Musiikki

Arvet av nordiskt samarbete och flerspråkig forskning

Tuire Ranta-Meyer, Markus Mantere, Sakari Ylivuori, Timo Virtanen — Mon, 07 Oct 2024 00:00:00 +0300

Bakom detta specialnummer ligger flera års strategiskt utvecklingsarbete för vår tidskrift. Ett av de centrala målen har varit att göra Musiikki till landets mest prestigefyllda tidskrift för musikforskning och en flaggskeppspublikation inom musikvetenskap, vilket också återspeglas i dess nationella Jufo2-klassificering. Tanken har varit att visa att tidskriften lever i tiden och vardagen, är snabb att identifiera samhällets mångfacetterade fenomen och är kapabel att bygga betydande gränsöverskridande vetenskapliga nätverk. Utöver detta har det setts viktigt att satsa på att upprätthålla samarbetet, vilket är en verklig uthållighetsgren i dagens värld av tidsbegränsade projekt och anställningar inom konstforskning.

Pohjoismaisen yhteistyön ja kielisivistyksen perintöä vaalimassa

Tuire Ranta-Meyer, Markus Mantere, Sakari Ylivuori, Timo Virtanen — Mon, 07 Oct 2024 00:00:00 +0300

Tämänkertaisen erikoisnumeron taustalla on lehtemme usean vuoden mittainen strateginen kehitystyö. Sen yhtenä keskeisenä päämääränä on ollut tehdä Musiikista maamme arvovaltaisin musiikintutkimuksen aikakauslehti ja musiikkitieteellinen lippulaivajulkaisu, jonka laadusta kertoo myös sen kansallisen tason Jufo2-luokitus. Ajatuksena on ollut osoittaa, että lehti elää ajassa ja arjessa, on joutuisa tunnistamaan yhteiskunnan monitahoisia ilmiöitä ja kykenee rakentamaan merkittäviä ylirajaisia tiedeverkostoja. Tämän lisäksi strategiassa on nähty tärkeänä panostaa yhteistyön ylläpitoon, joka on todellinen kestävyyslaji nykyisen taiteidentutkimuksen määräaikaisisten projektien ja työsuhteiden maailmassa.

Johan Halvorsens engagemang i Helsingfors 1889–92 som katalysator för hans arbete som kompositör

Øyvin Dybsand — Mon, 07 Oct 2024 00:00:00 +0300

The first part of the article examines the Norwegian composer Johan Halvorsen’s activities in Helsinki during the years 1889-92. The flourishing musical life of the Finnish capital, which actually inspired Halvorsen to begin composing, as well as Halvorsen’s musical agency, are examined from a variety of perspectives, both socio-cultural and biographical. The research is based on extensive historical archival material. The aim of the article is twofold: first, to map the musical and personal impulses that inspired Halvorsen’s emergence as a creative artist, and second, to highlight his contribution to Helsinki’s musical life during this period.

The second part of the article presents Halvorsen’s String Quartet in E minor (1892). This is his most important work from this period in terms of its scope and the prestige of the genre. The public response to the work’s first performance was positive, but the composer himself was not satisfied: a few years later he destroyed most of the material, but transcribed the slow movement for orchestra. Since Halvorsen was a self-taught composer, it is natural to ask why: was the destruction of the work the result of a lack of quality, the composer’s excessive self-criticism, or simply the conviction that the work did not represent his stylistic idiom as a composer? These questions will be explored through a transcription of the surviving orchestral score, an analysis of musical structures such as form (macro and micro), melody and harmony in the one surviving movement, the contemporary reception of the work, and finally a comparison of the work with Halvorsen’s oeuvre as a whole.

”Un compositeur d’un grand mêrite” i Paris – Laura Netzel och hennes kammarmusik vid ingången till kvinnornas århundrade

Camilla Hambro — Mon, 07 Oct 2024 00:00:00 +0300

An interest in women in Nordic music history and a fascination with Laura Netzel's (1839–1927) chamber music characterises this article. In addition to focusing on works, reception, and context, the article examines the question of what role did gender play in the reception of Netzel's and her women colleagues' chamber music? How is the reviewers' understandings of gender and originality intertwined into their texts in daily newspapers and music magazines? And finally: Do possibilities for a transformation towards a more equal chamber music repertoire and more equal music history books exist?

Despite Anna Rogstad's (1854–1938) predictions that the 20th century would become "the women's century," the concert scene, and the chamber music environment in particular, was characterized by gender-related prejudices. Still, Laura Netzel received recognition for her great originality and captivating musicality when she stayed in Paris at the turn of the century. In contrast to her male Nordic colleagues, she received glowing reviews where the works are described as bold and permeated with a Nordic tone.

