Jean Sibelius
(1865-1957) wrote the music for Hugo von Hofmannsthal’s (1874-1929) version
of the medieval morality play Jedermann
in 1916, the premiere taking place in October that year at the National Theatre
in Helsinki with the Helsinki City Orchestra under Robert Kajanus. The composer
seemed to think highly of the music which was revived with great success in the
jubilee years 1935 and 1965.
Leif Segerstam www.patrickgarvey.com/artists/leif-segerstam.html
has made a new recording of Jedermann with the Turku Philharmonic
Orchestra www.tfo.fi and
Cathedralis Aboensis Choir https://fi-fi.facebook.com/choruscathedralisaboensis
with soprano, Pia Pajala www.piapajala.fi tenor, Tuomas Katajala www.svenskakonsertbyran.se/english/singers/singer-katajala-tuomas.html
and
bass Nicholas Söderlund www.fazerartists.fi/artists/singers/bass/soederlund-nicholas
for
Naxos www.naxos.com as part of his series of lesser known Sibelius.
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| 8.573340 |
Jedermann, Op. 83
(1916) opens with a brief Largo
where horns sound over the orchestra in a dramatic sequence that leads into
another Largo with the tolling of tubular
bells over the dramatic orchestra. Timpani lead into the Allegro which opens with a hushed, fast moving string melody that
slowly rises with textures pointed up by woodwind
Allegro comodo
brings a more sweeping variation of the melody before Tanssilaulu (Dance Song) where the fine textured voice of tenor Tuomas
Katajala joins in a rhythmic Me kutsun
saimme ystävän luo, se meidät tänne nyt tuo’ (A friend has invited us here, his
name is Everyman) which has much of the feel of a Finnish folk song. The chorus
join in the buoyant song bringing a light and open texture to the rhythmic orchestral
pulse.
After the brief On
riemussa hetket mennehet taas the fine voice of soprano, Pia Pajala joins
in the more subdued Kun vettä sataa, niin
kastutaan (Well when it rains, it is wet) leading to Maat ja metsät viheriöivät (The forests are becoming green all around) where
Tuomas Katajala joins with both bringing a real Finnish flavour.
The tempo picks with Oi,
Lempi, armas Lempi! (Alas, alas, Lady Love) with tenor and chorus in a typically
Sibelian fast section. There are some lively woodwind passages before the
chorus bring Maat ja metsät viheriöivät, (The
forests are becoming green all around) an a capella section with this choir
bringing a very fine texture and a lovely directness. Strings introduce the
orchestral Allegro molto with some
really vintage Sibelius, Segerstam drawing some beautiful textures and building
in strength into the Largo, sempre
misterioso – the longest sustained section in this work.
A solo violin opens, gently followed by woodwind as the
theme slowly, gently and quietly leads forward, weaving some lovely sounds. Other
strings enter producing hushed, beautifully textured passages using a pared
down instrumental ensemble, slowly developing an eloquently drawn section. Timpani
quietly sound briefly before the music slowly goes on its way. Sibelius created
a wonderful, sustained remoteness in this atmospheric section. The strings rise
subtly in strength bringing a little warmth and greater sonority to the music before
fading gently to the hushed coda as the music sinks into the mists.
Adagio di molto I rises
out of the preceding Largo in a
warmer section that slowly tries to find a way ahead. It does find a forward
flow, weaving some lovely free moving textures with a lovely counterpoint
before leading into Adagio di molto II where
an organ quietly plays a theme over
which a repeated string theme is laid. Woodwind join reflecting the organ
sonorities before the organ slowly and quietly takes the lead before falling
back into the orchestral texture.
The strings bring a gently passionate slow theme for the Largo e mesto - Doloroso - Con grande dolore
full of Sibelian regret and isolation. There is a chilly, somewhat
withdrawn quality as the music moves falteringly forward in this most
distinctive section, sensitively and exquisitely played here with Segerstam
drawing out every subtle moment. The music rises towards the end with a bell
sounding before descending quietly into the gloom.
The following Lento opens
quietly with tubular bell strokes as the music slowly moves around in the mists.
A tolling bell can be heard as strings try to lift the music. The organ appears with the lower strings to finally
raise the music up into the concluding Gloria
in excelsis Deo (Glory to God in the Highest) where the chorus returns, soon
descending into rapidly chanted vocal passages before orchestra, bell chimes,
organ and choir lead slowly and inexorably to the coda.
This is a very fine work with playing of great sympathy and
understanding from Leif Segerstam and his forces. There are some remarkably
fine orchestral ideas in this work that every Sibelian will want to hear.
Leif Segerstam and the Turku Philharmonic Orchestra give us
two well-chosen smaller works by Sibelius to complete this disc. First is the Two Serious Melodies for Violin &
Orchestra, Op. 77 where they are joined by violinist, Mikaela Palmu who
brings some fine moments to these two pieces with her lovely rich, singing tone
to which Segerstam and the orchestra add an idiomatic support to these two
finely shaped performances. In No. 1.
Cantique (Laetare anima mea) (1914) this soloist develops much passion and
in No. 2. Devotion (Ab imo pectore)
(1915) brings a sublimely atmospheric feel.
Segerstam brings some real weight to In Memoriam, Op. 59 (final version) (1910) as he slowly allows the
music to develop, revealing some fine moments, finding many moments of subtle
quiet detail. There is a terrific overlay of strings in the inexorable plodding
funereal theme. He allows the music to swirl up in some magnificent passages
rising to a peak of grandiose drama before the hushed coda.
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