Andante festivo – New Year Greetings 2015

This has been a long time coming. I have always wanted to create a video of Sibelius’s Andante festivo, a piece so dear to my heart and I’m sure to many a Sibelian. For many years I’ve sat on the idea and done several other videos but this one I’ve put off because I want it to be really good. I also have a dilemma about whether to use the recording that first introduced me to the work, or to use Sibelius’s historic 1939 recording. The decision I made this morning – playing both versions loudly on my hifi after breakfast at home – is that ultimately I’ll do both. For now though, it will be the former – Neeme Järvi’s 1982 recording on BIS with the Gothenburg Symphony Orchestra, a very beautiful and powerful account that still sounds fantastic to this day. The CD is 30 years old.

The photos used are from my 2014 trip to Finland, mostly of Suomenlinna and a few of Karelia. I plan to make a couple of videos this coming year for Karelia. In the meantime, Happy New Year to all! Happy 2015! Happy 150th Anniversary, Jean Sibelius!


Confessions of a Sibelius Champion

“Daddy, why do you like Sibelius so much?”

A month ago, my daughter, now age 10, asked me this simple question. Pause. I didn’t really know how to answer her. In truth if anyone older asked me, it would’ve been equally difficult to explain. And those of you who made the little mistake of asking me, I must let you know that it embarrasses me to go beyond five sentences to explain it. (I’ll buy a meal for those whom I subjected more than 10 sentences).

I suppose it would be just as difficult for any fan to explain exactly why he/she likes a certain composer. Sibelius himself reputedly avoided talking about his music, and even less so his compositional processes. I think essentially, like him, I would prefer to let the music speak for itself.

There are many other composers whose music I love – J.S. Bach, Beethoven, Handel, Dvořák, etc. But I only have this special relationship with Sibelius. I live over 9200 kilometres from Helsinki, from Sibelius, so to speak. I live in a tropical, Asian country – in terms of race, culture, language, climate, about as remote as it can be in relation to a Nordic country. Sometimes it seems a bit strange how this happened. Sometimes I can’t understand how come, and a part of me wants to ask, “Why was I chosen to do this?”

I have many times imagined what I would do and how I would feel when I finally reach Ainola. I have seen many photographs on the internet of Sibelius’ simple, bronze green grave. Soon I shall visit it. It will be the closest I will ever be to “meeting” him.

Many thoughts go through my head, and I find that finally, what I would say to him amounts to something emotionally closer to a confession than anything else.

Marshall Cavendish Great Composers Series – Sibelius (cassette version)

Awakening
I first truly awakened to Sibelius around 1990 or 1991 when I was aged around 18. I don’t remember exactly when, but I remember exactly how. Back then, I was following the fortnightly Marshall Cavendish series of “Great Composer” magazines, each came with a CD of the featured composer’s signature works (Right: the cassette version, which I bought off a second-hand store recently). I bought practically every issue, and I still have the magazines, although I have replaced most of the CDs with better recordings.

The blue-themed Sibelius issue came with a CD recording of Finlandia (naturally) and the Second Symphony, played by the Concertgebouw Orchestra under George Szell. It was my first encounter with the symphony. I remember that afternoon, putting the CD on, and then going to my desk to work on something else. My back was to the hifi stereo set, and I let the music play pretty much as background music (if that is even possible with the Second Symphony). It was all new to me, and it sounded like a Romantic work, half-familiar, melodic, dramatic, spinning and swirling in ever increasing energy…

I raised my head from the table and turned around slowly. What is this?…. I dropped everything I was doing and my eyes opened wide as the finale began generating waves of D-major majesty. I listened intently to every note from the hifi set, as it drove Sibelius in ever mounting layers of magnificent defiance into my ears, into my soul.

The Flying Inkpot

The Flying Inkpot namecards from the late 1990s. Yes guys, I still have them.

In the 1990s, websites were born. In 1996 I joined a small group of university mates at the National University of Singapore who had set up a website for writing about the arts and reviewing local performances. These were the days of hand-coded webpages. The first GIF image had only appeared online a few years ago. We started simple. But we were driven by pure, altruistic passion – we were able writers, and we were eager to share. It was a time before social media, before web 2.0, even before mobile phones. It was the time of The Flying Inkpot (inkpot.com).

My editorial policy was simple:

  1. You write intelligently, but the layman must understand you. No pandering to lowest common denominator, no unapproachable musico-technobabble.
  2. There is no such thing as a “good review” or a “bad review” – only a well-written or a poorly written review.
  3. The VERY BEST reviews are the unfavourable reviews, written so well that even the musician criticized would agree.


