Professional Documents
Culture Documents
PASI HYKKI
Marjatta
the Lowly Maiden
RAUTAVAARA
2505
Tuuli Lindeberg
Olga Nikolskaja-Heikkil
Sofia Niemi
Marie Yloutinen
Tapiola Choir
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Lorulei (1973)
(Texts: Trad.)
I. Mist on pienet pojat tehty
II. Hus sika metsn
III. Peukaloputti sian sai
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V. Agnus Dei
VI. Meditatio super Agnum Dei
VII. Alleluia
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Tapiola Choir
Pasi Hykki, conductor
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Publishers: Fennica Gehrman (Marjatta matala neiti, Suite de Lorca, Viatonten valssi, Wenn sich die Welt auftut, Childrens Mass),
Sulasol (Puusepn poika, Lorulei, Rakkaus ei koskaan hvi)
Recordings: Suomenlinna Church, Helsinki, 1314.3. & 910.10.2010 (tracks 19, 1723), 16 January 2011 (1016)
Executive Producer: Reijo Kiilunen
Recording Producer: Seppo Siirala
Recording Engineer: Enno Memets Editroom Oy
2011 Ondine Oy
2011 Ondine Oy
Booklet Editor: Jean-Christophe Hausmann
Reproduction of sung texts and their translations by permission of Fennica Gehrman Oy, Helsinki
Cover Painting: Pekka Hepoluhta
Artist Photos: Mauriz Hellstrm (Einojuhani Rautavaara, ca. 1977), Jukka Lehtinen (Tapiola Choir and Pasi Hykki)
Cover Design and Booklet Layout: Armand Alcazar
This recording was produced with support from the Foundation for the Promotion of Finnish Music (LUSES) and the Finnish
Performing Music Promotion Centre (ESEK).
Gloriam opens in an upbeat mood but then descends into a swell of thick sonorities that in turn
evolve into glissando fields and extremely high notes. The Agnus Dei is solemn and lucid. It is also
the most obviously contrapuntal of the movements. The Meditation here follows without a break,
painting tremolo fields glowing with mystical light soaring over a broad melodic line. The concluding
Alleluia grows into a powerful declamation.
When Erkki Pohjola asked Rautavaara to arrange the mixed-choir work Suite de Lorca for
childrens choir, Rautavaara hesitated. He was not sure whether the powerful, blood-saturated and
death-embracing poetry of Federico Garca Lorca would be suitable for children to sing. Pohjola
told the composer not to worry, saying that the poetic images may appeal to the children for other
reasons than they do to adults, but certainly just as much. And Pohjola was right: the Suite de
Lorca became one of the Tapiola Choirs greatest hits. It also went some way towards debunking
conventional notions about what is suitable for children to sing and what is not.
Cast in four brief yet intense movements that shift through a variety of moods, Suite de Lorca
opens with Cancin de jinete (Riders Song), where an incessant ostinato of Crdoba in the alto part
hypnotically underpins solo and soprano utterances. El grito (The Scream) illustrates its title with
piercing glissandos balanced by more restrained passages. La luna asoma (The Moon Peeps out)
paints a tranquil nocturnal landscape, with meditative melodic fragments revolving around the E
pedal point. Malaguea (Dance from Mlaga) concludes the suite with a relentless rhythmic flourish.
Many of Rautavaaras small-scale works for childrens choir written in the mid-1970s explore multiple
dimensions in the world of children. The charming Lorulei cycle (1973) features the endearing
humour that is typical of traditional nursery rhymes. Lorulei is a prize winner just like Childrens Mass
and Suite de Lorca, having received 1st prize in the composition competition organised for the 100th
anniversary of the Folk Education Society in 1974.
Viatonten valssi (Waltz of the Innocents) is a setting of a well-known and often-set poem by Aaro
Hellaakoski, cast by Rautavaara in a lilting and somewhat naivist vein. The original version (1973) is
for childrens choir, violin and piano, but the final version (1982) dispenses with the piano, leaving the
violin as a gently edgy representative of the demons in the poem.
Puusepn poika (The Carpenters Son, 1975) was written to a commission from the Tapiola
Choir for a TV film about the poetry of Sanelma Kuusisto. The work begins calmly but gains solemnity
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and depth of meaning as it goes on. As Rautavaara himself wrote: A diminutive legend by an
Ostrobothnian writer, the poem opens with a domestic idyll underpinned by the ostinato of the
carpenters plane and a little boy at play. Then the piece expands towards the anticipated fate of the
boy, the wood shavings transforming into a crown of thorns an arch topped by a radiant soprano
solo.
