I believe the very fine Finnish late-romantic Erkki Melartin (an exact contemporary of Ravel) merits a thread of his own. He is one of my favorite "unsungs", particularly for his excellent cycle of six symphonies, which were all recorded by Ondine and the Tampere PO under Leonard Grin in passionate, committed performances. IMO this cycle compares with the best of the Nordic symphonies. I'll give a brief description of each symphony:
1: A youthful, energetic work, somewhat in the Tchaikovskian mould. But already, Melartin's distinctive Nordic voice shines through.
2: A work full of gorgeous nature-painting and memorable melodies. The finale is especially impressive.
3: Along with no. 4, Melartin's best symphony. Moments of surging orchestral power alternate with quieter, evocative passages.
4: My favorite of the cycle, and possibly Melartin's masterpiece. Subtitled A Summer Symphony, this work reflects the unbridled joy of a Nordic summer. The slow movement, featuring three wordless sopranos (shades of Nielsen's Espansiva) is breathtakingly gorgeous. Only Melartin could have created a work like this, so full of zest for life.
5: Melartin is starting to explore more modern territory here. Juxtapositions of aural calm, fierce power, and passionate romanticism make this a unique work.
6: This is Melartin's darkest and most modern-sounding symphony. The music has the stern power of late Sibelius, but hardly sounds like him at all. In its turbulence, the work reminds one of a stormy sea. Nevertheless, it is still in the romantic tradition.
How to describe Melartin's style? He has often been called the "Finnish Mahler", and even though his symphonies do recall Mahler in their powerful evocations of nature and big, glorious orchestral tuttis, that nickname is not entirely accurate, as Melartin has his own voice. There are resonances of Bruckner here and there, particularly evident in Melartin's fondness of the brass, and, of course, Sibelius peeks in on occasions. But it seems entirely unfair that Melartin has been almost completely overshadowed by Sibelius.
Ondine has also recorded his lovely Violin Concerto, along with his Lyric Suite no. 3 Impressions of Belguim and the Suite from the Incidental music to The Sleeping Beauty. The Violin Concerto is a major find, a work full of typically Melartin-esque melodies and masterful orchestration. The other two works on the disc are slightly less consequential, but are thoroughly enjoyable. The tuneful Wedding March from the Sleeping Beauty Suite is Melartin's most popular piece and is, apparently, quite popular in Finland. Also in the Ondine catalogue is Melartin's opera Aino, an atmospheric, almost expressionistic work which is a refreshing change from Rossini, Verdi, Wagner etc.
Recently, Delta Classics issued a 2-disc set of Melartin's piano works. Much of his pianistic output is composed of miniatures (which are beautifully crafted, I might add), but the major piece to be found here is the Fantasia apocaliptica, a powerful piece that requires not only virtuosity but utmost understanding of Melartin's idiom.
Now, let's talk about the unrecorded side of Melartin's output. Orchestrally speaking, the most glaring omissions in the catalogue are the Lyric Suite no. 2, the Serenade for Strings in E-flat, and the symphonic poems Siikajoki, Traumgesicht, and Patria. Melartin starting working on seventh, eighth and ninth symphonies, but, unfortunately, left only minute sketches for each. On the chamber side of the spectrum, there's four string quartets which should definitely give us a more well-rounded picture of the composer. I had thought there were obscure recordings of the quartets out there somewhere, but I could be wrong. There's also a Violin Sonata. That's not all of Melartin's unrecorded compositions, though!
I apologize if my post is overlong, but I hope what members have gotten out of all my rambling is that Melartin is really distinguished composer who merits much more attention. Hell, I could only imagine how one of his symphonies would bring the house down in concert. Of course, considering the unadventurous conductors that predominate here in the US, that's not going to happen!
Any other views or comments on Melartin's music?
