Hybrid SACD/CD MULTICHANNEL 5.0 JUGEND - ART NOUVEAU

Hybrid SACD/CD MULTICHANNEL 5.0 JUGEND - ART NOUVEAU

JUGEND - ART NOUVEAU

Kymi Vocational School Ceremonial Hall, Kuusankoski (1933) 1 Jean Sibelius (1865 1957) Intrada Op. 111a 5:32 2 Frans Linnavuori (1880 1926) Evening Song (MS) 5:43 Toivo Kuula (1883 1918) 3 Prelude Op. 16/1 2:28 4 Intermezzo Op. 16/2 2:52 5 Jan Lehtola Improvisation Hommage à Sibelius I 2:58 Visavuori (1905) 6 Heikki Klemetti (1876 1953) A Little Prelude 1:15 Sulo Salonen (1899 1976) 7 A Little Prelude 1:30 Partita The Loveliness of that Summer 6:54 8 I 1:06 9 II 0:49 10 III 1:10 11 IV 2:25 12 V 1:19 Selim Palmgren (1878 1951) 13 Vorspiel 1 0:58 14 Vorspiel 2 0:42 Oskar Merikanto (1868 1924) From the collection 100 Chorale Preludes 6:05 15 No. 22 in E Minor 1:13 16 No. 44 in F Sharp Minor 0:42 17 No. 63 in D Minor 1:23 18 No. 77 in G Minor 1:18 19 No. 99 in F Minor 1:03 20 A Prayer (MS, source: Suomen Musiikkilehti 2/1924) 2:26 Kalela (1850 1860?/1898?) Jean Sibelius 21 Funeral Music Op. 111b (critical edition by Veijo Murtomäki 2003) 4:58 22 Impromptu Op. 5 (MS) 2:21 23 Armas Maasalo (1885 1960) In memoriam Eino Leino Op. 26/2 4:01 24 Jan Lehtola Improvisation Hommage à Sibelius II 3:14 Amos Anderson Art Museum (1926) 25 Aarre Merikanto (1893 1958) Andante 2:05 26 Juhani Pohjanmies (1893 1959) Andante grazioso 3:11 27 Väinö Raitio (1891 1945) Gaudeamus (MS) 3:35 Jean Sibelius 28 Preludium 2:52 29 Postludium 2:29 Total 70:41 JAN LEHTOLA Chamber Organs Publishers Westerlund [1, 7, 15-19], Hansen [3, 4, 26], Otto Murentini [5, 24], Verlag von Eugen Feuchtinger in Regensburg [6, 13, 14], Breitkopf [8-12], Fazer [23, 25], Warner [28, 29] - 4 - - 5 -

National Romanticism as reflected in organ music The organ at the Kymi Vocational School This disc was inspired by the period of National Romanticism known in architecture as Jugend or Art Nouveau. Its golden age coincided in Finnish art with the years either side of the nation s declaration of independence in 1917. These were also years of dynamic progress. Organ building was enjoying its heyday, and in particular the instruments produced by the Kangasala Organ Factory in the 1920s 30s still represent one of the finest organ-building cultures in Finland. What makes the organs featured on this disc so special is that not one was built for a church. Two were intended for artists studios, one for the assembly hall of a vocational school, and one for the private chapel of a business tycoon. This says something about the prestige enjoyed by organs in 20th century cultural circles. An organ is a costly investment built individually for a specific location and its purchase must be motivated by more than a mere hobby. The instruments on this disc are major cultural-historical examples of the golden age of Finnish organ building. They excellently reflect an international trend of which Finland was keenly aware, and their designers were well informed of both the technical and the voicing principles of modern organ building. The instruments adhered very strictly to the Late Romantic school with its predominantly basicregister dispositions and occasional Romantic registers. The repertoire rests on Finnish music of the National Romantic period, allowing for the constraints imposed by the smallish chamber organs. I wanted to include in this rich pageant works that give as authentic as possible a picture of the times. On the studio organ of Akseli Gallén-Kallela out in the wilds I have played music that alludes directly to the artist and to life at his studio home, Kalela. Sibelius knew Gallén-Kallela well and wrote his Funeral Music in a few days for his friend s funeral. The work by Armas Maasalo alludes to another of Gallén-Kallela s friends, the poet Eino Leino. The improvisation Hommage à Jean Sibelius is a reminder of the day when Sibelius and his conductor friend Robert Kajanus arrived at Kalela for the christening of Gallén-Kallela s children Kirsti and Jorma. Improvising at the grand piano, Sibelius would appear to have devised one of the themes of his Second Symphony. In the same way I, too, have improvised at the organ of the Kymi Vocational School on a theme Sibelius wrote for the well-known organ virtuoso André Marchal to improvise on at a concert in London. It is my hope that this disc will inspire the listener to reflect on the relationship between art, architecture and music. The church or hall is of great significance as the generator of music and acoustics. The walls and ceiling are not just integral parts of the building. The walls tell a story of their own, while the people within them have hung on them art that comments on their society. In making this record I have had the honour of being surrounded by superb art and architecture, and in the process I have proved that Jugend is also reflected in music for the organ. Jan Lehtola The former Kymi Vocational School designed by Selim A. Lindqvist at Kuusankoski is one of the most outstanding buildings of culturalhistorical significance in SE Finland. The foundations were laid as early as 1916, but there were various delays in the project and the school was not finished until 1933. The architect was assisted in the planning and furnishing of the splendid ceremonial hall in the Jugend style by another architect, Sigurd Frosterus, and Eric O.W. Ehrström, an ornamental artist. The hall was designed to serve the needs not only of the pulp and paper mill but also of local societies, associations and the Vocational School. For this reason it was furnished specifically as a ceremonial hall; the school has a separate gymnasium. Numerous special occasions and concerts have been held in the hall over the decades. A 9-stop organ was installed with a view to concerts, and in the 1920s the hall acquired a Steinway grand piano. The company wanted the hall to incorporate visual elements reflecting the process by which Finland became an independent republic in 1917. Professor Eero Järnefelt was thus commissioned to paint large portraits for the front wall of persons whose influence had been decisive to Finland s independence. The portraits accordingly show Marshal Mannerheim as Commander-in-Chief during Finland s Civil War of 1918 and President Svinhufvud, Speaker of Finland s first Senate. For the foyer Ehrström designed a set of glass paintings representing the ancient liberal arts and a series of frescoes depicting events in the Civil War and the Jaeger independence movement. Being of a somewhat politically delicate nature, the frescoes were covered from 1946 to 1983. Marshal Mannerheim visited the school in 1933 and from then onwards the street, Koulukatu (School Street), running past it (and built with funds provided by his father, Carl Robert Mannerheim, in the 1870s) was renamed Marskinkatu. Carl Robert Mannerheim had, furthermore, been the founder of the company Kuusankoski Aktiebolag that merged with Kymi in 1904. In size the school more than satisfied the company s vocational-education requirements, because from 1926 to 1951 Kymi also provided general secondary education for local pupils. By 1939 as many as 600 pupils, both boys and girls, had possibly passed through the school, and by the time it ceased providing vocational education in 2006, it had awarded leaving certificates to nearly 10,000. Owned now by the forest giant UPM, it today houses a Swedish-speaking junior school, a Steiner School and a day nursery. Its most famous past pupils are Eeva-Kaarina Volanen the actress, Anu Pentik the art ceramicist and Esko Tirronen the painter. The organ at the Kymi Vocational School at Kuusankoski was built by the Kangasala Organ Factory, the oldest of its kind in Finland. The 45-stop organ (opus 400) in Kuusankoski Church dates from 1932 and the following year saw the completion of a 9-stop instrument (opus 406) at the Vocational School. These opus numbers show that organ building was enjoying a boom at the time. The organ in Kuusankoski Church was designed by Aarne Wegelius (1891 1957), organist at the Old Church in Tampere, who also influenced the planning of the Kymi organ. Wegelius had studied organ playing with Oskar Merikanto in Helsinki and had a profound knowledge of organs he had obtained from professional literature and journals. So far as is known, he possessed the biggest private organ library in the Nordic countries and was still subscribing to eleven foreign trade journals in the year he died. - 6 - - 7 -

The Kymi Vocational School organ was built along progressive principles and its disposition is as follows: I C-a4 II C-a4 Pedal C-f1 Corno notte 8' Voce celeste 2f 8' Subbasso 16' Principale 8' Flauto traverso 4' Oboe 4' (transmission) Nasardo & Ottava 2 2/3' 2' Corno camoscio 2' Sesquialter 2 2/3' 1 3/5' 1' Oboe 8' tremolo The action is pneumatic and, in keeping with the times, has various accessories and couplers: II I unisono, I pedal, II pedal, I superoctave 4', II I superoctave 4', II I suboctave 16', II superoctave 4', II suboctave 16', tutti, combination 1 and 2, general swell, general swell shutter, manual switch a combination and tutti release and a swell box pedal. The manuals were built in one swell box. Comparison of the Kymi organ with that built in the chapel of the Amos Anderson Museum seven years earlier reveals that Kymi s was more modern and progressive. The disposition reflects a shift in the times and aesthetics promoted by the Alsatian organ reform movement from a Romantic, dark and basic-register-oriented sound to one that is brighter and Neoclassical. Proof of this are some of the higher registers, such as the Nasardo & Ottava 2 2/3' 2' of the first manual and the sesquialter 2 2/3' 1 3/5' 1' of the second. Admittedly the large proportion of basic stops indicates that the Neoclassical ideas were not yet fully established. Of very special interest is the oboe 8', which is rare though in keeping with the style in small organs. It is heart-warming to find that the organ has been kept in good condition and as it was in 1933. This again is rare in both domestic and church organs. Eero Niinikoski & Jan Lehtola - 9 -

