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Name | Lahti |
---|---|
Official name | |
Settlement type | City |
Image shield | Lahti.vaakuna.svg |
Map caption | Location of Lahti in Finland |
Dot x | |dot_y = |
Pushpin map | |
Pushpin label position | |
Region | Päijänne Tavastia |
Subregion | Lahti sub-region |
Leader title | City manager |
Leader name | Jyrki Myllyvirta |
Established title | Charter |
Established date | 1905-11-01 |
Finnish official | 1 |
Website | www.lahti.fi |
Lahti is the capital of the Päijänne Tavastia region. It is situated on a bay at the southern end of lake Vesijärvi about north-east of the capital Helsinki. In English, the Finnish word Lahti literally means bay and Vesijärvi means water lake.
The symbol of the city depicts a train wheel surrounded by sparkling flames.
The completion of the Riihimäki – St. Petersburg railway line in 1870 and the Vesijärvi canal in 1871 turned Lahti into a lively station, and industrial installations began to spring up around it. For a long time, the railway station at Vesijärvi Harbour was the second busiest station in Finland. Craftsmen, merchants, a few civil servants and a lot of industrial workers soon mixed in with the existing agricultural peasantry.
On 19 June 1877, almost the entire village was burned to the ground. However, the accident proved to be a stroke of luck for the development of the place, as it led to the authorities resuming their deliberations about establishing a town in Lahti. The village was granted market town rights in 1878 and an empire-style, grid town plan was approved, which included a large market square and wide boulevards. This grid plan still forms the basis of the city center. Most of the buildings were low wooden houses bordering the streets.
Lahti was founded during a period of severe economic recession. The Russian Empire was encumbered by the war against Turkey. The recession also slowed down the building of the township: land would not sell and often plots were not built on for some time. In its early years, the town with its meagre 200 inhabitants was too small to provide and kind of foundation for trade. At the end of the 1890s, Lahti’s Township Board increased its efforts to enable Lahti to be turned into a city. In spring 1904, the efforts finally bore fruit as the Senate approved of the application, although it was another eighteen months before Tsar Nicholas II finally gave his blessing and issued an ordinance for establishing the city of Lahti.
At the end of 1905, the area that now comprises Lahti accommodated around 8,200 people of whom just under 3,000 lived in the city itself. All essential municipal institutions were built in just ten years, including a hospital and a city hall. At the same time, a rapid increase in brick houses was taking place in the centre of the city.
In the early 1920s the city gained possession of the grounds of the Lahti Manor, an important piece of land previously blocking the city from the lake. Large-scale industrial operations grew rapidly in the 1930s as did the population; Lahti, at the time, was one of Finland’s fastest-growing cities, and before the start of the Winter War its population was approaching 30,000.
Through the addition of new areas in 1924, 1933 and 1956, Lahti grew, both in terms of population and surface area. Especially strong was the growth after the wars, when Lahti accepted about 10,000 immigrants from Karelia, after the region was surrendered to the Soviet Union, and then later in the 1960 and 70's as a result of mass urbanization. The population growth came to a sharp end in 1975 and the city has since grown very little.
Lahti harbors cultural ambitions, and recent years saw the building of a large congress and concert center, the Sibelius Hall. This has sparked much controversy amongst the population, many of whom feel that the money used for these purposes would be better spent on health care and education. Lahti has perhaps the best known symphony orchestra in Finland, Lahti Symphony Orchestra (Sinfonia Lahti). It concentrates on Sibelius's music.
Lahti’s annual music festival programme includes such events as Lahti Organ Festival, Jazz at the market place and Sibelius Festival.
For the 1952 Summer Olympics, it hosted some of the football preliminaries.
The city endeavors for achievements in sport, which has led to such things as the hosting of a World Games event. As of 2010, it is the only city to host the FIS Nordic World Ski Championships six times, doing so in 1926, 1938, 1958, 1978, 1989, and 2001.
The city also has an ice hockey team, the Lahden Pelicans, and an Association Football (soccer) club, FC Lahti. In July-August 2009, Lahti hosted the 18th World Masters Athletics Championships, an outdoor age-group track meet for men and women 35 and over.
In the educational sector, Lahti is modest.
Its greatest asset is the highly valued Institute of Design, which is a part of Lahti University of Applied Sciences. The institute has gained international recognition in particular for jewellery and industrial design. Other areas of expertise include metal, woodworking and furniture.The Faculty of Physical Activity at Lahti University of Applied Sciences offers a bachelor's degree programme in Sports Studies. The Sports Institute of Finland, which is based in Vierumäki near Lahti, is the most versatile centre of sports education in the country. In addition, Pajulahti Training Center, located in the neighboring town of Nastola, is one the leading sports and training centres in Finland.
Lahti is also the home of Helsinki University's department of Environmental and Ecological Sciences (Faculty of Biosciences). It's the only science department of the University of Helsinki located outside the greater Helsinki area.