:)
(originally posted at the Art-Music Forum)
I'm not familiar Erkki Melartin at all, but from this description his music sounds extremely interesting!! Obviously I can't judge before listening to it, but I suppose I may get on well with Melartin's style, it shows peculiarities that attract me very much in classical music. :)
Quote from: Lisztianwagner on August 06, 2013, 02:32:12 PM
I'm not familiar Erkki Melartin at all, but from this description his music sounds extremely interesting!! Obviously I can't judge before listening to it, but I suppose I may get on well with Melartin's style, it shows peculiarities that attract me very much in classical music. :)
Knowing your tastes, I think you would love Melartin's music! If you like Sibelius, Nielsen, Tchaikovsky, Bruckner or lesser-known composers such as Atterberg, Peterson-Berger, Alfven, Rangstrom and Madetoja, you're sure to take to Melartin's music. Now, of course, I didn't list all those composers to imply that Melartin was unoriginal; I do believe he did have an individual voice that strengthened over his compositional career. I cannot recommend the complete set of his symphonies on Ondine highly enough (though I have been told that Leonid Grin made some cuts in the scores). If the beautiful cover art (which is perfectly fitting for Melartin's evocative music) doesn't convince you to get this set, nothing will:
(http://ecx.images-amazon.com/images/I/61raI2euHWL._SY300_.jpg)
If you enjoy that set (which I assure you will), don't fail to pick this lovely recording up:
(http://ecx.images-amazon.com/images/I/51NNr8XPntL._SY300_.jpg)
:)
My Dad owns this Melartin symphony set, I'll have to ask him to make copies of it for me. He mentioned how Melartin is one of the more underrated Finns and how he was overshadowed by Sibelius throughout his life. Unfortunately, there were many Finns who never got the kind of recognition they truly deserved. Madetoja is one I'm thinking of in particular.
Quote from: Mirror Image on August 06, 2013, 04:55:57 PM
My Dad owns this Melartin symphony set, I'll have to ask him to make copies of it for me. He mentioned how Melartin is one of the more underrated Finns and how he was overshadowed by Sibelius throughout his life. Unfortunately, there were many Finns who never got the kind of recognition they truly deserved. Madetoja is one I'm thinking of in particular.
I, too, think it is unfair how many Finns were overshadowed by Sibelius, particularly in the case of Melartin. There are so many other excellent Finnish composers who were unable to escape Sibelius' long shadow-Englund, Klami, Kokkonen, Merikanto, Madetoja, Pingoud and Raitio, just to name a few. Once you get a chance to listen to them, please report back your thoughts on Melartin's symphonies, John. I think you'll really like them! :)
Quote from: kyjo on August 06, 2013, 05:11:02 PM
I, too, think it is unfair how many Finns were overshadowed by Sibelius, particularly in the case of Melartin. There are so many other excellent Finnish composers who were unable to escape Sibelius' long shadow-Englund, Klami, Kokkonen, Merikanto, Madetoja, Pingoud and Raitio, just to name a few. Once you get a chance to listen to them, please report back your thoughts on Melartin's symphonies, John. I think you'll really like them! :)
Will do, Kyle!
Quote from: kyjo on August 06, 2013, 02:43:45 PM
Knowing your tastes, I think you would love Melartin's music! If you like Sibelius, Nielsen, Tchaikovsky, Bruckner or lesser-known composers such as Atterberg, Peterson-Berger, Alfven, Rangstrom and Madetoja, you're sure to take to Melartin's music. Now, of course, I didn't list all those composers to imply that Melartin was unoriginal; I do believe he did have an individual voice that strengthened over his compositional career. I cannot recommend the complete set of his symphonies on Ondine highly enough (though I have been told that Leonid Grin made some cuts in the scores). If the beautiful cover art (which is perfectly fitting for Melartin's evocative music) doesn't convince you to get this set, nothing will:
(http://ecx.images-amazon.com/images/I/61raI2euHWL._SY300_.jpg)
If you enjoy that set (which I assure you will), don't fail to pick this lovely recording up:
(http://ecx.images-amazon.com/images/I/51NNr8XPntL._SY300_.jpg)
:)
Thank you for recommending these sets, I've found both on spotify; I'm looking forward to listening to some of that music. :)
Quote from: Lisztianwagner on August 07, 2013, 06:39:43 AM
Thank you for recommending these sets, I've found both on spotify; I'm looking forward to listening to some of that music. :)
My pleasure :) Do make sure you listen to Symphony no. 4, especially-it's a breathtakingly gorgeous piece!
Listened to Melartin Symphony No 3 yesterday (the second time). There are expanses of absolutely magnificent music here. I am still coming to terms with the structure. The first movement, for instance, begins with what seems like a slow introduction, an exposition of material that will return throughout the work, then after some new material a sort of off-kilter march theme appears out of the blue (very attractive) and as the movement draws to a close, the opening material returns, transformed with luminous harmony and orchestration, the key motif appearing in many different harmonic transformations. Very compelling music, but takes some effort for me to assimilate since it does not follow the expected form of exposition, development, recapitulation that is the default for music of this type. It has been worth the effort, but there is a lot more for me to discover in this work.
