Pseudo-Yolk (V»rv SULASOL
(V»rv SULASOL ^3 2 6 Commissioned by the Tapiola Chamber Choir Pseudo-Yolk Duradon/Kesto: 2’15” Lively (and slightly insane) * J = 1 5 6 /J\ — nan no-ma ne-uu nuu hai nan no-ma ne-uu nuu Jaakko Mantyjarvi (1 9 9 4 ) hai nuu hai hai naa hai — hai nuu je-m u no-m a nan-naa hai nan no-ma ne-uu nuu hai je-m u je-m u no-m a nan-naa hai nan no-ma ne-uu nuu je-m u no-m a nan-naa hai naa no-m a nan-naa nun-nuu m p dolce marcaio jg i f ~ ~ ~ ~ r jan - naa jan - naa nan nou jan - naa ne-uu nuu noma nima nan - hai nan no-ma ne-uu nuu hai naa jan - naa nan nou je-m u no-ma n an -naa hai nan no-ma ne-uu nuu hai nun-nuu Eloisasti (ja vahan tarahtaneesti) ** niin nasaalisti etta koskee © 1995 S U L A S O L , Helsinki ne-uu nuu noma nima nou je-m u no-ma n an -n aa nuu Photocopying this material can seriously damage your wealth. nan - naa nan - naa 8 3 j SULASOL 15 m f extremely penetrating — like a dementedja w harp * J J nou no-kono-ko nou no-ko nou J / 1 J rj J|:j ^ nou no-m a ni-ga nou no-konou no-konou nou n o-kono-ko nou no -ko nou _________ / $ J~] J I J- J J J ' J J J J J 1J ■> nou nan - naa no - ga - ni - ga nou jei nan nou mam - maa / nou nan - naa jan - naa |J J J nou nan J J FFW naa n o -g a - n i-g a nou nou nan - naa n o -g a - n i-g a nou j .i ......liT-.j— no - ga - ni - ga nou jei nan nou mam - maa * aa rim m aisen lap itu n k ev asti — kuin m ielenvikain en m u n n ih a rp p u — 2 — jan - naa ^SULASOL 31 T h is space left intentionally blank Tila jdtelty tarkoiluksella tyhjaksi I gilSU L A SO L 38 42 46 r> pmmmmmmammmammm %[ - P im...:....iLff_.f t Ii-LUJ p if nou nan - naa nou nan - naa n o -g a -n i-g a nou jei nan nou nou jei nan nou j -J-Lj J j j J / m nou n o -g a -n i-g a f J noa nai niu Jj SJ M " J - lij nou m am -m aa noa nai m am -m aa Jdr, j n niu nou noa — 4 nai — jan - naa J j jan - naa nou nan - naa nou nan - naa j n o -g a -n i-g a nou j |j j j n o -g a -n i-g a nou noa niu u - ^ t u ....... niu nou noa nai niu nou nai g S j SULASOL — 5 — , B 3 j SULASOL /w> Jf jJJ nou nan - naa no - ga - ni - ga nou jei nan nou mam - maa jan Jf nou nan - naa no - ga - ni - ga nou jei nan nou mam - maa nh! j f ______________ nou nan - naa S... f- H - no - ga - ni - ga nou jei nan nou mam - maa W— \h f ' T f - j ...t - T - f nan - naa jan naa naa o'" JJJ ff. nou - Jfft r V no - ga - ni - ga nou jei nan — 6 nou — jan naa jjf* f mam - maa im nh! jan - naa B^SULASOL This Pseudo-Yoik has nothing to do with the genuine traditional Lappish or Saame yoik, and should thus be considered to have the same degree of authenticity as local colour in bel canto opera. If a connection must be sought, I would prefer to describe this piece as an impression of a stereotype — the stereotype that most Finns associate with Lapland and its people. The text exists merely to give form to the music and is meaningless, although the laws of probability dictate that there must exist an obscure South American Indian language in which it makes perfectly good sense. The text should be pronounced as Finnish, but contrary to Finnish singing practice all syllables with diphthongs (or ending in n) proceed directly to the second vowel (or n) in all cases, making the first part of the syllable a grace-note on the beat, as it were (e.g. ha-ii = J* J). The weird combination nh! represents a glottal grunt of indeterminate pitch but immense energy. Since this is merely a phonetic exclamation point (pace Victor Borge), it can be replaced with a hand clap, foot stamp, shaman drum or any other suitable noise at the conductor's discretion. The overall sound should be somewhat coarse and nasal and otherwise generously endowed with the quaint characteristics we identify with ethnic music, almost to the point of parody. I should point out (to avoid flak from Lappish fanatics) that it is the stereotype that is being parodied rather than the original. Jaakko Mantyjarvi 1994 Tcilla 'naennaisjoiulla' ei ole mitaan tekemista aidon saamelaisjoiun kanssa; se on suunnilleen yhtci autenttista kuin paikallisvari bel canto -oopperassa. Yhteys loytyy pikemminkin siita, etta tama teos on sanokaamme vaikka vaikutelma stereotyypista — siita stereotyypista, jonka useimmat suomalaiset Jaakko Mantyjarvi 1994 ISMN M-55005-071-6 phkkii anv mielen mukaan. Yleissoinnin tulisi olla melko raaka ja nasaali ja muutenkin aina parodian rajoille asti vaarallaan sellaisia veikeita piirteita, jotka me olemme tottuneet yhdistamaan etniseen musiikkiin. Todettakoon kuitenkin (jotta en saisi niskaani saamelaiskiihkoilijoita), etta parodian kohteena tcissa on nimenomaan stereotyyppi. iao* yhdistavat Lappiin ja saamelaisiin. Tekstin ainoa tarkoitus on antaa muotoa musiikille, ja niin ollen sen sisalto on merkitykseton, joskin todennakoisyyden lakien mukaan on varmasti olemassa jokin harvinainen etelaamerikkalainen intiaanikieli, jolla tama teksti oikeasti tarkoittaa jotain. Tekstia aannetaan kuten suomea, mutta toisin kuin suomea laulettaessa on diftongeissa viimeinen vokaali pitkii. Samoin n-loppuisissa tavuissa edetaan n.lle heti. Tavun alkuosa on siis aina mahdollisimman nopea, ikcian kuin iskulle sijoitettu etulyonti (esim. ha-ii = $ J). Omituinen yhdistelma nh! edustaa saveltasoltaan epamaaraista mutta hyvin energista kurkkuaanta. Koska kyseessa on vain foneettinen huutomerkki (Victor Borgen tapaan), voi aanteen korvata kiisien taputuksella, jalan tomistyksella, noitarummulla tai muulla sopivalla halyllci johtajan
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