Southward flew and flew to North-West,ei löyä pesän sioa.Searching for a spot to rest in.Ei! Ei! Ei!No! No! No!Teenko tuulehen tupaniShould I make the wind my dwelling,aalloillen asuinsiani.Should I rest it on the billows,Tuuli kaatavi, tuuli kaataviThen the winds will overturn it,aalto viepi asuinsiani.Or the waves will sweep it from me.Niin silloin ve’en emonemThen the Mother of the Watersnosti polvea lainehastaFrom the waves her knee uplifted;siihen sorsa laativiGentle there the teal alightingpesänsä alkoi hautoa.So she might her nest establishImpi tuntevi tulistuvaksiThen the maiden felt a burningjärskytti jäsenehensäAnd her limbs convulsive shakingpesä vierähti vetehen.Rolled the eggs into the water,Katkieli kauppaleiksiAnd to splinters they were broken,muuttuivat munat kaunoisiksi.And to fragments they were shatteredMunasen yläinen puoliFrom the cracked egg’s upper fragmentyläuseksi taivahaksi,Rose the lofty arch of heaven,yläpuoli valkeaista,From the white the upper fragmentkuuksi kumottamahanRose the moon that shines so brightly;mi kirjavaista tähiksi taivaalle,All that in the egg was mottledne tähiksi taivaalle.”Now became the stars in heaven.”
One final excerpt from a piece by Kaija Saariaho. She is a gifted contemporary, Finnish composer. This is a short introduction to her compositional style. There are other examples of her work at YouTube.
This piece was written for Edna Michell's Compassion project. Saariaho, speaking of her work: "In the composition I follow the idea of a dialogue, suggested by the text I have chosen. The intimate nature and fragile sound world of the duo mirror the fragility of our uncertain existence." Go here for more about Saariaho.
Welcome to SongLiedMélodie. This blog was created to provide a place to discuss the music and texts of vocal performances of various styles and languages. All materials found here are for educational purposes only. For the time being, the topics are organized according to geographic locations. The first topic was The Music of Spain and South America. The Links and Labels below should be helpful in finding what you are looking for. Enjoy.
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