Quote from: Baron Scarpia on May 21, 2018, 09:12:39 AM
Listened to Melartin Symphony No 3 yesterday (the second time). There are expanses of absolutely magnificent music here. I am still coming to terms with the structure. The first movement, for instance, begins with what seems like a slow introduction, an exposition of material that will return throughout the work, then after some new material a sort of off-kilter march theme appears out of the blue (very attractive) and as the movement draws to a close, the opening material returns, transformed with luminous harmony and orchestration, the key motif appearing in many different harmonic transformations. Very compelling music, but takes some effort for me to assimilate since it does not follow the expected form of exposition, development, recapitulation that is the default for music of this type. It has been worth the effort, but there is a lot more for me to discover in this work.
Great to see another fan of this magnificent work! It's Melartin's masterpiece IMO - only the joyous Fourth (
Summer Symphony) comes close to challenging this position in his output IMO. Like you say, Melartin's mastery of motivic development, harmony, and orchestration in this work are nothing short of spellbinding. From the magically atmospheric opening (with a solo horn quietly stating the memorable motto theme) to the superbly uplifting ending, it's a really special work and one of the finest of the late-romantic Nordic symphonies.
Thanks for this! I've listened to a couple of pieces and I think he's going to be a composer I will like!
I need to spend more time with this composer. Scarpia's description of Symphony No. 3 sounds enticing.
Quote from: Mirror Image on May 23, 2018, 05:34:51 AM
I need to spend more time with this composer. Scarpia's description of Symphony No. 3 sounds enticing.
It's v good. I expect that you'd enjoy it John.
I've been listening to the symphonies on youtube (mostly very good quality Finnish radio recordings of different dates, the performance of the 3rd highlights that it has parts in it cut from the Ondine recording).
I enjoyed them a lot, I had two comparisons which occurred to me when I listened which readers here might find interesting:
1. Bax, because both composers liked a good seascape (or in Melartin's case perhaps also a good lakescape) and could describe it in music so well. Melartin isn't nearly so lush in his harmony or orchestration, of course.
2. Pettersen, in that both composers at first hearing seem to have composed symphonies with long stretches of music where nothing much seems to happen, and after a while you realise this is the point. Of course Melartin is two generations early and far less anguished than Pettersen.
Of the symphonies I prefer 5 and 6 to the earlier ones.
Quote from: calyptorhynchus on May 29, 2018, 04:06:12 PM
I've been listening to the symphonies on youtube (mostly very good quality Finnish radio recordings of different dates, the performance of the 3rd highlights that it has parts in it cut from the Ondine recording).
I enjoyed them a lot, I had two comparisons which occurred to me when I listened which readers here might find interesting:
1. Bax, because both composers liked a good seascape (or in Melartin's case perhaps also a good lakescape) and could describe it in music so well. Melartin isn't nearly so lush in his harmony or orchestration, of course.
2. Pettersen, in that both composers at first hearing seem to have composed symphonies with long stretches of music where nothing much seems to happen, and after a while you realise this is the point. Of course Melartin is two generations early and far less anguished than Pettersen.
Of the symphonies I prefer 5 and 6 to the earlier ones.
Certainly you mean Pettersson?
If you haven't heard his piano music, you should. This recording collects works for solo piano from his entire career.
(https://cdn.naxosmusiclibrary.com/sharedfiles/images/cds/hires/ODE724-2.jpg)
I've been enjoying this truly epic work in this superb performance. This sounds more cogent than the one on the Ondine disc. I felt it at times like a blend between Sibelius and Mahler. Impressive.
https://www.youtube.com/v/CgLRS_sw5oA
Quote from: Symphonic Addict on March 31, 2020, 05:42:27 PM
I've been enjoying this truly epic work in this superb performance. This sounds more cogent than the one on the Ondine disc. I felt it at times like a blend between Sibelius and Mahler. Impressive.
https://www.youtube.com/v/CgLRS_sw5oA
Thanks, Cesar; I've been meaning to listen to this performance/edition of what is probably Melartin's masterpiece.
Lately, three works of Melartin have really struck me with their high quality - the Violin Concerto, the 5th Symphony, and the String Trio. The VC deserves to be in the standard repertoire - it's an enthralling work from start to finish. It shares its key and "wintry" atmosphere with the Sibelius VC, but is less brooding and more colorful (a la Peterson-Berger perhaps, but with a bit more drive and direction) than the more famous work.
Cesar's "Sibelius meets Mahler" analogy is quite apt for describing the 5th Symphony. In particular, the first movement contains some truly magnificent and thrilling music, with terrifically heroic writing for the brass. Perhaps the final movement is a bit academic in places, but overall it's quite a satisfying work.
