Kaj Chydenius, who died on Saturday, believed that everyone could sing, and wanted to take his art to people, recalls longtime colleague and friend Pekka Milonoff.
Art belongs to everyone. According to that principle, Kaj lived, says the theater director Pekka Milonoff.
Composer And Chydenius had a huge impact on the field of Finnish culture, those who knew him remember.
Chydenius died at the age of 84 at his home on Saturday.
“He did a valuable job,” says Milonoff.
Milonoff and Chydenius were friends who founded the Kom Theater together in the early 1970s. According to Milonoff, Chydenius asked him if he would like to join the new traveling theater.
“I went with the line,” says Milonoff.
In the same year, he graduated from Teatterikorkeakoulu as a director, and later served as Komi’s director for decades.
When Kom theater was founded, it was taken as a principle that the theater should go around and meet people. Not only in the theater hall, but in schools, workhouses and elsewhere.
Later in his career, Chydenius also acted accordingly when touring with other singers, says Milonoff.
Chydenius composed dozens if not hundreds of songs for the Kom theater, Milonoff estimates.
“Kaj was a fast composer. When you asked him for a composition for something, it was ready the next day at best. And when he brought it to practice, it took practice to a new level, to the power of ten.”
According to Milonoff, Chydenius “hit the mark” both as a theater composer and when making his independent pieces, such as On a rocky hill.
In the theater, Chydenius opened new careers without prejudice, says Milonoff. According to him, music was not used in the theater before.
“Or of course there were musicals, but not like in Komi. And it was thanks to Kaj. He really put himself into the music, and it worked as a dramaturgical element in a way that hadn’t been used before.”
Every can sing!
That’s what Chydenius could exclaim at Teatterikorkeakoulu, where he trained students.
“He really believed that, and with faith and encouragement, even a piper like that, who had never sung, was allowed to sing a solo on stage after a while.”
Milonoff and Chydenius met at the rehearsals of the Helsinki Teen Theater in the 1960s. They were at least united by a sense of humor and a fondness for detached theater, Milonoff recalls. According to Milonoff, you can still almost hear Kaj’s laugh.
“He laughed uncontrollably when something new was done on stage.”
Around the same time, the record company Love Records was founded, whose first record was composed by Chydenius. One of the first records was recorded in about one night, Milonoff recalls.
“And indeed Atte Blom roamed the streets of Helsinki and sold novelty items. With such a working spirit, the company stayed alive, and so did Kom.”
Eija Ahvo worked with Chydenius in the 21st century. Even today, his concert repertoire usually includes at least one song by Chydenius, Ahvo says.
Chydenius had time to work with numerous artists during his long career.
Sung in Chydenius’ singing group in the 21st century No Ahvo estimates that the importance of the composer is so great that it cannot even be seen yet. Among other things, Chydenius was building cultural workers’ organizations and has strongly influenced several generations.
“He is clearly the national composer,” says Ahvo.
“When a memorial concert is made of Kaj’s songs, it will probably last a week.”