Being the typical Type B that I was, I often championed the eclectic and those I deemed worthy of greater attention, underdogs and all. Among the likes of Janáček , Bantock, Hildegard von Bingen, Caldara and Jón Leifs, there stood the oeuvre of Jean Sibelius. But I had written so many reviews by the late 1990s that I felt that the Inkpot was becoming a bit of a monologue with my voice everywhere. On a whim, one day, instead of putting my name on the new Sibelius article, I put The Inkpot Sibelius Nutcase.

Tongue firmly in cheek, I described him in the Inkpotters roll as:

The INKPOT SIBELIUS NUTCASE™ b.1132 Loves Hot Dogs
The Flying Inkpot is proud to be home to the World-Famous, World Premiere Recording of The Inkpot Sibelius Nutcase. Having heard of the fabulous web machine from Singapore, the mysterious white-winged ISN hefted his 6-ton armour of Nordic Music review expertise and crossed the Bifröst bridge to the tropics, bringing with him several boxes of BIS CDs, his Nordic Sounds and Finnish Music Quarterly subscriptions, a copy of the Everyman edition of the Prose Edda, as well as The Kalevala. To date, he refuses to reveal his identity except to the closest of friends (all Inkpotters, heh). Naturally, he only uses Nokia handphones. Due to intense concentration while listening to multiple-layer, multi-pedal sonorities, he does not check his email very often.

And he began to write, and write, and write. Like some hero in disguise, I felt liberated and empowered by the fact that nobody knew it was me. I imagined I channeled some Nordic hero force and threw myself into championing Sibelius.

It was also the time of the BIS Sibelius Edition, I had already sworn by Neeme Järvi’s recordings (left), and the Lahti Symphony Orchestra’s cycle was beginning. In 1997, I had also begun reviewing Okko Kamu’s concerts with the Singapore Symphony, from the 1997 Oceanides to my first “live” hearing of the Seventh Symphony in 1999, and others.

During my time writing at the Inkpot, I never really expected much in terms of feedback. Even less for the many lesser-known composers and works I wrote about. Remember this was almost a decade before Facebook, before social media, before the interactive web we take for granted today. But we did have a primitive comments tool for articles, and people were commenting. To my humble surprise, many were heartfelt compliments. Many of these have been transplanted to dustofhue.com, including those of my most enduring Tapiola article.

Over the years it dawned on me that, the one thing about championing a “niche” composer like Sibelius is that you will occasionally find very passionate fellow supporters. This was deeply heartening, and instilled in me great faith.

Sibelius with his second daughter Ruth, in 1901.

The Silence of Yeah-I’m-A-Pa
In 2002 my first daughter was born. It was the beginning of an unexpected retirement from the Inkpot. It just happened. With a little regret, I left the reins with fellow writers (Derek Lim continues to do so at the Flyinginkpot.com) and over the next seven years I became preoccupied with a great many things unrelated to music. Though I never lost my love for Sibelius, for a long time my attention turned elsewhere.

In 2006 I was approached by The Philharmonic Orchestra, through Dr Chang Touliang‘s recommendation, to write for their Sibelius symphony cycle, Singapore’s first. Though I wasn’t too familiar with the orchestra, its music director, Mr Lim Yau, has always been one of my most admired Singaporean conductors. I could not refuse.

What followed was myself forcing my own rebirth: over the next year or so, I wrote the programme notes for the combinations of the First and Third Symphony, the Second and Fourth, and the last three symphonies. This was a revelatory experience, coming back to writing about Sibelius after some four, five years.

Dust of Hue
In 2009, my friend and then supervisor Olivier Amprimo repeatedly encouraged me to set up a blog. The time was the toddlerhood of social media, the blog engine had grown up. As someone who had been working so long on the web, I was quite keen. But what would I blog about? The answer came to me very quickly.

When I finally sat down one day (after more weeks of procrastination) and was signing up for my hosting services, I had to choose a domain name. Years of publishing online taught me that I needed something unique. I put in the first name that I thought of – and lo and behold, it was available. (Even in those days, securing a domain name you wanted wasn’t easy). Like I said before, very often, fate would always make the first one the one.

I began to republish my old Inkpot articles. I even discovered many comments on them that I never noticed before, such was the extent of my neglect. I am apologetic and thankful to all of you who left me comments between 2002 and 2007-ish. I wrote again, and I published the TPO notes online. In all, the experience, as Sibelius would put it in his experience writing the Fourth Symphony, “gave me strength and satisfaction” to do what I believed in.

