This Sunday evening May 13 at 7:00 you will have a chance to
enjoy Finnish music presented with a glimpse of its vitality in the early
generations of the immigrant community.
The program will include live music and vintage recordings
at the St. Paul Lutheran Church in Lanesville where services were conducted in
Finnish during the same decades that music served as "probably the
strongest glue in the culture," according to organizer Valerie Nelson
whose grandparents arrived from Finland a century ago.
|
Valerie Nelson at the
doors of St. Paul Lutheran Church |
Planning began as a focus for the Third Annual Lanesville
May Day History Festival with intriguing references in Barbara Erkkila's Village at Lane's Cove (1989). Valerie recalled
that it "started with some 'wouldn't it be nice' thoughts. Then we did all this research and
talked to university professors. The first thing we learned was how central
music was."
Brass bands established by military units, business
companies, and unions among others had been a prominent part of life in
mid-nineteenth century Finland. Along with choirs the bands performed
competitively in summer festivals. Lullabies, folksongs and legends
particularly from the national epic Kalevala
added to the musical fabric that accompanied Finns to America. At the turn of
the twentieth century they took pride in the international popularity of their
countryman Jean Sibelius, composer of Finlandia
and a trove of symphonic scores.
|
Wäinö Band of Lanesville, 1903 |
The Wäinö Band formed in the 1890s
almost entirely of Finnish players. Notable in the photo above is the number of
boys in the ensemble. Valerie Nelson points to this inter-generational
encouragement as the seedbed for widespread musical appreciation and for the
development in the 1920s and 1930s of several nationally prominent artists from
the little community on Cape Ann.
|
Julius Kaihlanen
leading the Wäinö Band c. 1930
Note the attentive
children. |
Barbara Erkkila relates stories of the Wäinö Band playing at dances, at Gloucester City
Hall and on trolley whistle-stop tours around the Cape. As their audience and
composition diversified their selections came to include other ethnic and
particularly American music, in keeping with the common trend of assimilation
into the melting pot.
|
Visiting musician Viola
Turpeinen, right |
For many years
musical cultural exchanges among immigrant communities kept Finnish descendents
engaged with each other across the country. On a less ethnic note, but arising
from this rich village life, Cape Ann sent its prodigies out to play in
prestigious ensembles of many genres.
|
Sylvester Ahola's
Orchestra |
The upcoming celebration flows in part from the energies of
the newly founded Cape Ann Finns. Its membership has reached 166 descendents of
the immigrant group. Sunday evening they will have on display a collection of
gathered family memorabilia and are constructing a website relating to their
Finnish roots. Rockport resident Rob Ranta capeannfinns@gmail.com
leads the association.
Besides the natural interest in our predecessors,
learning more about the Cape Ann Finns promises an inspiring story of
resilience, cooperation, and self-reliance. The immigrants arrived in a strange
land to work under brutal quarrying conditions. Before long they managed to
build homes, churches, and social halls as well as be at the forefront of labor
reform. By the time the granite industry collapsed in the 1920s they had
created a resolute community on a scarred landscape that charmed world-renowned
artistic immigrants to foster their own enclave here. That achievement of
wholeness blended fellowship with individualism just like synthesis in the
musical sphere.