The organ at Visavuori Emil Wikström (1864 1942) was born into a poor family in Turku. With the help of outside patrons he was able to study at the Turku Art School, the Ateneum in Helsinki, the Academy of Fine Arts in Vienna and, at the enticement of Axel Gallén-Kallela, in Paris. His progress was fantastic, and he was in time to become one of the greatest sculptors of his day. He was commissioned to make practically all the most notable public sculptures in Finland and many private collectors ordered items from him. His clients liked the subjects of his realistic works, which sprang from Finland s cultural heritage, such as folk poetry. Wikström designed and had a studio home in National Romantic style built at Sääksmäki between 1893 and 1912. Called Visavuori, it was the first studio to be built out in the wilds and was of the kind subsequently emulated by his friends Jean Sibelius the composer and the artists Axel Gallén and Pekka Halonen. The first Visavuori of 1893 1894 was soon destroyed in a fire in 1896. Wikström s next plans then placed the house and the studio in separate buildings. The present house dates from 1902 and the studio from 1903. Wikström married Alice Högström from Helsinki in 1895 and they had three daughters. Most of the time they lived at Visavuori, but after the children had left home, Visavuori became just a summer residence; the rest of the year the Wikströms lived in Helsinki. Visavuori is still almost exactly as it was in the days when Wikström was living and working there. The studio building is in the Jugend style of Central Europe. In addition to a lofty studio it had Finland s first bronze foundry, a small darkroom and an observatory. A winter garden and an organ loft were added in 1912. Visavuori has been a museum and open to the public since 1967. The organ at Visavuori was built by Emil Wikström s brother, Karl Gustav (1861 1908), in 1905. The Wikströms were musical and there were organists and church musicians on both sides of the family. The second son, Karl Gustav, displayed artisan tendencies at an early age. Having received elementary training in crafts in Turku, as an apprentice at a lithographic printer s and at the Åbo Mekaniska Verkstad Ab - Oy Vulkan Ab engineering works, he was taken on as an apprentice to B.A. Thulé at Kangasala at the age of 21. Five years later he was granted a scholarship to study in the USA. In summer 1888 he therefore set sail for New York and began at the Kempis Organ Builders, where he made good progress. Before returning home, he spent some time at the Roosevelt Organ Works. Wikström returned to Finland and built his first organ in 1893, at Rymättylä. He nevertheless encountered some problems: his clients wanted their builder to have experience and an established reputation, and Wikström had to compete with the already famous B.A. Thulé, Jens Alexander Zachariassen and Albanus Jurva. In Europe, mechanical action had furthermore given way to pneumatic, and of this Wikström had gained no experience in America. Through sheer hard work he did, however, succeed in becoming a respected organ builder. The Visavuori organ was finally ready in 1905, though plans for an instrument had been made before the studio burnt down in 1896. It was first placed in the studio but in 1912 was transferred to a loft built specially for it. The organ was kept in good condition during Emil Wikström s lifetime, but after his death it gradually fell into disrepair and silence. Karl Gustav s son, Erkki Valanki, who was Technical Manager of the Kangasala Organ Factory, had plans for restoring it in the 1970s but then abandoned the idea, possibly in view of his - 10 -

advanced years. In 2005 a conservation project was launched at the Visavuori Museum, partly with EU funds, and this included plans for repairing the organ. The documentation and restoration plan were made by Professor Pentti Pelto and the actual work was carried out by organ voicer Jouko Pirkkanen. The restoration was conducted in 2006 2007. The Visavuori organ is built into the swell box apart from the pedal subbass and the principal on the façade of the first manual. I II Pedal Principal 8' Keraulophon 8' Subbass 16' Gedacht 8' Flute Harmonic 4' (bass) Flute Harmonic 4' (transmission) Flute Harmonic 4' (disc) II I unisono I pedal II pedal I superoktav The organ at Kalela Akseli Gallén-Kallela (1865 1931, until about 1907 Axel Gallén) was born in Pori on the west coast of Finland, the son of a Swedishspeaking civil servant. He admired the Finnish-speaking country folk, made friends with farmers and learnt Finnish from his father and the servants. He did not like school, but had a passion for drawing. At an early age he developed an interest in the Finnish national epic, the Kalevala, and this was later to exert a major influence on his choice of subjects. In addition to studies in Helsinki (at the Central School for Applied Arts and drawing at the Finnish Art Society) and Paris (the Académie Julian and the Atelier Cormon), he went on study trips to London, Berlin and Africa. In 1890 Gallén-Kallela married Mary Helena Slöör, who bore him two children, Kirsti and Jorma. While in Paris, he pictured bohemian life, but the Finnish countryside, rugged landscapes and people of the backwoods gradually appealed to him more and more. The myths of the Kalevala likewise fascinated him. All the arts in Finland were caught up in the progressive, liberal Young Finland and National Romantic spirit of the times. His circle of friends consisted of constitutional Young Finns, and he immortalised one of their sessions in a painting called The Symposium showing Robert Kajanus the conductor, and Oskar Merikanto and Jean Sibelius the composers. Gallén-Kallela became one of Finland s best-known artists, embracing the 19th century schools of National Romanticism, Symbolism and Realism. Gallén-Kallela designed and had a studio built at Tarvaspää, Espoo in 1911 1913 but lived there for only one year. His real home, where he produced the best works of his life, was Kalela, a wilderness studio at Ruovesi. This he had built to designs of his own in 1894 1895 and lived there with his family in 1895 1900, for a short time in summer 1905 and for the last time in 1915 1921. Both Tarvaspää and Kalela are now museums. No sooner had he married than Gallén-Kallela began looking about for a family home and studio. He travelled round many regions before finally falling in love with the landscapes of Häme and the southern shore of the big Lake Näsijärvi at Ruovesi. The nearest town, Tampere, was about 50 kilometres by boat across the lake and 80 by road. Kalela was literally out in the wilds, surrounded by forest. The heart of the house is the high studio with big windows overlooking the lake and letting in plenty of light. Adjoining the studio is a platform for his wife s grand piano and an organ. The latter was built by A.W. Böttcher, a German, probably in the 1850s 1860s. Gallén-Kallela is thought to have bought it at the turn of the century, but when the house was left unoccupied in 1921, vandals broke in, smashed the windows and furniture, and did not spare the organ. Gallén-Kallela s son Jorma and his family took over Kalela in 1936. For Jorma s wife Pirkko, Kalela was a life-long care and restoration project. Eventually, in 1967, she also restored the organ, and from then onwards she invited leading Finnish organists to give recitals on the instrument, which had now acquired a new lease of life. The Kangasala Organ Factory drew up a plan and a cost estimate for the conservation of the Kalela organ. At the initial inspection on July 27, 1965 the organ was found to be in total disrepair. Most of the pipes, about 300, had disappeared, but some were recovered from - 12 - - 13 -

the nearby forest and the bottom of the lake. The action was, with the exception of the wind chests, completely destroyed, as were the bellows. Some of the façade pipes were also missing. The organ was dismantled and transported to the factory. There the wind chest was opened and inspected. A new blower and bellows were installed. The console and action could be only partly repaired and some of it had to be replaced. Stops were made from old pipes and the original disposition was slightly modified in the belief that this would improve the organ s potential use and satisfy contemporary requirements. The façade pipes were recast. At the time the organ cost 6,115 FIM. According to Aivi Gallén-Kallela, Jorma s daughter, the wooden pipes could for the most part be replaced by ones from the dismantled organs in Vampula and Ruotsinpyhtää Churches. The original disposition of the organ was: I II Pedal Principal 8' Gedackt 8' Subbass 16' Viola 8' Aeoline 8' Bordun 8' Voix celeste 8' Flöte 8' II I unisono I pedal After the repairs of 1967 the disposition was: I II Pedal Principal 8' Gedackt 8' Subbass 16' Salicional 8' (former Viola) Voix celeste 8' Flöte 4' Quintaden 4' (new) Gemshorn 2' (new) II I unisono I pedal Gallén-Kallela s children were christened in 1899 in front of the painting called Ad Astra while Sibelius improvised on the grand piano - 15 -

