Leevi Madetoja’s reputation today rests largely on his two fine operas: Juha, and The Ostrobothnians. He also composed a good deal of orchestral music that Alba is exploring, much of it for the first time on disc. Madetoja’s emotional range is not terribly broad (then again, neither was Sibelius’ in his later works). The Comedy Overture isn’t especially funny despite some charming bassoon licks and characterful percussion scoring. The suite of incidental music from the play Chess, Madetoja’s first major orchestra score, begins with a “Festive March” that doesn’t sound particularly festive, but then again as the notes point out, the Finnish folk music that inspired the composer isn’t exactly rip-roaring in that department either. Still, what characterizes all of this music is a consistently high level of craftsmanship and an obvious progress in orchestral mastery beginning with the suite, continuing through the nocturnal and romantic Dance Vision, and culminating in the Third Symphony, which is a major masterpiece to set beside the last symphonies of Sibelius.
Like his elder contemporary, Madetoja found his musical salvation in a very personal neo-classicism, and anyone who admires the Sibelius of the Sixth Symphony will love this charming, unconventionally structured yet perfectly proportioned work. The third movement, which (unusually) is the most highly developed of the four, at its opening sounds remarkably like a sort of Finnish Copland before becoming one of the freshest pastorals in the music of any country. The finale waltzes its way to an imposing climax before settling into a contented silence. Both Dance Vision and Chess are premiere recordings; the Comedy Overture and Symphony have been well served on disc, though the best recordings of the latter (on Finlandia) have been very difficult to find domestically. So hooray to Arvo Volmer and the fine Oulo Symphony Orchestra for turning in what on balance must be the best recording of the Third Symphony issued thus far. Snappy winds, firm timpani, graceful strings, and rich, chubby brass (particularly in that marvelous third movement), all splendidly recorded, will make your discovery of this delightful work a treat. Alba’s Madetoja series, of which this disc is Volume 4, is really worth following.
