…singing: Florarium Mediaevale – today…
…singing: Florarium Mediaevale – today…
Klemen Leben, 2nd doctoral concert DocMus, Sibelius Academy
Helsinki Music Centre, Organo Hall, November 19th 2022 3PM
- Maria Leben, soprano
- Klemen Leben, accordion
…to hear the world in a grain of sand…
Why do we call musical instruments instruments? Well, because they are tools (from latin instrumentum: tool, an implement). And what would be the use of those musical tools? To imitate the human voice or — to be more precise —to imitate the singing.
Singing would be the first thing that comes to mind to Maria and Klemen when it comes to describing this concert. It seems obvious that a soprano sings and that an accordionist plays. But could an accordion, a musical machine if you will, do more than just playing: to play in a singing manner?
The concert aims to answer in the affirmative, namely by presenting a “singing” chamber music of equal partners, where music will be alternating between several axes:
- the axis of time: medieval music — folk inspired music — contemporary music medieval texts (Boethius, Eugene of Toledo) — texts of Romanticism and Mysticism — poetry of the 20th century
- the axis of life: soprano (soul) — accordion (animated/soulful machine) — music box (soulless machine)
- the axis of creation: composed — improvised a.k.a. real-time composition
All that might sound rather complicated. Luckily that is not the case! Maria and Klemen will present a meaningful program, showcasing musical diversity and artful beauty. As a cherry on the top: the premiere of a new piece Auguries of Innocence by renowned composer Nina Šenk.
Concert Program
Klemen Leben (*1983) From Paths and Fairytales for soprano and accordion
- White Fairytale Path
Nina Šenk (*1982) Auguries of Innocence for voice and accordion world premiere
MUSICBOX No. 1 Karlheinz Stockhausen (*1928, † 2007) Zodiac
- Sagittarius
Uroš Rojko (*1954) 6 Quotes by Ivan Cankar for accordion Finnish premiere
Lojze Lebič (*1934) Medieval Garland
- Clarity of Thinking (Severinus Boethius)
- Interlude – Improvisation on the Gregorian chant “Veni creator spiritus”
- Nightingale (Eugenius of Toledo)
Program notes
Characters
- Mr Noviscio – knows (and is rather proud of it) a lot about music, especially from the musicologist point of view. That is why it is not unusual for him to come to concerts having read in advance about music he is about to hear.
- Mr Gutnik – rather unexperienced in reading and thinking about music, however open for music in general. When in doubt he simply trusts his gut feeling.
Klemen Leben (*1983) From Paths and Fairytales (2022)
Mr Gutnik (a minute or so into the piece, to himself): That is strange. He (Mr Noviscio) told me we are going to a modern music concert.
Mr Noviscio (a minute or two later, also to himself): Oh, why on earth would one open a contemporary piece in the style of medieval music from around 1200? Luckily I managed to obtain the lyrics and I do hope to find a reasonable explanation for myself reading the words. However, I wonder why the two of us (again!) did not manage to get the concert program. Well…
Mr Gutnik (tries to pose a question after the first song but is silenced by Mr Noviscio)
Mr Gutnik (after the piece, rather pleased but impatient): You know…first I thought you were making fun of me today: the modern music concert and all that talk about contemporary art. The beginning didn’t sound like modern music at all! But eventually it got more modern and…
Mr Noviscio (interrupts amused, speaking slowly) :…and I am glad you noticed it. After having read the translation — by he way, these are two songs from a famous intimistic Slovenian collection of poems “Four Poets” — it became obvious to me that the composer (in the first song) deliberately used a different style, in this case medieval polyphony, to underline the words…in a rather surprising way, if I may say so.
Mr Gutnik (feeling rather smart):Why surprising? Just because one expects something crazy in a modern music concert??? To me it sounded very interesting how the music changed in time. From old to new and back and forth and…and…I would dare to say it opened something special, something…
Mr Noviscio (amused, but in hurry since the next piece is about to start): …something? Maybe an extra layer? A secret message embedded into music? A mystery!
Nina Šenk (*1982) Auguries of Innocence (2022)
Mr Gutnik: What is an augury?
Mr Noviscio (proudly): You could also name it a sign or an omen. And I know very well where the title comes from.
Mr Gutnik: I am all ears!