THE ORGAN AT THE AMOS ANDERSON ART MUSEUM Amos Anderson was born the son of a small farmer in the remote Kemiö village of Brokärr in the Turku archipelago of Swedish-speaking Finland on September 3, 1878. He studied economics and insurance in Göttingen and for a short time in London, and on settling in Helsinki in 1902 quickly became a notable businessman, industrialist and newspaper publisher. Initially employed in insurance, Amos Anderson soon also began publishing business magazines: Försäkrings Tidskrift from 1905 and Mercator from 1906. In 1907 he founded the Nordiska Annonsbyrå advertising agency and two years later the Mercator printing press on the inner courtyard of a building he owned at Yrjönkatu 27, Helsinki. Four years later he launched another newspaper, Dagens Tidning, that was to have a brief life. Acquiring the majority holding in the Tilgmann printing house in 1916 made Amos Anderson Finland s biggest lithographic printer. He became the owner of Finland s leading daily newspaper in Swedish, Hufvudstadsbladet, and the evening paper Svenksa Pressen in 1921. He also bought up property in the centre of Helsinki in the period before the First World War. In 1913 he commissioned the building of the residential and office block on Yrjönkatu that now houses the museum named after him and the organ. This building was designed by W.G. Palmqvist and E. Sjöström in the year that building began. In the 1920s Amos Anderson already owned a large part of the present Forum block in the very heart of Helsinki. The story goes that Amos Anderson had two personalities: in the morning he was a cool-headed businessman, and in the afternoon and evening a sentimental, sociable art and culture lover. Hidden beneath his hard exterior was a romantic with leanings towards mysticism and religiosity. He was particularly interested in medieval art, music and ceremonies. In 1921 he published an extensive treatise on medieval Finnish church architecture. Restoring old churches interested him so much that he put up the funds for several projects, in Turku, Parainen, Kemiö and elsewhere. In the mid-1920s he turned the top floor of his house into a private chapel complete with paintings by old masters and an organ. Amos Anderson died at the age of 82 at his Söderlångvik estate on the island of Kemiö in the municipality of Dragsfjärd on April 2, 1961 and is buried beside Kemiö s medieval greystone church. The details of how the organ came to be built are easily established from Anderson s correspondence with Martti Tulenheimo, successor to Thulé as Director of the Kangasala Organ Factory. Planning would appear to have begun in autumn 1925, when, in a letter dated October 22, Amos Anderson sent Tulenheimo a proposal for its disposition made by John Sundberg asking how much it would cost to build. The reply was 59,000 FIM (17,582 EUR in present-day money). It would also need an electric blower costing 6,000 FIM (1,788 EUR). Tulenheimo promised that the organ would be fully pneumatic and in other respects, too, fully in accordance with modern building techniques. On December 1 Tulenheimo requested further specifications. At this stage the plans were for an organ with 11 independent stops divided between two swell boxes. Contrary to his previous proposal, Anderson now expressed a wish for two free combinations. All in all Tulenheimo calculated that the organ would cost 109,000 FIM (29,800 EUR). Tulenheimo also at Anderson s - 16 -

request investigated the price discrepancy between his proposed organ and that completed at Dragsfjärd the previous year The price increase of 13,000 FIM (3,874 EUR) was, he explained, due to the higher costs of transport, installation, manuals with a range up to g4 (by means of octave couplers), a reed stop, tremolo, two swell boxes, etc. The disposition now looked as follows: I II Pedal 1. Principal 8' 5. Aeoline 8' Subbass 16' 2. Konsertflöjt 8' 6. Voix celeste 8' 3. Echo Gamba 8' 7. Gedeakt 8' 4. Vox humana 8' 8. Geigen principal 8' 9. Flauto dolce 8' 10. Harmonia aeterea 3x On December 9 Tulenheimo replied to a letter from Anderson dated two days earlier requesting yet more modifications to the disposition. Tulenheimo duly made them and sent Anderson the contract for him to sign it. The price was now 73,000 FIM (21,754 EUR). The wood for the instrument came from Anderson s own sawmill. The façade was designed by the organ factory and the exquisite ornamental paintings were made by Henry Ericsson in the year the organ was completed. The Kangasala Organ Factory assigned it the opus number 337. On its completion the organ had seven independent stops and one transposition. Three of the stops were on the great organ, four on the other manual and one on the pedals. The final disposition was as follows: I C-g3 II C-g3 Pedal C-f1 1. Principal 8' 4. Echo Gamba 8' 8. Subbass 16' 2. Konsertflöte 8' 5. Aeoline 8' 3. Gamba 8' (transmission) 6. Voix celeste 8' 7. Gedeckt 8' The action of this organ was pneumatic, and in keeping with the times, the instrument was equipped with various auxiliary devices. It had the following couplers and accessories: II I unison, I pedal, II pedal, I superoctave, II I superoctave, II I suboctave, II superoctave, II suboctave, tutti, combination 1, general swell, general swell shutter, manual coupler, combination and tutti release and swell box pedal. The whole instrument was built in a single swell box. The hand-written sketch by Tulenheimo also has the following swell box disposition 1. aeoline 8', 2. gedeckt 8', 3. subbass 16', 4. konsertflöte 8', 5. gamba 8', 6. echo gamba 8', 7. principal 8', 8. II I superoktav, 9. II superoktav, 10. II I suboktav, 11. II suboktav and 12. I superoktav. The correspondence indicates that the organ project was rushed through in a hurry. Under the agreement, the organ was to be ready by February 28, 1926, i.e. in just over two months from the signing of the agreement. Someone later wrote by hand on the agreement that Sundberg, who had been the project supervisor, inspected the organ (presumably at the factory) on February 3. Installation at Amos Anderson s home on Yrjönkatu began on February 15. The organ was built with unusual speed. Though the organ factory had dozens of workers in its employ, each instrument was built individually. For the factory, this project represented a matter of honour and a chance to show just what it could do. Amos Anderson was, after all, an important person in his day and a major media mogul. Further research would tell us more about how far he was involved in organ and other projects for individual parishes. Judging from his correspondence, he was at least aware of the costs of the Dragsfjärd Church organ project. Maybe he had played a larger role when it was built the previous year. It is interesting to reflect on the part played by Anderson in determining questions of sound and on Sundberg s role in the project. John Sundberg (1891 1963) first qualified as a church musician in 1912, then studied at the Helsinki Music Institute and was awarded an organ diploma in 1920. He was organist of the Norra Svenska församling parish in Helsinki, taught at the Music Institute, later the Conservatory and the Sibelius Academy, and played the organ when Parliament attended divine worship. He was a leading figure in Finland s Swedish-speaking church music circles, the initiator of reforms and a pioneer of Nordic cooperation. He was also a member of the Porvoo Diocese organ committee that issued statements on organ-building projects. Amos Anderson trusted Sundberg, who was given a relatively free hand to carry out his modern ideas on organ building. When Amos Anderson s organ was built, Sundberg was a strong supporter of the old, Romantic organ-building school, but a visit to Southern Sweden and Denmark in 1935 set him thinking. Before this he had heard a talk on the Alsatian organ reform movement at a church music conference in 1931. It would appear that after a church music festival held in June 1938, just before he designed the new features for Amos Anderson s organ, he made a complete about-turn in his attitude to the Romantic organ school, and as a consequence, the organ reform movement became fully integrated with Finnish organ building. The fact that both Anderson and Sundberg had high-church interests says something about their relationship. One reason why Anderson turned to Sundberg for assistance was no doubt the latter s status in Finnish church music. But Anderson undoubtedly himself also - 18 - - 19 -

had a firm idea of how he wanted his organ to sound. Judging from his correspondence, he followed the international organ press and passed copies of journals on to Tulenheimo. During his visits to Sweden he had, undoubtedly, been impressed by the new organ-building features, even though Sundberg was in practice responsible for designing the organ. Being a businessman, Anderson did all he could by creating the financial prerequisites for the project. Maybe this explains why the first disposition proposal was rejected; in a way this is a pity, because it was well-balanced, versatile, and also bold with its two swell boxes. Two years later Cavaillé-Coll arrived at a similar swell-box solution when he built his only organ in Finland, at Mänttä, in 1928. It has been said of Anderson that he had, as a young man, dreamed of becoming a church musician, but his dream never came true and playing the organ remained no more than a hobby. Closer inspection of the organs he had built reveals that he kept them in excellent condition. The bench and the front section of the pedals look like new and there are no signs of him sitting there or resting his feet on the pedals. Maybe having the organ built was more the realisation of certain ideological and artistic dreams than a desire to actually play the instrument. A busy businessman, he cannot have had much time for personal artistic pursuits, even though Vallis Gratiae, a dramatised legend written by him and set in the Middle Ages was performed at the Swedish Theatre in Helsinki in 1923. From the 1930s to the early 1950s Anderson also stage-directed a series of plays at this theatre. The organ built by Amos Anderson has, from time to time, aroused interest and in the early 1980s, for example, Professor Enzio Forsblom inspected the Museum s instrument with organ builder Martti Porthan. It was not played on that occasion; whether it was in fact playable is not known. In 2009 Kari Hella, who worked for Martti Porthan, and I went to see what state the organ was in. It turned out that the blower, which had been in a separate room, had inadvertently been removed, probably during the repairs carried out in the 1990s, and the organ could not be played. The Museum was, however, aware of the organ s cultural-historical value and its significance to the overall portrait of Anderson the man. The Museum was also interested in restoring it so that it could once again be played. This was done by the Martti Porthan Organ Builders in 2009. The pneumatic action, the auxiliaries and voicing defects were repaired, the whole organ was cleaned, and a new blower was installed, this time inside the instrument. Jan Lehtola - 20 -