{|class="wikitable collapsible collapsed" style="width:45em" !Tertiary education |- | Lahti University Consortium
Lahti Region Educational Consortium
The value of production slumped, especially in the mechanical engineering industry and other manufacturing industries (e.g. the furniture industry). Production also decreased in the textile and clothing industry. In 1990, there were 90,370 jobs in the Lahti Region. The number of jobs diminished over the next couple of years, so that in 1993 there were fewer than 70,000 jobs in the Lahti Region. The number of jobs had slowly increased to 79,138 in 1999.
In 1995, R&D; expenditure was FIM 715 per person, while Finland's average was about FIM 2050. The amount of Tekes (the National Technology Agency) funding in the Lahti Region grew 40% during 2004-2007 while the average growth in Finland was 60%.
]]
Local buses leave from the market square. Bus stops are on both the Aleksanterinkatu side and the Vapaudenkatu side of the square. See also the Local traffic Trip Planner for Lahti.
:See also: :Category:People from Lahti
Maps
Media
Category:1952 Summer Olympic venues Category:Cities and towns in Finland Category:Municipalities of Päijänne Tavastia Region Category:Populated places established in 1905 Category:Ski areas and resorts in Finland
This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
Name | Tarja Turunen |
---|---|
Background | solo_singer |
Birth name | Tarja Soile Susanna Turunen |
Born | August 17, 1977Kitee, Finland |
Instrument | Vocals, piano, drums, tranverse flute |
Genre | Symphonic rock, symphonic metal, classical, classical crossover |
Occupation | Singer-songwriter, musician |
Years active | 1995–present |
Label | Universal, Spinefarm, Nuclear Blast, Roadrunner, NEMS Enterprises, Century Media, Drakkar Entertainment |
Associated acts | Nightwish, Beto Vázquez Infinity, Adrián Barilari, Noche Escandinava |
Url | tarjaturunen.com |
In 2006, Turunen released her first independent album, a Christmas project called Henkäys Ikuisuudesta, with a support classical tour between November 25 and December 26 in Finland and Russia. In 2007, Turunen released My Winter Storm, an album with various styles, including alternative rock and symphonic metal;, the Storm World Tour, between 2007 and 2009. Turunen's third album, What Lies Beneath, was released on September 1, 2010, and between June and August Turunen performed several concerts in Europe, playing in famous metal festivals including the Graspop Metal Meeting and the Wacken Open Air, with more dates expected to be confirmed in the near future. She now Collected over 50 platinum and gold certificacion (with her solo career and Nightwish) and sold more than 5.2 million copies worldwide.
In April 1997 Nightwish recorded a second demo with "more bombastic, dramatic" songs, with which Holopainen could finally convince the Finnish label Spinefarm Records to publish the debut album Angels Fall First. The success of the first album came as a surprise to everyone. As the album hit the top 40 of the Finnish charts, Nightwish started a first tour (The First Tour of the Angels). Due to her commitment in the band Turunen soon was not able to concentrate sufficiently on her academic activities anymore and finally interrupted her academic studies.
In the year 1998 Nightwish published their second album Oceanborn. This album lacked the earlier elements of folk music and ambience, instead focusing on Turunen's dramatic voice and including fast, melodious keyboard and guitar lines. Secondary to the Oceanborn Europe Tour Turunen sang solo in Waltari's rock-themed 1999 ballet Evankeliumi (also known as Evangelicum) in several sold-out performances at the Finnish National Opera. In 2000 and 2001 Nightwish recorded Wishmaster and Over the Hills and Far Away and toured Europe and South America (Wishmaster World Tour). Turunen met her husband and manager, Marcelo Cabuli, during a tour in Buenos Aires in 2000.
After that she enrolled in the German Music University Hochschule für Musik Karlsruhe to gain a professional qualification as a soloist with further specialization in Art song. The reasons to go to Karlsruhe, were on the one hand the good reputation of the university, on the other, her increased awareness level in Finland and the fact that in the Finnish university some people did not take her seriously as a classical singer due to her commitment in a metal band. At Karlsruhe in contrast, she was accepted as a classical singer who sings in a metal band too. In particular, her professors did not think of it as a flaw. While there, she recorded vocals for Nightwish's 2002 album Century Child and for Beto Vázquez Infinity. As with the other albums before Holopainen wrote the pieces and then sent Turunen the lyrics and a demo recording of the prerecorded instrumental tracks by mail. With the help of the demo recording, Turunen designed her vocal lines and the choral passages to the melody. and started the supporting Once Upon a Tour throughout 2004 and 2005.
For Christmas 2004, Turunen released the (solo) single "Yhden Enkelin Unelma" (One Angel's Dream), which sold gold in her native country, Finland. At Christmas 2005, it made a reentry at position one in the Finnish Charts. For the spring of 2005, she prepared a collaboration with Martin Kesici, the duet "Leaving You for Me", accompanied by a video.
The first change in the line up of Nightwish was in September 2001, when Sami Vänskä was asked to leave the band because his long-time friend Tuomas Holopainen was no longer able to continue working with him.