In the 1970s, Einojuhani Rautavaara turned to the Finnish national epic, the Kalevala, for inspiration,
as had so many other Finnish artists before him. This was no self-evident development, because as
he himself said with reference to the works of Sibelius and Gallen-Kallela, it seemed that it had been
milked dry. Yet there was something strangely compelling about the Kalevala, ...it was a book of
mages, a shaman bible, an ancient black ritual. It was a sound of drumming and a smell of smoke,
the smoke of our fathers and ancestors from beyond the ages. Increasingly, that smell began to
penetrate our modern world.
The first of Rautavaaras Kalevala-based works to be completed was the mystery play Marjatta
matala neiti (Marjatta the Lowly Maiden, 1977), commissioned by the City of Espoo. Rautavaara
once again had the Tapiola Choir in mind, and they premiered the work in September 1977.
When Rautavaara received the commission, he initially considered setting a more dramatic scene
from the epic but eventually settled on the final runo, a Finnish folk version of the Christmas story,
the virgin birth of the miraculous child. Certainly the lucid sound of a childrens choir and the aura of
innocence surrounding its singers is better suited for this narrative than to one of the bloodier scenes
in the Kalevala.
Mary, here known as Marjatta, is a householders daughter who eats a cowberry while out herding
cows and becomes pregnant. She does not want her family to find out and instead seeks shelter in
the sauna of the household of Ruotus (a Finnish corruption of Herodes, or Herod) to give birth. The
Mistress of Ruotus denies her shelter, and she is obliged to give birth in the stable, warmed by the
breath of a horse. Most of the text is from the Kalevala, with a narrators part written by Rautavaara
himself to open and conclude the work.
In addition to a childrens choir, the work calls for soloists and an instrument ensemble, and
the flute part in particular is technically challenging and crucially important. Inspired by the world
of the Kalevala, Rautavaara wrote the music with an archaic, identifiably Finnish feel. The music
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closely follows the narrative, including some descriptive details that call for the choir to produce
onomatopoeic sounds and rhythmic speech. The action part of the work is the progress of the
servant girl hurrying to the Mistress of Ruotus, while the culmination of the myth comes with the birth
of the child: a bright Christmas hymn emerges amidst a shimmering halo of string accompaniment.
Marjatta matala neiti is an important work in Rautavaaras output overall, besides being his principal
work for childrens choir and the first in what became a trilogy of Kalevala-inspired operas. While
writing Marjatta, he was already working on a choral opera for male choir based on the episode of
the stealing of the Sampo from the Kalevala eventually completed in 1982 and named Runo 42 (The
Myth of Sampo) and the trilogy concluded with the grand opera Thomas (1985).
But that is not all; Marjatta proved to be a turning point in Rautavaaras personal life too. The
solo role of Marjatta was sung at the premiere and at numerous subsequent performances in Finland
and abroad by Sini Koivisto, then a member of the Tapiola Choir; some years later, she became
Rautavaaras second wife. Rautavaara himself has described the new love that emerged in 1982
as a time of new happiness and a rebirth of sorts. In this light, his choice of text for his next work
for childrens choir becomes even more significant. Rakkaus ei koskaan hvi (Love Never Dies,
1983), a setting one of the most familiar passages from the Bible, the praise of love in 1 Corinthians
13:813, was written amidst the first surge of this rebirth and addresses a number of important
issues in life. The foremost among them, however, as the Good Book says, is love.
Alongside Childrens Mass, Suite de Lorca and Marjatta matala neiti next, Rautavaaras extensive
works for childrens choir include Wenn sich die Welt auftut (When the World Surrenders, 1996).
Rautavaara has explained that he and poet Lassi Nummi, who were born on the same day, are in the
habit of sending their new works to one another. By a happy chance, Rautavaara received a collection
of German translations of Nummis poems while searching for a text for a piece commissioned by the
Mdchenchor Hannover girls choir. These poems have a deep personal significance for me; they
inspired their own music, Rautavaara said.
Wenn sich die Welt auftut is a five-movement cycle whose songs may be performed separately
or grouped differently. The bright opening song Freude steigt in uns auf (Joy rises up in us) is
characterised by a joyous galloping triplet rhythm that reappears in the fourth song, Der Brief (The
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Letter). Meine Liebe (My Love) is a collection of symmetrical constructs, according to the composer,
while Dann, in jener Nacht (Then, That Night) and the concluding Flstern (Whispering) are based
on a liberally applied twelve-tone row.
Kimmo Korhonen
(Translation: Jaakko Mntyjrvi)
The Tapiola Choir is one of the worlds leading childrens choirs and consists of 70 young musicians
aged 9 to 18, all of whom also play at least one musical instrument in addition to singing. Erkki
Pohjola founded the Tapiola Choir in Espoo in 1963. After meeting Zoltan Kodly and Carl Orff in 1964,
he adapted their ideas into a free-form education method with a chamber-music approach, building
on the innate creativity and musical talents of children. He continued to pursue this new music
education ideal as conductor of the Tapiola Choir for over three decades. During that time, the Choir
evolved from a run-of-the-mill school choir into one of the most acclaimed vocal instruments of our
time. International critics called its unique sound the Tapiola Sound. Kari Ala-Pllnen continued the
work of Erkki Pohjola from 1994 to 2008, until he was succeeded by Pasi Hykki, one of the Choirs
own alumni.