Repertoire and composers Heikki Klemetti (1876 1953) became known as a choral man and a writer on music. He also worked as an organist in Pori at the beginning of the century. Along with Krohn, he represented the very highest in Finnish musicological research. The reflections on the problem of tonality and the inner evolution of music associated with Klemetti s works and his article on the musical history of nationalist Finland were in their day major musicological trends. A few smallscale organ pieces by him have been preserved, the most notable of which are the Prelude, Op. 23/1 and Canzona, Op. 23/2 (1918 19), the Toccata romantica, (c. 1927) and Canzona, Op. 44/1 (1934?). The Little Prelude on this disc is like a miniature harmonic labyrinth. Toivo Kuula (1883 1918) composed two solo works for organ in the course of his short life: the Prelude and Intermezzo, Op. 16 (1909). He studied composition in Italy with organist-composer Marco Enrico Bossi. Whereas the Prelude relies on flowing melody and polyphony, the Intermezzo represents the more dramatic style familiar from his solo songs. Some may detect in these organ pieces the influence of his teacher, Bossi. Ohjelmasta ja säveltäjistä Heikki Klemetti (1876 1953) tuli tunnetuksi kuoromiehenä ja musiikkikirjoittajana. Hän työskenteli myös vuosisadan alussa urkurina Porissa. Heikki Klemetti edusti tutkimuksillaan Krohnin ohella suomalaista musiikkitieteen kärkeä. Klemetin tuotantoon liittyvä tonaalisuusongelman ja musiikin sisäisen evoluution pohdiskelu sekä nationalistisen Suomen musiikinhistorian kirjoitus olivat merkittäviä musiikkitieteellisiä suuntauksia aikanaan. Klemetiltä on säilynyt muutama pienimuotoinen urkusävellys, joista merkittävimmät ovat Kaksi urkukappaletta: Preludi op. 23/1 ja Canzona op. 23/2 (1918 1919), Toccata romantica (n. 1927) ja Canzona op. 44/1 (1934?). Levyllä kuultava Pieni preludi on kuin pieni harmoninen labyrintti. Toivo Kuula (1883 1918) sävelsi lyhyen elämänsä aikana kaksi soolourkuteosta, jotka olivat Preludi ja Intermezzo op. 16 (1909). Kuula opiskeli sävellystä Italiassa urkuri-säveltäjä Marco Enrico Bossin johdolla. Siinä missä Preludi rakentuu vuolaalle melodisuudelle ja polyfoniselle kirjoitustavalle, edustaa Intermezzo dramaattisempaa sävellystyyliä, joka on tuttu Kuulan yksinlauluista. Sävellyksessä saattaa kuulua myös opettajan Bossin vaikutusta. Frans Linnavuori (1880 1926) studied the organ with Oskar Merikanto and was organist of Tampere Cathedral from 1908 until his death. The Evening Song for organ was possibly first performed in 1924. In the nature of a chorale, it weaves its way round a snatch of melody and a simple variation on it. Armas Maasalo (1885 1960) studied at the Helsinki Music Institute as a pupil of Oskar Merikanto and at the Orchestra School of the Philharmonic Society 1907 1910. His studies abroad took him to France in 1919 1920 and Germany in 1921. He taught music at the Helsingin Normaalilyseo high-school 1916 1952, was organist of Helsinki South Finnish-speaking Parish 1926 1958, a teacher at the Helsinki College for Church Musicians 1914 1951 and its Principal 1923 1951, and head of the Sibelius Academy s Church Music College 1951 1955. He left behind a wealth of organ works, the biggest of which is the Sonata, Op. 5. Among his bestknown works is the Theme and Variations, Op. 35. In memoriam Eino Leino, Op. 26/2 is a tribute to the Finnish lyric poet and was first played at Leino s funeral in January 1926. Frans Linnavuori (1880 1926) opiskeli urkujensoittoa Oskar Merikannon johdolla ja hän oli Tampereen tuomiokirkon urkuri vuodesta 1908 kuolemaansa saakka. Iltalaulu uruille sai mahdollisesti ensiesityksen 1924. Koraalin kaltainen sävellys kietoutuu pienen sävelmän ja sen yksinkertaisen muunnelman ympärille. Armas Maasalo (1885 1960) opiskeli Musiikkiopistossa Oskar Merikannon oppilaana ja Filharmonisen Seuran orkesterikoulussa 1907 1910. Hän teki opintomatkoja Ranskaan 1919 1920 ja Saksaan 1921. Maasalo toimi Suomalaisen normaalilyseon musiikinopettajana 1916 1952, Helsingin eteläisen suomalaisen seurakunnan urkurina 1926 1958, Helsingin lukkari-urkurikoulun ja myöhemmin Helsingin kirkkomusiikkiopiston opettajana 1914 1951 ja johtajana 1923 1951 sekä Sibelius-Akatemian kirkkomusiikkiopiston johtajana 1951 1955. Maasalolta on säilynyt runsaasti urkuteoksia, joista laajin on Sonaatti op. 5. Tunnetuimpia urkusävellyksiä puolestaan on Teema ja muunnelmia op. 35. In memoriam Eino Leino op. 26/2 on kunnianosoitus edesmenneelle lyyrikolle, ja se sai kantaesityksensä Eino Leinon hautajaisissa tammikuussa 1926. - 22 - - 23 -

Aarre Merikanto (1893 1958) studied first in Germany as a pupil of Max Reger and later in Moscow. He was an original, radical composer, many of whose works were far too difficult for contemporary audiences. His most monumental work was the opera Juha, which was not premiered until after his death. Aarre Merikanto composed only three pieces for the organ. Was this a reaction to the work of his father, Oskar, Finland s number one organist, or did he just prefer to focus on other instruments? The simple Andante (1956) bears the dedication Jääkärille 27 Schwesteriltä (To the Jaegers from 27 Sisters) and was the last thing he ever wrote. A choralelike piece, it has harmonically impressionistic features. Oskar Merikanto (1868 1924) was the first Finnish-speaking organist. Appointed organist of Johannes Church in Helsinki on December 22, 1890, he held the post right up until his death. He was also a critic for the daily newspaper Päivälehti (now Helsingin Sanomat), conductor of the Opera and one of the founders of the Savonlinna Opera Festival. His output included three operas, vocal, piano and organ music. Merikanto s idiom and constructions are firmly rooted in the Late Romantic tradition and the melodiousness characteristic of Neapolitan opera. He studied at the Leipzig Conservatory from autumn 1887 to spring 1890 and his output of eight works for the organ was, though small, significant. Many of his works were published during his lifetime, and the Passacaglia, in particular, became a concert number popular with organists both in Finland and abroad. It was Oskar Merikanto who laid the foundations for the history of Finnish organ music. He was the first Finnish-speaking organist to write teaching materials for pupils, and he was the first to professionally compose music that Aarre Merikanto (1893 1958) opiskeli ensin Saksassa Max Regerin oppilaana ja myöhemmin Moskovassa. Hänet tunnetaan omaperäisenä ja radikaalina säveltäjänä, jonka monet sävellykset olivat aikalaisyleisölle aivan liian vaikeita. Hänen monumentaalisin teoksensa on ooppera Juha, joka sai kantaesityksensä vasta säveltäjän kuoleman jälkeen. Merikanto sävelsi uruille vain kolme teosta. Olisiko syynä ollut vastareaktio isän, kansallisesti merkittävimmän urkurin Oskar Merikannon työhön, tai muuten vain keskittyminen toisiin kokoonpanoihin? Yksinkertainen Andante (1956) on omistettu jääkäreille 27 Schwesteriltä ja se on Merikannon viimeinen sävellys. Koraalimaisessa sävellyksessä on harmonisesti impressionistisia piirteitä. Oskar Merikanto (1868 1924) oli ensimmäinen suomenkielinen urkuri. Merikanto nimitettiin Helsingin Johanneksenkirkon urkurin virkaan 22.12.1890 ja hän hoiti sitä kuolemaansa saakka. Urkurin viran ohessa Oskar Merikanto toimi Päivälehden arvostelijana (nykyisin Helsingin Sanomat) sekä oopperan kapellimestarina. Hän oli myös Savonlinnan oopperajuhlien perustajia. Merikannon sävellystuotanto sisältää kolme oopperaa, vokaali-, piano- ja urkumusiikkia. Merikannon sävelkieli ja muotorakenteet pohjautuvat vahvasti myöhäisromantiikan traditioon ja napolilaiselle oopperalle tunnusomaiseen melodisuuteen. Oskar Merikanto opiskeli Leipzigin konservatoriossa syksystä 1887 kevääseen 1890. Urkusäveltäjänä Merikanto loi suppean mutta tärkeän, kahdeksan teosta sisältävän tuotannon. Monet Merikannon teoksista painettiin hänen eläessään, ja erityisesti Passacagliasta kehkeytyi urkureiden suosima konserttinumero myös ulkomailla. Merikanto loi toiminnallaan suomalaista urkumusiikinhistoriaa. Hän oli ensimmäinen suomenkielinen urkuri, joka kirjoitti pedagogista has withstood the test of time. He was also Finland s first organ virtuoso to win an international reputation. All his organ pieces are reflections of the times and of superb craftsmanship. His works are marked by melodiousness, rich harmony and an instrumental approach. Merikanto composed ten works for the organ: an Organ Sonata, Concert Fantasy, Fantasy and Chorale, Wedding Hymn, Funeral March (for the Finnish author Zachris Topelius), Prayer, Passacaglia and three Postludiums. The 100 Chorale Preludes (1905) were composed for parish needs, as intros to hymns, and flowed from his pen as by-products of larger projects. They are not named according to hymnbook chorales or numbers, which means they cannot necessarily be used with a specific hymn tune. They are arranged in the book by key. The Prayer 1) was the last work composed by Merikanto for the organ and is one of his most popular. It is based on a simple melodic arch and mysterious harmonic constructs. 1) The Prayer was composed by 1923 at the latest. In the manuscript Merikanto fi rst wrote the title Preludium in ink but later added Gebet in pencil. Aarne Wegelius, organist of Tampere Old Church, wrote about the concert Merikanto had given in Johannes Church in Tampere on November 18, 1923, and in it mentions the Prayer. He gave a brilliant performance, both of the more recent organ numbers (by Guilmant and Massenet), his own choral fantasy, and a delightful little organ piece called a Prayer, playing the last of these from the manuscripts. The Prayer, the music of which is enclosed with this issue, was the most rewarding organ solo of the whole evening and one of the most beautiful compositions imaginable. Prof. Merikanto played this solo on the Tampere Johannes Church organ with the fi ne Cor anglais 8' stop of which he was very fond. (HYK, Oskar Merikanto, Coll. 148.5.) The Prayer was first published in the Suomen Musiikkilehti (Finnish Music Magazine) as a supplement in its Merikanto commemorative issue 2/1924. materiaalia oppilaiden käyttöön. Ensimmäisenä ammattimaisena säveltäjänä hän sävelsi vuosien kulutusta kestävän sävellystuotannon. Lisäksi hän oli maamme ensimmäinen kansainvälinen urkuvirtuoosi. Kaikki Merikannon urkuteokset ovat ajan kuvia kuin myös käsityön taidonnäytteitä. Teoksia leimaavat melodisuus, laajentuneen harmoniaopin rikas soinnunkäyttö ja soittimellisuus. Merikanto sävelsi uruille kymmenen teosta: Urkusonaatti, Konserttifantasia, Fantasia ja koraali, Häähymni, Surumarssi Topeliuksen hautajaisiin, Rukous, Passacaglia ja Kolme lähtökappaletta. Sata koraalialkusoittoa (1905) syntyi seurakuntien tarpeisiin. Ne on tarkoitettu virsikirjan virsien alkusoitoiksi ja kuin lastuina ne ovat singahdelleet Merikannon suurempien teoshankkeiden sivutuotteina hänen kynästään. Kappaleita ei ole nimetty koraalien eikä järjestetty niiden numeroiden mukaan, minkä takia niiden käyttö tietyn koraalisävelmän kanssa ei välttämättä ole mahdollista. Järjestys vihkossa kulkee sävellajeittain. Rukous 1) (1923) on Merikannon viimeinen urkuteos ja se on yksi suosituimmista. Sävellys rakentuu yksinkertaiselle melodian kaarrokselle ja mystisille harmonisille rakenteluille. 1) Rukous on sävelletty viimeistään 1923. Käsikirjoitukseen Merikanto on lisännyt teoksen nimeksi aluksi mustekynällä Preludium, mutta lisännyt myöhemmin päälle lyijykynällä nimen Gebet. Tampereen Vanhan kirkon urkuri Aarne Wegelius kirjoitti Merikannon Tampereen Johanneksen kirkossa 18.11.1923 pitämästä konsertista ja mainitsee siinä Rukouksen. Loistavasti hän ne esitti, kuten uudemmatkin urkunumerot (Guilmantin ja Massenet n) sekä oman koraalifantasiansa ynnä pienen, herttaisen Rukous-nimisen urkukappaleensa, jotka viimeksi mainitut hän soitti käsikirjoituksista. Rukous, joka seuraa tämän numeron nuottiliitteenä, oli koko illan kiitollisin urkusoolo ja yksi kauneimpia sävellyksiä, mitä voi ajatella. Siinä soitti prof. Merikanto soolon Tampereen Johanneksenkirkon urkujen hienolla (läpilyövällä) englannintorvella (Cor anglais 8'), johon hän oli varsin ihastunut. (HYK, Oskar Merikanto, Coll. 148.5.) Rukous julkaistiin ensikerran Suomen Musiikkilehdessä Merikannon muistonumeron liitteenä 2/1924. - 24 - - 25 -

