Fennia Rediviva by Oskar Merikanto
Fennia Rediviva is an artistic collage created by Oskar Merikanto, in which he summarizes the moods of Finns during the first period of oppression and later when Finland, according to the name of the work, comes to life again. Fennia Rediviva's work includes a program text compiled by Merikanto and a composition that contains many music quotations. The work also has a theme from a Finnish song composed by Fredrik Pacius (1809–1891).
On Fennia Rediviva's date of 6 November 1905, Oskar Merikanto refers to the end of the general strike, when Tsar Nicholas II overturned the so-called the November Manifesto, the February Manifesto (February 15, 1899), which began the period of oppression; an order giving the Governor-General the powers of a dictator .Dark clouds cover the Finnish sky. Peace-free aims for a black future. The Bobrikoff system, with all its illegalities, has come to power. Despair - pain - suffering - tears. - The cry of distress of the people plunged into the accident: "God is our castle!" (Ein Feste Burg- ) - - - Mist dissipates. Calls for the struggle to restore freedom and legal conditions (original motif from Marseilles and the Workers' March). - With enthusiasm, the whole nation follows this exhortation. The Laine of the struggle is strong throughout the country (topics from the Pori march). The song of freedom is playing. - The manifesto has arrived. The victory has been achieved. More enthusiastically than ever before, the people join the song “Our Country ” Maamme.
All titles have been edited to contain the following parts:
Standard Finnish septet : E-flat soprano cornet, B-flat cornet I, B-flat cornet II, E-flat alto, B-flat tenor , B-flat baritone, BB-tuba (concert pitch Bass Clef). Our wish is that brass players will try the conical brass instrumentation, but also welcome playing by mixed wind bands.
Additional parts provided: Part 1 in Bb, Part 1 in C, Part 2 in C, Part 3 in C, Part 4 in F, Part 5 in Bb treble, Part 6 in Bb treble, Part 7 in Bb treble (for bass clarinet). This should provide most parts for a standard concert band. Only limited percussion is included, but could be added ad lib. Additional parts in other transpositions can be requested.
The Finnish Brass in America Series presents brass band music of immigrants and has not played in more than a century. This band sheet music was found in community band libraries and in archives in Hancock, Michigan- Virginia, Minnesota- Minneapolis, Minnesota – Conneaut, Ohio, and Fitchburg, Massachusetts. These compositions were coming from a much wider range of Finnish immigrant communities from coast to coast and reflect an intense activity during that time. The primary promoter of Finnish community music activity in the U.S. in the early 1900s was the Sibelius Club of Monessen, Pennsylvania. In cooperation with the HN White Music Company of nearby Cleveland, the Sibelius Club published many band pieces, some of which are included in this series. Several compositions are also from unpublished manuscripts.
The Finnish Brass in America Series is scored primarily for original Finnish brass septet: E flat Soprano Cornet, two B flat Cornets, an E flat Alto Horn, a B flat Tenor Horn, and Euphonium, and a Tuba. However, these sets also include alternate parts for flute (piccolo), clarinet, French horn, and tenor saxophone. The original seven parts can also be played by other instrumentalists who read those clefs and transpositions (tenor saxophone, bassoon, bass clarinet, etc.) While many of us in Ameriikan poijat have contributed arrangements to this series, it has been primarily of work of Tracey Gibbens, with editing by Russell Pesola and Paul Niemisto.
The Finnish brass septet (torviseitsikko in Finnish) has its roots in the late 19th century. The Finns that played in the army bands took their music and instruments home with them and formed brass bands in their home communities. These musicians had been trained in the army to play Russian, German, and authentic Finnish music. Many of them emigrated to America.
As the music developed in Finland over the years, the tango, cabaret music, and jazz added their influence to the Finnish septet arrangements. Traveling bands and recordings from other nations influenced the music of the brass septet--and also contributed to its eventual downfall. The septet tried to adapt to these new styles, but soon fell from popularity as jazz and the music of the accordion became more fashionable. By the end of the 1930's, the age of the torviseitsikko was over, and Finland was caught up in the jazz movement. In the 1990's, a revival of the brass septet began to place in Finland due to renewed interest in their own heritage during centennial years.
Ameriikan Poijat (Boys of America) is an ensemble of American brass players with an interest in Finnish heritage, playing traditional Finnish brass septet repertoire to American audiences and on international tours. Ameriikan Poijat had the honor to participate in events celebrating Finland's 75th Anniversary of independence in 1992 and has made four tours to Finland. Poijat is pleased to be representing North American Finns, reviving old traditions, and contributing to the appreciation Finnish music.
