Английская Википедия:Aino (Kajanus)

Материал из Онлайн справочника
Перейти к навигацииПерейти к поиску

Шаблон:Short description Шаблон:Infobox musical composition

Aino (sometimes referred to as the Aino Symphony) is a single-movement symphonic poem for male choir and orchestra written in 1885 by the Finnish conductor and composer Robert Kajanus. The piece tells the tragic story of the eponymous heroine from the Kalevala, although the Finnish-language text—Ring, Kantele, Ring! (Шаблон:Lang)Шаблон:Sfn—sung by the male choir at the end of the symphonic poem is not from the literary epic but rather is by an anonymous author.Шаблон:Sfn Aino premiered on 28 February 1885 at a concert celebrating the fiftieth anniversary of the Kalevala.

Kajanus's Aino also retains a degree of historical significance as a catalyst for Jean Sibelius: after hearing the symphonic poem in 1890, he was inspired to attempt his own Kalevala-themed composition, a process that would result two years later in the symphonic work Kullervo (Op. 7; 1892).

History

Шаблон:Multiple image

The Kalevala is a collection of folk poetry compiled by Elias Lönnrot in 1835 (the Old Kalevala) and expanded in 1849. Aino's story occurs in Runos III–V within the First Väinämöinen Cycle. Aino's brother, Joukahainen, challenges Väinämöinen to a battle of songs, knowledge, and blades. Annoyed, the old wizard uses his magic powers to sing Joukahainen into the earth up to his shoulders. To save himself, Joukahainen offers Väinämöinen his sister's hand in marriage, and joyfully the wizard reverses his spell.Шаблон:Sfn Rather than submit to this fate, a weeping Aino drowns herself and becomes a water spirit.Шаблон:Sfn Unbeknownst to Väinämöinen, she returns as a fish and allows him to hook her; as he attempts to filet his catch, she wriggles from his hands and reproves him for his stupidity. The grieving Väinämöinen again fishes the waters but he does not find Aino.Шаблон:Sfn

Not much is known about Kajanus's compositional process, including why he selected the above Kalevala tragedy as his topic.Шаблон:Efn

Notable performances

To commemorate the semicentennial of the Шаблон:Em's first publication, the Finnish Literature Society—under the leadership of its chairman, the Finnish senator G. Z. Yrjö-Koskinen—organized a festival on 28 February 1885.Шаблон:Sfn The highlight was the premiere of a new Kalevala-themed composition by Finland's then-leading composer: Robert Kajanus's Aino, a symphonic poem (Swedish: Шаблон:Lang; Finnish: Шаблон:Lang) for male chorus and orchestra. Kajanus conducted the Helsinki Orchestral Society (which he had founded in 1882)Шаблон:Sfn and an unnamed (likely amateur) choir at the Ceremonial Hall of the Imperial Alexander's University of Finland.Шаблон:SfnШаблон:Sfn For Шаблон:Ill, the music critic Шаблон:Ill (pen name 'Bis') wrote a favorable—if largely descriptive—review, complimenting the piece as "captivating and beautiful... gripping and elevated all the way to the final chord".Шаблон:SfnШаблон:Efn At the concert, Kajanus also conducted Kullervo's Funeral March (Шаблон:Lang), his 1880 setting of Kullervo's demise in Runo XXXVI, as well as his Finnish Rhapsody in D minor (1881).Шаблон:Sfn

Шаблон:Quote box

A week later, Kajanus and the Orchestral Society repeated Aino—its second performance—on 7 March at Ceremonial Hall; the program also included Berlioz's Symphonie fantastique.Шаблон:Sfn On 12 November 1885, Kajanus conducted (likely, again, the Orchestral Society) his symphonic poem at the Student House; the occasion was a charity benefit for the family of the recently-deceased Finnish sculptor Шаблон:Ill. The choice of program was appropriate given that Takanen had died before completing his statue Шаблон:Ill (terra-cotta sketch, 1874; plaster, 1876; posthumously carved in marble, 1886),Шаблон:Sfn which was on display at the soirée.Шаблон:Sfn

In the autumn of 1889, Kajanus traveled on sabbatical to Imperial Germany for further instruction in conducting under the renowned German conductor Hans von Bülow.Шаблон:Sfn A milestone arrived when on 11 February 1890 he conducted the Berlin Philharmonic in a performance of Aino;Шаблон:Sfn the audience reportedly received the piece rapturously.Шаблон:Sfn Nevertheless, the German music critic Heinrich Ehrlich provided a caustic review in Berliner Tageblatt, which Шаблон:Ill republished (in Swedish) on 17 February. While conceding that Kajanus was talented and that the beginning of the symphonic poem had had a charming theme, Ehrlich dismissed the Finn as yet another Wagner imitator, the collective lot of which "cannot even achieve [the master's] coughing an spitting";Шаблон:Efn he concluded by warning Kajanus to find another path forward.Шаблон:Sfn

Influence on Sibelius

Шаблон:Multiple image

For the Berlin performance, Kajanus's junior compatriot, Jean Sibelius—who at the time was in Berlin studying counterpoint under Albert Becker—was in the audience.Шаблон:SfnШаблон:Sfn In the early 1930s, Sibelius told his biographer Шаблон:Ill that hearing Kajanus's Aino had been a formative experience in his own artistic development:

Шаблон:Quote

Two years later, Sibelius's interest in the Kalevala would result in Kullervo (Op. 7; 1892), the symphonic work for soloists, male chorus, and orchestra that launched Sibelius's career—and thus caused him to supplant Kajanus as Finland's most gifted composer (something Kajanus had prophesied—with a "compound of admiration mingled with an undertone of bitterness"—as early as 29 May 1889 upon hearing Sibelius's String Quartet in A minor, JS 183, at a student concert).Шаблон:Sfn Kullervo was the first in a celebrated series of Kalevala-inspired compositions by Sibelius, including: the Lemminkäinen Suite (Op. 22; 1893–96, Шаблон:Abr 1897, 1900, 1939), The Origin of Fire (Op. 32; 1902, Шаблон:Abr 1910), Pohjola's Daughter (Op. 49; 1906), Luonnotar (Op. 70; 1913), and Tapiola (Op. 112; 1926).

Kajanus's Aino therefore retains a degree of historical significance as a catalyst, although Antony Hodgson probably overstates matters in characterizing the Berlin concert as "[therefore] one of the most important and significant events in Finnish musical history".Шаблон:SfnШаблон:Efn In the 1940s, Sibelius sought to downplay his comment to Шаблон:Ill, telling a second biographer, Шаблон:Ill, that he arrived at a Kalevala-inspired work independent of Kajanus's example: "That was something that matured in me quite by itself ... that was in the air".Шаблон:Sfn Indeed, as Glenda Dawn Goss has written, in the late nineteenth century, many members of the Finnish artistic community already believed that "a Finn's highest endeavor was cultural service", and many "undertook the study of folk poetry and music as a patriotic duty".Шаблон:Sfn In other words, Kajanus's example was just one part of "larger trends ... a profusion of dramatists, poets, artists, composers, folklorists, and professors who—seeking to invent a national character, much of it through high art—nourished an extraordinary efflorescence in music, literature, and the visual arts".Шаблон:Sfn

Moreover, Kajanus's Aino and Sibelius's Kullervo, despite superficial similarities such as the deployment of a unison male chorus,Шаблон:Sfn are stylistically dissimilar. Sibelius's biographer Erik Tawaststjerna, for example, has argued that the two pieces are "worlds apart in atmosphere and quality", as the Kajanus is "heavily endowed with Wagnerian chromaticism and ... overtones of Lohengrin", whereas the Sibelius draws upon "the mainstream European masters, the symphonies of Beethoven, Bruckner, Berlioz, and Liszt".Шаблон:Sfn Шаблон:Ill concurs, noting that whereas Aino entails the "uneasy marriage of Central European Romanticism to Finnish topics", Kullervo marks the "emerge[nce of] a true national musical language".Шаблон:Sfn Ringbom also notes that Sibelius was "extremely critical" of Aino until Kajanus revised it in 1916, removing some of what Sibelius considered to be its Wagnerian excess.Шаблон:Sfn

Recordings

In 1991, Jorma Panula and the Finnish Radio Symphony Orchestra made the world premiere recording of Kajanus's Aino. Writing in the American Record Guide, Kurt Moses noted the Wagnerian touches and characterized the symphonic poem as a "pleasant work, even stirring some of the time"; nevertheless, he thought that Kajanus had failed to adequately capture the subject matter of Aino's story.Шаблон:Sfn In 2001, Aino received its second recording, by Osmo Vänskä and the Lahti Symphony Orchestra. Charles Parsons, also of the American Record Guide, described the all-Kajanus disc as a "veritable orgy of German romanticism... with gleaming glowing tone and excitement". About Aino, he wrote that the choral conclusion "adds to the musical splendor".Шаблон:Sfn

The sortable table below lists all commercially available recordings of Aino:

Шаблон:Abbr Conductor Orchestra Male choir(s) Шаблон:AbbrШаблон:Efn Time Recording venue Label Шаблон:Abbr
1 Шаблон:Sort Finnish Radio Symphony Orchestra YL Male Voice Choir (1) 1990 14:33 Kulttuuritalo Ondine Шаблон:Center
2 Шаблон:Sort Lahti Symphony Orchestra YL Male Voice Choir (2) 2001 14:26 Sibelius Hall BIS Шаблон:Center
3 Шаблон:Sort American Symphony Orchestra Bard Festival Chorus 2011Шаблон:Abbr 14:19 Sosnoff Theater ASOШаблон:Efn Шаблон:Center

Notes, references, and sources

Notes

Шаблон:Notelist

References

Шаблон:Reflist

Sources

Шаблон:Refbegin

Books
Liner notes
Journal articles
Newspaper articles (by date)

Шаблон:Refend

External links

Шаблон:Portal bar Шаблон:Italic title

Партнерские ресурсы
Криптовалюты
Магазины
Хостинг
Разное

Источник — http://wikihandbk.com/ruwiki/index.php?title=Английская_Википедия:Aino_(Kajanus)&oldid=12989543