Selim Palmgren (1878 1951) was one of the greatest Finnish piano virtuosos of his day. He was also Professor of composition at the Sibelius Academy from 1939 to 1951. His impressionistic music earned him the title of the Chopin of the North and he was the composer of a large volume of piano music. Vorspiel 1 and 2 are his only works for the organ. Despite their miniature format, they display a clarity of idea and are the work of a talented craftsman. Juhani Pohjanmies (1893 1959) was organist of Taulumäki Church in Jyväskylä. In addition to two ceremonial compositions that have subsequently been lost he wrote a Sonata in F Sharp Minor which he dedicated to his former teacher, Oskar Merikanto. The Andante grazioso is the second movement of this Sonata. Cast in ABA form, it has a shortish virtuosic cadenza before the return of the opening A section. Sulo Salonen (1899 1976) studied composition under Erik Furuhjelm, Selim Palmgren (1933) and Günter Raphael (1938 1944) and undertook study trips to Germany and Switzerland in 1956, Austria and Italy in 1958 and Italy and Switzerland in 1964. He served as a church musician in Pietarsaari 1929 1948, Kauniainen and finally Sipoo 1952 1964. His greatest works are the vocal Passion Cantata (1942), Missa a cappella (1957), Requiem (1962) and 29 Chorale Motets. Also among his core output are various works for the organ. Salonen s early style observed traditional variation technique and polyphonic writing. His idiom later became more chromatic and finally modern. Among his best-known organ works are the Partita The Loveliness of that Summer (published in 1948). The little Prelude is in turn a polytonal experiment with simple melodic motifs. Selim Palmgren (1878 1951) oli aikansa suurimpia suomalaisia pianovirtuooseja. Hän toimi myös sävellyksen professorina Sibelius-Akatemiassa 1939 1951. Impressionistissävytteistä Palmgrenia kutsuttiin Pohjolan Chopiniksi ja hänen pianotuotantonsa on sangen laaja. Palmgrenin alkusoitot eli Vorspiel 1 ja 2 ovat hänet ainoat urkusävellyksensä. Kappaleiden miniatyyriluonteesta huolimatta teoksissa on kuultavissa idean kirkkaus ja taidokkaan säveltäjän kädenjälki. Juhani Pohjanmies (1893 1959) opiskeli Oskar Merikannon oppilaana ja työskenteli Jyväskylän Taulumäen kirkon urkurina. Pohjanmiehen tuotantoon kuuluu kahden kadonneen seremoniallisen sävellyksen lisäksi fis-molli-sonaatti, jonka hän omisti opettajalleen Oskar Merikannolle. Andante grazioso on sonaatin toinen osa. ABA-muoto sisältää lyhyehkön virtuoosisen kadenssin ennen paluuta alun tematiikkaan. Sulo Salonen syntyi 27.1.1899 Pyhtäällä ja kuoli 21.5.1976 Pernajassa. Salonen opiskeli sävellystä Erik Furuhjelmin, Selim Palmgrenin (1933) ja Günter Raphaelin (1938 1944) johdolla. Hän teki opintomatoja Saksaan ja Sveitsiin 1956, Itävaltaan ja Italiaan 1958 sekä Italiaan ja Sveitsiin 1964. Salonen toimi kirkkomuusikkona Pietarsaaressa 1929 1948, Kauniaisissa ja viimeksi Sipoossa 1952 1964. Salosen tuotannon keskeiset teokset ovat vokaalisävellykset Passiokantaatti (1942), Missa a cappella (1957), Requiem (1962) sekä 29 koraalimotettia. Myös erilaiset urkusävellykset muodostavat keskeisen osan hänen tuotantoaan. Salosen varhainen tyyli noudatti perinteistä variaatiotekniikkaa ja polyfonista kirjoitustapaa. Myöhemmin tyyli muuttui kromaattisemmaksi ja lopulta moderniksi. Salosen tunnetuimpiin urkusävellyksiin kuuluu Partita Sen suven suloisuutta (julkaistu 1948). Pieni Preludi on puolestaan polytonaalinen kokeilu yksinkertaisine melodisine aiheineen. Finland s national icon Jean Sibelius (1865 1957) composed prolifically in a number of genres, organ music included. The best known and most frequently played of his six independent organ works are the Intrada, Op. 111a and Funeral Music, Op. 111b (1927 1948). He composed the Intrada for a visit to Finland by the King and Queen of Sweden and it was first performed by John Sundberg in Helsinki Cathedral on August 22, 1925. It is a monumental piece, orchestral in scope. Professor Veijo Murtomäki likens it to the Maestro s Seventh Symphony. It is cast in ABA form. The Funeral March was composed in a few days for the funeral of Akseli Gallén-Kallela on March 19, 1931 and it is the last organ and indeed the last instrumental piece Sibelius ever wrote. According to Aino Sibelius, the Funeral March has points in common with the Eighth Symphony her husband never completed. The unprepared and unresolved dissonances and the unexpected chordal progressions make the March sound very modern. The organist when the March was first performed, in Johannes Church in Helsinki, was Elis Mårtenson. The version on this disc is the one made by Professor Murtomäki. The Impromptu, Op. 5 is Sibelius s transcription of a piece of the same name for piano. The Preludium (1925) and Postludium (1925) were not discovered for many years and were published only in 2001. Sibelius is known to have planned a suite for organ with the following movements: Preludium, Interludium, Phos Hilaron Arioso, Intrada and Postludium. The second and third movements are still missing, or else Sibelius never actually composed them. Both the Preludium and the Postludium are highly diatonic and simple, and they were originally written without a separate pedal part. I wrote my Improvisation Hommage à Sibelius I on a theme written by Sibelius for André Marchal s concert in London on December 10, 1935. Improvisation Hommage à Sibelius II is reminiscent of a piano improvisation by Sibelius at Kalela in 1899. While he was playing, so Erik Tawaststjerna claims, the closing theme of the finale to the Second Symphony possibly occurred to him. Suomen kansallissäveltäjä Jean Sibelius (1865 1957) oli tuottoisa monien sävellysmuotojen kuten urkumusiikin parissa. Hänen teosluettelossaan on kuusi itsenäistä urkusävellystä, joista Intrada op. 111a ja Surusoitto op. 111b (1927 1948) ovat tunnetuimmat ja soitetuimmat. Intrada syntyi Ruotsin kuningasparin vierailua varten ja teoksen ensiesitys oli 22.8.1925 Helsingin Tuomiokirkossa John Sundbergin soittamana. Teos on monumentaalinen ja orkestraalinen. Veijo Murtomäki vertaa teosta Sibeliuksen seitsemänteen sinfoniaan. Teoksen muoto on kehyksellinen ABA. Surusoitto syntyi Akseli Gallén-Kallelan hautajaisiin 19.3.1931 muutamassa päivässä, ja se on Sibeliuksen viimeinen varsinainen urkusävellys ja soitinteos ylipäätään. Aino Sibeliuksen todistuksen perusteella Surusoitossa on yhtymäkohtia valmistumatta jääneeseen kahdeksanteen sinfoniaan. Valmistamattomat ja purkamattomat riitasoinnut sekä yllättävät sointuetenemiset tekevät teoksesta luonteeltaan erityisen modernin. Teoksen kantaesitys oli Helsingin Johanneksenkirkossa ja sen soitti Elis Mårtenson. Levyllä teoksesta kuullaan professori Veijo Murtomäen laatima versio. Impromptu op. 5 on Sibeliuksen sovitus hänen samannimisestä pianosävellyksestään. Preludium (1925) ja Postludium (1925) julkaistiin vasta 2001 niiden löytymisen jälkeen. Sibeliuksen tiedetään suunnitelleen sarjaa uruille, jossa olisi ollut osat Preludium, Interludium, Foos (Phos) Hilaron Arioso, Intrada ja Postludium. Näistä toinen ja kolmas ovat edelleen kateissa tai niitä ei Sibelius edes milloinkaan säveltänyt. Sekä preludi että postludi ovat varsin diatonisia ja pelkistettyjä. Alun perin ne oli kirjoitettu ilman erillistä jalkioääntä. Improvisaatio Hommage à Sibelius I on syntynyt Sibeliuksen teemasta, jonka hän kirjoitti André Marchalin konsertin teemaksi Lontoossa 10.12.1935. Improvisaatio Hommage à Sibelius II palauttaa mieliin Sibeliuksen pianoimprovisaation Kalelassa 1899. Esityksen aikana Erik Tavaststjernan mukaan kenties syntyi toisen sinfonian finaalin päätäntäteema. - 26 - - 27 -

