Cycles of Insanity - Kristina Bogataj (A Exam concert)

Sibelius Academy Department of Choral Conducting

Cycles of insanity A vocal-instrumental journey through ages and stages of human mind

Sibelius Vocal Ensemble EMO Ensemble Leonarda Baroque Ensemble Pärt Chamber String Orchestra Gallus Vocal Quintet Program: Gallus, Leonarda, Skuķis, Mahler, Suomalainen (première), Pärt Kristina Bogataj, conductor (A-tutkinto) 17.10.2020 19.00 Sibelius Academy Concert Hall

The nature of insanity

One’s life consists of habits – some more, some less harmful. As every human mind is unique, so are its tendencies – towards good and less good. Recognizing both sides plays a key role in one’s understanding of themselves. The second stage is managing these tendencies, so one is to survive as a part of a bigger entity – society. One’s actions can be insane if they are harmful towards others or even themselves – especially if one’s reason justifies them. But what is the real nature of these actions? Which conditions should one’s actions fulfill to call them insane?

The concert opens with a selection of Dido’s last words: disappointed, desperate and powerless, she finds her own peace in reasoning with herself. Nothing can be done anymore to prevent her beloved from leaving – that must surely mean she has lived the course of her life, and is ready to finish it. If she cannot spend the rest of it with her beloved, there is no point in living anymore.

Magnificat by Isabella Leonarda paints the state of joy generated from unconditional trust in God. The verses represent contrasting characters: the dense polyphonic parts are followed by more spacious texture, the triple time exchanging with double time, topped with instrumental Sinfonia – all in the same tactus throughout all the composition. Although somewhat less popular, her composition is comparable in quality to many of her male contemporaries.

In the 18th century, Latvian common folk put their trust and faith in two rulers: the tsar (tsarina Catherine The Great), and God. As the earthly rulers used their faith in God to justify their power, their position was undeniable. The Prisoner’s Lament from Vidzeme paints the distress of the peasants: with their complete trust in both earthly and heavenly authorities, they desperately call for help from both. After presenting their torture, the piece finishes with a soft whisper of Paradise – avoiding the revelation that the poet of the lament was imprisoned and killed for presenting it to the ruler.

One’s mood can be affected by various elements: by words and actions of other people, yet also by our own reasoning. The poet’s mind in Um Mitternacht (At Midnight) carries the pain of all the world on its shoulders – although never required to. Fortunately, the poem closes with the poet finding his own way out,

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by trusting his pain to higher power – again, heavenly God. With this being a mere mental maneuver (in contemporary times we might call it mental hygiene), where does it take place – in the material world, or perhaps someplace else?

Individuals can dedicate their pain to higher forces, however sometimes they do the same with their feelings of weaknesses – a reminder of their own power and control is needed. Antti Suomalainen’s setting of Lari Backman’s text lingers between retaking the control of one’s actions, and being comfortable in life living its own course, even though on the long run, it might gravitate towards harming the individual themselves.

The concert closes with Adam’s lamentations over the position he found himself in: he and Eve were banished from Paradise because of their curiosity, his older son murdered his younger one, and the prophecy states that the nations will continue to kill and hate each other. Misfortunes might hit any individual at any moment – what can be decided in a moment is how to react to these, no matter the gravity of the situation.

As this is yet one more mental maneuver, how insane should Adam be to find peace and love, even in a dire situation like this?

Exploring different mindsets through written words, conversations and diverse forms of art makes one better equipped for handling life itself. Today’s concert is a palette of mindsets that remind, enrich, reward and move. With all the performers, stage technicians and the recording team, we choose to do our best in the given situation. Welcome to a 2020 vocal-instrumental concert – on a physical distance but close to hearts.

The concert also features a cycle of conductor’s role in ensembles throughout roughly five hundred years of Western music: as a singer, continuo player, and a conductor, with and without the baton, live-streamed.

And what a journey it has been, exploring different sets of skills and concentration that these roles demand.