Mr Noviscio: It is a poem by William Blake, an English poet from the 18/19th century. Actually, calling it a poem could be slightly misleading. Imagine the text being a series of couplets in no particular order. And those couplets are connected by the element of universal interdependency.
Mr Gutnik: ???
Mr Noviscio: By that I mean that Blake believed – and that is very similar to the ideas of the Scandinavian mystic and poet Swedenborg – there is an equivalence between equal entities…even though those entities are to be found on different plains.
Mr Gutnik: Is there any even more complicated way of explaining this?
Mr Noviscio: Well. Actually even mystics (Blake was one) trying to describe mystical experiences (where universal interdependency can be experienced) admit that it cannot be put to words. At least not adequately. But as far as this text is concerned: imagine this couplets could be understood as signs that are showing us the world from two perspectives: the good and the bad are intertwined! On the other hand, there are people who believe that this poem could also be understood as a critique of the society Blake was a part of. So maybe a mixture of both?
Mr Gutnik: And how does one set good and bad to music?
Mr Noviscio: That is an excellent question. Unfortunately I have no answer, but I am sure that listening to the piece might help us here. Ms Šenk is after all a prolific composer whose works do get performed by important orchestras and ensembles! So she had to find a solution…
Mr Gutnik (after the piece): Thank you, your explanation helped me a lot! I have the feeling I could hear both: the good and the bad flowing into each other. Moreover, I have the feeling the piece is in a way circular: the end could become a new beginning…opening a new space for new auguries…
Karlheinz Stockhausen (*1928, † 2007) Sagittaurus (1974/75)
Mr Gutnik (to himself): It would be so funny if this actually is linked to the zodiac, the horoscope…
Mr Noviscio (as if sensing what his friend is thinking): You know that this Sagittarius comes from a series of 12 melodies of zodiac for music-boxes? Stockhausen assigned 12 signs to 12 chromatic tones and composed those melodies. He even wrote the lyrics himself. But before we continue about the stars telling the future: did you know that — for several reasons — the signs of zodiac actually don’t correspond to the actual positions of the constellations in the sky? And when you add the precession of the Earth’s axis the horoscope becomes a mere fairytale, an insult to reason…unworthy of homo sapiens – the thinking man!
Mr Gutnik (trying to de-escalate): Oh, we have been over this. Let us not go there… Tell me then why the composer, a wise man I am sure, did bother to write these, I remember you telling me, short melodies linked to the zodiac?
Mr Noviscio (again calmly): Oh, that is another rather slippery slope to climb. As a matter of fact, Stockhausen may have believed the horoscope to have a meaning. For him universe had to be of great importance since he claimed to originate from the star Sirius. Moreover, he had his own private religion…
Mr Gutnik (chuckling): That is sooooo funny. And it gets even better: the type of the accordion this will get played on is called Sirius too. I bet Karlheinz would love it. Hahaha!
Mr Noviscio (impatiently, but managing to control himself): In any case, what interests me the most is how the musicians will play it. And even more importantly, how will they put to practice the rules Stockhausen imposed.
Mr Gutnik (wondering): Rules?
Mr Noviscio: Yes, rules! But let us listen now and discuss that after the concert!
Mr Gutnik (wondering, to himself): I wonder if it makes any difference, if the listener doesn’t know at all what she or he is listening to? Hm…
Uroš Rojko (1954) 6 Quotes by Ivan Cankar (2022)
Mr Gutnik: My dear friend, it does not happen often, but today it does: I can tell you something you do not know!
Mr Noviscio (not wanting to believe what he is hearing): So?
Mr Gutnik: Oh yes, indeed so! I happened to overhear a conversation while waiting to enter. This man there (pointing)…
Mr Noviscio: Ah yes, Matti Rantanen, he should know indeed!
Mr Gutnik (keen on sharing): Well, the words are by a Slovenian writer, poet, essayist, and political activist Ivan Cankar. He died some 100 years ago. And, if I understood…what was the name of the man again?