The String Trio surely is one of the finest works composed for this instrumentation that I know. It's folksy and rhythmic, with some unique "modern" touches such as glissandi. Yet a further example of Melartin's inventive craft. He certainly had a quirky and colorful individual voice! BTW it can be found in this set (which also includes Toivo Kuula's epic Piano Trio):
[asin]B002KNW7OC[/asin]
https://youtu.be/kxdD2ums5JE
Indeed, Kyle. The String Trio and the VC are superb and satisfying works, respectively.
I love all the Melartin symphonies, but my fondness of the 4th has been vanishing since my last listen. The 1st and 3rd movements are the highlights of the work, but now I feel movements 2 and 4 like weak IMO. The slow movement from the 1st is simply magical. The 6th seems his more visionary and there is an epic feel to it that calls me. And the 3rd gathers all the best of Melartin. An incredible work. So, my favorites are 1, 3 and 6.
Quote from: Symphonic Addict on June 04, 2020, 12:08:23 PM
Indeed, Kyle. The String Trio and the VC are superb and satisfying works, respectively.
I love all the Melartin symphonies, but my fondness of the 4th has been vanishing since my last listen. The 1st and 3rd movements are the highlights of the work, but now I feel movements 2 and 4 like weak IMO. The slow movement from the 1st is simply magical. The 6th seems his more visionary and there is an epic feel to it that calls me. And the 3rd gathers all the best of Melartin. An incredible work. So, my favorites are 1, 3 and 6.
Interesting, Cesar. Perhaps there is some material in the 4th that is rather banal, but overall I find it a splendidly uplifting and memorable work. I need to revisit the 1st and 6th. I don't recall being really grabbed by the 1st, although I remember some good moments, especially in the slow movement. As for the 6th, that ultra-mysterious opening is what I recall most. Really remarkable and unique! I also have fond memories of the 2nd, especially its folksy scherzo.
This doesn't seem to be an official recording of this quartet (and the same goes for the other 3 quartets on that YouTube Channel), and it's frankly impressive how good performed and recorded it is. This is a piece that shows Melartin as a composer who knew how to handle this chamber form. I'm not sure if it qualifies for masterpiece, but it is pretty close IMO.
https://www.youtube.com/v/47qQGT1g7GU
Quote from: Symphonic Addict on December 22, 2020, 07:16:21 PM
This doesn't seem to be an official recording of this quartet (and the same goes for the other 3 quartets on that YouTube Channel), and it's frankly impressive how good performed and recorded it is. This is a piece that shows Melartin as a composer who knew how to handle this chamber form. I'm not sure if it qualifies for masterpiece, but it is pretty close IMO.
https://www.youtube.com/v/47qQGT1g7GU
Oh yes, this work made a really strong impression on me recently and I agree that it's a near-masterpiece. It has a particularly strong first movement which is quite poignant in its bittersweet quality. Melartin really knew how to write affecting music in the key of F major (see also the 3rd symphony). I'm very glad all four of his quartets are available on YT in good performances and sound - let's hope for commercial recordings at some point in the future. The early no. 1 is rather generic, but no. 2 is a big step up in quality - a dramatic and compelling work. Haven't listened to no. 3 yet.
Revisiting his compact and amazing String Trio today made me consider it a masterpiece. I don't know many Nordic works for this chamber form, but this one clearly stands out.
(https://d1iiivw74516uk.cloudfront.net/eyJidWNrZXQiOiJwcmVzdG8tY292ZXItaW1hZ2VzIiwia2V5IjoiNzk0NzI0OC4xLmpwZyIsImVkaXRzIjp7InJlc2l6ZSI6eyJ3aWR0aCI6OTAwfSwianBlZyI6eyJxdWFsaXR5Ijo2NX0sInRvRm9ybWF0IjoianBlZyJ9LCJ0aW1lc3RhbXAiOjE0MDE5ODI1NTd9)
Quote from: Symphonic Addict on June 21, 2023, 07:04:28 PMRevisiting his compact and amazing String Trio today made me consider it a masterpiece. I don't know many Nordic works for this chamber form, but this one clearly stands out.