Needless to say that the real protagonists of this concert are the performers – with their own approach towards the event, their musicality and emotion, and also patience in organizing and executing such an event. The cycle concludes.

Thanks to all – and see you on the other side!

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Jacobus Händl Gallus (1550–1591) Dulces exuviae Virgil: Aeneid (Book IV, lines 651–660) Gallus Vocal Ensemble Aliisa Heinilä, Cantus I. Kristina Bogataj, Cantus II. Joel Ward, Altus Johannes Elfving, Tenor Eero Smeds, Basis Kaisamaija Uljas, theorbo

The course that fortune had allotted to me I have fulfilled.

According to available sources, Gallus (Latin for “rooster”) was either born in Ribnica or Šentviška Gora – both in Slovenia. He composed most of his works during his time in Moravia and Bohemia, in the area of today’s Czech Republic. His opus includes a multitude of motets in several collections, including Mirabile mysterium and Pater noster – notable for their daring dissonances.

His secular works include diverse themes: texts addressing lessons for a decent life, amusing connections from nature, human character with onomatopoetic figures (e.g. Quam gallina suum parit ovum), and sections of texts from great masters of epic.

Gallus’ creative contemporaries often paid homage to Greek art and its traditions.

Dulces exuviae expresses heartbreak, a symptom of betrayal. Dido, Queen of Carthage, mourns parting with her beloved, the Trojan hero Aeneas. She decides she has lived the life that fate has allowed (vixi), and is ready to let her spirit sink underground (sub terras imago). As Dido makes peace with that decision, she sings her last words before taking her own life. A certain calmness lingers in the texture.

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Isabella Leonarda (1620–1704) Magnificat Luke 1:46–55

Sibelius Vocal Ensemble Linnéa Sundfær Casserly, soprano Emmi Saulamaa, alto Jaime Belmonte Caparrós, tenor Riku Laurikka, bass Leonarda Baroque Ensemble Laura Ahola, baroque violin Johanna Huber, baroque violin Johanna Randvere, viol da gamba Tatu Ahola, baroque cello Katri Tikka, baroque harp Kaisamaija Uljas, theorbo Elias Lehti, baroque guitar Teuvo Taimioja, baroque guitar Kristina Bogataj, positive organ

For behold, from henceforth all generations shall call me blessed.

Anna Isabella Leonarda from Novara (Northern Italy) entered an Ursuline convent (Collegio di Sant’Orsola) at the age of 16. She took on various roles in the convent, including consigliera (1700), which was regarded as the highest position. This may have played a role in giving her opportunities to teach music to the nuns in the cloister, as well as performing her music.

Leonarda’s composition paints Mary’s answer (Magnificat anima mea Dominum) to Elizabeth’s greeting (Ave Maria) in a bright and joyful tone. The setting opens with two exclamations, magnifying the Lord’s name. It continues in a polyphonic texture in triple time, rejoicing in God the Saviour. Et misericórdia eius section is emptier in texture. Touching suspensions create a calm and bright atmosphere, conveying pure joy and thankfulness. The setting closes in triple time fugato, magnifying the Father, Son and the Holy Spirit.

The instrumentalists are given their moment with Sinfonia before Da capo.

During her time in the cloister, Leonarda composed a significant amount of music. She was publishing her works over a span of 60 years (1640–1700), which makes her one of the most productive composers of her time. Unfortunately, not much is known of the performance practice in the cloister. We have limited knowledge of Leonarda’s every-day musical encounters; her teachers, her role in performances and her position as a woman. This evening’s concert represents unconditional and honest trust in heavenly force.

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Armands Skuķis (1991–) Viena Vidzemes cietumnieku bēdu dziesma – A Vidzeme prisoners’ lament Ķikuļu Jēkabs (1740–1777)

Sibelius Vocal Ensemble

We fall on our knees and fiercely beg And present you our sorrows with tears. Ķikuļu Jēkabs’ poem is a petition which tells Catherine II (the Great) about the difficult life of folk and the great evil of the landlords during the 1777 peasant riot.