Since winning the Silver Rose Bowl at the prestigious Let the Peoples Sing competition
organized by the BBC in 1971, the Choir has undertaken more than 60 international tours, three of
them circumnavigating the globe. In 1996, the Tapiola Choir became the first recipient in the field of
music of the UNESCO Prize for the Promotion of the Performing Arts.
The Tapiola Choir has a highly diverse repertoire, ranging from the classical repertoire to
contemporary music, from folk music to jazz. Numerous Finnish and foreign composers have
written new works for the ensemble, often with the Choir being actively involved in the composition
process.The Tapiola Choir has made numerous recordings mostly for the Ondine label.
The Tapiola Youth Symphony Orchestra is made up of around 70 students from the Espoo Music
Institute (EMO), where it was founded in 1985. The orchestra has received much praise from critics
both in Finland and abroad during concert tours, which have taken the orchestra to several European
countries.
www.emo.fi
Pasi Hykki has been artistic director of the Tapiola Choir since 2008. He is also conductor of
the EMO Ensemble and artistic director of the Talla Vocal Ensemble, which he both founded. He
completed his choir conducting studies at the Sibelius Academy, where he now teaches the history
of choral music. His merits include first prize in the first international Harald Andersn Chamber Choir
Competition in 2003, in addition to first prize at the 2001 In... Canto sul Garda Competition in Italy
and the conductor prize at the international Chorus Review at the Tampere Vocal Music Festival in
1997. He is also a sopranista singer and has studied with Claudine Ansermet, Christina Miatello and
Gloria Arbitelli.
www.tapiolachoir.fi
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seuraava jousiston Meditatio super Kyrie muodostaa intensiivisyydessn tummemman varjon. Gloria
saa lajiperinteen mukaisesti valoisan ja riemukkaan ilmeen, jonka tekstuuria tematiikan knnkset
ja sopraanosoolon kuviot rikastavat. Meditatio super Gloriam alkaa kepehkiss tunnelmissa mutta
kntyy sitten paksujen sointipintojen aaltoiluksi ja ptksen glissando-kentiksi ja korkeiksi niksi.
Agnus Dei on tunnelmaltaan harras ja kuulas ja osista selvimmin kontrapunktin svyttm. Jousiston
meditaatio liittyy siihen tauotta ja maalailee mystiikan valoa hehkuvia tremolokentti, joiden alta
laveasti kaartuva melodia kasvaa esiin. Ptsosa Halleluja kasvaa vahvaan julistavaan voimaan.
Kun Erkki Pohjola pyysi sekakuorolle kirjoitetusta Lorca-sarjasta versiota lapsikuorolle,
Rautavaara oli aluksi eprivll kannalla. Hn ei ollut varma, sopisivatko espanjalaismestari Federico
Garca Lorcan vkevt, verta ja kuolemantuntoja huokuvat tekstit lasten laulettavaksi. Pohjola pyysi
sveltj kuitenkin unohtamaan epilyt ja totesi, ett sarjan kielikuvat kiehtovat lapsia kenties eri
syist kuin aikuisia, mutta taatusti yht paljon. Ja oikeassahan hn oli, sill Lorca-sarjasta on tullut
yksi Tapiolan kuoron suosikkiteoksista. Samalla ovat kumoutuneet perinteiset ksitykset siit, mik
on sopivaa laulettavaa lapsille.
Neliosaisen, tunnelmiltaan vaihtelevan mutta kiinten ja intensiivisen sarjan avausosassa
Cancin de jinete (Ratsulaulu) alttojen lpi kappaleen soivan Crdoba-rytmin ylle piirtyy solistien
ja sopraanojen repliikkej, vaikutelma on tiivis ja hypnoottinen. El Grito (Huuto) lunastaa nimens
viiltvill glissandoilla, joita sisistyneemmt knteet tasapainottavat. La luna asoma (Kuu nousee)
maalaa kuulaan ja kauniin ymaiseman, jossa urkupisteen soivan e-svelen ymprille kiertyy
mietiskelevi aihelmia. Malaguea luo sarjalle vahvan, rytmisesti iskevn ptksen.
Rautavaaran 1970-luvun puolivlin monissa pienimuotoisemmissa lapsikuoroteoksissa tulee tiiviiss
muodossa esiin lasten maailman erilaisia ulottuvuuksia. Viehttvss Lorurei-sarjassa (1973)
lasten maailmaan olennaisesti liittyv huumori saa perustansa perinteisist lastenloruista. Lorulei
kuuluu Lapsimessun ja Lorca-sarjan tavoin Rautavaaran kilpailumenestyjiin, sill se saavutti voiton
Kansanvalistusseuran 100-vuotisjuhlien svellyskilpailussa 1974.
