Ede Terényi about Kalevala
Kalevala is creation itself. The audience and the protagonists melt into each other in a mystical ritual of declamation and incantation. This ritual comes to invoke the ancestral cosmical rytms of nature: the boisterous music of the wawes, the gurgle of the rivulets through the rocks, the cold murmur of the fir-trees, the immaculate cry of the snow as man imprints it.Kalevala is a magical song; a miraculous millenary web woven by the words of a kind-hearted and inventive people.Every line of the poem is a testimony of believing in the magical power of the word. This belief transform the universe, restoring the objects to their inner life, transferring the energies from gods to people and then from soul to soul.The poem “Kalevala” empowered with philosophical meanings is a gift wich opens new pathways through the knowledge and the understanding of the material and spiritual word.
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Kalevala este însăşi Creaţiunea. Publicul şi interpreţii se contopesc prin ritualul mistic al declamaţiei şi incantaţiei pentru a invoca din adâncurile firii ritmurile cosmice ancestrale – vuietul valurilor mării, şopotul grăbit al pâraielor printre stânci, zumzetul rece şi misterios al brazilor, scâncetul zăpezii în urma trecerii omului. De fapt, Kalevala este un cânt magic; o ţesătură miraculoasă, milenară, urzită din cuvintele unui popor cu suflet bun şi o sclipitoare fantezie. Fiecare vers al poemului este o mărturie a crezului investit în puterea magică a cuvântului, crez care transformă universul, dăruind viaţă obiectelor, umanizând fiinţele naturii, făcând transferul energiilor de la zei la oameni, iar mai apoi, de la om la om. Poemul Kalevala, bogat încărcat cu înţelesuri filosofice, este un dar binefăcător care deschide noi căi de cunoaştere a esenţei fenomenelor care guvernează macrocosmosul şi microcosmosul.
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Másfél évszázada játszik nekünk varázslatos hárfáján VEJNEMŐJNEN. Nincs olyan helye a világnak, ahol ne ismernék, ne csodálnák, ne szeretnék ezt a jóságos IDÖAPÓT. Nevét könnyen megtanultuk. Tetteit, varázsigéit, szellemét magunkban őrizzük. És vele együtt a finn népet, a tájat, a hatalmas fenyőerdőkkel, a vastag hótakaróval borított dombokkal, a tűzhely melegével mint mégannyi mesebeli szépséget visszük magunkkal egy életen át. Elias Lönnroth nagyszerű munkát végzett nemcsak mint gyűjtő, de mint kőltő is, amikor a sok különáló részletet egyetlen hatalmas egészbe sűrítette, NAIV EPOSZBA szedte.
Íme már e sorok írására is rányomja bélyegét a Kalevala gondolatrimes szerkezete. Ha beleolvas az ember ebbe az ötven fejezetet számláló, 22800, nyolcszótagos sort tartalmazó hatalmas eposzfolyamba, önkéntelenül is a versszerkezet hatása alá kerül. Az alliterációk gazdag választéka minden fordításban egyéni hangzást biztosít és magával viszi az új nyelvbe is a szókezdőrimes "megfeleltetés" varázsát. Éppen ez az egyik legnagyobb szépsége a Kalevalának, hogy a történeteken, a személyek jellemzésén, a finn népi képzelet ezernyi finom rezdülésén, természet-imádásán, megszemélyesítésén túl szövegben is képes közvetíteni egy rendkívül sajátos hangzásvilágot: MUZSIKÁL A VERS. Összecsendülnek-pendülnek a verssorok. “Veli kulta, veikkoseni, / kaunis kasvingkumppalini! / Lahe nyt kanssa laulamahan, / saa kera sanelamahan,..." ("Jöjj hát, öcsém, jó barátom, / gyere, gyermekkori társam! / Daloljuk dalunkat együtt, / ketten kezdjünk énekelni." - Nagy Kálmán fordítása.)
Mindig ketten énekelnek! "Kösd a kezedet kezembe, / ujjad ujjaim közébe, / jó éneket énekeljunk, / legjobb dalunkat daloljuk" (N. K. ford.). Az énekhang egyik énekestől a másikra száll, majd vissza. A verssor-végek verssorkezdetekkel találkoznak. Láncszerűen fonódnak egymásba a dallamsorok. Szinte páratlan zenei hömpölygésnek tűnik a hallgatónak. Szövegzengetés és dallambeszéd rituálé bontakozik ki az előadók és hallgatóságuk részére egyaránt. Világteremtés maga ez a folyamat is. Az örök ritmus keresése, a tenger hullámverése, a sziklákon átzuhogó patakok folyók csobogása, fenyők zúgása, sítalpak siklása nyomán felsűvitő zaj, energiák átáramlása egyik emberből a másikba.
