On the Work of Others
In writing about Sibelius and other content, I do quote from others, as well as use content (pictures, paintings, music, video, etc) from others. I do my best to acknowledge and respect all sources, by titling and referencing/linking the original or origins. If I have overlooked any, please accept my sincere apologies and send me a message at dustofhue {at} gmail to let me know. I will make amends.
On Using or Copying My Work
Over the years since many of these articles from the Inkpot have been on the internet, they have been copied and quoted. To be honest, I am humbled and pleased by the attention, and in many cases for the compliments and good use of my work. I have been quoted in Wikipedia, translated into Chinese (maybe more, I don’t know) and referenced in professional papers.
Please let me know, and link back if you wish to use my material.
Professional Use / Commissions
I humbly offer my capacities as a writer for any professional or semi-professional music bodies who need Sibelius programme notes for concerts and the like. My philosophy in writing music notes is always to relate to the composer as a person, an intellectual thinker, and his time and context. I try to write in a critical literary + poetic tone, mixing critical discussions with an attempt to cast in words the artistic qualities of the music. I do not consider myself a trained musician, and it is not my forte (and I will not pretend so) to be academic about a piece of music. While I am able to explain certain technicalities, I try to do it so that a layman will understand.
Rates:
My rate per set of concert programme notes is [Highest Price of Your Concert's Ticket Prices] x 3, subject to a minimum of USD150.
If this is not feasible to you for any reason, please feel free to contact me at dustofhue {at} gmail.
Portfolio
Sibelius Symphonies 1 & 3 (The Philarmonic Orchestra, Northern Exposure Series, 4 Oct 2007)
Sibelius Symphonies 2 & 4 (The Philarmonic Orchestra, Northern Exposure Series, 30 Mar 2008).
Sibelius Symphonies 5, 6 & 7 (The Philarmonic Orchestra, Northern Exposure Series, 27 Jul 2008).
Beethoven 7th Symphony (NUSSO)
Mendelssohn: A Midsummer Night’s Dream (The Philarmonic Orchestra).
2 Responses to Copy/Write
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- Young organist (17) Gert van Hoef plays Finlandia on organ: http://t.co/Xtp1WtUT via @youtube
- [Music Video] Sibelius: The Founding of Viipuri Castle, Tableau 2 from Karelia: http://t.co/Hu4c2Gfm
- Jean Sibelius: For the coming generations – the birth of a national composer http://t.co/pQksPW0j
- Jean and Aino: In the very trees of Ainola http://t.co/P8B70wIV The #Sibelius couple's long journey into fame and peace. Happy Valentine's!
- RT @carnegiehall: Are you familiar with the work of Finnish composer Kaija Saariaho? http://t.co/rs5KdAJ8
Dear Leon,
Thanks for your intelligent, sensitive essays on Sibelius. I’ve been a Sibelius fan for many years and have collected some fine and interesting stuff written on the master, including The Cambridge Companion & David Hurwitz’s book, to mention only some fairly recent material. I loved your “Nutcase” essay on Tapiola in particular,and through your site I’ve read the piece on the possibly surviving fragments of the Eighth, and heard the music. Ah, the wonders of the web! Thank you! A haunting experience. I’m inclined to agree with Lorena that it’s better not to dredge up material, some of which might be very speculative, but to let the myth and mystery remain. In fact David Hurwitz argues that Sibelius wrote plenty (even Nine Symphonies if you count Kullervo and the Opus 22, Lemminkainen suite) and had every right to “retire.” However,the “silence at Jarvenpaa” is an attractive and haunting concept. It arouses thoughts of Prospero “drowning his book” (especially given the Tempest music!). I used it myself in my Sibelius poem (in my book Time’s Fools-2010).
Although born in NYC I’ve lived in Canada a long time and see a connection between the Canadian north and Sibelius (as Glenn Gould did!). I used the poem heading (“Widespread they stand, the Northland’s dusky forests” etc) to Tapiola as an epigraph to my novel The Well of Time (Harper-Collins,1988)and wrote about a Sibelius concert in Quebec City in my recent mystery novel Nightshade (Dundurn, 2010). I’d love to send you the Sibelius poem, and will check for an address when I finish this.
One thing that I’ve found surprising over the years is the extreme difficulty of performing the symphonies really convincingly in the concert hall. Of course if you’re sitting in London or New York, or you live in Scandinavia, you will get some good performances, but elsewhere it’s difficult. I’ve heard some terrific Mahler, Bruckner, and just about all the great symphonic masters performed well in Ottawa over the years, but only a few convincing renderings of Sibelius (and always by visiting stars, e.g. Ashkenazy and the Leningrad). Recordings therefore become a huge treasure in the case of Sibelius, which is one reason I appreciate your comments and analysis of Berglund’s CDs (and everything else!). The best Sibelius I ever heard live was the Sixth done by Beecham in Washington a long time ago (1957?) Keep up the great work; it’s a pleasure to read your essays.
In fact I’ve always thought the “nine” symphonies of Sibelius are Kullervo + the seven + Tapiola! Thank you for your very kind words, Tom. I’m so pleased to make your acquaintance over the internet. I find it fascinating that Sibelius has influenced you in writing – it is the same for me, though I only wish I could have the opportunities to write novels. The way I write essays, including those about Sibelius, is often in an organic a way as I can manage. I try not to leave behind any extraneous notes, or rather, words.
Thank you for sharing your listening experience! I agree, I’ve heard many pieces live, among my privileges are Kullervo and the Oceanides, but not all are convincing, though when they are, they are truly an experience.1957? You were around during Sibelius’ life then?
(You can email me at dustofhue@gmail.com – I would love to read your poem).