(https://d1iiivw74516uk.cloudfront.net/eyJidWNrZXQiOiJwcmVzdG8tY292ZXItaW1hZ2VzIiwia2V5IjoiNzk0NzI0OC4xLmpwZyIsImVkaXRzIjp7InJlc2l6ZSI6eyJ3aWR0aCI6OTAwfSwianBlZyI6eyJxdWFsaXR5Ijo2NX0sInRvRm9ybWF0IjoianBlZyJ9LCJ0aW1lc3RhbXAiOjE0MDE5ODI1NTd9)
Oh yes, an outstanding work which shows how Melartin's style evolved into something a bit more "neoclassical" towards the end of his life. (That above Ondine set is also valuable for containing an excellent recording of Toivo Kuula's epic Piano Trio, btw.) Melartin's four string quartets, not commercially recorded (sigh...) but available on YouTube, are very fine works, especially the 4th one (the early 1st is pretty forgettable). Aside from his 6 symphonies, this Ondine CD of his tone poem
Traumgesicht, orchestral song
Marjatta, and ballet music from
The Blue Pearl shouldn't be missed:
(https://cdn.shopify.com/s/files/1/0614/3423/3066/products/0170771.jpg?v=1659334234)
Melartin is my favorite Finnish composer after Sibelius (a composer who Melartin generally doesn't sound similar to at all). While certainly late-romantic in style, his music has a certain harmonic piquancy and quirkiness that makes it undeniably of the 20th century. I don't know a single mediocre work by him, except for the SQ no. 1 I mentioned earlier.
I wonder if anyone knows the situation regarding the versions of the scores. My understanding is that the symphonies were edited pretty heavily before they were performed to make them conform to, I don't now, some arbitrary standards that the gatekeepers thought important, and the published scores are also inauthentic. I believe this extends to the recordings that we have of the symphonies (which even in this form are very good IMO, especially 2-6).
Quote from: calyptorhynchus on July 04, 2023, 05:46:13 PMI wonder if anyone knows the situation regarding the versions of the scores. My understanding is that the symphonies were edited pretty heavily before they were performed to make them conform to, I don't now, some arbitrary standards that the gatekeepers thought important, and the published scores are also inauthentic. I believe this extends to the recordings that we have of the symphonies (which even in this form are very good IMO, especially 2-6).
There is a lot of information about the revisions of these works but the bottom line is they weren't published in his life and these recordings are the result of the last editorial publications as recently as just a few years ago. Basically, the current performing editions are around 2006-8. I'm not able to paste the details but suggest you read through the opening of this new performing edition of his Symphony No. 3 perusal score for details because when I copy and paste, I just get weird symbols.
Erkii Melartin Symphony No 3 perusal score (https://nuotisto.s3-eu-west-1.amazonaws.com/store/7cd24f25e36eb44246c789c334bad894d52a898de553ab58932502c189f2.pdf)
Quote from: relm1 on July 05, 2023, 06:02:15 AMThere is a lot of information about the revisions of these works but the bottom line is they weren't published in his life and these recordings are the result of the least editorial publications as recently as just a few years ago. Basically, the current performing editions are around 2006-8. I'm not able to paste the details but suggest you read through the opening of this new performing edition of his Symphony No. 3 perusal score for details because when I copy and paste, I just get weird symbols.
Erkii Melartin Symphony No 3 perusal score (https://nuotisto.s3-eu-west-1.amazonaws.com/store/7cd24f25e36eb44246c789c334bad894d52a898de553ab58932502c189f2.pdf)
Great, thanks for that. The only problem is that the Ondine recordings date from the 1990s and so we need a new set of recordings using the revised scores.
Quote from: calyptorhynchus on July 05, 2023, 06:37:55 PMGreat, thanks for that. The only problem is that the Ondine recordings date from the 1990s and so we need a new set of recordings using the revised scores.
Definitely check out this recording of Sakari Oramo conducting the revised edition of the magnificent 3rd Symphony if you haven't already. There's about 10 minutes' worth of "new" music not found in the Ondine recording: https://youtu.be/CgLRS_sw5oA
I'm hoping that Oramo or some other similarly enterprising conductor goes on to commercially record all the symphonies in their revised editions, but I'm not holding my breath. The "old" Ondine recordings with Leonid Grin and the Tampere PO have served us well, but can easily be improved upon in several regards.
Actually I wrote to Ondine after posting my previous remarks raising the question of whether they were going to do another cycle using the new edition. They said that they thought 'a German label' (CPO?) was planning to do this, but they would consider it if it turns out this isn't happening.
Quote from: calyptorhynchus on July 07, 2023, 03:11:08 PMActually I wrote to Ondine after posting my previous remarks raising the question of whether they were going to do another cycle using the new edition. They said that they thought 'a German label' (CPO?) was planning to do this, but they would consider it if it turns out this isn't happening.
Good to know, thanks! We lie in wait...
I'm seriously marveled at the gorgeousness of Melartin's
Symphony No. 5 in A minor, I hadn't been as taken by this work as before. My goodness, it possesses ineffable beauty in the inner movements and more heroic gestures in the outer ones. The key of A minor is not one of my favorites, but it sounds particularly poetic and effective in the first movement if that makes any sense, truly captivating. I wouldn't be wrong if I considered it his symphonic masterpiece. The performance of this YouTube recording sounds more committed than the one on Ondine. A sensational rediscovery. Definitely my kind of music!