So why me?

First, I am an organic thinker. I believe in rules and guidelines, yes, but I don’t believe in following them blindly. I don’t like hard mathematics, I don’t fancy step-by-step progression if I know of a way to “smoothen” them out and complete several steps in a multi-layered flow. I am a lousy multi-tasker but strangely I am remarkably good at making sense of the way multiple moving parts work together. I say “making sense”, I do not say “seeing” or describing.

I enjoy putting things in motion and relying on my faith and knowledge that “it’ll work” to let it work. Yes, this statistics-obsessed world hates my kind, as close to the truth as we may be. I detest counting and analyzing, especially over-analyzing things in order to find out how it works. I enjoy telling you the principles as to why it works, but I do not enjoy calculating it and turning it into a formula or a report book. I do not want to touch the butterfly’s wing and lose the dust of hue.

For these reasons and more, I think Sibelius’ music and philosophy is naturally kin to me.

There is one drawback – I have come so far in this inexplicable spiritual journey that I am now in a place where, if you do not understand Sibelius, you will never understand me completely. No one, not I, not my closest friends, least not my precious family, should take this lightly. It is a place in the heart where nature and humanity come together, where I hear Sibelius, where the dust of hue wings in the air, untouched, and is by nature, unexplainable.

So sweetheart, there’s your answer. Now you just need to grow up some more, understand why I do this and follow me to Finland one day. My first journey begins imminently. Ainola is my destination, Sibelius is my destiny.

Echoes of the Forest God

Ten days ago in the middle of March I received an email from Gerry Henkel, the Editor of New World Finn, a quarterly journal on Finnish culture in the New World. The approximately 30-page journal features Finnish newsmakers, musicians, artists, writers and more, in North America. A downloadable sample is available on the website, as well as instructions for submissions and subscriptions.

To my pleasant surprise, Gerry asked for permission to reproduce my 13-year-old article on Tapiola, which I published on Earth Day (April 22) 1999. Over the last 13 years, this article has attracted the most number of comments among all my Sibelius articles. While I’ve always considered it one of my good pieces of writing, I never thought of it as something that would attract widespread attention or anything. It was after all, about a piece that is decidedly quite advanced listening, Sibelius’ most sophisticated essay in tone painting – his final published word in symphonic thinking. Indeed, his “9th” Symphony.

I wrote the piece when great swaths of forests were being burned in a nearby country. This affected me deeply and greatly influenced my thoughts on the essay, about how mankind has seemingly forgotten we are not a separate thing from nature. Tapiola illustrates this relationship to spine-tingling, soul-searing effect.

Mr Henkel wrote to me again just this morning to show me a post made by a reader of New World Finn, Markki Mungerin of Cloquet River Press, who makes mention of my essay in his post “A Wonderful Piece of Music“. Thank you, Mr Mungerin. He has picked out a Tapiola music video from YouTube (made by berrik500) to introduce his readers to the work.  The complete tone poem can be heard here.

The performance is conducted by Neeme Järvi, with film footage from Christopher Nupen’s film “Jean Sibelius – The Early Years, Maturity and Silence”. It so happens that I watched this video a month ago and left a comment for the creator myself – so once again, Tapio works to keep us connected.

I am thoroughly humbled and very happy by the fact that something I wrote so long ago still has the capacity to spread and advance the musical thinking of Jean Sibelius. I never thought this far when I wrote in 1999. I never thought that a piece of music this dark, this “supernatural”, this advanced, could enthrall fresh listeners. The fact that it does is testimony to Sibelius’ magical power to reach deep into our humanity, and find the threads of a common force – our spiritual link with nature – to bind us across time, space and culture. I am but a wisp singing the song of my forest gods, a tiny thread of light among the magic secrets of wood sprites in the gloom. I have shared the mysterious spell once 13 years ago, and it thrills me that the enchantment continues to echo.

The Origin of Fire – Works for Male Chorus & Orchestra

Sibelius in 1920

Alongside Sibelius’ a capella choral output are the choral-orchestral works, both which still suffer much undeserved neglect. I mean, if you like Kullervo – you ought to try these as well. The most obvious thing to do for Sibelius was to incorporate the choral hymn of Finlandia into the orchestral tone poem – and yet, I only know of two recordings, one with a mixed choir on Ondine (Sibelius Cantatas ODE 754-2) and this committed performance with the Laulun Ystävät Male Choir, under Järvi’s very experienced Sibelian conducting. But more on that later… Continue reading The Origin of Fire – Works for Male Chorus & Orchestra