Mr Noviscio: Matti Rantanen…
Mr Gutnik (enthusiasm still to be felt): Yes, yes! Matti Rantanen told that this piece is in a way similar to praying a litany. It is a some sort of a ritual, but not in a church: rather for oneself! And it is not about God…it is about the society! And culture…
Mr Noviscio (calmly, with an expression of knowing better): Indeed. And it is no surprise after one reads the translation of the quotes. That brings me to another quote! I remember reading somewhere about contemporary Slovenian composers where Uroš Rojko was mentioned alongside two of his great colleagues: Vinko Globokar and Lojze Lebič. The musicologist (to himself: was it Stefanija?) wrote that the narrative in music of these three gentlemen could be described as following: while Globokar is trying to get through to the audience, Lebič is telling a story to the listener, and Rojko only informs the audience. However, let us wait and hear if that is the case here…
Lojze Lebič (1934) Medieval Garland (2014/22)
Mr Noviscio (after reading the titles of the poems): I know the music of Lebič, have even heard this piece in the original version for soprano and organ before, and am sure this will be a delight.
Mr Gutnik (wondering): Oh, so this is not an original piece?
Mr Noviscio: Yes and no! The composer approves it and I do believe reading somewhere that it has something to do with the accordionist’s doctoral project too. But that doesn’t matter! Have you read the texts? Clarity of thinking — a dark, medieval text — was written by Boethius while waiting in prison to be executed. Boethius, who has studied in Athens and whose works were highly regarded and very influential as they secured the continuity of the Greek philosophy into the Middle ages, was found guilty of conspiracy! Then the improvisation over the Gregorian chant Veni creator spiritus, followed by a charming and positive ode to a nightingale by Eugenius of Toledo: practically Boethius’ contemporary.
Mr Gutnik (mesmerized): So…the words are ancient and the music is new?
Mr Noviscio: Very well put! And there are two additional aspects to the piece. Firstly, one should keep in mind that these texts were (at the time of their creation) not understood as mere means of expressing feelings but rather as a sort of magic with words. Secondly, Lebič believes the unification of Europe did start at the time of creation of these poems: however not only by conducting and winning wars as we are repeatedly told, but rather through implementation of Gregorian chant (!) and through wise men such as Boethius. Last but not least, there was magic around and I know for a fact that Mr Lebič is after that mysterious magic.
Mr Gutnik (amused): Magic? Well that is something I would never ever expect to hear from you, Mr thinking man!
Mr Noviscio (trying to reply calmly): Well, it is not me who is mentioning magic. It is the composer! However, if one thinks of writings by Boethius on Quadrivium, the four mathematical sciences of which one was music, it is no surprise that Lebič… (stops to think and decides it will be best to keep it short and not too complicated)
…well it might be of interest that Lebič does indeed strive to respect the Pythagorean heritage in form of perfect ratios, golden section, and Fibonacci sequence. In short: he believes that there is more to music as a human can understand. And that thought is somehow close to Boethius’ idea of musica mundana – the unheared music of the spheres. However Lebič might be more on the mystical side… So yes: MAGIC!
Lyrics
Kajetan Kovič (*1931, † 2014)
White Fairy Tale
Across the world footprints go,
across the world tracks through snow.
God knows who came before me,
god knows who after me will go.
All the paths are ever old,
all of them lead to death,
for all begins with birth,
and each step is ever new.
Across the world footprints go,
across the world tracks through snow.
One of them belongs to me,
and on it falling, falling snow.
Translation: Erica Johnson Debeljak
Tone Pavček (*1928, † 2011)
Path
Cornfield, cornfield in the youthful Sun,
through the field a narrow trail.
Walking, amidst high ears of corn,
along this trail is you and me.
You don’t know and I don’t sense
whereto this silent path might lead;
far? near? maybe we we’ll get shrouded
in night and darkness?
Oh, fear not! A candle of dreams
will shine for us in the dark.
Along the whole path and to the very end
when, upon death, it has burned out.
And then the field will be bare
and then the trail familiar,
as in an instant, for the second time,
it will be traveled by you and I.
Translation: Klemen Leben
William Blake (*1757, † 1827)
Auguries of Innocence
To see a world in a grain of sand
and a heaven in a wild flower,
hold infinity in the palm of your hand
and eternity in an hour.
A robin red breast in a cage
puts all heaven in rage,
a dove house filld with doves and pigeons
shudders hell thr’ all its regions,
a dog starvd at his masters gate
predicts the ruin of the state,
a horse misusd upon the road
calls to heaven for human blood,
each outcry of the hunted hare,
a fibre from the brain does tear,
a skylark wounded in the wing,
a cherubim does cease to sing.