Quote from: Symphonic Addict on August 06, 2023, 07:36:50 PMI'm seriously marveled at the gorgeousness of Melartin's Symphony No. 5 in A minor, I hadn't been as taken by this work as before. My goodness, it possesses ineffable beauty in the inner movements and more heroic gestures in the outer ones. The key of A minor is not one of my favorites, but it sounds particularly poetic and effective in the first movement if that makes any sense, truly captivating. I wouldn't be wrong if I considered it his symphonic masterpiece. The performance of this YouTube recording sounds more committed than the one on Ondine. A sensational rediscovery. Definitely my kind of music!
Right! I must fish out my Ondine set. Thanks for the recommendation Cesar.
I've just got hold of the string quartets - Meta4 and Melartin Quartet, CDs on a label cleed Pro Kuhmo Oy.
New composer for me, I hadn't even heard of him before yesterday when someone mentioned him.
The fourth quartet is lovely.
(https://i.discogs.com/xAx8XLmlrRtXmGHGHz0Z1l5HG65r8pzLSw1i3G91CwQ/rs:fit/g:sm/q:90/h:586/w:600/czM6Ly9kaXNjb2dz/LWRhdGFiYXNlLWlt/YWdlcy9SLTI4OTEx/MTM2LTE3MDAwODU1/ODctODI1Mi5qcGVn.jpeg)
Quote from: Mandryka on June 05, 2024, 08:29:30 AMI've just got hold of the string quartets - Meta4 and Melartin Quartet, CDs on a label cleed Pro Kuhmo Oy.
New composer for me, I hadn't even heard of him before yesterday when someone mentioned him.
The fourth quartet is lovely.
(https://i.discogs.com/xAx8XLmlrRtXmGHGHz0Z1l5HG65r8pzLSw1i3G91CwQ/rs:fit/g:sm/q:90/h:586/w:600/czM6Ly9kaXNjb2dz/LWRhdGFiYXNlLWlt/YWdlcy9SLTI4OTEx/MTM2LTE3MDAwODU1/ODctODI1Mi5qcGVn.jpeg)
It seems you've expanded your tastes recently, Mandryka! In the past, I seem to recall you listened to predominantly early (pre-Classical) and avant-garde modern music. ;) But anyways, yes, I agree about the high quality of the 4th Quartet which is an eloquent work and probably the finest of the bunch, though the 2nd and 3rd are also excellent and highly characteristic of the composer. I love the way Melartin blends "serious/epic" elements with an "earthy/folksy" character in his music - I find a similarly effective mixture in the music of Alberic Magnard and Volkmar Andreae, btw.
It's high time Melartin's SQ cycle received widely available modern recordings by a fine ensemble - Ondine, BIS, anyone? I certainly also wouldn't mind another symphony cycle with the "corrected/revised" editions of the works, which, at least in the case of the magnificent 3rd Symphony, make quite a difference and add a good chunk of music. Sakari Oramo would seem to be a natural in that repertoire, considering his excellent performance of the "revised" 3rd Symphony which can be found on YouTube.
I didn't know that those SQ recordings are the same on YouTube.
Hi everyone, sorry if this question has already been answered.
In Melartin's Summer Symphony (No.4) the slow movement has a solo soprano and contralto and female choir, wordless. The date for the symphony is given as 1912.
Carl Nielsen's 3rd Symphony (Espansiva) has a slow movement with solo tenor and soprano, wordless.
The dates for Nielsen's Symphony are 1910-11, so it looks as if either Melartin heard of Nielsen's work and copied the idea, or hadn't heard of it and thought of it independently. Which is it?
This question may well be answered in the booklet notes to the recorded cycle of symphonies, but I haven't bought that yet, still listening on Youtube.
Quote from: calyptorhynchus on January 19, 2025, 05:52:24 PMHi everyone, sorry if this question has already been answered.
In Melartin's Summer Symphony (No.4) the slow movement has a solo soprano and contralto and female choir, wordless. The date for the symphony is given as 1912.
Carl Nielsen's 3rd Symphony (Espansiva) has a slow movement with solo tenor and soprano, wordless.
The dates for Nielsen's Symphony are 1910-11, so it looks as if either Melartin heard of Nielsen's work and copied the idea, or hadn't heard of it and thought of it independently. Which is it?
This question may well be answered in the booklet notes to the recorded cycle of symphonies, but I haven't bought that yet, still listening on Youtube.
I believe they were concurrent but independent. If we assume Melartin heard the work, the Nielsen work was performed in Helsinki Finland in 1913 after Melartin had already composed his symphony though he continued to further refine it for years to come, that was mostly structural changes. I frankly think Debussy's Nocturnes might have influenced both of them where the wordless chorus is used seductively just in one movement.