The text bears a contemporary feature; the whistlers’ raised voices and the possible consequences of that.

The poem’s author (a mere weaver) was arrested and punished after he took responsibility for the writings.

He died in Rīga prison on a date unknown in 1777.

The text might serve as a reminder to learn from the past and the dialectic nature of history. The petition survived and can be found in the Central State Archives of Ancient Acts in Moscow.

The work is filled with folks’ love for the fatherland (especially in the chorus-like sections in A-major), their dissonant representation of the current state, and a desperate wish for a better life through trust in their earthly and heavenly rulers. The opening is dedicated to their ķeizerene, and the Kungs Jēzus part before the closing section that bears hope for heavenly paradise. The piece binds the folk’s faith and trust with the heavenly and earthly authority, believing in their goodwill and power to make things better for the common man.

Armands Skuķis (1991) is a Latvian composer and singer (Latvian National Opera and Ballet) The work was commissioned by the State Choir LATVIA. “The purpose of “Viena Vidzemes cietumnieka bēdu dziesma” is to create a sense of desperation for the listener. To obtain the authenticity of this feeling, I needed to make each choir member be slightly depressed and joining their forces together to create a truly strong emotional field: by intonationally challenging melodic lines, and too much text, in too fast tempo, and the meaning of the text itself as the initial elements of expression. However above all, there is a desire to be heard!”

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Gustav Mahler (1860–1911) Um Mitternacht Friedrich Rückert (1788–1866)

Sibelius Vocal Ensemble EMO Ensemble

At midnight I gave my strength Into Thy hands In 1901, Mahler was in his fifth year as musical director of the Vienna Hofoper. Unfortunately, he had encountered several setbacks along the way. Due to the rising anti-semitism in Austria, Mahler was required to convert to Catholicism in order to become musical director in Vienna. However, this did not stop his creativity. In summer 1901, Mahler finished his Symphony No. 4, and started on with Symphony No. 5 (in addition to four of five Rückert Lieder and three of the Kindertotenlieder).

“Um Mitternacht” is one of the orchestrated Rückert texts. These texts were initially composed for solo voice with piano accompaniment. However, due to the nature of Mahler’s composing process, orchestrated versions were composed almost simultaneously. The poem describes the protagonist’s despair over the heaviness of being, until he gives the whole of himself, the whole of humanity, and overall fate into the hands of the heavenly authority, God. This is symbolic of Gallus’s own life purpose; to give one’s soul to the higher mercy.

The musical setting paints each one of five stanzas in a different way. Motifs (dotted rhythms and steadily descending bass lines) are introduced in the opening bars of the piece and serve as binding elements throughout. The mixed choir arrangement assigns lines to the voices which follows the orchestration quite consistently. This results in a rich mahlerian texture, suitable for the instrument (in this case, choir instead of an orchestra), while still sounding convincing and being faithful to the original composition.

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Antti Suomalainen (1989–) Huomaan herääväni eloon Lari Backman (1989–)

EMO Ensemble Kompastun yöhön näen loputonta valojuovaa matkaan äärellä hulluuden kunnes suistun radalta I stumble into the night I see an endless line of light I travel on the verge of madness until I derail Lari Backman, text: “The text is about self-destruction and self-loathing, as well as about looking for a toxic relationship – about one being aware of their problems but not having the strength or desire to change their habits.”

Antti Suomalainen, music: “Huomaan Herääväni Eloon is a piece for mixed choir.

The text was originally written with a heavier rock context in mind. Due to the special nature of the text I decided to let it direct my compositional process almost completely.

The song opens with the phrase “Huomaan herääväni eloon” (I notice I’m alive), which I understood as a kind of exclamation for living in the moment. I wanted to capture a feeling of suddenly coming to one’s senses after having been on autopilot for what could have been an eternity. I heard the text as a gesture of rising fourths, indicating both movement and expectation of things to come. This quartal harmony is a defining feature of the piece that acts as a catalyst for momentum – either propelling the music forward or interrupting its pace.