VARÁZSLÁS!!
A Kalevala tulajdonképpen VARÁZSÉNEK, INKANTÁCIO!
A mű minden sorából árad a hit: a SZÓ MÁGIKUS EREJÉBE vetett hit. A szó mindent megváltoztat. Az élettelen tárgyak életre kelnek. Minden zugból élőlények kelnek ki és népesítik be a legelhagyottabb tájakat is. Az erdő, TAPIOLA, ezernyi lénynek otthona. Rend van benne. A túlvilág - TUONELA - úgyszintén telve van élettel, hatalmas erők működnek benne, az ember számára pusztítóak, de a maguk valóságában, a maguk helyén rendbe szervezettek. POHJOLA hideg, fagyos, északi világa is - mint Kalevala gazdag, termő, éltető földjének ellentéte- is árnyaltan emberivé formált. Ezek mellett a növények, állatok, a csillagok világa is benépesül az emberihez hasonló ÉLET millió formájával. Ilyen csodálatosan csak az északi ember tud hinni az életben, tud örülni neki, megbecsülni minden adományát. Szinte kényeztetik a világot. Se szeri, se száma a kicsinyítő jelzőknek, amivel az élőlények kedvességét, szépségét, jóságát akarják hangzásban és értelemben megjelentetni. Minden élőlényt sokféleképpen neveznek, ezzel is jelezve azok nagyszerűségét. Az eposz főszereplőinek jellemzésében, a jelzők használatában is szinte kifogyhatatlanok. Gyönyörű szőtes ez, amit szavakból szőtt, évezredek alatt egy gazdag, nagyszerű képzelőerejű jóságos nép. A Kalevala JÓ TETT AZ EMBERISÉGNEK.
Általa jobban megismerjük magunkat, a minket körülvevő természetet, a világegyetemet mozgató erők igazi lényegét. A mesén túl hatalmas filozófia foglalata ez a MŰ. Mert MŰ, a TEREMTÉS EGY DARABJA. Szereplői Ember - Istenek vagy ISTEN-EMBEREK, aszerint, hogy az ember világából küzdik fel magukat hősőkké, vagy az Istenek világából szállanak alá, hogy megvédjék az emberiséget. Nagyon kell ma is a segítségük.
TERÉNYI EDE
Carmen Vasile about Kalevala
Kalevala is such a magic epode that is rerighting and get new meanings at every declamation, at every incantation. Like Ede Terényi’s music, Kalevala is much more that we can say, feel or understand; a long string of signs placed carefully here on earth for not forget the way to haven.
The discourse of these essential meanings is coming from the very high circles of the spirit, where the energies of life and die are irummping, where the knowledge is revealing itself, where the creation was done.
The opera “Kalevala” is a pure well of these wonderful spaces, a kind of universe itself what is searching his own beginning like the circle, an initiated way of creation to discovering our selves, for discovering the faces of our dreams, of our times and our present...
The discourse of these essential meanings is coming from the very high circles of the spirit, where the energies of life and die are irummping, where the knowledge is revealing itself, where the creation was done.
The opera “Kalevala” is a pure well of these wonderful spaces, a kind of universe itself what is searching his own beginning like the circle, an initiated way of creation to discovering our selves, for discovering the faces of our dreams, of our times and our present...
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Epopeea Kalevala nu poate fi învăţată, ... nu poate fi redată întocmai niciodată. Precum muzica lui Ede Terényi, ea este mereu mai mult decât se poate spune, simţi sau înţelege; un lung şir de însemne aşezate cu grijă aici, pe pământ, pentru a nu uita drumul spre cer.
Discursul acestor esenţe se rosteşte în cele mai elevate sfere ale spiritului, acolo de unde irump energiile vieţii şi morţii, acolo unde se destăinuie fulgerător ştiinţa, acolo unde se înfăptuieşte creaţia.Opera “Kalevala”, fântână pură a acestor lumi, este un univers în sine, care, precum cercul, se arcuieşte spre începuturile sale, un drum iniţiatic prin creaţie spre cunoaşterea de sine şi a chipului visurilor, a vremurilor şi a clipei...