Hopefully it will be the first release of a new complete cycle, and featuring Ari Rasilainen who conducted the glorious Atterberg cycle on this label. To be released on 19 June:
(https://d1iiivw74516uk.cloudfront.net/eyJidWNrZXQiOiJwcmVzdG8tY292ZXItaW1hZ2VzIiwia2V5IjoiOTc3ODAwMi4xLmpwZyIsImVkaXRzIjp7InJlc2l6ZSI6eyJ3aWR0aCI6OTAwfSwid2VicCI6eyJxdWFsaXR5Ijo2NX0sInRvRm9ybWF0Ijoid2VicCJ9LCJ0aW1lc3RhbXAiOjE3NDc2NjMzNjh9)
Quote from: Symphonic Addict on May 21, 2025, 08:25:38 AMHopefully it will be the first release of a new complete cycle, and featuring Ari Rasilainen who conducted the glorious Atterberg cycle on this label. To be released on 19 June:
(https://d1iiivw74516uk.cloudfront.net/eyJidWNrZXQiOiJwcmVzdG8tY292ZXItaW1hZ2VzIiwia2V5IjoiOTc3ODAwMi4xLmpwZyIsImVkaXRzIjp7InJlc2l6ZSI6eyJ3aWR0aCI6OTAwfSwid2VicCI6eyJxdWFsaXR5Ijo2NX0sInRvRm9ybWF0Ijoid2VicCJ9LCJ0aW1lc3RhbXAiOjE3NDc2NjMzNjh9)
Now THAT is marvelous news!! Thank you for altering us, Cesar! The Ondine recordings with the Tampere PO under Leonard Grin have served us pretty well for a while, but it's time we heard some new interpretations of these marvelous works. Rasilainen's natural feeling for the late-romantic opulence of Atterberg certainly bodes well for his Melartin interpretations, though of course Melartin's 5th and 6th Symphonies show him striking out in somewhat more modern directions than the previous ones in the cycle. I would hope that these new recordings will be using the "corrected" editions of the scores which restore music that was sometimes excised in the old editions used for the Ondine recordings. Oh, and beautiful cover art, too!
Quote from: kyjo on May 22, 2025, 12:20:27 PMNow THAT is marvelous news!! Thank you for altering us, Cesar! The Ondine recordings with the Tampere PO under Leonard Grin have served us pretty well for a while, but it's time we heard some new interpretations of these marvelous works. Rasilainen's natural feeling for the late-romantic opulence of Atterberg certainly bodes well for his Melartin interpretations, though of course Melartin's 5th and 6th Symphonies show him striking out in somewhat more modern directions than the previous ones in the cycle. I would hope that these new recordings will be using the "corrected" editions of the scores which restore music that was sometimes excised in the old editions used for the Ondine recordings. Oh, and beautiful cover art, too!
Great cover art as well (as you pointed out!)
I have just downloaded the new CPO recording of the 5th & 6th and the booklet English text makes no reference to whether the performance is following a revised critical edition. However the narrative of Melartin composing and premiering the two symphonies seems to suggest that he wasn't forced to make changes to the works, so perhaps there aren't different versions of these two works?
The booklet notes are very good btw and give a blow-by-blow account of the two works, so I shall enjoy listening along with these. I hope the performances are good too.
The cover art is of course by the wonderful Akseli Gallen-Kallela.
Just listened to the new CPO release and it's thoroughly phenomenal, a complete hit. Melartin's idiom is so straightforward that it's relatively easy to follow the narrative in both pieces. Elements of heroism and fantasy permeate both scores. Just great, epic, beautiful, memorable music, confidently performed. Something fascinating I detected was the fine and exquisite writing for woodwinds and brass and they gleam in all their splendour in this superb recording. Needless to mention that it's one of my favorite recordings of this year. Hoping that the same forces will record the remaining symphonies.
My only caveats regarding the works themselves are the somewhat abrupt ending of the 5th and the short slow movement of the 6th which had more potential to be more developed.
I loved the new recording very much too! I never heard either of them but they are really good. I wanted to keep going so heard Symphony No. 1 after and found it very Brucknerian. I'm hopping this is the start of a cycle. It would be nice to know if they used the revised scores. I assume they did if it's a new recording.