The article focuses on two chamber music works from one of her stays in Paris: Cello Sonata, opus 66 and Piano Trio in D minor, opus 78. In the Sonata for Cello and Piano, we encounter a very expressive and mature, but also bold, forward rushing and adventurous Netzel. The style is late Romantic, but also clearly influenced by contemporary French music and in constant development. The harmonics are exploratory, but never proved too demanding for the audience and critics of the time. The Trio for Violin, Cello and Piano in D minor was premiered in 1903 at La société Musique Nouvelle with Netzel herself at the piano. Enthusiastic Scandinavians in the audience were seated together with several famous music authorities of the French capital. Le Monde musical praised it for being written with such great confidence.

Klassisia muotoja persoonallisin kääntein: Erik Tulindbergin jousikvartetot op. 1 ja op. 2

Inkeri Jaakkola — Mon, 07 Oct 2024 00:00:00 +0300

This article concerns the String Quartets of Erik Tulindberg (1761–1814), who was the first known Finnish composer. Tulindberg was musically active primarily in the late 1770s and early 1780s, when he was studying at the Royal Academy of Turku (Kunglika Akademien i Åbo). He was respected as a skilful violinist and a chamber musician, playing in the Academy’s orchestra on ceremonial occasions and giving public concerts. Tulindberg’s compositional oeuvre comprises two Violin Concertos, six String Quartets and a few works for solo violin.

The corpus of Tulindberg’s String Quartets is approached from two perspectives, namely conventional strategies of the Classical style on one hand, and Tulindberg’s recurrent choices as attributes of his personal musical language on the other. Widely used analytical tools are applied in studying the corpus, and the Quartets are compared with certain works that originate in the same period and reside in Tulindberg’s archive. The theoretical framework includes writings that focus specifically on describing the compositional strategies used in Classical and Pre-Classical music, the authors including James Hepokoski and Warren Darcy, Graham Hunt, William Caplin, Poundie Burstein and Danuta Mirka, among others. The discussion covers 1) the overall structure, the key design and cadences in the opening movements, all of which are in sonata form; 2) the essential harmonic traits; and 3) surface characteristics and expressive means such as topics, melodic figuration and instrumental writing.

The analysis reveals that Tulindberg adopted the commonly used strategies and main expressive means of the Classical style. The attributes of his musical language include traits such as the constant use of extended modal mixture, enthusiasm for a varied rondo-form and frequent violoncello solos in the upper register. Although the String Quartets are conventional in structure, each one is individual in its construction. The stylistic correspondence between the works and those of composers such as Joseph Haydn, Luigi Boccherini and Ignace Pleyel, shows his thorough understanding of the music written by his contemporaries.

Nordic Influences in Violin Sonatas by Edvard Grieg, Wilhelm Stenhammar, Jean Sibelius, and Christian Sinding

Sebastian Silén — Mon, 07 Oct 2024 00:00:00 +0300

Denna artikel utforskar hur musikaliska element som associerats med Norden framträder i violinsonater av Edvard Grieg, Wilhelm Stenhammar, Jean Sibelius och Christian Sinding. Nordisk musik under det långa 1800-talet präglades av en balansgång mellan två historiska trender. Å ena sidan var den nordiska klassiska musiken starkt bunden till en centraleuropeisk tradition, men å andra sidan var det de lokala, regionala, folkloristiska eller de från en centraleuropeisk förebild avvikande inslagen som kraftigast kom att förknippas med just det nordiska. Artikeln visar hur dessa element framträder i de analyserade violinsonaterna. Samtidigt argumenterar jag för värdet av ett nordiskt perspektiv, till skillnad från ett rent nationellt eller internationellt. Artikeln kombinerar traditionell musikvetenskaplig forskning med praktikbaserade metoder och utgår från mitt eget konstnärliga arbete, som har styrt mina forskningsfrågor.

I Kalevi Ahos kammarmusikaliska produktion står kvintetten och blåsarna i centrum

Mats Liljeroos — Mon, 07 Oct 2024 00:00:00 +0300

Kalevi Aho är en orkesterns man. Av hans till dags dato 206 verk – smärre tillfällighetsstycken av privat natur, orkestreringar, färdigställanden av ofullbordade kompositioner samt solokadenser icke medräknade – är inte mindre än 82 skrivna för orkester, på en skala från fullstor symfoniorkester till kammar- och stråkorkester (18 symfonier, tre kammarsymfonier, 41 konserter samt 20 övriga orkesterverk). Härtill kommer fem operor samt tre vokalverk med orkesterbeledsagning.

Conrad Baden och hans polyfoniska kammarmusik

Torkil Baden — Mon, 07 Oct 2024 00:00:00 +0300

Från sitt första opus 1930, en passacaglia för orgel, till sina sista kompositioner i slutet av 1980-talet var den klassiska fyrstämmiga polyfonikonsten grundstenen för den norske tonsättaren Conrad Baden (1908–1989). Hans orkesterverk, kyrkomusik och kammarmusik, totalt 146 opus, bygger på tematisk bearbetning och var, enligt Baden själv, ”väsensskilda från den experimentella avantgardismen”. Neoklassiska verk står i centrum för hans opuslista, men han började som romantiker och slutade som expressionist. På så sätt är han representativ för de skiftande strömningarna i musiklivet under en stor del av 1900-talet.