Music Finland Core

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In writing the Petrarch Suite I engrossed myself in one of the most famous works in world literature, Il Canzoniere by the 14th century Italian, Francesco Petrarca. The four sonnets used here are merely a small section of the immortal love poetry dedicated to Laura. Not only were these poems to serve widely as the model for the erotic poetry of the Renaissance, but they have gone on to inspire poets throughout the ages.In the first, second and fourth songs, the baritone soloist contemplates his bitter-sweet love for Laura, the one for whom he yearns. The baritone part is characterised by richly expressive recitative, commented upon by the choir. In the first song the choir concentrates on the word ‘love’ (amore).The second song is pervaded by the shadowy quiet of benediction (‘Blessed be the day, the month, the year, when the lightning of her beauteous gaze took me prisoner; blessed be the restlessness, the agonies, the sighs and tears’).The third song, for choir alone, is an ode to Laura’s sweetness and beauty. It ends with an ecstatic glissando sigh on the loveliness of her eyes.The fourth song follows on immediately (attacca) with the glissando — the connecting link between the two songs — transforming itself almost into a lamentation. The choir, in liturgical tones, offers up a prayer to the invisible monarch in heaven, pleading for him to grant deliverance and repose at the moment of death.The choir sings in a homophonic style throughout the work in order that the words and the message should make themselves felt. Isolated words from the choir form the backbone around which the baritone soloist weaves his meditative lines, emits cries or whispers secrets. Ideas, atmospheres and musical structures: these are the stuff of which the Petrarch Suite is made.© Erik Bergman, 1994(Fennica Gehrman)(translated by © Andrew Bentley)Petrarca-sarja syventyy yhteen maailmankirjallisuuden kuuluisimmista teoksista, 1300-luvun kirjailijan Francesco Petrarcan teokseen Il Canzoniere. Nämä neljä sonettia ovat vain pieni valikoima näistä kuolemattomista rakkausrunoista Lauralle. Niistä ei tullut esikuvia ainoastaan renessanssin eroottisille runoilijoille, vaan ne ovat vaikuttaneet runoilijoihin myös muina aikakausina.Ensimmäisessä, toisessa ja neljännessä laulussa baritonisolisti meditoi katkeran ihanasta rakkaudestaan haluttuun Lauraan. Baritonin osuutta leimaa ilmaisurikas resitointi, jota kuoro kommentoi välihuomautuksin. Ensimmäisessä laulussa kuoro keskittyy sanaan rakkaus (amore). Toisessa laulussa taas leviää siunauksen hiljainen hämy (’Siunattu olkoon se päivä, kuukausi, vuosi, jona salama hänen kauniista silmistään sai minut uhrikseen – ja siunattuja olkoot levottomuus, tuska, huokaukset ja kyyneleet’). Lauran kauneutta ja ihanuutta ylistetään kolmannessa, vain kuoron laulamassa laulussa, jonka lopussa koetaan autuas glissando-huokaus – motiivi hänen silmiensä kauneudesta. Kolmas laulu jatkuu välittömästi (attacca) neljänteen valituksenomaiseksi muuttuvan glissando-motiivin muodostaessa yhdistävän lenkin. Kuoro laulaa liturgisin sävyin rukouksen taivaan näkymättömälle kuninkaalle saadakseen vapautuksen ja sielunrauhan kuoleman hetkellä.Kuoron osuus on homofonista läpi koko teoksen, sillä sanojen ja sanoman on tultava esiin. Kuoron yksittäiset sanat muodostavat ytimen, jonka ympärille baritonisolisti kutoo meditaatioitaan, heittää huutojaan ja kuiskaa salaisuuksiaan. Petrarca-sarja on ideoiden, ilmapiirien ja musiikillisten rakenteiden kokonaisuus.© Erik Bergman, 1994(Fennica Gehrman)

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Arranger

Movements

Availability

Abbreviation	Instrument
Woodwind
acl	alto clarinet
afl	alto flute
arec	alto recorder
asax	alto saxophone
barsax	baritone saxophone
barhn	baritone horn
bcl	bass clarinet
bfl	bass flute
bob	bass oboe
bsax	bass saxophone
bsn	bassoon
cbsn	contrabassoon
cl	clarinet
ehn	English horn
fl	flute
hn	French horn
ob	oboe
pic	piccolo
rec	recorder
sax	saxophone
srec	soprano recorder
ssax	soprano saxophone
trec	tenor recorder
tsax	tenor saxophone
Brass
ahn	alto horn
atrb	altotrombone
barhn	baritone horn
btrb	bass trombone
cornet	cornet
euph	euphonium
fhn	flugelhorn
hn	French horn
tba	tuuba
thn	tenor horn
trb	trombone
trp	trumpet
Percussion
dr	drums
glock	glockenspiel
mar	marimba
perc	percussion
timp	timpani
vibr	vibraphone
xyl	xylophone
Strings
db	double bass
gamba	viola da gamba
str	strings
vla	viola
vlc	cello
vln	violin
Other
acc	accordion
cel	celesta
cemb	harpsichord
chords	chords
elbas	electric bass
elg	electric guitar
elorg	electric organ
elpno	electric piano
guit	guitar
harm	harmonium
hca	harmonica
hp	harp
instr	instrument
kantele	kantele
keyb	keyboard
live electr	live electronics
mand	mandolin
mel	melody
org	organ
pno	piano
synth	synthesizer
tape	tape
Vocal
alto	alto
baryt	baritone
basso	bass voice
ch	choir
chc	childrens choir
chf	female choir
chm	male choir
chx	mixed choir
cten	countertenor
mezzo	mezzo-soprano
sopr	soprano
speaker	speaker
ten	tenor
voc	vocal

Symphony orchestra
2222 4331 11 1, str = 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 French horns, 3 trumpets, 3 trombones, tuba, timpani, one other percussionist, harp and strings
Wind band
2252 3 423 21212 3 = 2 flutes, 2 oboes, 5 clarinets, 2 bassoons - 3 saxophones - 4 French horns, 2 trumpets, 3 trombones - 2 cornets, alto horn, 2 tenor horns, baritone horn, 2 tubas - 3 percussionists
Big band
221 4 4, pno, guit, db, dr = 2 alto saxophones, 2 tenor saxophones, baritone saxophone, 4 trumpets, 4 trombones, piano, guitar, double bass, drums
Additional codes
+	fl+pic = flutist doubles on piccolo
/	pno/org = can be played on either piano or organ
lib	ad libitum
obl	obligato
str	str: 65432 = specified number of string players
str min	str min: 65432 = at least 65432
str max	str max: 65432 = not more than 65432
solo	vln solo = violin is the solo instrument in a work not obviously for solo violin

Petrarca-suite