N0 13 2018 Music in Estonian Music Review Contents

Music in Estonia: A Short History 4 Estonian music at the beginning of the new millenium 12 New advent of folk music in Estonian professional music 22 Arvo Pärt Centre – an open meeting place 30 Estonian orchestral scene AD 2017 32 Young musicians are the hallmark of Estonia 40 and choral music: myths and realities 47 International Music Day – October 1st 54 Estonia – most festivalised country 58 Moorland Elegies – Classical Recording of 2018 65 Estonia programme abroad highlights 2018 66

Music in Estonia, N0 13 Authors 68 Estonian Music Review

Published by Estonian Music Council Suur-Karja 23, 10148, Estonia E-mail [email protected] www.emc.ee Supported by Estonian Cultural Endowment

ISSN 1406- 9490 Editor Tiina Mattisen Copy Editor Kadri Lassmann Translator Wiedemanni Translation Company Design Annamari Kenk, Saara Publishing House Cover photo by Linda Liis Eek

3 Music in

TOOMAS SIITAN TOOMAS Estonia: A Short History

The story of Estonian music can be of the 13th century. The Cistercian approached from different angles. and Dominican monasteries, estab- Over about a hundred years, the story lished in the 13th century, as well as has been told in a strictly national cathedral schools in emerging towns, framework. According to this story, became hubs of formal education, Johann Valentin Meder’s Die Beständige Argenia (1680) was performed in the Estonians became a part of the introducing, among other things, the spring of 2011 by the Opera Studio of the EAMT. European musical culture in the second religious music culture, Gregorian Tallinn City Theatre half of the 19th century, when national chant and, later on, polyphonic choral schools founded in by Polish in towns. As Estonia belonged to cultural societies started to emerge and singing to Estonia. Records about Jesuits (translators’ seminar in 1585), the same cultural space as northern the kernel of the choral movement was town musicians in Estonia date back as well as Tartu University (1632) and and Scandinavian countries, born, which spread across the country. to the 14th century. Since then, local Tallinn Gymnasium (1631)—both a number of prominent musicians The national cultural societies of the folk music and European art music founded as a response by the Swedes— of the region found employment in time set the scene for national culture existed side by side in Estonia, the provided an important impetus for Estonian towns. Gregor Zuber, one and statehood in their widest sense. latter mainly in towns and manors. the development of written Estonian of the most outstanding violinists of Actually, the history of European The Reformation reached Estonia in language, religious singing in Estonian, northern , and cantor Michael musical culture in Estonian towns dates the 1520s, significantly changing local and musical activities in towns. Hahn, a pupil of Heinrich Schütz, back much further in time, and the religious and educational practices. As lived and worked in Narva in the development of national professional Music instruction held an important a result of the Livonian War (1558– 1660s. Their collaboration produced music in the late 19th century would position in town schools. Pupils 1583), North Estonia fell under a couple of brilliant church cantatas not have been possible without it. performed at major church services, Swedish control, while Saaremaa that have been preserved to this day. singing chorales and performing more While the first evidence of Christian became a Danish possession and Narva was also home to complex musical works. A choir was Ludwig influence in Estonia dates from Poland claimed southern Estonia. Until , who came from a family established in almost every major Busbetzky the eleventh century, an extended 1629, when the whole Estonia became of Tallinn organists and was educated church; for example, Tallinn’s St. Christian mission, which integrated part of the Swedish Crown, its territory in Lübeck, Germany. The most Nicholas Church had a large choir historic Livonia into the western was—besides straddling the fault line prominent 17th-century musician to as far back as the late 16th century. Christian cultural space, began with between Western and Eastern Chris- live and work in Estonia was Printed sheet music of the western Johann the Livonian crusade of the Teutonic tianity—also on the border between (1649–1719), a cantor European repertoire, as well as Valentin Meder Order at the end of the 12th and start Protestant and Catholic Europe. The in Tallinn between 1674 and 1683, music textbooks, became available