Another change was on the way, when in the following years the relationship between Tuomas Holopainen and Turunen's husband and manager Marcelo Cabuli deteriorated and affected the relationship between Holopainen and Turunen too. On December 2004 Turunen announced to the bandmembers that she wanted to leave the band after one more album (planned for 2006/2007) and the subsequent tour. According to her husband, Turunen had agreed to release her first solo album after the new studio album from Nightwish. After the last concert of the Once Upon a Tour on October 21, 2005 (End of an Era) Holopainen gave her a letter that was signed by the other band members too. With that letter, she was informed that the band did not want to work with her anymore. This letter was at the same time published on the website of the band. In this letter Turunen was criticized for too often having skipped the rehearsals and to have behaved like a diva. Her husband was considered responsible for her behavior too. Turunen responded through an open letter, which was posted on her website and some interviews in which she explained her view. She was especially concerned about the fact that after nine years of working together Holopainen had not found another way than to announce the separation by an open letter. She explained that she could not find herself in the allegations, and asked to keep her husband out of the debate. Because of the continuing media interest Marcelo Cabuli posted a message to her website in February 2006, addressing the situation, and asked for anyone who had questions to email him. Cabuli then posted a lengthy reply to many of the questions he had received in June 2006.
Despite the circumstances of the separation, the artistic appreciation remained. Holopainen explained that he did not search for a similarly trained singer as a successor for Turunen because in her way of singing she is extraordinarily good and therefore not replaceable. He also said that one day he would like to reestablish the friendship. In October 2007, Turunen said in an interview that she is very proud of her career with Nightwish, that she considers the remaining band members as extremely talented and that she wishes all the best for Nightwish.
On September 17, Turunen's solo dates were announced across Europe in Berlin, London, Moscow, Budapest, Athens, Cologne, Paris, Amsterdam and Zurich.
In October 2007 a street team endorsed by Universal Music and Spinefarm UK was launched for Turunen through UK-based company Worst Decision. The team's aim is to help promote Turunen's upcoming single, album and tour with the help of dedicated fans, the most dedicated of which will be eligible to receive free gifts for their work. While aimed mainly at the UK market, it was hoped that members from all over the world would join to help spread the word about Turunen throughout the UK, Europe and around the world.
Turunen's first independent album, My Winter Storm, was released in November 2007 and achieved gold status in Finland on its day of release. The album took the number 1 spot on the Finnish charts, went platinum in Finland and Russia. My Winter Storm has achieved gold in Hungary and in the Czech Republic. Turunen sings on the track "In The Picture" on Nuclear Blast Allstars' album Into The Light, 2007.
In late 2007 Turunen was nominated for two awards, an Echo as best newcomer and an Emma for best Finnish artist. She was confirmed to headline day one of the 2008 Metal Female Voices Fest in Wieze, Belgium. On May 9, 2008, Turunen embarked on a long European tour to promote My Winter Storm, Storm Tour. She chose to open the tour by performing at Wave-Gotik-Treffen in Leipzig, Germany. Turunen has told fans via her My Winter Storm blog that she is relocating to Antigua to work with the same producer as before, and that she has many ideas for her third album, currently in progress.
In July 2008, she announced two tracks in the My Winter Storm blog: "The Crying Moon" for the new album, and "Enough", for one special edition of My Winter Storm. In August 2008 she played "Enough" in her Storm Tour, in South America 2008. On September 10, 2008, a Spinefarm UK representative announced that they would be releasing an EP for Turunen on December 1 which would include new material. In December 2008, the EP The Seer was released in the U.K. and the new extended edition of My Winter Storm released on January 2, 2009.
On November 18, the Finnish charity Christmas album Maailman kauneimmat joululaulut (Finnish for "The World's Most Beautiful Christmas Songs") was released, containing three songs featuring Turunen's vocals. In December 2009 she recorded her part of the duet with Klaus Meine which is part of the final Scorpions album Sting in the Tail. The song is called "The Good Die Young".
Turunen recorded her third album, What Lies Beneath, between 2009 and 2010 and it was released on September 1, 2010. The first single, "Falling Awake", was released on July 19. The second single, "I Feel Immortal", was released on August 27, 2010, and a music video for it has already been uploaded to YouTube. Another single, "Until My Last Breath", was released on August 30 with an accompanying video released on September 24, 2010.
From 2001 to 2003 she studied at the Music Academy Hochschule für Musik Karlsruhe where she was trained as a soloist with further specialization in Lied. Turunen originally applied for a choir singer training, however at the audition she aroused the attention of professor Mitsuko Shirai. Shirai immediately realized that Turunen put much feeling in the vocals, therefore she encouraged Turunen to apply for a soloist training.
As a classical singer Turunen always sings with classical technique. She explained that in the beginning of Nightwish it was difficult, to combine classical vocal technique with metal sound in a way that on the one hand she had liberty of action and on the other hand her vocal chords did not get damaged. The classical technique helped her to play with her voice therfore she decided not to take extra training in rock/pop singing.
