Norway landscape
Sweden: Riddar Island is part of the oldest area in Stockholm, Sweden. It is known for its historic sites and architecture
Finland landscape: There are over 180,000 lakes in Finland.
11 years ago
Tuesday, April 7, 2009
Scandinavia
Norway landscape
Sweden: Riddar Island is part of the oldest area in Stockholm, Sweden. It is known for its historic sites and architecture
Finland landscape: There are over 180,000 lakes in Finland.
Sunday, April 5, 2009
Norway: Grieg's "En Svane" and selections from "Haugtussa"
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.
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.
Finland: Siblelius' "Flickan kom ifrån sin älsklings möte," "Luonnotar" and Saarriaho excerpt
Jean Sibelius 1865- 1957
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
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.
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 ollessansa
Dwelling ever more so lonely
avaroilla autioilla
In those far-extending deserts.
Laskeusi lainehille
After this the maid descending
aalto impeä ajeli,
Sank upon the tossing billows
vuotta seitsemänsataa.
Seven long centuries together
Vieri impo ve’en emona
Then she swam, the Water-Mother
uipi 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 tempest
meren kuohuille kohotti.
Drove the billows of the waters.
Voi poloinen päiviäni,
Oh how wretched is my fortune
parempi olisi ollut
Better were it I had tarried
ilman impenä elää
Virgin in the airy regions
Oi, Ukko, Ylijumala
Ukko, thou of Gods the highest
käy tänne kutsuttaissa
Hasten here for thou art needed.
Tuli sotka, suora lintu
Then a beauteous teal came flying
lenti 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 tupani
Should I make the wind my dwelling,
aalloillen asuinsiani.
Should I rest it on the billows,
Tuuli kaatavi, tuuli kaatavi
Then the winds will overturn it,
aalto viepi asuinsiani.
Or the waves will sweep it from me.
Niin silloin ve’en emonem
Then the Mother of the Waters
nosti polvea lainehasta
From the waves her knee uplifted;
siihen sorsa laativi
Gentle there the teal alighting
pesänsä alkoi hautoa.
So she might her nest establish
Impi tuntevi tulistuvaksi
Then the maiden felt a burning
järskytti jäsenehensä
And her limbs convulsive shaking
pesä vierähti vetehen.
Rolled the eggs into the water,
Katkieli kauppaleiksi
And to splinters they were broken,
muuttuivat munat kaunoisiksi.
And to fragments they were shattered
Munasen yläinen puoli
From the cracked egg’s upper fragment
yläuseksi taivahaksi,
Rose the lofty arch of heaven,
yläpuoli valkeaista,
From the white the upper fragment
kuuksi kumottamahan
Rose the moon that shines so brightly;
mi kirjavaista tähiksi taivaalle,
All that in the egg was mottled
ne 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.
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