I. Andante solenne
The first musical piece is a slow introduction into the topic. It starts in p and it culminates in ff. The melody of the voice is, in the first four beats, a low, profound sound, maintained in a murmur which rising in intensity like a mantra, a spiritual incantation.
In the next two beats the vocal melody moves between A-B as a sign of development, like a beginning but also like a dual. Beat 6 imitates the content of beat 5 in the superior octave.
This duality is a sign of the primordial creation which is done by the first division resulting in two identical parts. In the old incantation of the saga there were two singers sitting on a bench facing each other and holding hands. The melody they sang to accompany the text was doubled by a swinging movement. The light is white and it focuses on a very narrow circle lighting the protagonist’s face.
In the next two beats the vocal melody moves between A-B as a sign of development, like a beginning but also like a dual. Beat 6 imitates the content of beat 5 in the superior octave.
This duality is a sign of the primordial creation which is done by the first division resulting in two identical parts. In the old incantation of the saga there were two singers sitting on a bench facing each other and holding hands. The melody they sang to accompany the text was doubled by a swinging movement. The light is white and it focuses on a very narrow circle lighting the protagonist’s face.
Primul număr muzical este o introducere lentă în temă. Porneşte din piano şi culminează în forte. Linia melodică a vocii se constituie în primele patru măsuri într-un singur sunet grav, profund ţinut tot timpul într-un murmur care creşte în intensitate treptat precum o mantră, o incantaţie spirituală.
În următoarele două măsuri linia melodică vocală execută o pendulare între sunetele la – si în semnul unei dezvoltări, unui început dar şi a dualului. Măsura nr. 6 imită la octava superioară conţinutul măsurii nr. 5.
Această dualitate este un semn al creaţiei primordiale care se realizează prin prima diviziune de unde rezultă două părţi identice. În incantarea veche a epopeii erau doi cântăreţi care stăteau pe o băncuţă faţă în faţă şi se ţineau de mâini. Îşi acompaniau melodia pe care rosteau textul cu o mişcare legănată.
Lumina este albă şi focalizată într-un cerc foarte restrâns pe faţa protagonistei.
În următoarele două măsuri linia melodică vocală execută o pendulare între sunetele la – si în semnul unei dezvoltări, unui început dar şi a dualului. Măsura nr. 6 imită la octava superioară conţinutul măsurii nr. 5.
Această dualitate este un semn al creaţiei primordiale care se realizează prin prima diviziune de unde rezultă două părţi identice. În incantarea veche a epopeii erau doi cântăreţi care stăteau pe o băncuţă faţă în faţă şi se ţineau de mâini. Îşi acompaniau melodia pe care rosteau textul cu o mişcare legănată.
Lumina este albă şi focalizată într-un cerc foarte restrâns pe faţa protagonistei.
libretto:
Mieleni minun tekevi,
aivoni ajattelevi
lähteäni laulamahan,
saa'ani sanelemahan,
sukuvirttä suoltamahan,
lajivirttä laulamahan.
Sana suussani sulavat,
puhe'et putoelevat,
kielelleni kerkiävät,
hampahilleni hajoovat.
*
Mastered by desire impulsive,
By a mighty inward urging,
I am ready now for singing,
Ready to begin the chanting
Of our nation's ancient folk-song
Handed down from by-gone ages.
In my mouth the words are melting,
From my lips the tones are gliding,
From my tongue they wish to hasten;
When my willing teeth are parted,
When my ready mouth is opened,
Songs of ancient wit and wisdom
Hasten from me not unwilling.
*
Uite, mă apucă-o poftă,
mi-a venit deodată gândul
să-mi încep acum cântarea,
să dau drumul unui cântec
despre-a neamului poveste,
despre-a noastră seminţie;
vorbele se moaie-n gură,
cad încetişor cuvinte;
lin se-naltă de pe limbă,
printre dinţi roiesc în aer.
*
Ihol kedvem kerekedett,
Eszemben gondolat gerjedt:
Én elmennék énekelni,
Szép szavakat sorba szedni,
Mondanám az ősi mondát,
Regélném a régi regét.
