«Это произведение написано в “моём собственном стиле”...» (о симфонической поэме Сибелиуса «Луоннотар»)

Abstract

Contemporary composers and researchers are continuing to listen attentively to 20th century music. Does everything in it belong entirely to the past? What entered the annals of music history, and what up until now generates impulses of innovations? The article is devoted to a lesser-known composition by Sibelius – the symphonic poem for soprano and orchestra “Luonnotar” (1913) set to poems in old Finnish from the First Rune of the “Kalevala” by Elias Lonnrot. For the composer himself it became a landmark composition, written, according to his words, “in his own style.” The reason why “Luonnotar” does not attract such attention to itself on the part of researchers as do the other symphonic poems of the innovative triad of the early 1910s (“The Bard” and “The Oceanides”), apparently, is the result of a language barrier. Although Lonnrot’s “Kalevala” has been translated into all European languages, the achievement of Sibelius’ artistic method calls for its analysis in the original language. The article briefly outlines the contours of contemporary scholarly Sibeliana, in correspondence with which “Luonnotar” has the status of an innovative musical score. The style of this composition is analyzed in the aspect of “root” foundation – the tradition of rune singing. The conclusion is arrived at that in the creation of the individual style the decisive significance for Sibelius was contained in the culture of monody chant with the living traditions of rune singing and its characteristic features (modal, rhythmic, form-generating), which in the early 20th century have been comprehended by Sibelius as the foundation of his style aspired to the future. Keywords: Sibelius, Lonnrot, “Kalevala,” “Luonnotar,” the runes, rune singing.