Overtures from Finland (CD Review)

by Ryan Ross

 

Sibelius: Karelia Overture, Op. 10; Klami: Nummisuutarit; Melartin: Overture to ‘Prinsessa Ruusunen’, Op. 22; Madetoja: Comedy Overture, Op. 53; Järnefelt: Ouverture lyrique; Mielck: Dramatische Ouvertüre, Op. 6; Palmgren: Overture from ‘Tuhkimo-Sarja’, Op. 21; Kajanus: Overtura sinfonica; Kaski: Prélude, Op. 7 No. 1; Järnefelt: Praeludium. Oulu Sinfonia; Rumon Gamba, conductor. Chandos CHSA 5336. 

 

With the obvious exception of Sibelius, many listeners are unlikely to have heard of most or all of the composers represented on this disc. However, I hope that a simple lack of name recognition will not deter them from giving it a listen; there is some lovely music to be enjoyed here. Moreover, all of these works are short, with the longest (the overture by Mielck) lasting just 12:24. Conductors and artistic directors of live concerts should also take note: it would not be difficult to squeeze one or more of them onto their programs, even on a repeated basis. It wouldn’t have to interfere with all of their Mahler. Joking aside, this disc is a vindication of listening widely, of making room for exploring beyond the classical canon (much as I love the classical canon). True, almost none of these overtures is likely to win any greatness contests. But does everything always have to? 

What most do offer is flavorful fare that has a good chance of speaking to the listener on a direct level. Even if Klami, Melartin, Madetoja, and Palmgren were not great composers, they were excellent ones who were more than capable of producing worthwhile music. And even if I would place the pieces by Järnefelt (Sibelius’s brother-in-law), Kaski, and Mielck on a lower tier, all presented here deserve to be heard. (Mielck’s case warrants an asterisk, as his tragic death just shy of his 22nd birthday meant that he never got the chance to realize his potential.) The only real dud, in my opinion, is the Overtura sinfonica by the overt Wagnerian Robert Kajanus, who, despite a stretch of being Sibelius’s “frenemy,” became the latter’s champion. This turgid work comes across as a haphazard imitation of a Wagner overture or opera excerpt. It is worth a few listens, but the verdict has to be that it is decidedly the weak link. Still, one is grateful for the encounter. 

 

On the other hand, several of these works have become my new personal favorites. Klami’s Nummisuutarit (“The Cobblers on the Heath” Concert Overture), a brisk little number with comic effects, exudes a decidedly northern character with its Lydian inflections. Melartin’s Prinsessa Ruusunen Overture reminds me of Sibelius (in a good way!), with its beautiful lyrical theme coming out of a brooding beginning. Perhaps most arresting of all is Madetoja’s Comedy Overture. Having already been acquainted with his symphonies, piano music, and other instrumental works, I was prepared to enjoy this. But I did not expect the degree to which it is still sticking in my memory, especially the secondary thematic idea characterized by thirds in the upper woodwinds. These and other modally-inflected materials come across (at least to me) as deliciously legendary in mood, reminiscent of like passages in Sibelius’s Kalevala-inspired works. Altogether it is every bit the equal of the Great Finn’s Karelia Overture, which has been recorded multiple times and receives another fine performance here. Likewise, I had already been a fan of Selim Palmgren’s music, the best orchestral examples of which (for me the first couple of Piano Concertos) are tuneful and evocative. His Cinderella Suite Overture is consistent with this standard. Finally, though I cannot give Järnefelt high marks for formal craft, the Ouverture lyrique and Praeludium nonetheless reward investment. 

I had not been familiar with the Oulu Sinfonia beforehand, but I am grateful for being introduced. Their playing here is crisp and bright, and shows conductor Rumon Gamba at his customarily incisive leadership. With this disc, Chandos once again proves an industry leader in presenting neglected repertoire to the public in fine performances and quality packaging. The CD cover and booklet are splendid, including the liner notes by Daniel M. Grimley. One only hopes that these types of recordings keep coming!