4 5 who composed and performed ‘Die contemporaries. German playwright societies. Numerous German choral beständige Argenia,’ one of the earliest August von Kotzebue (1761–1819) societies were set up in towns, German , with the students of lived and worked temporarily in followed by the first Estonian cultural Tallinn Gymnasium in 1680. Tallinn, where he founded an amateur societies: the Estonia Society in Tallinn theatre company in 1784. In 1809, the and the Vanemuine Society in Tartu, Estonia was integrated into the Russian theatre became the first professional both founded in 1865. Following Empire in 1721, following its conquest theatre in Estonia; besides drama the example of the song festivals during the calamitous Great Northern pieces, the theatre regularly performed organised by the Baltic German War. The Baltic provinces retained European operas. community in 1857 and 1866, the their special status, which secured the first Estonian song festival was held supremacy of German culture. After A public performance scene, led by by the Vanemuine society in Tartu the war, the Lutheran Church was bourgeois music societies, started in 1869. The regular choral festivals strongly influenced by Halle pietism. to take shape in Tallinn and Tartu (initially held predominantly in Tartu Around 1730, the Moravian Broth- in the early 19th century. Amateur and from 1896 in Tallinn) evolved erhood Congregational Movement orchestras and choirs performed into a landmark event in the Estonian (the Herrnhut Movement) reached classical symphonies and oratorios by National Awakening. Estonia, triggering a wide and Mozart, Haydn, Handel and others. culturally important religious and From 1829 to 1835, the Tartu music The first Estonian composers to educational movement among the scene was focused around a string Gertrud Mara compose choral pieces primarily peas-ants. This encouraged the spread quartet financed by the land marshal, Portrait by C. T. von Neff, 1828 were amateurs (Kunileid, Hermann). of literacy and musical education Baron Liphart, and led by one of the In the late 19th century, a number among the peasants. The Moravian most prominent virtuoso violinists of Estonians (Kappel, Läte, Härma, Brethren introduced multipart singing in Europe, Ferdinand David. Many active music scene—regular perfor- Türnpu) studied the organ at St. and instrumental music to their prayer musicians travelling through Riga to mances started with the establishment Petersburg Conservatoire, where meetings; the spread of choirs and St. Petersburg stopped over in Tartu of a music society in 1841. The head they also received instruction in brass bands outside towns in the 19th to give performances. For example, of the society was virtuoso pianist composition. Aleksander Läte went century would not have been possible Ferenc Liszt and Clara Schumann Theodor Stein, later a professor of on to establish the first Estonian without them. performed in the assembly hall of piano at St. Petersburg Conserva- symphony orchestra in Tartu (1900), the University of Tartu. German toire. Choirs were also established while conducted The music scene in towns livened up Konstantin Türnpu and Estonian choral societies were in villages. In southern Estonian choirs in Tallinn, performing classical in the second half of the 18th century established in Tallinn by organist and parishes, where the influence of the oratorios including Bach’s St Matthew with the emergence of bourgeois composer , Moravian Brethren was stronger, Passion and Mass in B minor. amateur societies that started giving Johann August Hagen who also published the first Estoni- Estonian school choirs performed public performances. New of music The Estonian composers and an-language music textbook in 1841. complex four-part pieces; organ and was introduced to towns by German musicians who were educated at St. , one of the greatest violin instruction was available as travelling theatres, whose repertoire Gertrud Mara Petersburg Conservatoire at the turn singers and music teachers in Europe well. Peasant brass bands were also included Singspiel and operas. Madame of the century laid the foundation who spent the final years of her life widespread. Tilly’s opera troupe from Lübeck for the Estonian professional music in Tallinn, helped to organise perfor- visited Tallinn in 1795, performing a From the 1850s onward, the political scene before the First World War. mances of oratorios. Tallinn had an number of operas by Mozart and his setting favoured bourgeois cultural While (1873–1918),

6 7 1909), still followed the tradition of Republic of Estonia in 1918, new of the Estonian National Symphony German romanticism. It was Mart musical institutions were established. Orchestra, was founded in 1926. The Saar (1882–1963), with his expressive Higher music schools were established first chief conductors of the orchestra piano music and his choral and solo in Tallinn (Later Tallinn Conserv- were Raimund Kull and , songs, along with Cyrillus Kreek atoire, now Estonian Academy of later the principal conductor of (1889–1962) and his choral music, who Music and Theatre) and Tartu (now Orquesta Sinfonica de Colombia. became the innovators and founders Tartu Music College) in In 1940, after the illegal annexation of the Estonian national style. The 1919, in the midst of the Estonian of Estonia by the , all completion of the construction of War of Independence. , Heino Eller national institutions were disbanded Rudolf Tobias on the Estonian 50 kroon new theatre buildings in Tartu (1906) the grand master of Estonian national and the Estonian music scene was bill (issued in 1994). and Tallinn (1913) brought about instrumental music, laid the foundation adapted to Soviet practice. The a major change: both became hubs for professional music education in as an ideologist, wrote a number of Tartu Higher School for Music was for professional musical theatre and Tartu. Eller was a professor of music articles about the nationalist style in downgraded to a lower-level school, symphonic music performances. theory and composition at the Tartu music, his main work, the oratorio and Heino Eller was invited to work Higher School for Music. His pupils Des Jona Sendung (Jonah’s Mission, Following the birth of the independent as a professor of composition at the included composer , Tallinn Conservatoire where he taught conductor and musicol- Olav Roots until his death in 1970. To this day, two ogist —each a pioneer schools are differentiated in Estonian in his field in Estonia. The professors music: those of Heino Eller (the Tartu of the Tallinn Conservatoire included school) and of (the Tallinn eminent musicians who had received school). The former, more modernistic their musical education in , school was focused on instrumental such as (violin), Johannes Paulsen music (composers like Eduard Tubin, (cello), Raymond Bööcke Artur Arvo Pärt, ), while Artur (piano), (French Lemba Jaan Tamm Kapp’s was oriented towards a more horn), (composition), Artur Kapp traditional style and focused mainly on and (music history). Peeter Ramul vocal music (, Riho Päts, Starting from 1921, the activities of ). Kapp’s teaching choirs and the organisation of the period ended much earlier, with his Estonian song festivals were overseen resignation in 1944. by the Estonian Union of Singers. The Union also published a monthly Many Estonian musicians fled Estonia edition of Muusikaleht. Perfor- in 1944 during the final months of mances of instrumental music, as the Second World War, seeking well as publishing of scores and sheet refuge in western countries. Those music was arranged by the Estonian who remained were forced to write Academic Society of Musicians, music ’national in form and socialist in founded in 1924. The Estonian Radio content’ under the Stalinist regime. A Artur Kapp with his students, composers Riho Päts, Evald Aav and Enn Võrk in 1928. Symphony Orchestra, the predecessor new advent of Estonian music began Estonian Theatre and Music Museum

