Grove's dictionary of music and musicians

—
songs of Western Europe, some of the Finnish
melodies have their basis in the ecclesiastical
modes ; but there are traces of an older, and as
yet unfathomed and unexplained tonal influence
which gives a peculiar interest to the music
of this country. Those which come from the
southern part of Finland, where nature is less
severe, possess a certain idyllic cheerfulness,
and many which are sung along the coast are
undoubtedly of Scandinavian origin. These
melodies range over a wider compass, the rhythm
is more .varied, and they are usually in common
or triple time, and more often than not in our
modem tonality ' :
Ex.
^^S^^^^^S
4.
Tuutl las-ta Tuonelaban, Alia nurmen nukkuma - han
s^^g ::g 5fg^^^^^
Tnonenlaatealaa-Li-tel-la maDan nei'to-jen
pi-del-lS.
The herdsmen's songs (Paimen loiloUamus), as
in Scandinavia, are numerous. They are closely
akin to the notes of the herdsman's pipe, and
of no deiinite form in tune or words.
Between the 12th and 14th centuries, Sweden
took possession of, and christianised Finland,
but it was only in towns and at Court that
the Swedish language was used. Finland has
always been an apple of discord between Sweden
and Russia, and the perpetual wars hindered
this country's artistic development. Finally,
since early in the last century (1809), when it
was conquered by Russia, strenuous efforts towards
its complete Russification have never
ceased. It is, however, highly improbable that
Russia will ever succeed in taking away from
Finland her own peculiar character and culture.
Her national poetry and songs have long stood
alone and aloof, independent of foreign bondage
and influence.
The modem history of music in Finland
begins early in the 19th century, when F.
Pacius and B. Crusell, both Germans by birth,
settled there. By using Finnish folk-songs in
their works, and taking the words of Finnish
poets, such as Runeberg, Qvanten, Topelius,
etc., for their national songs and hymns, they
awoke the spirit of patriotism in Finland, and
hence have been justly called the fathers of
Finnish music. Pacius, who died at a great
age in 1891, wrote many fresh and effective
songs, but his name will live for having given
'
Finland her national hymns : Our Country
(' Vart Land ') and ' Finland's Song ' (' Suomen
which every Finn knows and sings from
laulu '),
his childhood. (See Ex. 5.)
His son-in-law, Karl Kollan, wrote also patriotic
songs in the peculiar march-like rhythm
which is popular in Finland. Crusell was a
1 For some of the most lieailtlful. Bee G. Hagg'a coUectlon,
*Soiejminat Soinnut Suomesto,'
'
SONG 579
;
F. Pacius.
^^^2^^^^^^E^^^.
Hear, the glorious song la ring - Ing Thro' the
ancient halla of Wai - no ; It is Suomi'a
retc.
p^=^^m^
song! It is Suo-mi's song I
prolific and favourite composer, but his melodies
are commonplace. K. Greve, L. Bergstrom, M.
WegeUus, Ph. von Schantz, G. Wasenius, F.
Ehrstrom, K. Flodin, S. Linsdn, H. Borenius,
R. Faltin, and a younger generation which includes
0. Merikanto (a very popular but somewhat
shallow writer), 0. Katilainen, P. Hannikainen,
and S. Palmgren all belong, more or
less, to the same school of song-writers. Whilst
introducing many of the old Finnish folk-songs
into their works, and choosing the words of
Finnish poets for their songs, the music practically
belongs to the German Mendelssohn-Spohr
period, and cannot in any sense be called racial.
The true national period of Finnish music
begins with R. Kajanus. Imbued with the
classic-romantic traditions, yet heart and soul
a Finn, Kajanus drew his inspirations from the
KaUvala, and did much to originate and stimulate
interest in his country's music. But the
actual representative of Finnish music is Jean
Sibelius. His art reflects the grave and austere
beauty of Finland's scenery and poetry, and expresses
the inner life of the people—the despaii--
ing and passionate struggles and yearnings,
the childlike simplicity and proud melancholy.
Hence the worship Sibelius evokes among Ws
countrymen, and his power and influence over
his young disciples. His songs, whilst original,
dramatic, and powerful, are the true counterpart
of the Finnish folk-song. Essentially
modern in feeling, yet Sibelius uses frequently
the old, simple scale, limited harmony, and
the curious uneven rhythm of the folk-songs.
One of his most beautiful songs, with a modal
melody, is Men min Fogel marks dock ' icke '
'Svarta Rosar' ('Black Roses') is effective;
and 'Atinares Sang,' perhaps the best known,
is a fine war-song in march-rhythm. If
Sibelius be the lyric and dramatic representative
of Finnish music, A. Jarnefelt may be
called the epic. He has written many songs,
but it is the peculiarly national ballad -like
feeling in his orchestral works which arrests
attention. Mention must also be made of
Ilmari Krohn and E. Melartin (born in 1875),
whose songs are of distinct merit.
The enthusiasm, patriotism, zeal, and activity
of the younger generation of composers, combined
with the keen interest and research by
students and historians among the national