Aaro Hellaakosken monesti svelletty runo Viatonten valssi on saanut Rautavaaran ksiss
kepesti keinahtelevan ja hiukan naivistisenkin ilmeen. Alkuperisversiossa (1973) ovat kuoron
lisksi mukana viulu ja piano mutta lopullisessa versiossa (1982) vain viulu, joka tuo teokseen omaa
srmns ernlaisena lempen pirunviuluna.
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Puusepn poika (1975) syntyi Tapiolan kuoron tilauksesta Sanelma Kuusiston runoutta
ksittelev televisioelokuvaa varten. Teos alkaa hillityiss tunnelmissa mutta saa edetessn
uudenlaista syvyytt ja merkityst; niin kuin Rautaavaara on itse todennut: Pohjalaisen runoilijan
pieni legenda alkaa kotoisena idyllin, jonka taustalla puusepn hyln ja pojan leikin net
toistuvat ostinatona. Sitten laulu kasvaa kohti aavistettua kohtaloa, jossa lastukruunu on muuttuva
orjantappuroiksi kasvaa kaarena, jonka lopuksi huipentaa sopraanosoolon steily.
Kalevalasta tuli 1970-luvulla trke innoittaja Einojuhani Rautavaaralle niin kuin niin
monille suomalaisille taiteilijoille ennen hnt. Mikn itsestnselvyys sen valikoituminen
inspiraationlhteeksi ei silti ollut; niin kuin hn totesi Sibeliuksen ja Gallen-Kallelan teoksiin viitaten
siit oli otettu kaikki irti, silt nytti. Kuitenkin jokin Kalevalassa vetosi vastustamattomasti: ...se
oli maagien Kirja, shamaaniraamattu, muinaisen musta rituaali. Sill oli rummun ni ja se tuoksui
savulle, isn ja isien savuille aikojen takaa. Yh enemmn sen tuoksu alkoi tunkea mys thn
aikaan.
Ensimmisen Rautavaaran Kalevala-aiheisista teoksista valmistui Espoon kaupungin tilaama
mysteerinytelm Marjatta matala neiti (1977). Jlleen Rautavaara ajatteli teoksen toteuttajaksi
Tapiolan kuoroa, ja se mys kantaesitti teoksen Espoossa syyskuussa 1977.
Tilauksen saadessaan Rautavaara mietti aluksi aiheeksi jotain Kalevalan dramaattisempaa
jaksoa. Lopulta hn pttyi kuitenkin eepoksen viimeiseen runoon, joka on suomalainen versio
Raamatun joulukertomuksesta, Marian neitseellisest sikimisest ja lapsen syntymst. Sellaisen
ilmentmiseen lapsikuoron puhdas sointi ja nuoria laulajia ympriv viattomuuden aura tuntuukin
sopivan paremmin kuin johonkin verisempn episodiin.
Marjatta on talon tytr, joka tulee paimenessa raskaaksi sytyn puolukan. Hn ei halua,
ett kotivki saa tiet asiasta ja yritt pst Ruotuksen talon saunaan synnyttmn. Siihen
ei Ruotuksen emnt suostu, joten Marjatta joutuu synnyttmn lapsensa tallissa hevosen
hengityksen lmmss. Kalevalasta valittuja skeit tydentvt Rautavaaran kirjoittamat kertojan
osuudet teoksen alussa ja lopussa.
Kuoro-osuutta on tydennetty solisteilla ja soitinyhtyeell, ja varsinkin huilun osuus on
vaativa ja keskeinen. Kalevalaisen aiheen innoittamana Rautavaara on valanut teokseen arkaaista
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suomalaiskansallista tuntua. Musiikki seuraa tarkasti tarinan knteit aina muutamia kuvailevia
yksityiskohtia myten, joissa kuoron osuus laajenee onomatopoeettisiin nteisiin ja puhelauluun.
Teoksen toiminnallisena huipentumana on piian vauhdikas matka Ruotuksen emnnn luokse,
myytin huipennuksena taas lapsen syntym. Kun lapsi on syntynyt, puhkeaa soimaan valoisa
jouluhymni, jota jouset ernlaisena himmen sdekehn sestvt.
Marjatta matala neiti oli trke teos Rautavaaran uralla, hnen lapsikuorotuotantonsa pteos
ja avaus hnen kolmen Kalevalaisen kuoro-oopperansa sarjalle. Jo ennen sit hn oli alkanut
hahmotella Kalevalan Sammon rystn perustuvaa kuoro-oopperaa Runo 42, joka kuitenkin
valmistui lopullisesti vasta 1982, ja trilogian ptti suuren kokoonpanon ooppera Thomas (1985).