Towards the turn of the millennium the combination of hard and fast guitar riffs with classical female lead vocals attracted a great deal of attention in the metal scene. The new music style of Nightwish quickly aroused enthusiasm by critics and audience. This symphonic metal style soon was being labeled as Opera Metal. The term "Opera Metal" is misleading in respect to the fact that Turunen does not see herself as an opera singer. She already sang excerpts from operas at the Savonlinna Opera Festival but she stresses that singing opera can not be performed as a side project and that she would have to train her voice to perfectly sing an entire opera without a microphone. Sometimes it is stated that her voice is too trained or operatic for metal music, but even critics who do not like classical voices admit that her voice suits the kind of metal songs she sings unusually well.
Until the end of the cooperation Turunen was the trademark of Nightwish, while band leader Holopainen was the soul, Turunen was seen as a key to Nightwish's success. She is respected and is hugely influential to other metal bands and singers in the genre. For instance, Simone Simons names her as her inspiration to study classical music and apply that style vocally to a metal band.
The media closely covered the very public separation from Nightwish, and Turunen's character became a subject of many media discussions. The band members stated that she had become greedy.
Marcelo Cabuli answered fans questions related to this topic, stating that the band had agreed on the distribution of earnings in a contract at the formation of Nightwish. Based on that contract, other members got a higher share of royalties, which Turunen has never aggrieved.
Turunen receives most of her media attention in her homeland of Finland. In December 2003 she was invited by Finnish president Tarja Halonen to celebrate the Finnish Independence Day in the presidential palace together with other local celebrities. The event was televised for 2 million Finnish viewers by the Finnish television station Yle. In December 2007 she performed different versions of the Finnish national anthem Maamme (Finnish: "Our country") accompanied by the Tapiola Sinfonietta to celebrate the 90th Anniversary of Finnish independence. The concert was televised live by the Finnish television station Yle.
In Europe her popularity is mainly limited to the hard rock and metal scene. She had a broader exposure on 30 November 2007, when she was invited to open the farewell fight of Regina Halmich with her performance of "I Walk Alone" televised live by the German television station ZDF for 8.8 million viewers.
Turunen is famous as a metal singer, but she still has her classical career; every year Turunen plays a Christmas tour in Finland, occasionally with dates in Russia, but in 2005 Turunen hosted some classical concerts in some European countries. In 2006, she played a successful tour in Finland, singing several songs from Finnish culture, and singing songs like "Walking in the Air", "Ave Maria" and "You Would Have Loved This". On December 6, 2006, Turunen performed a big concert at the Sibelius Hall in Lahti, Finland; it was live broadcasted by the Finnish channel YLE TV2 for 450,000 viewers.
In July 2006, Turunen played again at the Savonlinna Opera Festival, at that time as the main act; Turunen sung beside the Finnish tenor Raimo Sirkiä and was supported by the Kuopio Symphonic Orchestra. Turunen performed classical arias like "O mio babbino caro" by Puccini, and some songs from Andrew Lloyd Webber, e.g. "Don't Cry for Me Argentina" and "Phantom of the Opera", among other songs.
Category:1977 births Category:1990s singers Category:2000s singers Category:2010s singers Category:Living people Category:People from Kitee Category:Female metal singers Category:Finnish female singers Category:Finnish heavy metal singers Category:Finnish singer-songwriters Category:Finnish sopranos Category:Nightwish members
This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
Jean Sibelius () (8 December 186520 September 1957) was a Finnish composer of the later Romantic period whose music played an important role in the formation of the Finnish national identity. His mastery of the orchestra has been described as "prodigious."
The core of Sibelius's oeuvre is his set of seven symphonies. Like Beethoven, Sibelius used each successive work to further develop his own personal compositional style. His works continue to be performed frequently in the concert hall and are often recorded.
In addition to the symphonies, Sibelius's best-known compositions include Finlandia, the Karelia Suite, Valse triste, the Violin Concerto in D minor and The Swan of Tuonela (one of the four movements of the Lemminkäinen Suite). Other works include pieces inspired by the Finnish national epic, the Kalevala; over 100 songs for voice and piano; incidental music for 13 plays; the opera Jungfrun i tornet (The Maiden in the Tower); chamber music; piano music; Masonic ritual music; and 21 separate publications of choral music.
Sibelius composed prolifically until the mid-1920s. However, after completing his Seventh Symphony (1924), the incidental music to The Tempest (1926), and the tone poem Tapiola (1926), he produced no large scale works for the remaining thirty years of his life. Although he is reputed to have stopped composing, he in fact attempted to continue writing, including abortive efforts to compose an eighth symphony. He wrote some Masonic music and re-edited some earlier works during this last period of his life, and retained an active interest in new developments in music, although he did not always view modern music favorably.
The Finnish 100 mark bill featured his image until it was taken out of circulation in 2002.
Against the larger context of the rise of the Fennoman movement and its expressions of Romantic Nationalism, his family decided to send him to a Finnish language school, and he attended the Hämeenlinna Normal-Lycée from 1876 to 1885. Romantic Nationalism was to become a crucial element in Sibelius's artistic output and his politics. From around the age of 15, he set his heart on becoming a great violinist. He became an accomplished player, even performing the last two movements of the Mendelssohn Violin Concerto in Helsinki.