For me, the lyrics suggest a sense of movement that is continuous but not regular. It feels that time itself is expanding and contracting. The metric modulations and tempo changes of the piece are my interpretations of the rhythm and pace of the text and the resulting thematic time dilations.”

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Arvo Pärt (1935–) Адамов плач – Adam’s Lament Силуан Афонский – Saint Silouan of Athos (1866–1938) EMO Ensemble Pärt Chamber String Orchestra Violin Yonatan Quemado (CM), Andrew Wen Hao Ng, Öykü Sahin Gloria Ilves, Marija Räisänen, Zeynep Köksal Viola Kristiina Talen, Anthony Hall, Margarethe Breit Cello Joasia Cieslak, Hsin-Di Shih, Otto-Aaron Takala Double bass Vilhelm Karlsson, Joel Madetoja

I, too, have lost grace and call with Adam: “Be merciful unto me, O Lord!”

Arvo Pärt is one of the most frequently performed contemporary composers. His setting of Adam’s Lament (2009) sways away from his pure tintinnabuli technique. The phrases of Adam’s lamentations are treated with special attention to word painting. The setting opens with a representation of Adam’s position, enhancing the sense of hopelessness and despair. The coda closes with acceptance, reaching towards hope in all earthly sins and difficulties. It is with such peace and love that we are brought to the conclusion of the concert.

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Jacobus Händl Gallus (1550–1591) Dulces exuviae Virgil: Aeneid (Book IV, lines 651–660) Dulces exuviae, dum fata deusque sinebat, accipite hanc animam meque his exsolvite curis, Vixi et quem dederat cursum fortuna peregi, et nunc magna mei sub terras ibit imago.

Objects dear to me, while divine fate allowed it: receive this life and release me from these troubles.

I have lived; and the course that fortune had allotted to me I have fulfilled; and now the great ghost of myself will go beneath the earth.

(Paul Pascal) Isabella Leonarda (1620–1704) Magnificat Luke 1:46–55 Magníficat ánima mea Dóminum.

Et exultávit spíritus meus: in Deo salutári meo.

Quia respéxit humilitátem ancíllae suae: Ecce enim ex hoc beátam me dicent omnes generatiónes.

Quia fécit mihi mágna qui pótens est: et sánctum nómen eius.

Et misericórdia eius in progénies et progénies timéntibus eum.

Fécit poténtiam in bráchio suo: dispérsit supérbos mente cordis sui.

Depósuit poténtes de sede: et exaltávit húmiles.

Esuriéntes implévit bonis: et dívites dimísit inánes Suscépit Ísrael púerum suum: recordátus misericórdiae suae.

Sicut locútus est ad patres nostros: Ábraham, et sémini eius in saecula.

Glória Patri, et Fílio, et Spirítui Sancto, Sicut erat in princípio, et nunc, et semper, et in sæcula sæculórum.

Amen.

My soul magnifies the Lord, and my spirit rejoices in God my Savior, for he has looked with favor on the lowliness of his servant.

Surely, from now on all generations will call me blessed; for the Mighty One has done great things for me, and holy is his name.

His mercy is for those who fear him from generation to generation.

He has shown strength with his arm; he has scattered the proud in the thoughts of their hearts.

He has brought down the powerful from their thrones, and lifted up the lowly; he has filled the hungry with good things, and sent the rich away empty.

He has helped his servant Israel, in remembrance of his mercy, according to the promise he made to our ancestors, to Abraham and to his descendants forever.

(Holy Bible – New revised standard edition) Armands Skuķis (1991–) Viena Vidzemes cietumnieku bēdu dziesma – A Vidzeme prisoners’ lament Ķikuļu Jēkabs (1740–1777) Viena Vidzemes cietumnieku bēdu dziesma iekš lielām bēdām un bailēm šinī 1777. gadā taisīta Mēs, ceļos mezdamies, Jus gauži lūdzam Un mūsu bēdas Jums ar asrām sūdzam.

