Erik Fordell (2 July 1917 – 21 Dec 1981) was born in Kokkola, Finland. He was a visible

figure in the town’s musical life for decades working as a composer, music teacher

and pianist. Fordell’s output of compositions is very extensive. It contains 44

symphonies, other major works, solos, choral works, chamber music and short

instrumental pieces.

Erik Fordell’s life history is intertwined with the musical life in Kokkola in many ways

starting from the 1920s. He was introduced to music at home – his father, a player in a

band conducted by organist J. A. Lybäck, taught him to read music. Fordell received

free violin and harmonium lessons from primary school teacher Hermann Remell

whose orchestra held an important position in the town’s musical life. Later, Fordell

received piano lessons from the Kaarela church organist Onni Sundblad.

The close relationship Fordell had formed with music in childhood allowed him

entrance to Helsingin kirkkomusiikkiopisto (Helsinki Conservatory of church music)

where he studied successfully from 1936 to 1938. He continued his studies at the

Sibelius Academy from 1944 to 1946, studied privately under the tutelage of Aarre

Merikanto and Leo Funtek, as well as did study trips abroad.

Before his career as a music teacher, Fordell worked in Kokkola as a club musician

between 1938 and 1955 as well as a conductor, among other things. However, in

addition to the vocation of composer, the most important part of his life’s work was

teaching music. Fordell worked as a piano teacher in Gamlakarleby svenska

arbetarinstitut from 1943 to 1966 as well as in Gamlakarleby medborgarinstitut and

Kokkola workers’ institute from 1966 onwards.

Fordell’s base work in the field of musical education has had an immeasurably great

significance for the rise of Kokkola’s musical life since the 1970s. The composer’s

second wife, violinist Anna-Lisa Fordell (née Jansson), must not be forgotten either.

She provided basic instruction to many people who became professional musicians in

Central Ostrobothnia. Erik Fordell also worked as a musician starting from the 1930s

and as the director of Karlebynejdens sång och musikförbund from 1958 onwards.

Fordell gave several composition concerts in Helsinki, Tampere, Vaasa and Kokkola as

well as performed as a pianist. His compositions have been part of the Ostrobothnian

Chamber Orchestra repertoire since the 1970s. Fordell’s works have been performed

abroad, for example in many European countries. He travelled around Central Europe

frequently, exploring its musical centres and sharing his experiences through articles

in local papers.

In addition to his major works, Fordell created hundreds of choral and solo

compositions as well as other short works. In 1985, Kjell Lolaxin wrote a pro gradu

thesis named “Tonsättaren Erik Fordell” in the Åbo Akademi University. The thesis lists

over 1,500 compositions by Fordell, but it is probable that the number of his works is

even greater in reality.

Fordell’s music is characterised by a strong need for self-expression on the one hand,

and by a professional manner of writing and an easily recognisable style on the other.

All these characteristics allowed the composer to be incredibly productive.

Fordell was awarded the title Director musices in 1974, the Freudenthal medal in

1981, the 60th anniversary of independence of Finland medal, the golden honorary

medal of the City of Kokkola in 1979 and several other tributes. Fordell was granted

the Finnish state artist pension in 1978.

In 1981, Fordell published the book “En musikers minnesbilder” in which he recalls the

stages of his life in a personal manner. The book includes a chapter where the

composer evaluates how his style of composition will be described in the future, when

he has been gone for a long time.

As a composer, Fordell has travelled his own solitary path. His music is austere and

straightforward, and the pursuit of external effects is therefore alien to his creative

work. He uses warm colours and lyrical tone painting in well-measured doses. The

Ostrobothnian humour has a certain place in his choral songs.

Fordell had a solid understanding of the significance of his works. He wrote the

following in his memoirs: “My time has not come yet, but it is forthcoming, and shall

end no more.”

Teksti: Lauri Pulakka

Image: Atelier Pallas, 1957