Uuno Klamin sävellystyyli pianokamarimusiikki­teoksissa 1917–1920: pianistinen näkökulma

Abstrakti

Uuno Klami’s Compositional Style in Piano Chamber Music Works 1917–1920.

A Pianist’s Perspective

Uuno Klami (1900–1961) is known for his large-scale orchestral works, such as the Kalevala Suite (1930–1943) and Sea Pictures (Merikuvia 1930–1932). However, Klami composed also for small ensembles throughout his compositional activities. Recent releases of recordings and sheet music editions of the early works for small ensembles have made them better known than before. What kind of pieces were those “smaller works” from which Klami later wished to separate himself in an interview?

This article discusses the compositional style of Uuno Klami in three early (1917–1920) piano chamber works: Piano Trio in F-sharp Minor, fragment of a work for two violins, two cellos and piano, and Sonata in C Minor for Violin and Piano. The point of view is the performer’s: the analysis deals with the notation serving as the composer’s instructions to the performer, the interpretation of notation, and the effect of these on the interpretation carried out by the performer.

Klami’s 1917–1920 style in piano chamber music can be described as marked by mutable eclecticism. The notation of the works displays ambiguity – intentional or not – fragmentation and incompleteness, perhaps even experimentality. It evokes the idea of expressive exploration, and readiness to adopt influences. The works indicate a phase of change, which is subsequently supported by studying both in Erkki Melartin’s composition class and abroad. The article also highlights the similarities between Klami’s Violin Sonata (1920) and Helvi Leiviskä’s Piano Sonatina (1920).