Kaut mūsu augstai, dārgai ķeizerenei, Visas Krievzemītes patvaldiniecei, Un ar musu dārgam ļaunam ķeizaram, Patvaldiniekam un līdzmantiniekam, Un visiem dārgiem, augstiem ģenerāļiem, Musu patvaldinieces padomniekiem, Patiktu dzirdēt Vidzemītes bēdas, Kas tagad pie mums iraid ik no dienas; Kaut Jusu dārgais vaigs un acu spožums Būt’ mūsu spieķis un mūsu sirds drošums Un mēs priekš Jūsu vaig’ un dārgām kājām Atrastu želastīb’ un mier’ iekš mājām!

Jo šinī gadā mūsu Vidzemitē Bez bēdām nav neviena dvēselīte.

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Mūszemes valdinieki gauži dusmo, Par mūsu bēdu dienām viņi līksmo Un solās musu kājas, rokas nocirst, Ka mums bus mūsu tēva zemi aizmirst.

Jo daži līdz tiem zvēriem mežā dzivo Un apakš grūtām bēdu nastām cilpo.

Iekš tādiem vaidu laikiem dzīvodami, Kur katrā dienā asaras par maizi.

Trīsdesmit deviņi gul dzelzīs Rīgā Bez tiem, kas dzīvo mežā zvēru pulkā. lekš cietuma jau daži ir pārdodi, No mocībām iekš mokām atkal likti.

Un musu sievas, mūsu mazi bērni Top muižā bluķos gauži vārdzināti.

Un grūtas sievas, saime, mazi bērni, Tie visi raud un kauc kā kādi jēri.

Tās asaras, kas še tiek izraudātas No veciem līdz tiem maziem pupa bērniem!

Caur to tiek mūsu mazi pupa bērni Ar sāpj’ un bēdu pienu ēdināti, Un ar tie, kas vēl guļ iekš mātes miesām.

Tās bēdas dabū sajust no šām tiesām, Jo daži ir bez laika piedzimuši Un mātes miesās savu dzivib’ izlaiduši, Ka dažas sievas dienā, nakti raudā Un nāves bēdas gul iekš liela kauna, Par saviem mīļiem vīriem raudādamas Un visu savu dzīvib’ aizmirsdamas, Un pamet savu miesas veselību, Tak neatrod nekādu palīdzību Pie cilvēkiem un musu zemes kungiem, Bet bēdas nak uz bēdām kā ar plūdiem.

Dievs tiešām redzēs Vidzemītes bēdas Un atspirgšanu dos tiem, kam sirds ēdās Par savu tēva zem’ un savām mājam, Par saviem draugiem tuviem un par tāliem.

Dievs modinās to augstu dārgu garu, Musu viscienīg’ ķeizarenes varu Un ar mūsu dārga jauna keizera, Patvaldinieka un līdzmantinieka, Un visu musu augstu ģenerāļu, Mūs’ ķeizerenes dārgu padomnieku, Ka viņi mūsu lielas bēdas skatīs Un uz mums savas mīļas acis griezīs.

Tad raudās tie, kas nu iekš prieka staigā Un par mums, galvas kratīdami, klaigā.

Kad dievs šo darīs, tad mēs tam zvērēsim, Ka viņa šķīsti ļaudis mūžam būsim, Un bērnu bērni pieminēs šo gadu Ar pateicību mužīg’ priekš šo radu. Āmen! Kungs Jēzus, steidzies mus drīz pestīt, Mes neko vairāk spējam tevim sacit: Tu esi mūsu gans un vienīgs galvnieks, Tad parādies pie mums kā spēcīgs valdnieks Un saņem mūs, kā esam, visus līdzīg’!

Mēs esam vāji un tiešam nespēcīg’.