After Sibelius graduated from high school in 1885, he began to study law at the Imperial Alexander University of Finland (now the University of Helsinki). However, he was more interested in music than in law, and he soon quit his studies. From 1885 to 1889 Sibelius studied music in the Helsinki music school (now the Sibelius Academy). One of his teachers there was Martin Wegelius. Sibelius continued studying in Berlin (from 1889 to 1890 with Albert Becker) and in Vienna (from 1890 to 1891). It was around this time that he wrote "It was a very painful awakening when I had to admit that I had begun my training for the exacting career of a virtuoso too late".
Jean Sibelius married Aino Järnefelt (1871–1969) at Maxmo on 10 June 1892; they were to be married for 64 years. Their home, called Ainola, was completed at Lake Tuusula, Järvenpää in 1903, and the two lived out the remainder of their lives there. They had six daughters: Eva, Ruth, Kirsti (who died at a very young age), Katarina, Margareta and Heidi.
In 1908, Sibelius underwent a serious operation for suspected throat cancer. The impact of this brush with death can be seen in several of the works that he composed in the following years, including Luonnotar and the Fourth Symphony.
Sibelius loved nature, and the Finnish landscape often served as material for his music. He once said of his Sixth Symphony, "[It] always reminds me of the scent of the first snow." The forests surrounding Ainola are often said to have inspired his composition of Tapiola. On the subject of Sibelius's ties to nature, one biographer of the composer, Erik W. Tawaststjerna, wrote the following: Vol. I, 1865–1905. ISBN 0-571-08832-5; Vol. II, 1904–1914. ISBN 0-571-08833-3}}
The year 1926 saw a sharp and lasting decline in Sibelius's output: after his Seventh Symphony he only produced a few major works in the rest of his life. Arguably the two most significant were incidental music for Shakespeare's The Tempest and the tone poem Tapiola. For most of the last thirty years of his life, Sibelius even avoided talking about his music.
There is substantial evidence that Sibelius worked on an eighth numbered symphony. He promised the premiere of this symphony to Serge Koussevitzky in 1931 and 1932, and a London performance in 1933 under Basil Cameron was even advertised to the public. However, the only concrete evidence for the symphony's existence on paper is a 1933 bill for a fair copy of the first movement. Sibelius had always been quite self-critical; he remarked to his close friends, "If I cannot write a better symphony than my Seventh, then it shall be my last." Since no manuscript survives, sources consider it likely that Sibelius destroyed all traces of the score, probably in 1945, during which year he certainly consigned a great many papers to the flames.
"In the 1940s there was a great auto da fé at Ainola. My husband collected a number of the manuscripts in a laundry basket and burned them on the open fire in the dining room. Parts of the Karelia Suite were destroyed – I later saw remains of the pages which had been torn out – and many other things. I did not have the strength to be present and left the room. I therefore do not know what he threw on to the fire. But after this my husband became calmer and gradually lighter in mood."His 90th birthday, in 1955, was widely celebrated and both the Philadelphia Orchestra under Eugene Ormandy and the Royal Philharmonic Orchestra under Sir Thomas Beecham gave special performances of his music in Finland. The orchestras and their conductors also met the composer at his home; a series of memorable photographs were taken to commemorate the occasions. Both Columbia Records and EMI released some of the pictures with albums of Sibelius's music. Beecham was honored by the Finnish government for his efforts to promote Sibelius both in the United Kingdom and in the United States.
Tawaststjerna also related an endearing anecdote regarding Sibelius's death:
In 1972, Sibelius's surviving daughters sold Ainola to the State of Finland. The Ministry of Education and the Sibelius Society opened it as a museum in 1974.
Musical style
Like many of his contemporaries, Sibelius was initially enamored of the music of Wagner. A performance of Parsifal at the Bayreuth Festival had a strong effect on him, inspiring him to write to his wife shortly thereafter, "Nothing in the world has made such an impression on me, it moves the very strings of my heart." He studied the scores of Wagner's operas Tannhäuser, Lohengrin, and Die Walküre intently. With this music in mind, Sibelius began work on an opera of his own, entitled Veneen luominen (The Building of the Boat).However, his appreciation for Wagner waned and Sibelius ultimately rejected Wagner's Leitmotif compositional technique, considering it to be too deliberate and calculated. Departing from opera, he later used the musical material from the incomplete Veneen luominen in his Lemminkäinen Suite (1893). He did, however, compose a considerable number of songs for voice and piano, whose early interpreters included Aino Ackté and particularly Ida Ekman.
More lasting influences included Ferruccio Busoni, Anton Bruckner and Tchaikovsky. Hints of Tchaikovsky's music are particularly evident in works such as Sibelius's First Symphony (1899) and his Violin Concerto (1905). Similarities to Bruckner are most strongly felt in the 'unmixed' timbral palette and sombre brass chorales of Sibelius's orchestration, as well as in the latter composer's fondness for pedal points and in the underlying slow pace of his music.