Trkeksi Marjatta matala neiti osoittautui kuitenkin Rautavaaralle mys henkilkohtaisesti.
Marjatan solistiroolin lauloi sek kantaesityksess ett monissa myhemmiss esityksess
Suomessa ja ulkomailla kuoron laulajatar Sini Koivisto, josta tuli muutamia vuosia myhemmin
Rautavaaran puoliso. Rautavaaralle uusi vuonna 1982 syttynyt rakkaus merkitsi hnen omien
sanojensa mukaan uuden onnen aikaa ja jopa ernlaista uudestisyntym, miss valossa hnen
seuraavan lapsikuoroteoksensa tekstivalinta saa lis syvyytt. Rakkaus ei koskaan hvi
valmistui rakkauden syttymisen tunnelmissa 1983 ja perustuu Raamatun tunnetuimpiin kuuluvaan
katkelmaan, ensimmisen korinttolaiskirjeen 13. lukuun (jakeet 813). Tekstiss tuodaan esiin
moniakin elmnkysymyksi, mutta niin kuin sanassa sanotaan suurin niist on rakkaus.
Lapsimessun, Lorca-sarjan ja Marjatta matala neidin rinnalla Rautavaaran laajempiin
lapsikuoroteoksiin kuuluu sarja Wenn sich die Welt auftut (1996). Rautavaara on kertonut, ett
hnell ja runoilija Lassi Nummella, kahdella saman vuoden samana pivn syntyneell taiteilijalla,
on ollut tapana lhetell uusia teoksia toisilleen. Onnekkaasti Rautavaara sai Nummelta tmn
runojen saksannoksia sisltvn kokoelman juuri samaan aikaan, kun hn etsi tekstej Mdchenchor
Hannoverin tilausta varten. Koin nm runot voimakkaasti henkilkohtaisiksi; ne inspiroivat
musiikkinsa, Rautavaara on todennut.
Wenn sich die Welt auftut on viisiosainen sarja, jonka osia voi esitt mys erikseen tai yhdist
erilaisiksi ryhmiksi. Valoisassa avauslaulussa Freude steigt ins auf on runkona Rautavaaran sanoin
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laukkaavan riemukas triolirytmi, jota muunnellaan edelleen sarjan neljnness laulussa Der Brief.
Meine Liebe rakentuu Rautavaaran mukaan erilaisille symmetrioille, kun taas lauluissa Dann, in jener
Nacht ja ptslaulussa Flstern on lhtkohtana vapaasti kytetty svelrivi.
Kimmo Korhonen
www.tapiolankuoro.fi
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Kuoro:
Marjatta, korea kuopus,
se kauan kotona kasvoi,
korkean ison kotona,
emon tuttavan tuvilla.
Choir:
Marjatta, beautiful maiden,
grew up in the far-away North,
grew up in her fathers house,
in her tender mothers home.
Kertoja:
Marjatta, matala neiti, hn tulee
kaukaa, tuhannen vuoden takaa
ja tarina, joka hnest lauletaan,
tulee kaukaa:
Itmeren takaa
ja Vlimeren
Tarina laskeutuu vuorilta,
se kulkee yli meren ja Euroopan,
kulkee Suomeen,
kulkee metsiin
Narrator:
Marjatta, the lowly maiden, she comes
from afar, beyond a thousand years
and the legend that tells her story,
comes from afar:
beyond the Baltic Sea
and the Mediterranean
The legend descends from the mountains,
it crosses the sea, crosses Europe,
till it comes to Finland,
to the forests
Kuoro:
Marjatta, korea kuopus,
tuo on piika pikkarainen,
piti viikkoista pyhyytt,
ajan kaiken kainoutta.
Sypi kaunista kaloa.
Ei synyt kanan munia,
kukerikun riehkatuita
eik lampahan lihoa,
ku oli ollut oinahilla.
Choir:
Marjatta, beautiful maiden,
was a child and a magic maid,
lived a virgin with her mother,
lived in innocence and beauty.
And she fed only on fish.
Hens eggs she never ate,
kukerikun, proudly strutted
nor the flesh of sheep did she eat,
had ewe with ram been running.
Kertoja:
Tarina tulee kaukaa ja matkalla
se muuttuu
tarina muuttuu,
ja Maria, puusepn vaimo,
on nyt Marjatta, talontytt:
Marjatta, matala neiti.
Narrator:
The legend comes from afar and
changes across the years and miles
the legend is transformed,
and Mary, the carpenters wife,
is now Marjatta, a country girl:
Marjatta, the lowly maiden.
Kuoro:
Lampahat meni mke,
vuonat vuoren kukkulata.
Marjatta, korea kuopus,
ptyi karjan paimeneksi,
Marjatta, korea kuopus,
istui marjamtthlle.
