Strangely enough, when they went to sing on the public platform raised in the park for the occasion, they wore evening dress and white gloves. Dress-clothes are somewhat of a rarity in Finland, as they are in many other continental countries; but there they stood in a semicircle on the dais, each man with his white velvet student cap in his hand, and, to the spectators, standing a little in the distance, the effect of snowy-white shirt, white gloves, and white cap shown up in the glancing sunbeams by black clothes, was somewhat funny.
The performers met with tremendous applause, and certainly deserved it. Although German students often sing beautifully, and are indeed famous for their rendering of the Volkslieder, those from Helsingfors sang as well if not better.
We often dined at the same hotel where they lodged, during the week, and when they marched in they sang a grace. After they had finished their dinner, they generally, before leaving, sang two or three songs by special request of visitors dining at the various tables.
Morning, noon, and night those students sang! Small bands of them went to meet the trains coming in, if they expected friends, and stood upon the platform lustily singing their welcome. They went to see other friends off, and, amidst much doffing of caps, they sang farewell songs. They marched in torchlight processions—although the torches were not very successful when all was daylight—and everywhere they went they met with the greatest enthusiasm.
Modern singing at the Festival, in parts and glees, was very good, showing the great musical talent of the people, while especially delightful were the out-of-door concerts. Another charm of the Festival consisted in the exhibition of peasants' work.
As we entered the museum where we were to hear the Kantele Concert, we stood transfixed. At a bare wooden table a quite, quite old man with long-flowing locks was sitting with his elbows on the boards, his hands stretched over his Kantele, which he was playing delightfully.
The small flat musical instrument reminded one of the zither of Tyrol, while the strange airs bore some similarity to the bagpipe music of Scotland, at least in time, which, like the piper, the old man beat with his foot. His blue eyes were fixed on the wall opposite, with a strange, weird, far-off look, and never for one moment did he relax his gaze. He seemed absolutely absorbed by his music, and as the queer old figure—a sort of Moses with his long beard—played his native instrument, amid the quaint trappings of the museum for background, we felt enthralled by the sombre surroundings and curious apparition, who might have been Wäinämöinen himself, the mythological god of music in Finland.
Others followed; they all played charmingly, and their usually sombre faces seemed quite changed by the sounds of music. Music has always played an important part in the history of Finland—for good be it owned, and not, as Tolstoi suggested, to arouse the vilest passions.
Look at the faces of the people dowered with such legends. The Runo Singers live in another world from ours. Theirs is the land of poetry and romance; theirs the careless, happy dream of life. The things of this world, the sordid littleness, the petty struggles, the very fight for bread, they wot not of, for they are content with little. Socialism and Syndicalism have not robbed them of life's joys.
They sit and sing, and dream. See the far-away look on yon man's features; see how intensely he gazes on some vision painted visibly for him on the blank wall. His very face and mind seem transported to other realms. As the song rises and falls his expression alters, and when he strikes those stirring chords on the Kantele and speaks of bloodshed and war his whole being seems changed.