Along with Aarre Merikanto and Ernst Pingoud, Väinö Raitio (1891 1945) was one of the finest representatives of Finnish Modernism. Described as a Colourist, Expressionist and Impressionist, he nevertheless composed in a highly distinctive style that did not subscribe to the dominant prevailing trends. He studied composition at home in Finland and in Russia, Germany and France. In the early days of his studies he also took organ lessons from 1913 onwards and trained as a church musician in 1922 1923. His familiarity with the instrument is evident from the idiomatic textures of his compositions. He did not, however, seek a position in the service of the Church, and his seven works for the organ are far removed from traditional organ music and devoid of religious references. Gaudeamus is part of a Prelude for organ he wrote in 1938. The only version that exists of it is a clean copy made by an unknown hand. Whether this is an early version of the Prelude or a shorter one made later is open to conjecture. Jan Lehtola Väinö Raitio (1891 1945) edusti Aarre Merikannon ja Ernst Pingoud n rinnalla suomalaisen säveltaiteen modernismin kärkeä. Raitiota on kuvattu koloristiksi, ekspressionistiksi ja impressionistiksi, mutta yhtä lailla hänen tyyliään on pidetty varsin persoonallisena ja irrallisena vallitsevista tyylisuunnista. Raitio opiskeli sävellystä kotimaan lisäksi Venäjällä, Saksassa ja Ranskassa. Opintojensa alkuvaiheessa Raitio sai myös urkujensoiton opetusta vuodesta 1913 ja suoritti lukkariurkurikoulun todistuksen 1922 1923. Raitio tunsi urut hyvin, mikä näkyy sävellysten idiomaattisesta tekstuurista. Hän ei kuitenkaan suuntautunut kirkon virkaan. Urkusävellyksetkin, joita on seitsemän, ovat kaukana perinteisestä urkumusiikista ja vailla kirkollisia viittauksia. Gaudeamus on osa 1938 syntyneestä urkusävellyksestä Preludi. Teoksesta ei ole olemassa kuin tuntemattoman kirjoittajan puhtaaksikirjoittama versio. Se, onko teos Preludin varhaisversio tai myöhemmin tehty lyhennelmä, jäänee arvoituksesi. Jan Lehtola References Websites www.amosanderson.fi www.kalela.fi www.visavuori.fi Archives Kangasala Organ Factory, Mikkeli Printed sources Böckerman Anna Maria 2005 Objektivitet och liturgisk förankring. Åbo Akademi. Gallén-Kallela-Sirén Aivi 2006 Akseli Gallén-Kallelan Erämaaateljee ja koti/ruovesi, in Lindqvist Ojanen: Taiteilijakoteja. Otava, Helsinki. Murtomäki Veijo 2003 Jean Sibelius urku- ja harmonisäveltäjänä, in Urut Ajassa Juhlakirja Kari Jussilalle 1.11.2003. Kirkkomusiikin osaston julkaisuja 28. Sibelius-Akatemia, Helsinki. Tawaststjerna Erik 1989 Jean Sibelius II. Otava, Helsinki. Valanki Erkki 1999 Suomen urut ja niiden rakentajat 1500-luvulta vuoteen 1970. Kirkkomusiikin osaston julkaisuja 18. Sibelius- Akatemia, Helsinki. - 28 - - 29 -

Doctor of Music Jan Lehtola studied the organ in Helsinki, Amsterdam, Stuttgart, Lyon and Paris, graduated from the Church Music Department of the Sibelius Academy and gained his diploma with distinction in 1998. He gave his debut Sibelius Academy recital in Kallio Church, Helsinki in 2000 and received a Doctorate in music in 2005 for a dissertation on Oskar Merikanto as the transmitter of European influences to Finland. Jan Lehtola is a Lecturer in Organ Music at the Sibelius Academy. Jan Lehtola has appeared with the Finnish Radio Symphony Orchestra, the Lahti Symphony Orchestra, the Tampere Philharmonic, the St Michel Strings, the Tapiola and Pori Sinfonietta and the Ostrobothnian Chamber Orchestra and at many festivals, such as the Lahti Organ Festival, the Kuhmo Chamber Music Festival, Time of Music Viitasaari, the Tampere Biennale, Musica nova Helsinki and the Turku, Mikkeli, Mänttä and Hauho Music Festivals. Collaborating regularly with composers, Jan Lehtola has given more than 70 premiere performances and had works written for him by Harri Ahmas, Kalevi Aho, Naji Hakim, Paavo Heininen, Carita Holmström, Oliver Kohlenberg, Juha T. Koskinen, Olli Kortekangas, Jouko and Jyrki Linjama, Paola Livorsi, Pehr Henrik Nordgren, Martin Stacey and Riikka Talvitie. In 2003 he organised the first International Naji Hakim Festival in Helsinki. Lehtola is an Artistic Director of the Organo Novo Festival in Helsinki and Chairman of the Finnish Organum Society. Lehtola has recorded for the Finnish Broadcasting Company (YLE) and can be heard on twenty other discs, including one of organ works by Oskar Merikanto, Danse Sacrée, organ works by Camille Saint-Saëns and Johann Sebastian Bach, the complete organ works of Jouko Linjama and chamber music by Naji Hakim. www.janlehtola.com Musiikin tohtori Jan Lehtola on opiskellut urkujensoittoa Helsingissä, Amsterdamissa, Stuttgartissa, Lyonissa ja Pariisissa. Hän valmistui Sibelius-Akatemian kirkkomusiikin osastolta musiikin maisteriksi ja suoritti urkujensoiton A-tutkinnon erinomaisin arvosanoin 1998. Lehtola antoi Sibelius- Akatemian ensikonsertin Kallion kirkossa 2000. Musiikin tohtorin tutkinnon hän suoritti 2005, ja sen aihe oli Oskar Merikanto eurooppalaisten vaikutteiden välittäjänä Suomessa. Lehtola työskentelee urkumusiikin lehtorina Sibelius- Akatemian Kuopion osastolla. Hän on myös Organum-seuran puheenjohtaja. Jan Lehtola on esiintynyt Radion sinfoniaorkesterin, Lahden, Tampereen ja Mikkelin kaupunginorkestereiden, Tapiola ja Pori Sinfoniettan sekä Keski-Pohjanmaan Kamariorkesterin solistina. Hän on vieraillut Lahden Kansainvälisellä Urkuviikolla, Kuhmon Kamarimusiikissa, Viitasaaren Musiikin Ajassa, Tampere Biennalessa, Musica novassa sekä Mikkelin, Mäntän ja Hauhon musiikkijuhlilla. Säännöllisesti yhteistyötä säveltäjien kanssa tekevä Lehtola on kantaesittänyt yli 70 teosta. Harri Ahmas, Kalevi Aho, Naji Hakim, Paavo Heininen, Carita Holmström, Oliver Kohlenberg, Juha T. Koskinen, Olli Kortekangas, Jouko ja Jyrki Linjama, Paola Livorsi, Pehr Henrik Nordgren, Martin Stacey sekä Riikka Talvitie ovat säveltäneet hänelle teoksia. Lehtola järjesti ensimmäisen kansainvälisen Naji Hakim -festivaalin Helsingissä 2003. Vuodesta 2007 hän on toiminut Organo Novo -festivaalin taiteellisena johtajana Helsingissä. Lehtola on tehnyt nauhoituksia Yleisradiolle ja häneltä on ilmestynyt yli kaksikymmentä äänitettä, kuten Oskar Merikannon urkuteokset, Danse Sacrée, Camille Saint-Saënsin ja Johann Sebastian Bachin teoksia, Jouko Linjaman urkutuotannon kokonaislevytys ja Naji Hakimin kamarimusiikkia. - 31 -