8 9 significantly in the late 1960s: Tormis literature. Music had a special role delved into Finno-Ugric folklore and in mobilizing people and creating a became one of the most original sense of solidarity—the same angst choral composers in the world, while and yearning for freedom that was Pärt created his tintinnabuli style, expressed in works by composers emigrated in 1980, and became the Lepo Sumera and Erkki-Sven global symbol of Estonian music. Tüür in concert halls was carried into pop culture by the punk band The Soviet Union, entering a new Propeller, whose concert triggered era of stagnation in the 1970s, failed youth riots in September 1980, by to suppress the spirit of music. The rock band Ultima Thule (formed in 1967 Tallinn Jazz Festival provided 1987), and by the Tartu pop music a powerful impetus to a new gener- festival, where prog-rock band In ation of jazz musicians; as the tidal Lepo Sumera and Erkki-Sven Tüür in 1999. Spe performed Alo Mattiisen’s Five wave of beat music flooded Estonia Krista Väli Awakening Songs for the first time in the 1970, original rock bands (Ruja) (1988). After that, Estonia’s resto- and the first prog-rock bands—Mess, ration of its independence was just a Psycho and In Spe—emerged as question of time. the first of their kind in the Soviet Union. The official academicism was also challenged by the early music movement that began in the 1970s (the early music ensemble Hortus Musicus, 1972) and by the activities of conductor , which led to the establishment of the Estonian Heino Eller with his student Arvo Pärt Philharmonic Chamber Choir in 1981. in 1960. The Early and Contemporary Music Estonian Theatre and Music Museum Festival held in Tallinn in 1978, under around 1960: a young conductor, the leadership of Andres Mustonen, Neeme Järvi, brought a new quality to was one of the most notable avant- the Estonian Opera and the National garde music events in the Soviet Symphony Orchestra. The Tallinn Union. Chamber Choir set new standards in All this inevitably led to the Estonian choral music. A new generation of Singing Revolution in the late 1980s: liberal-minded composers—Veljo rather than being a clear-cut event, Tormis, Eino Tamberg, Jaan Rääts, the Singing Revolution was the After the first performance of Five Awakening Songs by Alo Mattiisen, Estonia’s Arvo Pärt and others—emerged. The political realisation of the free spirit restoration of its independence was just a question of time. styles of Tormis and Pärt changed that had manifested in music, art and Tiit Veermäe

10 11 In retrospect, the turn of the millennium marked an abrupt generational disruption Estonian in Estonian music: Lepo Sumera (1950–2000) and Raimo Kangro (1949–2001), both central figures in the KERRI KOTTA music scene at the time, as well as some music at the of their somewhat lesser known peers, such as Mati Kuulberg (1947–2001) or Tarmo Lepik (1946–2001) (the latter beginning of had retired from active creative work and was virtually unknown to the younger generation), died at the peak Ülo Krigul and Timo Steiner in 2009. the new of their creative age. While younger Mait Jüriado representatives of their generation, technique can be seen in some of René Eespere (1953) and Peeter Vähi millenium (1955), continue to compose, their work, Tüür’s earlier works, in particular in Symphony No. 4 Magma for solo The feminisation of art implies that despite being highly professional, does not mark the cutting edge of Estonian percussion and symphony orchestra music is becoming marginalised in society. music after the turn of the millennium. (2002), the first pure example is Oxymoron for large ensemble (2003). This disruption is also marked by Tõnu Kõrvits’ (1969) abandonment Disruption as stylistic of relatively simple diatonic structures transformation and a decisive shift towards sound What is remarkable is that such modernism. This should be seen as disruption can be viewed as a certain transformation primarily within the stylistic transformation in the case context of Kõrvits’ own work, as his of younger composers as well. This ‘national-impressionist’ modernism is has probably manifested itself most rather moderate when compared to conspicuously in the transformed that of his peers. Examples include style of Erkki-Sven Tüür (1959): Müüt (The Myth, 2001), Armastuse discursive ‘metalinguistic’ music, märk (The Sign of Love, 2002) and which combines diatonic and serialist Eldorado (2002), as well as his later work thinking, was replaced with the more Ellujäänute laulud (Songs of Survivors, unified vectorial method of compo- 2004). In the context of disruption, we sition in which the different topoi can also mention the establishment of are developed from a single source “total post-modernism” in the works code. Although the first signs of a of Timo Steiner (1976). While in shift towards this new compositional Sumera’s works the possible flirtation Galina Grigorjeva and Andres Mustonen in Moscow (2016). Private collection 12 13 music (since 1976)—pioneered by ‘younger sister’ Tatjana Kozlova Arvo Pärt (1935)—which inspired (1977). This style is characterised by the generation of composers that the plasticity of texture, avoidance of emerged in the 1990s and established caesura and unequivocal articulation itself at the turn of the millennium not (the latter is also associated with the so much as a structure but rather as a abandonment of traditional motif relation to sound, can be considered development and musical structure its origin. Although the generation in general), acoustic sensitivity and that unexpectedly passed away at a certain asceticism (in respect to the turn of the millennium (Sumera sound) without any of the expiating et al.) had reintroduced diatonics, undertone intrinsic to Pärt’s works. i.e. the outer aspect of tintinnabuli in Further, the themes of such music the footsteps of Pärt, the composers are not as religious but are inspired by of the 1990s did this with a certain a more general, natural mentality, which Märt-Matis Lill and Toivo Tulev in 2016. Arvo Pärt and Helena Tulve in 2015. tintinnabuli ‘mentality’, abandoning the is reflected in the titles, such as Sula Peeter Langovits Alar Truu somewhat mechanical and simplified (Thaw, one of Tulve’s breakthrough with different historic styles is always approach of the previous generation. works from 1999) or Hingamisveele (To subjected to the strict logic of form Such composers of the 1990s gener- the Breathing Water, 2011) for string which retained the clear hierarchy of ation include Toivo Tulev (1958) and orchestra, as well as Kozlova’s Tule values and turned Sumera’s works into Helena Tulve (1972), as well as the süütamine (Lighting the Fire, 2015). A a Mahlerian attempt to embrace the somewhat more down to earth and composer who has recently come onto entire world—an excellent example expressive Mari Vihmand (1967). the scene is Elis Vesik (1986), whose of such a work is Symphony No. 6 Where Tulev can, in a sense, be works, including Punctum concursūs in (2000), the last music that Sumera considered a bridge between Pärt and prospectu (2017) demonstrate the vigour wrote before his untimely death—in the new style (Tulev’s style still bears and potential of such music. a hint of the fetishisation of anguish Steiner’s works, experimentation with In connection with acoustic modernism, characteristic of Pärt), the organic flow different styles often develops into the a number of sub-trends can be pointed of Tulve’s music has become a feature absurd disregarding of any hierarchy. out, such as Märt-Matis Lill’s (1975) of the new trend in music. This is clearly seen in his Symphony ‘ethical’ or ‘moral’ acoustic modernism. (2003), which nearly entirely invalidates The composer’s position is perhaps Liisa Hirsch and Mari Vihmand in 2016. itself generically. most clearly expressed in his chamber Peeter Langovits New dominating style— operas Indiate uurimine (Exploring The new dominant style is intro- music oriented to sound spective music that is primarily Indias, 2009) and Tulleminek (Into the illusory. Such themes may, however, oriented towards sound and replaces Modernist sound as a new ‘mainstream’ Fire, 2017), both of which create a also be reflected in the titles of the the playfulness and magical ostinato in Estonian music does not mean dichotomy between the external, i.e., composer’s instrumental works, such patterns that ruled in previous stylistic convergence, but rather the ‘real’, and the internal, i.e. invisible. His as Kadunud metsade kaja (Echo of Lost decades. This “new music” was not contrary. At its centre is the organic operas are criticism of the external Forests, 2004) for orchestra, Hara Hoto born overnight. In a sense, tintinnabuli sound modernism of Tulve and her structures that were eventually proved varemed (Ruins of Hara Hoto, 2011) for