Sibelius progressively stripped away formal markers of sonata form in his work and, instead of contrasting multiple themes, he focused on the idea of continuously evolving cells and fragments culminating in a grand statement. His later works are remarkable for their sense of unbroken development, progressing by means of thematic permutations and derivations. The completeness and organic feel of this synthesis has prompted some to suggest that Sibelius began his works with a finished statement and worked backwards, although analyses showing these predominantly three- and four-note cells and melodic fragments as they are developed and expanded into the larger "themes" effectively prove the opposite.
This self-contained structure stood in stark contrast to the symphonic style of Gustav Mahler, Sibelius's primary rival in symphonic composition. While thematic variation played a major role in the works of both composers, Mahler's style made use of disjunct, abruptly changing and contrasting themes, while Sibelius sought to slowly transform thematic elements. In November 1907 Mahler undertook a conducting tour of Finland, and the two composers had occasion to go on a lengthy walk together. Sibelius later reported that during the walk:
However, the two rivals did find common ground in their music. Like Mahler, Sibelius made frequent use both of folk music and of literature in the composition of his works. The Second Symphony's slow movement was sketched from the motive of Il Commendatore in Don Giovanni, while the stark Fourth Symphony combined work for a planned "Mountain" symphony with a tone poem based on Edgar Allan Poe's "The Raven". Sibelius also wrote several tone poems based on Finnish poetry, beginning with the early En Saga and culminating in the late Tapiola (1926), his last major composition.
Over time, he sought to use new chord patterns, including naked tritones (for example in the Fourth Symphony), and bare melodic structures to build long movements of music, in a manner similar to Joseph Haydn's use of built-in dissonances. Sibelius would often alternate melodic sections with noble brass chords that would swell and fade away, or he would underpin his music with repeating figures which push against the melody and counter-melody.
Sibelius's melodies often feature powerful modal implications: for example much of the Sixth Symphony is in the (modern) Dorian mode. Sibelius studied Renaissance polyphony, as did his contemporary, the Danish composer Carl Nielsen, and Sibelius's music often reflects the influence of this early music. He often varied his movements in a piece by changing the note values of melodies, rather than the conventional change of tempi. He would often draw out one melody over a number of notes, while playing a different melody in shorter rhythm. For example, his Seventh Symphony comprises four movements without pause, where every important theme is in C major or C minor; the variation comes from the time and rhythm. His harmonic language was often restrained, even iconoclastic, compared to many of his contemporaries who were already experimenting with musical Modernism. As reported by Neville Cardus in the Manchester Guardian newspaper in 1958,
Reception
Sibelius has fallen in and out of fashion, but remains one of the most popular 20th century symphonists, with complete cycles of his symphonies continuing to be recorded. In his own time, however, he focused far more on the more profitable chamber music for home use, and occasionally on works for the stage. Eugene Ormandy and, to a lesser extent, his predecessor Leopold Stokowski, were instrumental in bringing Sibelius's music to American audiences by programming his works often; the former developed a friendly relationship with Sibelius throughout his life. Later in life he was championed by critic Olin Downes, who wrote a biography of the composer.However, Sibelius has sometimes been criticized as a reactionary or even incompetent figure in 20th century classical music. Despite the innovations of the Second Viennese School, he continued to write in a strictly tonal idiom. Because of its alleged conservatism, Sibelius's music is thus sometimes considered insufficiently complex, but he was immediately respected by even his more progressive peers.
In 1938 Theodor Adorno wrote a critical essay about the composer, notoriously charging that Adorno sent his essay to Virgil Thompson, then music critic of the New York Herald Tribune, who was also critical of Sibelius; Thompson, while agreeing with the essay's sentiment, declared to Adorno that "the tone of it [was] more apt to create antagonism toward [Adorno] than toward Sibelius".
However, critics who have sought to re-evaluate Sibelius's music have cited its self-contained internal structure, which distills everything down to a few motivic ideas and then permits the music to grow organically, as evidence of a previously under-appreciated radical bent to his work. The severe nature of Sibelius's orchestration is often noted as representing a "Finnish" character, stripping away the superfluous from music.
Perhaps one reason Sibelius has attracted both the praise and the ire of critics is that in each of his seven symphonies he approached the basic problems of form, tonality, and architecture in unique, individual ways. On the one hand, his symphonic (and tonal) creativity was novel, but others thought that music should be taking a different route. Sibelius's response to criticism was dismissive: "Pay no attention to what critics say. No statue has ever been put up to a critic."
In the latter decades of the twentieth century, Sibelius began to be re-assessed more favourably: Milan Kundera dubbed the composer's approach to be that of "antimodern modernism", standing outside the perpetual progression of the status quo. In 1984, American avant-garde composer Morton Feldman gave a lecture in Darmstadt, Germany, wherein he stated that "the people you think are radicals might really be conservatives – the people you think are conservatives might really be radical," whereupon he began to hum Sibelius' Fifth Symphony.