Kymi-yhtiöitten juhlasali (1933) 1 Jean Sibelius (1865 1957) Intrada Op. 111a 5:32 2 Frans Linnavuori (1880 1926) Iltalaulu (MS) 5:43 Toivo Kuula (1883 1918) 3 Preludi Op. 16/1 2:28 4 Intermezzo Op. 16/2 2:52 5 Jan Lehtola Improvisaatio Hommage à Sibelius I 2:58 Visavuori (1905) 6 Heikki Klemetti (1876 1953) Pieni preludi 1:15 Sulo Salonen (1899 1976) 7 Pieni preludi 1:30 Partita Sen suven suloisuutta 6:54 8 I 1:06 9 II 0:49 10 III 1:10 11 IV 2:25 12 V 1:19 Selim Palmgren (1878 1951) 13 Alkusoitto 1 0:58 14 Alkusoitto 2 0:42 Oskar Merikanto (1868 1924) Kokoelmasta 100 koraalialkusoittoa 1) 6:05 15 Nro 22 e-molli 1:13 16 Nro 44 fis-molli 0:42 17 Nro 63 d-molli 1:23 18 Nro 77 g-molli 1:18 19 Nro 99 f-molli 1:03 20 Rukous (MS, lähde: Suomen Musiikkilehti 2/1924) 2:26 Kalela (1850 1860?/1898?) Jean Sibelius 21 Surusoitto Op. 111b (kriittinen editio, Veijo Murtomäki 2003) 4:58 22 Impromptu Op. 5 (MS) 2:21 23 Armas Maasalo (1885 1960) In memoriam Eino Leino Op. 26/2 4:01 24 Jan Lehtola Improvisaatio Hommage à Sibelius II 3:14 Amos Andersonin taidemuseo (1926) 25 Aarre Merikanto (1893 1958) Andante 2:05 26 Juhani Pohjanmies (1893 1959) Andante grazioso 3:11 27 Väinö Raitio (1891 1945) Gaudeamus (MS) 3:35 Jean Sibelius 28 Preludium 2:52 29 Postludium 2:29 Total 70:41 JAN LEHTOLA kamariurut kustantajat Westerlund [1, 7, 15-19], Hansen [3, 4, 26], Otto Murentini [5, 24], Verlag von Eugen Feuchtinger in Regensburg [6, 13, 14], Breitkopf [8-12], Fazer [23, 25], Warner [28, 29] 1) K. G. Fazerin kustantaja Breitkopf & Härtelin luvalla 1905 julkaisemassa nuottikirjassa nimiösivulle on painettu teksti: 100 KORAALI-ALKUSOITTOA URUILLE... 100 KORAL-FÖRSPEL FÖR ORGEL. - 32 - - 33 -

Kansallisromantiikan vaikutus urkumusiikkiin Tämä äänite on syntynyt arkkitehtuurista tunnetun kansallisromanttisen suunnan jugendin (ransk. art nouveau) innoittamana. Suomalaisen kansallisromanttisen taiteen kultakausi sijoittuu 1900-luvun alkuun Suomen itsenäisyyden (1917) varhaisiin vuosiin. Nuo vuodet olivat samalla suuren kehityksen aikaa. Urkujenrakennus eli loistokauttaan ja erityisesti 1920 1930-luvuilla rakennetut Kangasalan Urkutehtaan soittimet edustavat edelleen yhtä upeimmista urkujenrakennuskulttuureista Suomessa. Merkittävää tämän levyn uruissa on, ettei niistä yksiäkään ole rakennettu kirkkotilaan. Kaksi soittimista on tehty taiteilijoiden työtiloihin, yksi tehtaan juhlasaliin ja yksi vaikutusvaltaisen liikemiehen yksityiskappeliin. Tämä kertoo urkujen arvostuksesta 1900-luvun kulttuuripiireissä. Urut olivat kallis investointi, ja niiden hankkimisen täytyi olla muutenkin motivoitavissa kuin vain harrastuksen takia, sillä urut rakennetaan yksilöllisesti tiettyyn tilaan. Tämän äänitteen soittimet ovat merkittäviä kulttuurihistoriallisia esimerkkejä suomalaisen urkurakennuksen kultakaudesta. Ne heijastavat erinomaisesti sitä kansainvälistä suuntausta, josta Suomessa oltiin hyvin tietoisia. Kaikkien näiden soittimien suunnittelijoina toimineet urkurit olivat perehtyneet modernin urkurakennuksen sekä teknisiin että soinnillisiin periaatteisiin. Soittimet edustivat hyvinkin tiukasti myöhäisromanttista suuntaa vahvoine perusäänivoittoisine äänikertaluetteloineen sekä yksittäisine romanttisine äänikertoineen. Ohjelmisto rakentuu suomalaisille kansallisromanttisille sävellyksille niine tulkinnallisine varauksineen, joita pienehköt kamariurut teoksille asettavat. Olen halunnut ottaa mukaan rikkaan kokonaisuuden teoksia, jotka antavat ajasta mahdollisimman autenttisen kuvan. Akseli Gallén-Kallelan erämaa-ateljeen uruilla olen soittanut musiikkia, joka viittaa suoraan taiteilijaan ja Kalelan taiteilijaelämään. Sibelius kuului Gallén-Kallelan lähipiiriin ja Surusoitto syntyi muutaman päivän kuluessa taiteilijatoverin hautajaisiin. Armas Maasalon teos niin ikään viittaa Gallén-Kallelan ystävään runoilija Eino Leinoon. Improvisaatio Hommage à Jean Sibelius on muistuma siitä päivästä, kun Kalelaan saapui Sibelius toverinsa kapellimestari Robert Kajanuksen kanssa viettämään Gallén-Kallelan lasten Kirstin ja Jorman ristiäisiä. Sibelius oli asettunut flyygelin ääreen ja improvisaation tuloksena syntyi ilmeisesti yksi toisen sinfonian teemoista. Yhtä lailla olen soittanut improvisaation Kymi-yhtiöitten juhlasalin uruilla Sibeliuksen teemasta, jonka hän kirjoitti tunnetun urkuvirtuoosin André Marchalin konsertin improvisaatioteemaksi Lontoossa. Kymin ammattikoulun juhlasalin urut Kuusankoskella sijaitseva Kymi-yhtiön entinen ammattikoulu kuuluu Kymenlaakson merkittävimpiin kulttuurihistoriallisiin rakennuksiin. Sen suunnitteli arkkitehti Selim A. Lindqvist. Koulun perustukset laskettiin jo 1916, mutta erinäisten viivytysten johdosta rakennus saatiin valmiiksi vasta 1933. Komean jugend-henkisen juhlasalin suunnittelussa ja sisustuksessa arkkitehti Lindqvistiä auttoivat arkkitehti Sigurd Frosterus ja koristetaiteilija Eric O.W. Ehrström. Juhlasali tehtiin palvelemaan sekä Kymi-yhtiön, paikkakunnan seurojen ja yhdistysten että koulun tarpeita. Tämän takia sali sisustettiin nimenomaan juhlasaliksi; koulun voimistelusali sijaitsee talossa muualla. Salissa on pidetty vuosikymmenien aikana lukuisia arvokkaita juhlatilaisuuksia sekä konsertteja. Musiikkitilaisuuksia silmällä pitäen saliin hankittiin 9-äänikertaiset urut sekä 1920-luvun Steinwayflyygeli. Kymi-yhtiön johto halusi, että juhlasalin tiloihin tuotaisiin kuvaelementtejä, jotka kertovat maamme itsenäistymisestä. Niinpä salin etuseinälle tilattiin professori Eero Järnefeltiltä suurikokoiset muotokuvat sellaisista henkilöistä, jotka olivat vaikuttaneet ratkaisevasti Suomen itsenäistymiseen. Tämän takia marsalkka Mannerheim on maalauksessa vapaussodan ylipäällikkö vuodelta 1918 ja presidentti Svinhufvud itsenäisyyssenaatin puheenjohtaja vuodelta 1917. Juhlasalin lämpiöön suunnitteli taiteilija Ehrström antiikin vapaita taiteita esittelevät lasimaalaukset sekä freskosarjan, joka kuvaa vapaussotaan ja jääkäriliikkeeseen liittyviä tapahtumia. Freskot olivat arkaluontoisuutensa vuoksi peitettyinä vuosina 1946 1983. Sotamarsalkka Mannerheim vieraili koululla 1933 ja presidentti Svinhufvud 1935. Mannerheimin käynnin jälkeen koulun editse kulkevan Koulukadun nimi muutettiin Marskinkaduksi. Todettakoon lisäksi, että kyseisen kadun rakentamisen rahoitti 1870-luvulla marsalkka Mannerheimin isä Carl Robert Mannerheim, joka perusti Kymi-yhtiöön vuonna 1904 sulautuneen Kuusankoski Aktiebolagin. Koulu rakennettiin suuremmaksi kuin pelkkä ammattikoulun tarve olisi ollut, koska Kymi-yhtiö huolehti vuosina 1926 1951 kansakoululaisten jatko-opetuksesta Kuusankoskella. Ennen sotia koulun yhteinen oppilasmäärä saattoi olla runsaat 600 tyttöä ja poikaa. Ammattikoulun toiminta loppui 2006. Nykyisin rakennuksessa, jonka omistaa UPM-Kymmene Oyj, toimii mm. ruotsinkielinen ala-aste, Kymenlaakson Steiner-koulu sekä Ekholmintien päiväkoti. Koulusta sai sen toiminta-aikana päästötodistuksen lähes 10 000 oppilasta. Koulun tunnetuimmat oppilaat ovat akateemikko Eeva-Kaarina Volanen, taidekeraamikko Anu Pentik ja taidemaalari Esko Tirronen. Toivon, että tämä äänite virittäisi kuulijan pohtimaan kuvataiteen, arkkitehtuurin ja musiikin välistä suhdetta. Tilalla on suuri merkitys musiikin ja akustiikan synnyttäjänä. Seinät ja katto ovat muutakin kuin rakennuksen välttämättömiä osia. Seinillä on tarinansa samalla kun niiden sisään ovat asujat ripustaneet yhteiskuntaa kommentoivaa taidetta. Olen saanut työskennellä tämän äänitteen myötä suurenmoisen taiteen ja arkkitehtuurin keskellä. Olen saanut todentaa sen tosiseikan, että jugend elää myös urkumusiikissa. Jan Lehtola Kuusankosken Kymi-yhtiöitten juhlasalin urut rakensi maamme vanhin urkutehdas Kangasalan Urkutehdas. Kuusankosken kirkon 45-äänikertaiset urut (opus 400) valmistuivat 1932 ja seuraavana vuonna Kymin ammattikoulun juhlasalin 9-äänikertaiset urut (opus 406). Kuten opusnumeroista voi päätellä, Urkutehdas eli kiivasta rakentamisen nousukautta. Kuusankosken kirkon urut suunnitteli Tampereen Vanhan kirkon urkuri Aarne Wegelius (1891 1957) ja hän vaikutti myös juhlasalin urkujen suunnittelussa. Wegelius oli opiskellut urkujensoittoa Oskar Merikannon johdolla Helsingissä ja hän oli perehtynyt urkuihin ammattikirjallisuuden ja lehtien välityksellä perusteellisesti. Hänen kirjastonsa oli tiettävästi Pohjoismaiden laajin yksityinen urkukirjasto ja vielä kuolinvuonna hän tilasi yhtätoista ulkomaista ammattilehteä. - 34 - - 35 -