The game cock clipd and armd for fight
does the rising sun affright,
every wolfs and lions howl
raises from hell a human soul,
the wild deer, wandering here and there,
keeps the human soul from care,
the lamb misusd breeds public strife
and yet forgives the butchers knife,
the bat that flits at close of eve
has left the brain that wont believe,
the owl that calls upon the night,
speaks the unbelievers fright,
he who shall hurt the little wren
shall never be belovd by men,
he who the ox to wrath has movd
shall never be by woman lovd.
The wanton boy that kills the fly
shall feel the spiders enmity,
he who torments the chafers sprite
weaves a bower in endless night,
the catterpillar on the leaf
repeats to thee thy mothers grief,
kill not the moth nor butterfly
for the last judgment draweth nigh,
a truth thats told with bad intent
beats all the lies you can invent!
It is right it should be so,
man was made for joy and woe
and when this we rightly know,
thro the world we safely go,
joy and woe are woven fine,
a clothing for the soul divine,
under every grief and pine
runs a joy with silken twine.
The strongest poison ever known,
came from caesars laurel crown,
nought can deform the human race
like to the armours iron brace.
When gold and gems adorn the plow,
to peaceful arts shall envy bow.
A riddle or the crickets cry
is to doubt a fit reply,
the emmets inch and eagles mile
make lame philosophy to smile,
he who doubts from what he sees
will neer believe do what you please,
if the sun and moon should doubt
theyd immediately go out.
Every night and every morn
some to misery are born,
every morn and every night
some are born to sweet delight,
some are born to endless night.
God appears and god is light
to those poor souls who dwell in night,
but does a human form display
to those who dwell in realms of day.
To see a world in a grain of sand
and a heaven in a wild flower,
hold infinity in the palm of your hand
and eternity in an hour.
Karlheniz Stockhausen (*1928, † 2007)
Sagittarius
Archer arrow Sagittarius fiery as Jupiter’s mounted knight
Centaurus half horse half man loves nature
optimistic outlook free and open,
true spiritual sees the beyond reaching past the gate of death,
cheerfully trusting hope.
Ivan Cankar
Selected Quotes
- I. Happiness is like the sun. At the moment most beautiful, it sets down.
- II. Here it is different! We are so fed up with our culture that it has become a burden to us and we would gladly throw it overboard.
- III. Sober you will remain silent and silence will you keep when in grave; so speak and drink now!
- IV. When there is no-one anymore who would be willing to kiss their hand, they will cease to offer it.
- V. There has never been a thistle that bore a generous fruit; it grows merely to be plucked by donkeys.
- VI. The one not fond of light, turns it off by himself; however by doing so he loses the right to curse the darkness.
Severinus Boethius (* ca. 480/485; † between 524 and 526)
Clarity of Thinking
Stars concealed
by black clouds
can shed
no light.
If the sea is rolling
the troubled south wind
mixes the surf,
just now a glassy wave
and like the clear ones
the wave for days
soon released
filthy mud
obstructs with sights,
and what is wandering
from the high mountains
the flowing river
often stops
freed from rock
thrown against a boulder.
You also if you wish
clear light
to perceive the truth,
by the straight path
to travel the foot-path:
pleasures drive out,
drive out fear
and banish hope
and sorrow may not appear.
The mind is cloudy
and defeated by restraints
when these are ruling.
Translation: Sanderson Beck
Gregorian chant (9th century)
Veni creator spiritus
Come, Holy Ghost, Creator,
come from thy bright heav’nly throne;
come, take possession of our souls,
and make them all thine own.
(the latest translation published by Vatican)
Eugenius of Toledo (*unknown, †657)
The Nightingale
Your voice, my nightingale, makes everyone a singer:
so people in the country sing your praise.
Your voice is an instrument finer than a zither;
more hauntingly than wind-music it plays.
Your voice, my nightingale, uproots the seeds of sorrow;
its silken tones can soothe a troubled mood.
Your home is among flowers, you love a grassy meadow;
in leafy trees you tend your infant brood.
Hear how your melodies re-echo in the thicket:
even the rustling branches harmonize.