Other works
Viisi joululaulua, Op. 1, five Christmas songs (1895–1913) Seven Songs, Op. 17, with lyrics by J. L. Runeberg, K.A. Tavaststjerna, Oscar Levertin, A.V. Forsman (Koskimies, Finnish surname), and Ilmari Calamnius (Kianto, Finnish surname). Composed between 1891 and 1904. Incidental music to Hjalmar Procopé's play Belshazzar's Feast, Op. 51 (1906); this was mainly for orchestra but voices were called for in some places. He later rescored some sections of the incidental music as a purely orchestral suite; in 1939 he wrote a new version of the section called "Solitude" (originally called "The Jewish Girl’s Song" in the incidental music) as a song, dedicated to Marian Anderson Voces intimae, Op. 56, string quartet (1909) Jääkärimarssi (1915)
See also
International Jean Sibelius Violin Competition Sibelius monument
Notes
References
Further reading
Layton, Robert. Sibelius. New York: Schirmer Books, 1993. Master Musicians Series. ISBN 0-02-871322-2. Ekman, Karl. "Jean Sibelius, His Life and Personality". New York, Tudor Publishing Co., 1945. Levas, Santeri. Sibelius: a personal portrait. London, Dent, 1972. ISBN 0460039784. Tawaststjerna, Erik. "Sibelius". London, Faber & Faber, vol.1 (1976), vol.2(1986). de Gorog, Lisa (with the collaboration of Ralph de Gorog) "From Sibelius to Sallinen: Finnish Nationalism and the Music of Finland". New York, Greenwood Press, 1989. Tomi Mäkelä: "Poesie in der Luft. Jean Sibelius, Studien zu Leben und Werk". Wiesbaden, Breitkopf & Härtel, 2007. 978-3-7651-0363-6 Barnett, Andrew. Sibelius. New Haven and London: Yale University Press, 2007. ISBN 978-0-300-11159-0
Minnesota Orchestra's showcase concert magazine, May 6, page 44 Goss, Glenda Sibelius: A Composer’s Life and the Awakening of Finland. Chicago and London: The University of Chicago Press, 2009. ISBN 0-226-30477-9 Goss, Glenda Jean Sibelius: Guide to Research. New York: Garland Press, 1998. ISBN 0-8153-1171-0
External links
Jean Sibelius – the website (English) The Sibelius Society of Finland Fennica Gehrman's Sibelius page (publisher) Films on Jean Sibelius by director Christopher Nupen Jean Sibelius Museum Finlandia by Jean Sibelius, thisisFINLAND Ainola – The home of Aino and Jean Sibelius Jean Sibelius link collection Eugene Ormandy – Jean Sibelius: A Reminiscence Musical Finland in Brussels Category:Finnish composers Category:Romantic composers Category:Opera composers Category:20th-century classical composers Category:Royal Philharmonic Society Gold Medallists Category:Swedish-speaking Finns Category:1865 births Category:1957 deaths Category:People from Hämeenlinna Category:Honorary Members of the Royal Philharmonic Society
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Caption | Lahti at the 2008 Tribeca Film Festival, April 2008 |
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Birth date | April 04, 1950 |
Birth place | Birmingham, Michigan, U.S. |
Occupation | Actress, film director |
Years active | 1979–present |
Spouse | Thomas Schlamme (1983-present) |
Christine Lahti (born April 4, 1950) is an American actress and film director.
Lahti received an Academy Award nomination for Best Supporting Actress for Swing Shift in 1984, and won an Academy Award for Best Short Film, Live Action for Lieberman in Love (1995), in which she starred and directed. Adapted from a short story by W.P. Kinsella, "Lieberman in Love", the Oscar win came as a surprise to the author, who, watching the award telecast from home, had no idea the film had been made and released. He had not been listed in the film's credits, and was not acknowledged by director Christine Lahti in her acceptance speech.
She won an Emmy and a Golden Globe for her role in Chicago Hope. When her Golden Globe win was announced at the ceremony there was a long pause as Lahti was not coming up and no one could find her. Robin Williams rushed on stage and began pretending to be Lahti. When she eventually got on stage she explained that she had been in the bathroom. She later made it a point to be good-humored about the incident, usually poking fun at herself at other awards shows.
In 2001, her first directorial film, My First Mister, was released. Starring Leelee Sobieski and Albert Brooks, the movie debuted with good reviews. In DVD commentary she applauds the work of her cast and crew, remarking "[I] was very lucky to have such a wonderful crew..." She did feel regret that the film was rated R, for language, despairing that the movie might not be viewed by teenagers who would like and relate with the characters. Also, Lahti mentioned several times that she would have liked to have more time to shoot different perspectives in order to facilitate story arc.
Lahti will appear in the USA Network drama series Operating Instructions, directed by Hitch director Andy Tennant.
Lahti starred in the ADA role on as Sonya Paxton, while the character Alexandra Cabot (Stephanie March) was on leave. She will be in the first four episodes and returned for the show's ninth episode, where she clashed with Alex Cabot.