14 15 table harp, percussion and symphony ‘Ecological’ acoustic modernism is the works of Ülo Krigul (1978). In this to structures inspired by pop music orchestra, or Mu nuttev hääl on sügistuul characterised by integrating specific context, his works for orchestra In pax that by now have been integrated into (My Weeping Voice is the Wind of natural sounds with purely musical (2000) and in particular JenZeits (2005) the composer’s style to such extent that Autumn, 2005) and When the Buffalo tones produced by instruments, as well should be mentioned. In these works, they are almost unnoticeable. As such, Went Away … (2007). as by the themes inspired by a deeply the composer establishes himself in they are no longer ‘alien’ or grafted ecological Weltanschauung, such as terms of style, while simultaneously on his music. The arrival of Kõrvits Composer Toivo Tulev, mentioned Tally’s Erosioon (Erosion, 2015) for distancing himself decisively from the in ‘new classicism’ is marked by his above, may be considered to be the orchestra, or Maltis’ Veetrepp (Stairway mild ‘impressionist’ approach charac- works Thule eleegiad (Elegies of Thule, most ‘spiritual’ representative of the for Fish, 2017) for three organs and teristic of Estonian sound modernism. 2007), Pisarate fantaasia (Tears Fantasy, sound-centred trend, if one bears in electronics. While Märt-Matis Lill’s Another such composer is 2011) and Hümnid virmalistele (Hymns mind its strong link to mystical oriental Kristjan music is also somewhat related to this (1976) whose angular style speaks to the Nordic Lights, 2011). It is even philosophical traditions. While the Kõrver trend, unlike the ‘ecological’ composers to the audience, despite its complex more evident in his vocal music, whose driving forces behind Tulev’s works whose approach tends to be somewhat nature, and as such stands in sharp share has significantly increased in his are often clear conflicts, as a rule, they literary and descriptive, Lill’s otherwise contrast to the cryptic structure of the work. Special mention should be made develop towards resolution of the very organic scores embody an works of (1967), the of Lageda laulud (Moorland Elegies, conflict and its absorption into a larger Andrus Kallastu internal attitude and can be, therefore, only pure representative of parametric 2015) for mixed choir and orchestra, entirety at a higher level. Occasionally, considered within the context of ethics composition1 in Estonian music. the performance of which was one of such procession is expressed in more and morals, as indicated above. the highlights of the Estonian music specific terms, such as Neither This scene in recent years. nor the Further Shore (2000) for string ‘Energetic’ acoustic modernism may quartet: the title of the work cites a be considered to be a version of While Kõrvits’ ‘new classicism’ cannot part of Dhammapada’s well-known sound modernism reduced to the New Sincerity in addition be considered a direct manifestation verse “For whom is found no near extreme, where nearly everything that to modernist styles of New Sincerity because it is too or far [i.e. no life or death], for can be considered a musical ‘object’ nuanced and mature, as a more general In recent times, an important layer has whom’s no near or far...” referring has been removed. Such music wants mind-set, it has inspired a number emerged alongside modernist styles— to the enlightened, i.e. Buddha; or to be pure energy or flow, a sound of younger generation Estonian what has become known as the New the piano concert Nada (Nothing, independent of any support system, composers, such as Pärt Uusberg Sincerity. Tõnu Kõrvits, who has been 2015), which refers to the Buddhist the most notable examples of which (1986) and Rasmus Puur (1991), mentioned here repeatedly, may be doctrine of emptiness. Religiosity with are Hirsch’s Mechanics of Flying for both students of Tõnu Kõrvits. It may considered the spiritual father of New an orthodox tinge is also important in orchestra (2016), and in particular her seem slightly strange that it is mainly Sincerity. From the second half of the the work of Galina Grigorjeva (1962) glides for various chamber ensembles, male composers, whose numbers are 2000s, Kõrvits’ style starts to gradually but, unlike Tulve, Grigorjeva repre- in which the connecting feature is the decreasing compared with emerging become clearer and simpler. In a sense, sents the ‘calmed’ or settled spirituality. continuous zooming in on an acoustic female composers, are fostering Kõrvits returns to where he started— event. Recently, the ‘ecological’ and ‘energetic’ segments of sound modernism have However, Estonian musical modernism become more important. The former also has its ‘new complexity’ and more 1 A composition technique stemmed from serialist thinking— musical structure is created through the is represented by Mirjam Tally (1976) macho output that does not shy away intentional separation of and assignation of values to various parameters. and Malle Maltis (1977), and the from more sophisticated structural 2 The recent premiere of Puur’s opera Pilvede värvid (The Colours of Clouds, 2017) at the National latter mainly by Liisa Hirsch (1984). games, and is reflected, in particular, in Opera is symptomatic of such trend.