Choir:
Sheep were straying down the hill,
little lambs climbing to the top.
Marjatta, beautiful maiden,
she was a shepherd maiden,
Marjatta, beautiful maiden,
sat in a meadow full of berries.
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Marjatta:
Paha on olla paimenessa,
tyttlapsi liiatenki:
mato heinss matavi;
sisiliskot siuottavi.
Marjatta:
Woe is me, hard is my life as a shepherd,
hard in deed, hard for a maiden:
serpents creeping in the grass;
little lizards creeping in the grass.
Kuoro:
Kirkui marjanen melt,
puolukkainen kankahalta:
Tule, neiti noppimahan,
punaposki poimimahan!
Choir:
Calling from a hilltop,
cried a berry:
Come, o maiden, come and pick me,
rosy-cheeked one, come and gather!
Kuoro:
Niinp marja maasta nousi
puhtahille polviloille,
puhtahilta polviloilta
heleville helmasille,
nousi siit vyrivoille,
vyrivoilta rinnoillensa,
rinnoiltansa leuoillensa,
leuoiltansa huulillensa,
siit suihin suikahutti,
keikahutti kielellens,
Choir:
From the ground the berry mounted
upward to her knees pure whiteness,
upward to her knees pure whiteness
upward to her skirts that rustled,
to her buckled belt it mounted,
to her breast from buckled girdle,
from her breast to chin it mounted,
to her lips from chin it mounted,
then in to her mouth it glided,
and along her tongue it hastened,
Marjatta:
Piltti, pienin piikojani!
kyp kylpy kylst
saunoa Saraojalta,
jossa huono hoivan saisi,
piika piinansa pitvi!
Marjatta:
Piltti, thou my youngest maiden,
find a sauna somewhere in the
village by clear running water,
where the suffring one may rest,
and the maid endure her pain.
Piika:
Kelt m kysyn kyly,
kelt anelen apua?
Maid:
Where am I to ask a sauna?
Who will help me to obtain it?
Marjatta:
Piltti, pienin piikojani,
kysy Ruotuksen kyly,
saunoa Sarajan suista!
Ky pian, vlehen joua!
Marjatta:
Piltti, thou my youngest maiden,
ask from Ruotus, ask a
sauna by that running stream.
Go at once and hasten quickly!
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Kuoro:
Piltti, piika pikkarainen,
utuna ulos menevi,
savuna saapi pihalle,
kourin helmansa kokosi,
ksin kri vaattehensa,
sek juoksi jotta joutui
kohin Ruotuksen kotia.
Met mtky mennessns,
vaarat notkui noustessansa,
kvyt hyppi kankahalla,
someret hajosi suolla.
Choir:
Then the little maiden Piltti,
like a mist away she hurried,
to the yard like smoke she hastened,
with her hands her shirts she lifted,
in her hands her dress she twisted,
and upon her course she hastened,
straight onto the house of Ruotus.
Hills re-echoed to her footsteps,
when she ran mountains trembled
on the heath cones were dancing,
gravel scattered oer the marshes!
Kuoro:
Ruma Ruotus paioillansa,
aivan aivinaisillansa,
ruma Ruotus, paitulainen,
sypi, juopi suurten lailla.
Lausui Ruotuksen emnt,
tiuskui tiskins nojalta:
Choir:
Wicked Ruotus, eating, drinking,
in his shirt of linen,
in his shirt sat wicked Ruotus,
eating, drinking like the great ones.
Ruotus wicked wife she spoke then,
grunted over her table there:
Ruotuksen emnt:
Mit sie sanot, katala,
kuta kurja juoksentelet?
Wife of Ruotus:
Beggar what have you to say,
why come you running hither?
Piika:
Lksin kylpy kylst,
saunoa Saraojalta,
jossa huon hoivan saisi:
avun ange tarvitseisi.
Piika:
Here I seek a village sauna,
seek a bath by running water,
that relief may reach the suffring:
for the need is sorely pressing
Kuoro:
Ruma Ruotuksen emnt
laahoi keskilattialla,
itse virkki:
Choir:
Then the wicked wife of Ruotus,
slouched along upon the flooring,
and she spoke thus:
Ruotuksen emnt:
Ei kylyt kylhn joua,
ei sauna Sarajan suulta;
On kyly kytmell,
hepohuone hongikossa:
Kun hevonen hengnnevi,
niin on siin kylpette!
Wife of Ruotus:
Nor a sauna in the village,
there is none I would offer!
Upon the hillside there is one:
theres a stable in the pinewood.
While the horses there are breathing,
let her take a bath and welcome!
Kuoro:
Piltti, piika pikkarainen,
utuna ulos menevi,
savuna saapi pihalle,
kourin helmansa kokosi,
ksin kri vaattehensa,
sek juoksi jotta joutui
pian pistihe takaisin.