A Vidzeme Prisoners’ Lament Created in this year 1777 from great sorrow and fear We fall on our knees and fiercely beg And present you our sorrows with tears.

If only our dear, exalted Empress,

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Ruler of the whole of Russia, And also our dear young Emperor, Ruler and joint heir, And all the dear, eminent generals, Our ruler’s advisers, Liked to hear the sorrows of little Vidzeme, Which are now present here each day; If only your dear cheek and bright eyes Were our staff and braveness of heart And for your cheek and dear legs, we would Find mercy and peace at home!

Because this year, in our little Vidzeme, There is not one soul without sorrow.

The rulers of our land are fiercely angry, They find joy in our times of sorrow And promise to cut off our legs, our arms, For we must forget our Fatherland.

As some live with the forest beasts And lope under heavy burdens of sorrow, Living in times of such lament, Where tears are shed daily over bread.

Thirty-nine lie in irons in Riga As well as those who live as a pack of beasts in the forest.

From prison some have already been sold, Placed from suffering into suffering.

And our wives, our young children Are driven to exhaustion in manor stocks And pregnant wives, households, small children, They all cry and howl like lambs.

The tears which are shed here From the old to the babes in arms!

Through this, our little breastfeeding children Are fed with the milk of pain and sorrow, And those who still lie in their mother’s womb Can feel the pain from these ordeals, As some have been born before their time And have released their life into their mother’s womb, So that some women cry day and night, And lie shamefully in the sorrows of death, Crying for their beloved husbands Forgetting their whole life, And abandon the health of their body But find no help Among people and the lords of this earth, As sorrow comes to sorrow like a flood.

God will truly see the sorrows of little Vidzeme And will revive those whose hearts ache For their Fatherland and their home, For their friends near and far.

God will awaken that exalted, dear spirit, Our honoured Empress’ power And with our dear young Emperor Ruler and joint heir, And all our eminent generals, Our Empress’ dear advisors, And they will see our great sorrows And will turn their cherished eyes to us.

Then those who walk in happiness will cry And they will yell for us, shaking their heads.

When God achieves this, we will swear to him, That we will ever be his chaste people, And our children’s children will remember this year

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With eternal gratitude for this ancestor.

Amen! Lord Jesus, hurry to save us soon, There’s nothing more we can say to you: You are our shepherd and only representative, So reveal yourself to us as a powerful leader And receive us as we are, all equals!

We are all weak and truly powerless.

(Māra Walsh Sinka l) Gustav Mahler (1860–1911) Um Mitternacht Friedrich Rückert Um Mitternacht Hab’ ich gewacht Und aufgeblickt zum Himmel; Kein Stern vom Sterngewimmel Hat mir gelacht Um Mitternacht.

Um Mitternacht Hab’ ich gedacht Hinaus in dunkle Schranken.

Es hat kein Lichtgedanken Mir Trost gebracht Um Mitternacht.

Um Mitternacht Nahm ich in acht Die Schläge meines Herzens; Ein einz’ger Puls des Schmerzes War angefacht Um Mitternacht.

Um Mitternacht Kämpft’ ich die Schlacht, O Menschheit, deiner Leiden; Nicht konnt’ ich sie entscheiden Mit meiner Macht Um Mitternacht.

Um Mitternacht Hab’ ich die Macht In deine Hand gegeben!

Herr! über Tod und Leben Du hältst die Wacht Um Mitternacht!

At midnight I kept watch And looked up to heaven; Not a star in the galaxy Smiled on me At midnight.

At midnight My thoughts went out To the dark reaches of space; No shining thought Brought me comfort At midnight.

At midnight I paid heed To the beating of my heart; A single pulse of pain Was set alight At midnight.

At midnight I fought the battle, O Mankind, of your afflictions; I could not gain victory By my own strength At midnight.

At midnight I gave my strength Into Thy hands!

Lord over life and death, Thou keepest watch At midnight!