16 17 (2009) in Istanbul as an Estonian media event, or Symphony No. 4 ‘Los Angeles’ (2008), which is dedicated to Mikhail Khodorkovsky and in the context of its premiere was rather a political position. Tüür, on the other hand, composed his most important works during this period, including the opera Wallenberg (2001), which can be considered an entirely new level of Estonian musical theatre—a level subsequently pursued by Jüri Reinvere (1971) in his Puhastus (Purge, 2012) and Peer Gynt (2014). Tüür is also establishing himself as a modern symphonist whose style is a symbiosis of organic sound modernism and the Pärt Uusberg and Peeter Vähi 2014. ‘new complexity’ based on complex Peeter Langovits fractures and rhythm structures. If the had almost disappeared); on the other connections with —Tüür, “well-sounding” styles in Estonian hand, her works share some features together with Peeter Vähi and Rein music. The feminisation of art implies with Tõnis Kõrvits’ ‘new classicism.’ Rannap (1953) represents the gener- that music is becoming marginalised ation whose taste in music was shaped, in society; therefore, New Sincerity, While Erkki-Sven Tüür has become the Maria Kõrvits and Evelin Seppar. in addition to more academic music, by despite its popularity (the works of most important Estonian composer Sadu-Triste Juurikas —and certain ethics ‘newly sincere’ composers have been since the turn of the millennium, and spirituality (which can be linked view. Such a ‘post-dramatic’ trend incorporated into the permanent the status of Arvo Pärt is somewhat to Lill’s ‘ethical’ acoustic modernism) has only intensified in subsequent repertoire of song festivals and other more ambivalent. On the one hand, are added, it is possible to say that works: Tõnu Kõrvits’ opera Liblikas mass events2), could be seen as a form Pärt is an absolute sovereign of the Tüür’s works integrate and univer- (Butterfly, 2013) does not focus on of escapism—men withdrawing from world music scene with no equivalent salise the trends currently dominating the short novel by Andrus Kivirähk, the forefront of avant-garde. among living composers; on the other in Estonian music. but on the timeless issues raised in hand, his impact on the works on the Evelin Seppar (1986), however, is the novel. Experimentation is even younger generations of Estonian Estonian musical theatre is also a completely different and unusual bolder in more chamber-like works: composers is not comparable to that in influenced by the developments in phenomenon in Estonian music—it Helena Tulve’s opera It’s getting so the past. Premieres and performances the field of performing arts. The is difficult to classify her style in this dark (2004) abandons the narrative of Pärt’s works continue to be very turn of the millennium is marked context. On the one hand, her works (in terms of movement) altogether important, but this is now rather on by Tüür’s Wallenberg, which tells the display the architectonic features of and Märt-Matis Lill’s Indiate uurimine the social front: think, for example, of story of the Swedish diplomat from the organic approach, which reintro- (Exploring Indias) and Tulleminek (Into the performance of Adam’s Lament a timeless rather than linear point of duces figurativeness into music (which

18 19 existential issues of young people—a novel concept in Estonian musical theatre. An absolute favourite of the more audience-friendly music theatre is Tauno Aints (1975), whose various works, including the operas Rehepapp (2013) and Guugelmuugelpunktkomm (Googlemoogledotcom, 2016), continue the tradition created in the works of the ‘Grand Old Man’ of Estonian music, Olav Ehala (1950), enriching it at the same time with post-modernist style games. The latter makes Aints’ works as art texts considerably more demanding for Marianna Liik and the audience and brings them closer Tatjana Kozlova-Johannes. to Tõnis Kaumann’s (1971) neoclas- Mait Jüriado sicist works, in which the dramatic element also plays an important role. the Fire) completely deconstruct opera Jaan Rääts and Eino Tamberg in the 1960s. as a primarily genre-based musical Overviews of such kind should Estonian Theatre and Music Museum form. end with an apology. The above is undoubtedly not an exhaustive 2010) or Jaan Rääts (1932) are not active creative work, yet continued to Jüri Reinvere’s works also mix and description of the developments in discussed, despite the fact that the significantly influence the music scene, synthesise different types of art. Estonian newer music during the former was rather active at the turn such as (1930–2017). The experimentation in his works is period considered. We have not of the millennium and in subsequent This article should be read bearing manifested not so much in experi- discussed electronic music and film years. The article also does not cover this in mind. menting with new forms of drama- scores or multimedia as a distinct the composers who had retired from turgy (like Märt-Matis Lill) but in phenomenon and more popular side of mixing different media: character- Estonian music. As this is an attempt to istic examples are, in addition to the describe the changed ‘face’ of Estonian abovementioned Puhastus and Peer concert music at the beginning of the Gynt, Reinvere’s radiophonic operas new millennium, focusing in particular and his rather dramatic ‘ordinary’ on the dominating artists, those concert music in which the composer composers whose style is not directly combines verbal, visual and musical related to the described trends were media. Such a mixed style is seen in left out. Therefore, the works of a ’s (1992) opera Korduma Marianna Liik number of young composers as well kippuvad küsimused (Frequently Asked as those of Eino Tamberg (1930– Questions, 2014), which focuses on the

