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Robert Kajanus

When Robert Kajanus appeared around the Finnish music picture through the 1880s, he was considered — and he considered himself — a composer/conductor. But actually before his loss of life some 50 years later on, he previously become, for some music artists and biographers, a conductor/composer. That sort of variation is frequently rather small and may in fact become entirely meaningless for a few music artists who both made up and carried out: Was Leonard Bernstein a composer/conductor or a conductor/composer? Will it matter? In Kajanus’ case, nevertheless, that little switch in the region of two terms does indeed mean something. He was an excellent musician whose potential like a composer was extinguished by his personal steadfast devotion to some other Finnish author of your day: Jean Sibelius. Kajanus was the 1st major champ of Sibelius’ music, performing more than some other solitary person to encourage the late-blooming composer and tirelessly getting the fruits of Sibelius’ labors to a Western audience. Kajanus’ personal urge to create music appears to have become dropped in the shuffle. Kajanus was created in Helsinki in early Dec 1856 and passed away there through the summer time of 1933. He was students in the Helsinki Conservatory and proceeded to go south to Leipzig to review for just two years (1877 – 1879) with composer Carl Reinecke and conductor Hans Richter on the Conservatory there. He traveled across the continent for a couple of years and in 1882 came back to the property of his delivery and founded the Helsinki Orchestral Culture and its own affiliate, the Helsinki Philharmonic, the initial professional Finnish orchestra of genuine merit (though it got many periods of toil for Kajanus to whip the group into respectability). He led leading rank of Finnish composers through the 1880s and his deployment of Finnish lore in such functions as the shade poems Kullervo and Aino (1881 and 1885, respectively) produced a huge effect on the youthful student Sibelius, who himself take in the Kullervo and Kalevala myth-bundles for musical motivation. Through the 1890s, Kajanus — often a huge supporter of Finnish composers — started performing Sibelius’ functions; after the development of documenting, Kajanus place his interpretations from the Sibelius symphonies and shade poems on information that were regarded definitive for any generation and even more. In 1897, Kajanus was called movie director of music in the University or college of Helsinki, a post he managed for another 30 years. In 1900, he required his Helsinki Philharmonic (whose directorship he managed until his loss of life) right down to Paris for the Globe Exposition, exclusively carrying out Finnish music. Kajanus was being among the most ardent Finnish nationalists and his personal music displays these leanings. In the orchestral world, there will be the two firmness poems called above in addition to a couple of Finnish Rhapsodies (1882 and 1889). He constructed many cantatas to Finnish topics in addition to a selection of chamber and instrumental parts, including some amounts of Finnish folk-influenced piano miniatures. He composed less and much less as his lifestyle went along, nevertheless, and there is certainly precious little certainly in the post-World Battle I years.

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