(Richard Stokes)

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Antti Suomalainen (1989–) Huomaan herääväni eloon Lari Backman (1989–) Huomaan herääväni eloon kun katseesi kohtaa joudun turhauttavan ajelehtimisen välittömään uomaan Uskomattomalla tavalla en etsi tietä ulos voinko vieläkin elää näin täysillä?

Elää vain puolilla kierroksilla Ikkuna muuttuu tieksi ja tiedän olevani matkalla kohti mitä? En tiedä Taas havahdun - ja millä tavalla?

Kompastun yöhön näen loputonta valojuovaa matkaan äärellä hulluuden kunnes suistun radalta Mä hajotan kun rakennan Silti vuosi vuodelta tarkennan Kittaan kunnes olen varmasti ummessa Aurinkoakaan nostamatta kuihdun kyllä pian I notice I am alive when your eyes meet mine I am forced to settle down in a frustrating drift In an incredible way I’m not looking for a way out Can I still live so to the fullest?

Live only at half speed The window turns into a road and I know I’m on my way towards what?

I do not know I wake up again - and how?

I stumble into the night I see an endless line of light I travel on the verge of madness until I derail I’ll break up as I build Still, year after year I refine I cement (I drink) until I’m definitely shut Without raising the sun I will soon wilt away (Antti Suomalainen) Arvo Pärt (1935–) Adam’s Lament Saint Silouan (1866–1938) Адам, отец вселенной, в раю знал сладость любви Божией, и потому, когда был изгнан из рая за грех и лишился любви Божией, горько страдал и с великим стоном рыдал на всю пустыню. Душа его терзалась от мысли: «Любимого Бога я оскорбил». Не так жалел он о рае и красоте его, как о том, что лишился любви Божией, которая ненасытно каждую минуту влечет душу к Богу. Так, всякая душа, познавшая Бога Духом Святым, но потом потерявшая благодать, испытывает Адамово мучение. Больно душе, и сильно жалеет она, когда оскорбит любимого Господа. Скучал Адам на земле и горько рыдал, и земля была ему не мила. Он тосковал о Боге и говорил: «Скучает душа моя о Господе, и слезно ищу Его. Как мне Его не искать? Когда я был с Ним, душа моя была весела и покойна, и враг не имел ко мне доступа; а теперь злой дух взял власть надо мною, и колеблет, и томит душу мою, и потому скучает душа моя о Господе даже до смерти, и рвется дух мой к Богу, и ничто на земле не веселит меня, и ничем не хочет душа моя утешиться, но снова хочет видеть Его и насытиться Им, не могу забыть Его ни на минуту, и томится душа моя по Нему, и от множества скорби стоном плачу я: «Помилуй мя, Боже, падшее создание Твое». Так рыдал Адам, и слезы лились по лицу его на грудь и землю, и вся пустыня слушала стоны его; звери и птицы замолкали в печали; а Адам рыдал, ибо за грех его все потеряли мир и любовь. Велика была скорбь Адама по изгнании из рая, но когда он увидел

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сына своего Авеля, убитого братом Каином, то еще большею стала скорбь его, и он мучился душою, и рыдал, и думал: «От меня произойдут и размножатся народы, и все будут страдать, и жить во вражде, и убивать друг друга». И эта скорбь его была велика, как море, и понять ее может только тот, чья душа познала Господа и как много Он нас любит. И я потерял благодать и вместе с Адамом зову: «Милостив буди мне, Господи. Даруй мне духа смирения и любви». (Преподобный Силуан) Adam, father of all mankind, in paradise knew the sweetness of the love of God ; and so when for his sin he was driven forth from the garden of Eden, and was widowed of the love of God, he suffered grievously and lamented with a mighty moan. And the whole desert rang with his lamentations. His soul was racked as he thought : “I have grieved my beloved Lord.” He sorrowed less after paradise and the beauty thereof – he sorrowed that he was bereft of the love of God, which insatiably, at every instant, draws the soul to Him. In the same way the soul which has known God through the Holy Spirit but has afterwards lost grace experiences the torment that Adam suffered. There is an aching and a deep regret in the soul that has grieved the beloved Lord.