The swan, the twittering swallow, the gaudy-headed parrot
can never hope to match you in my eyes.
No bird can imitate the sweetness of your singing;
there’s honey in your fluent rippling note.
Speak with your vibrant tongue, then, in soft shivery warbling,
pouring the liquid sounds from your smooth throat.
Feed our expectant ears with your song’s delicious flavour;
never be silent, never silent, please!
Glory and blessing and praise to Christ our Saviour
who grants his servants pleasures such as these!
Translation: Fleur Adcock
Performers
Maria Leben
After graduating in music pedagogy from Academy of music FRANZ LISZT Weimar soprano Maria Leben began studying singing and obtained the Bachelor of music at the Academy of music Detmold in the class of Prof. Heiner Eckels and Prof. Lars Woldt. She finished her Master studies under the guidance of Prof. Pia Brodnik at the Music Academy of Ljubljana. During her studies she constantly strived to improve her singing and attend masterclasses and worked with renowned musicians such as singers Margreet Honig and Claudia Rüggeberg, stage director Eja Tolpo and conductor and pianist Ralf Gothoni.
Her versatility is reflected in her extensive repertoire which includes compositions from early Baroque, great Oratorios and Passions by Bach and Händel right up to the contemporary works such as Milton Babbitt‘s solo cantata Philomele.
Operatic experience was acquired at the productions of the academies, where she sang Die Zauberflöte (Pamina), Il matrimonio segreto (Elisetta) and Le nozze di Figaro (Susanna) as well as with Detmolder Kammerorchester (cond. Alfredo Pearl) where she has sung Bubikopf (Ullmann: Der Kaiser von Atlantis). As a soloist she performed with the Orchestra of Opera Ljubljana (Offenbach, Olympia) and with the Slovenian Philharmonic (Mozart, Königin der Nacht).
One of her passions – chamber music – led to cooperations with various ensembles and the initiation of modern chamber music compositions by musicians such as N. Šenk, T. Bajželj, T. Vulc, U. Pompe, L. Füršt, K. Zeynalova and K. Leben.
Klemen Leben
is an accordionist, composer, improviser, pedagogue, researcher, and strong advocate for meaningful contemporary music. He studied accordion with Prof. Ivan Koval and Prof. Matti Rantanen at the Franz Liszt Academy of Music Weimar and Sibelius Academy in Helsinki. Momentarily he is a doctoral student at the Doctoral School at the University of Arts Helsinki (Sibelius Academy).
Leben is actively playing as soloist and chamber musician in Europe and North America and has received widespread acclaim for his performances at prestigious festivals and venues (Salzburger Festspiele, Music Biennale Zagreb, Konzerthaus Berlin, Semper Oper Dresden, KKL Luzern, Waldbühne Berlin, Gewandhaus Leipzig, Helsinki Music Centre and others). He played with prominent orchestras such as Kammersymphonie Berlin, Mozarteum Salzburg, Staatskapelle Weimar, RSO Slovenia and Prague Philharmonic under renowned conductors including Christian Thielemann, Marco Armilliato, Ville Matvejeff, En Shao and Michael Sanderling. His „exceptional concert“ at the 28th Music Biennale Zagreb has been praised as „the best moment“ of that year‘s edition of this renowned festival of contemporary music.
He is the winner of several international competitions – the most prestigious of them the 46th accordion competition Klingenthal 2009 – and records for many broadcasting companies (ORF, Deu- tschlandradio Kultur, SWR, ZDF, RAI, HRT, RTV Slovenia and others). His repertoire covers a wide range of musical styles: from Renaissance to original contemporary music for accordion. An important part of his musical activities is cooperating with composers (Aho, Hosokawa, Katzer, Lebič, Pintscher, Rojko, Šenk and others), resulting in a notable number of premieres.
Believing that musicianship requires more than performing, Leben is also active as an improviser and a composer. His works, ranging from works for solo instruments, chamber music to orchestral music, are performed internationally.
Klemen Leben was teaching 2010/11 at the FRANZ LISZT Academy of Music in Weimar. In September 2011 he was appointed Professor of Accordion at the Conservatory of Music and Ballet Ljubljana. Since October 2012 he has been teaching at the Academy of Music Ljubljana.
Leben is also internationally active as a jury member at renowned accordion competitions.