Szájamban szavak sürögnek,
Beszédek bőven buzognak,
Nyelvem hátán nyargalásznak,
Fogam között fickándoznak.
Egyre azon elmélkedem:
Kedvem támadt énekelni,
Jó szivvel beszédbe fogni,
Népünk versét mondogatni,
Régiek dalát dalolni,
Szavaim számban olvadoznak,
Beszédeim bontakoznak,
Nyilatkoznak nyelvem hátán,Futamodnak a fogamra.
II. Allegro molto
After Aino has received two garments sawn with golden and silver thread she takes off all her earthly clothes and disappears in the deep water. Aino was going to marry the famous singer and magician Väinämöinen, but the young girls finds refuge in the deep water where she turns into a fish.
În răchite-a pus cămaşa,
rochia de-un plop şi-a prins-o,
azvârlitu-şi-a colţunii
pe pământul gol, lăsat-a
lângă-o stană conduraşii;
pe nisip zvârli şiragul
perlelor şi tot acolo
şi inelele de aur.
Stanca se-afundă sub valuri,
a căzut cu stânca fata.
*
Ingét veti ingónádra aj,
Szép szoknyáját száraz ágra ,
...
Gyöngyeit, aj, a gyomba dobja,
...
Alig ért a szépsziklához, aj
Alig ült a kemény köre,
Habba hengerült a szikla,
Tenger fenekére fordúlt,
Süllyedt a sötét tengerbeAjno vele hullt a vízbe.
După ce Ajno a primit două rânduri de straie cusute cu fir de aur şi fir de argint se leapădă de toate veşmintele pământeşti şi se lasă pierdută în apa adâncă. Ajno urma să se mărite cu vestitul rapsod şi mag Väinämöinen dar tânăra fată se refugiază în apa adâncă unde se transformă într-un peşte.
libretto:
Heitti paitansa pajulle,
Hamen hensa haapaselle
sormukset somerikolle
Sitte sinne saatuansa
asetaiksen istumahan
kilahti kivi vetehen,
paasi pohjahan pakeni,
neitonen kiven keralla,
Aino paaen palleassa.
*
Weeping Aino, now disrobing,
Lays aside with care her garments,
Hangs her silk robes on the alders,
Drops her gold-cross on the sea-shore,
On the aspen hangs her ribbons,
On the rocks her silken stockings,
On the grass her shoes of deer-skin,
In the sand her shining necklace,
With her rings and other jewels.
Heitti paitansa pajulle,
Hamen hensa haapaselle
sormukset somerikolle
Sitte sinne saatuansa
asetaiksen istumahan
kilahti kivi vetehen,
paasi pohjahan pakeni,
neitonen kiven keralla,
Aino paaen palleassa.
*
Weeping Aino, now disrobing,
Lays aside with care her garments,
Hangs her silk robes on the alders,
Drops her gold-cross on the sea-shore,
On the aspen hangs her ribbons,
On the rocks her silken stockings,
On the grass her shoes of deer-skin,
In the sand her shining necklace,
With her rings and other jewels.
*
În răchite-a pus cămaşa,
rochia de-un plop şi-a prins-o,
azvârlitu-şi-a colţunii
pe pământul gol, lăsat-a
lângă-o stană conduraşii;
pe nisip zvârli şiragul
perlelor şi tot acolo
şi inelele de aur.
Stanca se-afundă sub valuri,
a căzut cu stânca fata.
*
Ingét veti ingónádra aj,
Szép szoknyáját száraz ágra ,
...
Gyöngyeit, aj, a gyomba dobja,
...
Alig ért a szépsziklához, aj
Alig ült a kemény köre,
Habba hengerült a szikla,
Tenger fenekére fordúlt,
Süllyedt a sötét tengerbeAjno vele hullt a vízbe.
III. Allegro
Nature witnesses the virgin Aino’s death / metamorphosis. The beats in the forest plot to take the news to her family, but neither the bear, nor the wolf, nor the fox manage to do it. In the end, the hare takes on to tell the news to the girl’s family. The accompaniment which unfolds a long line of eights from the beginning to the end of the piece of music creates a cumulative tension which reflects the frightened animals’ state of mind. The effect caused by the rhythm of the voice sung in six quarters followed by two stressed singularly eights tells of unrest.