Adam pined on earth, and wept bitterly, and the earth was not pleasing to him. He was heartsick for God, and this was his cry: “My soul wearies for the Lord, and I seek Him in tears. How should I not seek Him? When I was with him my soul was glad and at rest, and the enemy could not come nigh me. But now the spirit of evil has gained power over me, harassing and oppressing my soul, so that I weary for the Lord even unto death, and my spirit strains to God, and there is nought on earth can make me glad. Nor can my soul take comfort in any thing, but longs once more to see the Lord, that her hunger may be appeased. I cannot forget Him for a single moment, and my soul languishes after Him, and from the multitude of my afflictions I lift up my voice and cry: ‘Have mercy upon me, O God. Have mercy on Thy fallen creature.’”

Thus did Adam lament, and tears streamed down his face on to his beard, on to the ground beneath his feet, and the whole desert heard the sound of his moaning. The beasts and the birds were hushed in grief ; while Adam wept because peace and love were lost to all men on account of his sin.

Adam knew great grief when he was banished from paradise, but when he saw his son Abel slain by Cain his brother, Adam’s grief was even heavier. His soul was heavy, and he lamented and thought: “Peoples and nations will descend from me, and multiply, and suffering will be their lot, and they will live in enmity and seek to slay one another.” And his sorrow stretched wide as the sea, and only the soul that has come to know the Lord and the magnitude of His love for us can understand.

I, too, have lost grace and call with Adam: “Be merciful unto me, O Lord!

Bestow on me the spirit of humility and love.”

(Rosemary Edmonds)

Acknowledgements From the bottom of my heart, thanks to all the numerous performers on the stage (and in the hall!) for your patience during rehearsals: Dear Sibelius Vocal Ensemble – thanks for today and all the sessions at the department, EMO Ensemble and Pasi, Colleagues from Early Music department of Sibelius Academy, Yonatan and the string players from Sibelius Academy.

Thanks also to: mentors of longer and shorter periods (Nils, Annamari, Tuuli and others), Antti and Armands for their music, I-Han, Jani, Jouni, Julius, Jukka, Ana, Uršula, and everyone else that made this happen.

Finally, thanks to my dear friends and colleagues (near and afar) for all your various and honest support throughout my Finnish years, particularly during these difficult and unique times.

The music in this concert, with all its special circumstances, challenges, emotions and life-lessons, is dedicated to my parents, Mirjana and Slavko, in Kranj. Contrary to the Slovenian saying: although far from the eyes, still close to the heart.

Kristina Bogataj 15

Sibelius Vocal Ensemble for this concert are Soprano Tove Djupsjöbacka Saija Kivioja Linnéa Sundfær Casserly Helge Kõrvits Alto Emmi Saulamaa Eira Karlson Emma Suszko Säde Bartling Julia Lainema Tenor Joel Ward Jaime Belmonte Caparrós Markku Pihlaja Martti Anttila Bass William Häggblom Riku Laurikka Sampsa Heiniö Jussi Linnanmäki EMO Ensemble for this concert are Sopranos Aliisa Heinilä Elsa Lindeberg Viena Kangas Elina Rantanen Ingrit Malleus Sara Hallikainen Henrietta Grunn Tuuli Mustasydän Aino Karvonen Veera Tuhkala Alto Miriam Ronkainen Roosaliisa Manninen Tuija Niittynen Sini Kangas Karita Hakala Milja Vaara Liisa Viitisalo Tenor Joel Ward Aarni Hyökki Janne Hovi Arttu Brax Akseli Savola Eemeli Helo Peetu Karjalainen Bass Johannes Elfving Mikko Murhu Matias Hintsa Eero Smeds Aleksi Vänttinen Otto Veltheim 16