Quote from: Symphonic Addict on June 19, 2025, 08:23:39 AMJust listened to the new CPO release and it's thoroughly phenomenal, a complete hit. Melartin's idiom is so straightforward that it's relatively easy to follow the narrative in both pieces. Elements of heroism and fantasy permeate both scores. Just great, epic, beautiful, memorable music, confidently performed. Something fascinating I detected was the fine and exquisite writing for woodwinds and brass and they gleam in all their splendour in this superb recording. Needless to mention that it's one of my favorite recordings of this year. Hoping that the same forces will record the remaining symphonies.
My only caveats regarding the works themselves are the somewhat abrupt ending of the 5th and the short slow movement of the 6th which had more potential to be more developed.
It is an evening of new discoveries for me.
Thanks for this
Cross-posting my listening notes from the Listening thread:
Quote from: Brian on June 26, 2025, 01:56:27 PMLoved No. 5 from first note to last, even the fugal finale, which as someone mentioned in the Melartin thread ends somewhat abruptly. I think that a hypothetical conductor's intervention - slowing down the penultimate bars for emphasis - would help solve this. No. 6 is much more dramatic, with genuinely creepy snarly music with grinding basses dominating the first movement. It's alternated with music of wistful tenderness. The second movement is an intermezzish thing with rapidly see-sawing moods, and then the scherzo is a bobbling thing with influences from all over. The first idea is straight out of Janacek, and it also has some doses of Stenhammar, the Americas, and an occasional bitter flavor when some instruments play in minor keys while others don't. Since this symphony is structured like Nielsen's Four Temperaments - it's the Four Elements - the grimy meanness of the first movement never returns, and after the gentle middle movements, the finale is an exuberant romp.
Extremely compelling stuff!!
Quote from: Symphonic Addict on May 21, 2025, 08:25:38 AMHopefully it will be the first release of a new complete cycle, and featuring Ari Rasilainen who conducted the glorious Atterberg cycle on this label. To be released on 19 June:
(https://d1iiivw74516uk.cloudfront.net/eyJidWNrZXQiOiJwcmVzdG8tY292ZXItaW1hZ2VzIiwia2V5IjoiOTc3ODAwMi4xLmpwZyIsImVkaXRzIjp7InJlc2l6ZSI6eyJ3aWR0aCI6OTAwfSwid2VicCI6eyJxdWFsaXR5Ijo2NX0sInRvRm9ybWF0Ijoid2VicCJ9LCJ0aW1lc3RhbXAiOjE3NDc2NjMzNjh9)
I had the great pleasure of listening to this new release a few weeks ago. These fine performances showcase Melartin's music in a very convincing light. The 5th Symphony (which is about as "brevis" as Nielsen's 6th is "semplice" ;)) is a dramatic, lyrical, and well-argued work in Melartin's distinctive late-romantic style. I don't find the finale to be as convincing as the previous movements, as it engages in quite a bit of busy contrapuntal writing which isn't really Melartin's strong suit. The triumphant ending is pretty satisfying, though.
The 6th Symphony (
Symphony of the Elements) is an altogether wonderful and imaginative work which is probably my second favorite symphony of his after the magnificent 3rd. The first movement, especially, shows Melartin engaging with some more "modern" influences (Stravinsky, Ravel, etc.), and with great success too. The music builds from a spooky, primeval opening, leading to the initial statement of the symphony's recurring motto theme in the trombone - a heroic, upward-striking, and memorable gesture (almost Holstian!). The subsequent movements are more accommodating of Melartin's customary romantic melodic generosity, without abandoning the more "modern" elements present in the 1st movement. Perhaps the 3rd movement is a bit "simplistic" in its material and development compared to the other movements, but that's a small quibble. I certainly do regret that the existing sketches for Melartin's Symphonies Nos. 7-9 never materialized!
Overall, this is bound to be one of my releases of the year! Rasilainen is the perfect conductor for this music, and the Turku Philharmonic prove themselves to be more than just a decent provincial orchestra. Highly recommended, and I eagerly await further Melartin from these forces!
Quote from: Brian on June 19, 2025, 06:39:41 AMThe cover art is of course by the wonderful Akseli Gallen-Kallela.
My Finnish friends took me to his house/museum when I visited Finland in 2013.
Quote from: vandermolen on August 12, 2025, 03:54:32 AMMy Finnish friends took me to his house/museum when I visited Finland in 2013.
Would you recommend a visit if I'm ever in Helsinki? A lot of artists' home museums are fascinating but usually without having large collections of their own work.
Quote from: Brian on August 12, 2025, 06:30:05 AMWould you recommend a visit if I'm ever in Helsinki? A lot of artists' home museums are fascinating but usually without having large collections of their own work.
Yes, I think it's worth a visit. My friends live in Espoo. The highlight was visiting the home of Sibelius.
https://gallen-kallela.fi/en/