20 21 In the 1960s, after Stalinism, Estonian music was exposed to the influences of modernism and the role of folk song New advent changed: its ideological and symbolic value diminished, while its constructive EVI ARUJÄRV role in shaping the music style came of folk music to the fore. After Estonia restored its independence in 1991, Estonian music was integrated into world culture in Estonian and the standing of folk music as a cultural symbol waned even further. The subsequent decade was devoted professional to overcoming the cultural disruption brought about by Soviet occupation and to restoring the connection with music the European space of thought. A good number of the existing basic notions were deconstructed and Cyrillus Kreek The history of Estonian professional the second half of the 19th century discarded, including nationalism Estonian Theatre and Music Museum composing is only 120 years old. and in the first days of the Republic as an aesthetic-ethical category. It Although the first song festival—a sign of Estonia in 1918, traditional culture seemed that we had reached a point Cyrillus Kreek: music from of Estonians’ cultural awakening—was bore a strong ideological message: of no return. However, traditional heaven and earth held in 1869, the songs performed old melodies and community singing and mythological themes were soon were predominantly by German and embodied the cultural self-assurance reintroduced into the cultural scene. Alongside (1882–1963), Russian composers. The first works of a small nation. During the Soviet Folk song was also back—this Heino Eller (1887–1970) and Eduard in major music genres to be written occupation, traditional culture remained, time with an ecological, pantheist Tubin (1905–1982), Cyrillus Kreek by Estonian composers came at the paradoxically, a vector for Estonian and natural-philosophical spirit – was one of the most influential devel- turn of the century. While the style national identity, although its meaning integrating various styles of music. opers of Estonian music’s ‘own style.’ Kreek was primarily a composer of of Estonian art music developed was inherently contradictory. The While folk songs have been used in choral music: a large part of his work as a result of the juxtaposition and ideology favoured traditional culture, the works of dozens of Estonian is made up of folk melody arrange- integration of European classical seeing it as an expression of closeness composers over the past 120 years, ments and settings for various choirs. heritage and modernism, folk music— to the people and as a positive antipode three composers from different Kreek’s fondness for folk music was both the German-influenced ‘new’ to Western cosmopolitan culture. Folk eras are notable due to their works shaped by the environment he grew folk songs and the 2,000-year-old runic song as a symbol was assigned the role breathing new life into heritage music: up in. Cyrillus Kreek was born the songs—has enjoyed a special place in of representing the collective harmony Cyrillus (Karl Ustav) Kreek (1889– ninth child of a music-loving village it through the ages. and social idyll of Soviet society. In the 1962), Veljo Tormis (1930–2017) and consciousness of Estonians, however, schoolteacher in western Estonia. The The role of the folk song in Estonian Tõnu Kõrvits (1969). folk song symbolized paradise lost: future composer’s perception of the art music has changed over time. At national sovereignty. world was inspired by country life and the time of National Awakening in

22 23 peasant culture, his father’s profession Issand, ma hüüan Su poole (O Lord, I Call as a schoolmaster, and the sweeping to You). Kreek’s Requiem for tenor, enthusiasm for music in the era of mixed choir, organ and symphony national awakening. In 1908, Kreek orchestra, written in 1925–1927 and enrolled at the St. Petersburg Conserv- also known as the Estonian Requiem, atoire to study trombone, music theory was the first of its kind in Estonia. and composition, but did not graduate Kreek’s settings of Estonian runic due to the outbreak of war. From 1917 songs are characterised by rich onwards, Kreek worked as a music polyphony, monumentality and even teacher and choir conductor in Tartu, symphonic style (Meie Err (Our Tallinn and other Estonian towns. In Master); Maga, maga, Matsikene (Sleep 1921, he settled in Haapsalu, where he Tight, Little Mats); Sirisege, sirisege, lived until his death. sirbikesed (A Harvest Song), etc.). Kreek had already begun to collect A special place in Kreek’s works is folk songs as a student at the Conserv- reserved for Estonian and Estoni- atoire. Kreek’s card catalogue includes an-Swedish religious folk songs and over five thousand melodies, about arrangements of Lutheran chorales. one quarter of which were collected Kreek arranged 10 religious folk Veljo Tormis by Kreek himself. His works feature tunes for mixed choir in 1916–1918; Peeter Langovits nearly one thousand folk songs and 443 religious folk tunes for four-part pieces of folk dance music. Kreek’s choir in 1931–1937, including 271 ative approach to folk music was quite Veljo Tormis: ancient choral music includes more than 20 Swedish and 172 Estonian folk songs; unique in the context of the individ- incantation original choral works set to secular and in 1949–1955, Kreek wrote four-part ualistic creativity of the 20th century, religious lyrics, over 700 arrangements canons based on 75 Estonian and 75 but also somewhat characteristic of Like Kreek, Veljo Tormis came from of folk tunes and 500 chorale arrange- Swedish religious folk songs. Estonian music in general. a rural area. Born into the family of ments in the style of J. L. E. Punschel’s The sincerity and beauty of Kreek’s Kreek’s mostly religious works were a village organist and sacristan in the chorale book. Kreek’s original works settings of religious folk songs has not performed during the Soviet affluent Parish, Tormis grew include choir works of vivid modernist captivated audiences across the world. occupation. His time came in the up in the countryside. His upbringing style, such as Nõmmelill (Heath Bell) His choral works feature both spiritual early 1990s, in the newly re-inde- included farm work, but he also and Talvine õhtu (A Winter’s Evening), glory and secular zest for life and pendent Republic of Estonia, where played the organ and sang chorales. as well as the Psalms of David—nine humour. His style is intertwined with the Estonian Philharmonic Chamber Tormis received his first instruction psalm settings that have an unmis- the modal harmony of folk songs, Choir, conducted by Tõnu Kaljuste in music from his father, who played takable folk tinge. Four of the settings, imitations of the sounds of nature and and other conductors, became the the organ at home. Tormis graduated written in 1923, are especially popular: classical polyphonic technique. Kreek most important promoter of Kreek’s from the organ class at Tallinn Music Õnnis on inimene (Blessed Is the Man), respected folk music. It features in his music. Although Kreek had no compo- School and continued his education Kiida mu hing Issandat (Praise the Lord, works in its pristine form, as cantus sition students, nor did he write at Moscow Conservatoire, where he My Soul), Päeval ei pea päikene… (The firmus. “Folk song uses me to show aesthetic manifestos, his principles were was a student in Professor Vissarion Sun Will Not Strike You By Day...) and itself,” said Kreek. Such a conserv- developed further by another master Shebalin’s composition class from of Estonian music, Veljo Tormis. 1951 to 1956. In 1956–1960, Tormis