Met mtkyi mennessns,
vaarat notkui noustessansa,
kvyt hyppi kankahalla,
somerot hajosi suolla!
Choir:
Then the little maiden Piltti
like a mist away she hurried,
to the yard like smoke she hastened,
with her hands her shirts she lifted,
in her hands her dress she twisted,
and upon her course she hastend
hurried back with rapid footsteps.
Hills re-echoed to her footsteps
when she ran mountains trembled,
on the heath cones were dancing,
gravel scattered oer the marshes!
Kuoro:
Marjatta, matala neiti,
tuosta tytyi itkemhn:
Choir:
Marjatta the hapless maiden,
when she heard shed bitter tears:
25
26
Marjatta:
Tule, Luoja, turvakseni,
avukseni armollinen,
niss tiss tylhiss!
Pst piika pintehest,
vaimo vatsan vntehest.
Ettei vaivoihin vajoisi,
tuskihinsa tummeneisi!
Marjatta:
Come Creator aid thy servant;
Thou most gracious, God or mercy,
aid thy servant in her labour!
Free the maiden from her burden,
from her sore pains deliver her.
Save her, let her not perish,
die and perish in her anguish!
Kuoro:
Henkes hyv hevonen,
huokoas vetjvarsa.
Choir:
O thou good horse, breathe upon me,
thou draught-foal, blow upon me!
Marjatta (puhuen):
Henkes, hyv hevonen,
huokoas, vetjvarsa.
Kyly, lyly lyhyt.
Sauna lmpinen lhet.
Avun, ange, tarvitseisin!
Min hevonen henghtvi,
on kuin lyly lytess,
viskattaessa vetonen.
Min hevonen henghtvi
Marjatta (speaking):
O thou good horse, breathe upon me,
thou draught-foal, blow upon me,
breathe a vapour-bath around me,
send thou warmth around the sauna.
For the need is sorely pressing!
When the good horse breathes upon me,
steam is spread throughout the stable,
like the steam of boiling water.
With the good horse sighing softly
Kuoro:
Marjatta, matala neiti,
pyh piika pikkarainen,
teki tuonne pienen poijan
heinille hevosen luoksi.
Choir:
Marjatta lowly maiden,
meek and holy little maiden,
brought forth her little first-born babe.
In the manger she did lay him.
Kertoja:
Niin pttyy vanha tarina,
joka tuli niin kaukaa Suomeen,
mukanaan uusi aika:
uusi usko metsiin ja jrville,
uusi toivo niiden asukkaille,
uusi rakkaus
ihmisten kesken hyv tahto.
Narrator:
Thus ends the old legend,
which came to Finland from afar
bringing a new age:
and new faith to the forests and lakes,
new hope for the people,
new love
goodwill towards men.
Einojuhani Rautavaara /
Kalevala, Runo 50
28
Einojuhani Rautavaara,
after the Kalevala, Song 50
2 Puusepn poika
29
Lorca Suite
Suite de Lorca
3 I. Riders Song
3 I. Cancin de jinete
Lorca-sarja
3 I. Ratsulaulu
Crdoba.
Etll ja yksin.
Crdoba.
Alone and far away.
Crdoba.
Lejana y sola.
Crdoba.
Etll ja yksin.
Crdoba.
Alone and far away.
Crdoba.
Lejana y sola.
4 II. Huuto
Huudon ellipsi
vuorelta vuorelle
kulkee.
30
4 II. El grito
La elipse de un grito,
va de monte
a monte.
Nist ljypuista
nousee sen musta sateenkaari
yli sinisen yn.
Aiii!
Aeee!
Ay!
Aiii!
Aeee!
Ay!
Aiii!
Aeee!
Ay!
Es preciso comer
fruta verde y helada.
6 IV. Malaguea
Kuolema
ky sisn ja ulos
kapakassa.
Death
goes in and out
of the tavern.
La muerte
entra y sale
de la taberna.
Black horses
and sinister people
move along the deep paths
of the guitar.
Ja tuoksuu suola
ja naaraan veri
meren rannan kuumista
narduksista.
Kuolema
ky sisn ja ulos,
ky ulos ja sisn
kuolema
kapakassa.
Death
goes in and out
of the tavern,
and out and in
goes death.
La muerte
entra y sale
y sale y entra
la muerte
de la taberna.
Federico Garca Lorca
(18981936)
6 IV. Malaguea
Lorulei
Lorulei
Kirsi Kunnas /
englantilainen kansanruno
8 II. Hus sika metsn
Hus sika metsn!
Mit sika metsss?
Tuomahan marjoja
punaisella pussilla,
sinisell silkill,
korealla kontilla,
vaskisella vakkasella,
kultaisella kuppisella,
maalatulla maljasella.