Juhlasalin urut noudattavat hyvin urkujenuudistusliikkeen ajatuksia. Soittimen dispositio eli äänikertaluettelo on seuraavanlainen: I C-a4 II C-a4 Pedal C-f1 Corno notte 8' Voce celeste 2f 8' Subbasso 16' Principale 8' Flauto traverso 4' Oboe 4' (siirto) Nasardo & Ottava 2 2/3' 2' Corno camoscio 2' Sesquialter 2 2/3' 1 3/5' 1' Oboe 8' tremolo Urkujen koneisto on pneumaattinen, ja ajan tavan mukaan se on varustettu erilaisilla apuvälineillä. Yhdistimiä ja lisäapulaitteita on seuraavasti: II I unisono, I pedal, II pedal, I superoktaavi 4', II I superoktaavi 4', II I suboktaavi 16', II superoktaavi 4', II suboktaavi 16', Tutti, Kombinaatio 1 ja 2, Yleispaisutin, Yleispaisuttimen sulkijavipu, Käsirekisterin kytkin, Kombinaation ja Tutin vapauttaja sekä paisutuskaapin poljin. Sormiot rakennettiin yhteen paisutuskaappiin. Kun urkuja vertaa seitsemän vuotta aiemmin rakennettuihin Amos Andersonin museon kappelin urkuihin, voi juhlasalin soittimen nähdä urkujenuudistusliikkeen toiminnan valossa nykyaikaisempana. Äänikertaluettelon taustalla on ajan ja estetiikan muuttuminen elsassilaisen urkujenuudistusliikkeen myötä romanttisesta, tummasta ja perusäänivoittoisesta kirkkaammaksi neoklassiseksi soinniksi. Tästä kertovat jotkin korkeammat äänikerrat kuten ensimmäisen sormion Nasardo & Ottava 2 2/3' 2' ja toisen sormion Sesquialter 2 2/3' 1 3/5' 1'. Tosin perusäänikertojen runsas osuus kertoo siitä, etteivät neoklassiset ajatukset olleet vielä lyöneet itseään täysin läpi. Aivan erityisen huomion ansainnee kieliäänikerta Oboe 8', joka on harvinainen vaikkakin tyylinmukainen pienissä uruissa. On ilahduttavaa, että urut ovat säilyneet hyvässä kunnossa ja muuttumattomana vuoden 1933 asussa, mikä on harvinaista, puhutaanpa sitten koti- tai kirkkouruista. Eero Niinikoski ja Jan Lehtola

Visavuoren urut Emil Wikström (1864 1942) syntyi Turussa köyhään perheeseen. Ulkopuolisten tukijoiden avustamana hän pääsi opiskelemaan taidetta Turun piirustuskouluun, Ateneumiin Helsinkiin, Wienin taideakatemiaan sekä Axel Gallénin houkuttelemana Pariisiin. Wikströmin kehitys oli huima, ja hänestä kehkeytyi yksi aikansa merkittävimpiä kuvanveistäjiä. Wikström toteuttikin käytännössä kaikki merkittävimmät julkiset veistotyöt, ja monet yksityiset keräilijät tilasivat häneltä teoksia. Tilaajia miellyttivät hänen realististen töidensä aiheet, jotka kumpusivat Suomen kulttuuriperinnöstä kuten kansanrunoudesta. Wikström suunnitteli ja toteutti kansallisromanttisen ateljeekodin Sääksmäelle 1893 1912. Visavuori oli ensimmäinen erämaa-ateljee, jollaisia rakennuttivat myös taiteilijaystävät säveltäjä Jean Sibelius sekä kuvataiteilijat Axel Gallén ja Pekka Halonen. Ensimmäinen Visavuori rakennettiin 1893 1894, mutta se tuhoutui tulipalossa jo 1896. Uusissa suunnitelmissa Wikström halusi toteuttaa kodin ja ateljeen erillisinä rakennuksina. Nykyinen asuinrakennus valmistui 1902 ja ateljeerakennus seuraavana vuonna. Wikström avioitui 1895 helsinkiläisen Alice Högströmin kanssa ja heille syntyi kolme tytärtä. Perhe asui pääasiassa Sääksmäellä Visavuoressa, mutta tyttärien muutettua pois kotoa Visavuori toimi kesäpaikkana Wikströmien asuessa Helsingissä. Visavuori on säilynyt lähes muuttumattomana niistä ajoista, jolloin Wikström asui ja työskenteli siellä. Ateljeerakennus on rakennettu keskieurooppalaisen jugendin hengessä. Korkean ateljeetilan lisäksi rakennukseen kuului Suomen ensimmäinen pronssivalimo, pieni pimiö ja tähtitorni. Lisärakennuksen myötä 1912 sinne valmistuivat myös talvipuutarha ja parvi urkuja varten. Visavuori on ollut museona ja avoinna vierailijoille vuodesta 1967. Emil Wikströmin veli Karl Gustav Wikström (1861 1908) rakensi Visavuoren urut 1905. Wikströmit olivat musikaalisia ja molempien vanhempien suvusta löytyy lukkareita ja seurakuntien esilaulajia. Veljeksistä toiseksi vanhin, Karl Gustav, oli jo varhain kiinnostunut käsityöläisammateista. Alkeiskoulun jälkeen hän suoritti Turun Käsiteollisuuskoulun kurssin ja oli jonkin aikaa oppilaana kivipainossa ja apupoikaoppilaana Åbo Mekaniska Verkstadt Ab Oy Vulkan Ab:n konepajassa. Kaarle pyrki 21-vuotiaana urkurakentajalle oppilaaksi ja hän pääsi B. A. Thulén oppiin Kangasalle 1882. Työskenneltyään Thulélla viisi vuotta Wikström sai apurahan ulkomaista opintomatkaa varten Amerikan Yhdysvaltoihin. Kesällä 1888 hän matkusti New Yorkiin ja aloitti työt Kempis-urkurakentamossa. Wikström menestyi ja eteni työssään. Ennen kuin hän palasi kotimaahan, hän oli vielä jonkin aikaa Rooseveltin urkutehtaassa. Wikström palasi Suomeen ja ensimmäiset urut valmistuivat 1893 Rymättylään. Hän kohtasi kuitenkin ongelmia: tilaajat kaipasivat rakentajalta kokemusta ja mainetta, ja samaan aikaan Suomessa vaikuttivat jo tunnetut B. A. Thulé, Jens Alexander Zachariassen ja Albanus Jurva. Lisäksi Euroopassa oli siirrytty mekaanisesta soittokoneistosta pneumaattiseen, mistä Wikström ei Amerikassa ollut saanut kokemusta. Sinnikkäällä työllä hän kuitenkin raivasi tiensä arvostetuksi urkurakentajaksi. Visavuoren urut valmistuivat lopulta 1905, vaikka suunnitelmat urkujen rakentamiseksi olivat jo olemassa palossa 1896 tuhoutuneen ateljeerakennuksen ajoilta. Aluksi urut sijoitettiin ateljeen puolelle, mutta 1912 ne siirrettiin niitä varten rakennetulle parvelle. Urut säilyivät hyvässä kunnossa Emil Wikströmin elinajan, mutta hänen kuoltuaan urkujen kunto laski ja vähitellen ne hiljenivät - 38 -