She returned to Broadway upon joining the cast of the Tony Award-winning play God of Carnage on November 17, 2009, replacing actress Marcia Gay Harden. Both actresses had a few special appearances on Law & Order: Special Victims Unit.
Since May 2005, Lahti has been a contributing blogger at The Huffington Post.
Category:1950 births Category:Actors from Michigan Category:American bloggers Category:American film actors Category:American stage actors Category:American television actors Category:American people of Finnish descent Category:Best Drama Actress Golden Globe (television) winners Category:Best Miniseries or Television Movie Actress Golden Globe winners Category:Emmy Award winners Category:Female film directors Category:Florida State University alumni Category:Living people Category:People from Oakland County, Michigan Category:University of Michigan alumni
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Name | Adam |
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Caption | Michelangelo's The Creation of Adam, a fresco on the ceiling of the Sistine Chapel. Adam is the figure on the left, and God the figure on the right. |
Birth date | 3760 BC (Hebrew calendar)4004 BC (Ussher chronology) |
Birth place | Garden of Eden |
Death date | 2830 BC (Hebrew calendar) [aged 930]3074 BC (Ussher chronology) |
Death place | Unknown |
Spouse | LilithEve |
Children | CainAbelSethmore sons and daughters |
As a result, both immediately become aware of the fact that they are naked, and thus cover themselves with garments made of fig leaves (Gen. 3.7). Then, finding God walking in the Garden of Eden, Adam and Eve hide themselves from God's presence (Gen. 3.8). God calls to Adam "Where art thou?" (Gen. 3.9, KJV) and Adam responds "I heard thy voice in the garden, and I was afraid, because I was naked; and I hid myself" (Gen. 3.10, KJV). When God then asks Adam if he had eaten of the tree of the knowledge of good and evil, Adam responds that his wife had told him to (Gen. 3.11-12).
As a result of their breaking God's law, the couple were removed from the garden (Gen. 3.23) (the Fall of Man according to Christian doctrine) and both receive a curse. Adam's curse is contained in Gen. 3.17-19: "Because thou hast hearkened unto the voice of thy wife, and hast eaten of the tree, of which I commanded thee, saying, Thou shalt not eat of it: cursed is the ground for thy sake; in sorrow shalt thou eat of it all the days of thy life; Thorns also and thistles shall it bring forth to thee; and thou shalt eat the herb of the field: In the sweat of thy face shalt thou eat bread, till thou return unto the ground; for out of it wast thou taken: for dust thou art, and unto dust shalt thou return" (KJV).
According to the Genealogies of Genesis, Adam died at the age of 930. With such numbers, calculations such as those of Archbishop Ussher would suggest that Adam would have died only about 127 years before the birth of Noah, nine generations after Adam. In other words, Adam's lifespan would have overlapped that of Lamech (father of Noah), at least fifty years. Ussher and a group of theologians and scholars in 1630 performed calculations and created a study that reported the creation of Adam on October 23, 4004 BC at 9:00 am and lived until 3074 BC. There was controversy over the fact that Ussher believed the whole creation process occurred on that day.
Although the Book of Joshua mentions a "City of Adam" at the time that the Israelites crossed the Jordan River on entering Canaan, it doesn't suggest any relationship between this city and the first man of Genesis. Traditional Jewish belief, on the other hand, says that following his death, Adam was buried in the Cave of Machpelah in Hebron.
He appears to an extent in both Eastern and Western Christian liturgies.
Eve's sin is counted as deliberate disobedience, as she did know that Jehovah had commanded them not to eat, but she is held to have been deceived by the Serpent. (She was deceived only about the effect of their disobedience, not about the will of God on the matter.) Adam's sin is considered even more reproachable, as he had not been deceived. Rather, when confronted with his sin, he attempted to blame both his wife Eve, and Jehovah himself. Genesis 3:12 NWT - "The woman who you gave to be with me, she gave me fruit from the tree and so I ate.". By his sin, he forfeited human perfection and was therefore unable to pass it on to his offspring.
The Latter Day Saints hold the belief that the "Fall" was not a tragedy, but a necessary part of God's plan. They believe that Adam and Eve had to partake of the forbidden fruit in order to fulfill God's will, and that it is good that they did so.
"Then began Satan to whisper suggestions to them, bringing openly before their minds all their shame that was hidden from them (before): he said: 'Your Lord only forbade you this tree, lest ye should become angels or such beings as live for ever.' And he swore to them both, that he was their sincere adviser. So by deceit he brought about their fall: when they tasted of the tree, their shame became manifest to them, and they began to sew together the leaves of the garden over their bodies. And their Lord called unto them: Did I not forbid you that tree, and tell you that Satan was an avowed enemy unto you?"
The Qur'an also mentions that Adam was misled by deception and was in fact pardoned by God after much repentance.
"Then Adam received (some) words from his Lord, so He turned to him mercifully; surely He is Oft-returning (to mercy), the Merciful."
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