Suomalainen kansanruno
34
10 Viatonten valssi
Enkelitkin sulkapaidan
jtti tuonne, plle aidan,
siell hnt, siell siipi
toisiansa tervehtiipi.
35
11 I. Joy Rises up in Us
Joy rises up in us a light,
stringent wine.
Your shoulder, white,
your hair, honey,
your eyes, a pinewood glade,
near you like the scent of
evergreen trees
and why should this moment
be immortal,
cast in bronze?
It is cast
in a metal nobler than that:
in transitory flesh and blood.
36
12 II. My Love
My love is not very big.
I can see it at a glance. I can
see its outline.
I can see its bright outline
against the light
when you stand on the
threshold of my cottage,
leaning against the doorpost,
when you sing your small,
nojaten,
kun laulat pient,
vaaleakutrista lauluasi
nen sen riviivat,
nen sen kokonaan: se
ei ole retn. Sen ret
nkyvt valoa vasten.
Se seisoo majani ovella ja
laulaa.
Ja maailman kaikki
rakkaus
hiljaa laulaen seisoo
kirkkain rin majani
ovella.
13 III. Sitten, sin yn
Sitten, sin yn, kun
haluat rakastaa minua
sydn yll,
hert minut.
Lakanamme ovat viilet,
valkeat
kuin lumi ulkona
hmrss maisemassa.
Min olen ehk odottanut,
ehk vsynyt odottamaan,
tule.
l jhmety kantamaan
38
14 IV. Kirje
Kovin paahtaa. Tll,
muurien raoissa,
sirkat sirisevt.
Helteiset kadut ovat
autioina.
Tori vaiti.
Valo kuollutta.
black
tree standing alone,
come. Wake me. Let me
wake
through old age and death,
and wake yourself,
come like the snow, join us
to the communion of the
world.
Let our love be groping and
mumbling.
Through the world it is
love when you want, when
you wake me,
when it is the deep of night,
when the world surrenders.
Come.
15 V. Kuiskaus
Kun maailma on ohi, otan
pienen, luisen psi,
ja hiekan lvitse ohimoni
tuntevat hyvilysi.
Niin nukumme, ja
40
15 V. Whispering
When the world is over, I
shall take your small, bony
head,
and through the sand my
mntyjen ni valvoo
ja hiekka valvoo ja
nukkuu ja hyvilee
valkein ksivarsin.
Me nukumme hiekan
ja hiekan ja veden ja
hiekan
lvitse maailman
pohjaan, nukumme
pohjaan.
Me nukumme kaiken
hiekan ja kaiken itkun ja
kaiken meren.
Me nukumme mnnyt,
pienen majan ja
kynttiln sammuksiin.
Lassi Nummi
(s. 1928)
Liebkosen.
So schlafen wir, und die
Stimme der Kiefern wacht
und der Sand wacht und
Schlft und umarmt uns
sanft.
Wir schlafen durch Sand
und Sand und Wasser
und Sand
hindurch bis zum Ende
der Welt, wir schlafen.
Wir schlafen allen Sand
und alle Trnen und alles
Meer.
Wir schlafen die Kiefern,
die kleine Htte bis zum
Erlschen der Kerze.
(bersetzung: Ingrid
Schellbach-Kopra)
(Translation: Jaakko
Mntyjrvi)
15 V. Flstern
Wenn die Welt vorbei ist,
nehme ich deinen kleinen
Knochenkopf,
und durch den Sand spren
meine Schlfen dein
41
1 Corinthians 13:813
42
Childrens Mass
17 I. Kyrie
Lord, have mercy.
Christ, have mercy.
Lord, have mercy.
19 III. Gloria
Glory to God in the highest
and on earth peace
to people of good will.
Lapsimessu
17 I. Kyrie
Herra, armahda.
Kristus, armahda.
Herra, armahda.
19 III. Gloria
Kunnia Jumalalle
korkeuksissa
ja maassa rauha
ihmisille, joita hn rakastaa.
21 IV. Agnus Dei
Jumalan karitsa,
joka otat pois maailman
synnin,
armahda meit.
Jumalan karitsa jne.,
anna meille rauha.
23 VI. Halleluja
Childrens Mass
17 I. Kyrie
Kyrie eleison.
Christe eleison.
Kyrie eleison.
19 III. Gloria
Gloria in excelsis Deo
et in terra pax
hominibus bonae voluntatis.
23 VI. Alleluia
(NJB)
43
ODE 1169-2
aLSo avaiLaBLE:
ODE 935-2
i cannot imagine these performances being
surpassed.
BBC Music Magazine 1/2000 5 stars
ODE 851-2
a cracking disc.
Gramophone 6/1996
ODE 910-2
() immense satisfaction on both aesthetic and
spiritual levels.
BBC Music Magazine 5/1998 5 stars