24 25 taught composition at Tallinn Music laulud (Estonian Calendar Songs) for Crusades. Besides folk song, the latter School, where his students included mixed choir, based on the folk melodies features Gregorian chant. Summing up Arvo Pärt. He became a freelance of different Estonian counties and his life’s work, Tormis used fragments composer in 1969. related to important dates in the folk from the most important works written calendar. The cycle comprised five sets: over a half century in his collage-cantata Tormis’ dramatically throbbing Mardilaulud (Martinmas Songs), Kadri- Sünnisõnad (The Rite of Birth, 1999). Overture No. 2 (1959) was one of the laulud (St. Catherine’s Day Songs), Vastla- masterpieces in the renewed Estonian Tormis’ attitude towards folk song is laulud (Shrovetide Songs), Kiigelaulud music oeuvre of the post-Stalinist similar to that of Kreek. “I don’t use (Swing Songs) and Jaanilaulud (St. John’s era. He has also composed chamber folk song—folk song uses me,” said Day Songs). In 1970–1989, Tormis music characterised by a modernist Tormis, paraphrasing his predecessor. turned his attention to the folklore of and laconic style, the opera Luigelend Tormis’ choral music makes bold use other nations. He composed a series of (The Swan’s Flight, 1966), choral works of the melodious and incantational choral cycles under the umbrella title carried by the philosophical ideas nature of folk songs, using the corre- Unustatud rahvad (Forgotten Peoples), and social criticism, lyrical settings sponding modal harmony, effects of based on the folklore of the endangered of classical Estonian poetry (Marie linear polyphony and heterophony, Tõnu Kõrvits Balto-Finnic peoples: Liivlaste pärandus Under, Gustav Suits, Viivi Luik) for variational build-up and also sonoristic Kaupo Kikkas (Livonian Heritage, 1970), Vadja pulma- choirs, and film scores. A major part expression. Tormis is extremely attentive laulud (Votic Wedding Songs, 1971), Isuri of Tormis’ work consists of numerous to the lyrics and underlying message Tõnu Kõrvits: eepos (Izhorian Epic, 1975), Ingerimaa choral pieces based on Estonian and of his music. His use of text is often Estonian blues õhtud (Ingrian Evenings, 1979), Vepsa other national folk music. While his theatrical and ritualistic, communicating rajad (Vepsian Paths, 1983), Karjala saatus In the 1990s, the newly independent early choral music bore features of magic speech and distinct feelings. (Karelian Destiny, 1989). Estonia firmly renounced its past, national romanticism, from the 1970s Tormis is much more passionate in his including the idolisation of national onwards, Tormis’ aim was to give new His best-known work is Raua needmine music than Kreek: “Music is not just culture. Young authors drew inspi- life to the Estonian runic song in the (Curse Upon Iron, 1972), which making music. It is the trouble and pain ration from cultures far away in time framework of art music, keeping it as features a neo-primitivist incantation of living,” the composer has said. and space. New music was influenced genuine as possible. that swells out of a folk tune. In 1980, Veljo Tormis is known worldwide, by Arvo Pärt and focused on the value another masterpiece was written, the Besides Estonian folk songs, Tormis’ and his works are performed by of sound as such and its sensitive flow. cantata-ballet Eesti ballaadid (Estonian choral works used the folk tunes of choirs in dozens of countries on This was the time when Tõnu Kõrvits Ballads), in which various Estonian other Finno-Ugric people, such as every continent. His works have been started his creative career. Today, his narrative folk songs intertwine into a Ingrians, Seto, Livonians, and Finns, recorded by many labels across the works, including those inspired by dramatic epic saga with a symphonic but also Russians, Bulgarians and other world, including Finlandia, Chandos, Estonian folk music, attract increasing texture and philosophical message. nations. His early works—the cycle for Toccata Classics, Alba Records, ECM international interest. In Tormis’ 1990s oeuvre, several mixed choir Kihnu pulmalaulud (Kihnu Records and others. The Estonian dramatic choral works address the Unlike Kreek and Tormis, Tõnu Island Wedding Songs, 1959) and the Philharmonic Chamber Choir and human existential battle: Kullervo sõnum Kõrvits as a musician is related to cycle for male choir Meestelaulud (Men’s its conductor Tõnu Kaljuste have (Kullervo’s Message, 1994), based on the urban culture. Born into an extended Songs, 1965)—drew attention with their provided a very strong impetus for Kalevala texts, and Piiskop ja pagan (The family of musicians, Tõnu Kõrvits fresh sound. In 1967, Tormis completed the wide spread of Tormis’s music Bishop and The Pagan, 1992/1995), is inspired by rock, pop and jazz an extensive choir cycle, Eesti kalendri- around the world. a story set during the time of the