Întreaga natură este martoră la moartea / metamorfoza fecioarei Ajno.Animalele pădurii conspiră să ducă vestea familiei dar nici ursul, nici lupul, nici vulpea nu au izbândit.
Într-un final, iepurele este acela care se angajează să dea de veste casei vestite a fetei.
Acompaniamentul care desfăşoară un lung şir de optimi de la începutul şi până la sfârşitul numărului muzical creează o tensiune acumulativă care corespunde cu starea animalelor speriate de tristul eveniment. Efectul provocat de formula ritmică a vocii cântate, prin şase pătrimi urmate de două optimi care sunt accentuate separat este de agitaţie.
libretto:
Kukas sanan saatantahan,
kielikerran kerrontahan
neien kuuluhun kotihin,
kaunihisen kartanohon?
Susi sanan saatantahan,
kielikerran kerrontahan!
Ei susi sanoa saata:
lammaskarjahan katosi.
Kukas sanan saatantahan,
kielikerran kerrontahan
neien kuuluhun kotihin,
kaunhisen kartanohon?
Repo sanan saatantahan,
kielikerran kerrontahan!
Kukas sanan saatantahan,
Jäno sana saatantahan,
kielikerran kerrontahan!
*
Who then tell the cruel story,
Who will bear the evil tidings.
To the cottage of her sister?
Will the fox repeat the story
Tell the tidings to her sister?
Nay, the fox must not be herald,
He would eat the ducks and chickens.
Who then tell the cruel story,
Who will bear the evil tidings
To the cottage of her brother,
Once the home of lovely Aino?
Shall the hare repeat the story,
Bear the sad news to her brother?
Yea, the hare shall be the herald,
*
Cine-o fi să ducă vestea,
cine-o fi să spuie ştirea
pe la curţile înalte
ale fetei, pe la casa
mult-vestita a fecioarei?
Vestea o va duce ursul,
nu şi-a 'ndeplinit trebşoara.
Vestea o va duce lupul,
nu şi-a 'ndeplinit trebşoara.
Vestea o va duce vulpea,
nu şi-a 'ndeplinit trebşoara.
Oare cine-o duce vestea
cine-o fi să spuie ştirea?
Iepurele-o duce vestea,
el va fi să spuie ştirea;
zise plin de-nsemnătate:
“Da bărbaţii-şi ţin cuvântul!”
*
Ki menjen hát hírmondónak,
Szaladjon el szószólónak
Hajadon híres házába,
Szűz szépséges szállására?
Farkas fusson hírmondónak,
Szaladjon ő szószólónak!
Farkas nem futott a hirrel:
Jámbor juhok után járkált.
...
Medve fusson hírmondónak,
Szaladjon ő szószólónak!
Medve nemfutott a hirrel.
...
Ki menjen hát hírmondónak,
Szaladjon el szószólónak,
Hajadon híres házába,
Szűz szépséges szállására?
Vigyen hírt a veres róka,
Legyen ő a szó szólójá.
Ki menjen hát hírmondónak,
Nyúl nyargaljon hírmondónak.
IV. Adagio
Upon hearing the sad news of Aino’s death, her mother weeps, shedding bitter tears for her daughter. Musical piece no. 4 creates the atmosphere of the mourning. The chromatic scales exposed both in the accompaniment and in the vocal score express the character’s pain.
La aflarea vestei tristului sfârşit al lui Ajno, mama îşi plânge cu multe lacrimi fiica pierită. Numărul muzical nr. IV creează atmosfera bocetului. Scările cromatice expuse atât în acompaniament cât şi în partitura vocală exprimă durerea personajului.
libretto:
Emo itki, kyynel vieri:
vieri vetrehet vetensä
sinisistä silmistänsä
poloisille poskillensa.
*
Sadly weeps the gray-haired mother,
And the tears that fall are bitter,
Flowing down her wrinkled visage,
Till they trickle on her bosom;
*
Mama izbucni în vaier,
a vărsat şiroaie lacrimi,
din albaştrii ochi, tot curs-au
pe obrajii ei cei galbeni.
*
Sírt a szüle, könnye csordúlt,
Sírt a szüle, könye csordult,
Bőven hullt szeme harmatja,
Bőven hullt szeme harmatja,
Két szomorú kék szeméből,
Bútól barázdált arcára,
Bútól barázdált arcára,
Bőven hullt szeme harmatja,
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