26 to the composer. Folk songs are used recognised the hidden energy of folk Besides Estonia, Kreek’s Notebook in his other orchestral works written tunes. “Folk song is magic. After has been performed in the USA at the beginning of the 21st century, being sung by so many people, it has and in many European countries, such as Ellujäänute laulud (Songs of accumulated enormous power,” said including France, the Netherlands, Survivors) for symphony orchestra, the composer. Kõrvits used religious , , the UK, Germany ...neis aedades (...In These Gardens) for folk tunes for the first time in 2002, and others. Kreek’s Notebook was alto saxophone and string orchestra, in the cycle Kuusteist eesti rahvalaulu also released on CD by Hyperion and Tsirgutii (Milky Way) for solo flute (Sixteen Estonian Folksongs) for Records: “Tõnu Kõrvits. Kreek’s and string orchestra. Starting in the hand bell ensemble. The composer’s Notebook (2013)” was recorded by 2000s, Kõrvits has composed a series best-known work is Kreegi vihik the Choir of Royal Holloway and the of works reflecting the imagery of (Kreek’s Notebook, 2007) for mixed Britten Sinfonia, and conducted by the mythical northern land Thule, an choir and string orchestra, inspired by Rupert Gough. An earlier CD, Kreegi Tõnu Kõrvits and Veljo Tormis. archaic prototype of Estonia, most Estonian folk hymns. The work was (2008), recorded by the Estonian Private collection vihik of which are also based on folk tunes: commissioned by Tõnu Kaljuste for Philharmonic Chamber Orchestra, music, as well as classical music. Thulemaa laulud (The Songs from the Cyrillus Kreek Days, held within features Kõrvits’s work alongside Kõrvits’ extensive oeuvre exhibits an Thule) for flute and piano, Thulemaa the framework of Nargenfestival in Cyrillus Kreek’s Requiem. elaborate musical style in all genres. laulud II (The Songs of Thule II) for Kreek’s hometown Haapsalu. As the Why is Estonian folk song so persistent He has composed numerous solo trumpet and piano, Thule pildid (Pictures name indicates, the cycle is based on in Estonian art music? Perhaps it is its songs, ensemble, choral and orchestral of Thule) for piano, Thule eleegiad folk hymns collected by Cyrillus Kreek. nature: the ‘performance’ and decla- works, three operas and film scores. (Elegies of Thule) for string orchestra, Some of the material had been used ration characterising the culture of His acoustic melody-centred style Thule mustrid (Thule Patterns) for string in Kõrvits’ earlier works. modern times is alien to older layers combines romantic warmth, impres- quartet, Thule koraalid (Chorales of Kreek’s Notebook reflects the links of folk songs. An archaic folk song sionist richness of colour, and Thule) for soprano saxophone and between and the changing of times. is, by its nature, an auto-commu- hypnotic power of suggestion, which organ, Thule visandid (Sketches of Rather than being strictly sublime nicative phenomenon—an incantation ultimately can be defined as ‘magic Thule) for saxophone quartet and (like in Kreek’s settings) or powerfully summoning collective passion for life, impressionism’. many others. Other works, as well as autonomous (like in Tormis’ works), embodying the yearning for the return Kõrvits’ music as a whole, reflect the While Kõrvits’ early works bore the folk songs are dissolved in Kreek’s to the mythological ‘primordial cradle.’ natural imagery and spatial impressions imprint of neo-romanticism, he soon Notebook (as they are in other works Perhaps all people and nations across of ancient elements of the world: time introduced Estonian folk songs and by Kõrvits) and acquire the shadowy the world experience this unconscious and space, fire and wind, birdsong and the related mythological imagery. richness of impressionism, as well as yearning. Perhaps this is why the the vastness of the universe. Folk song His first work to integrate folk songs the yearning of blues. When listening settings of folk songs by Kreek, Tormis is like a door to the mythical space-time was Teispool päikesevälju (Beyond the to this music, it seems that ancient and Kõrvits are warmly received in the of national culture. Solar Fields, 2004) for solo bassoon tunes are taking us not only to the cultural and linguistic spaces of other and symphony orchestra, written for The religious folk songs collected beginning of the national chronology, nations. This is definitely one reason bassoonist Martin Kuuskmann. The and loved by Cyrillus Kreek have a but also to the depths of cultural why the new coming of folk song impressionist texture of the piece is special place in the work of Tõnu subconscious. continues in Estonian music. intertwined with Estonian shepherd’s Kõrvits. After consciously preferring songs—‘Estonian blues,’ according other styles, the composer suddenly

28 29 is a comprehensive personal archive This will continue the journey towards containing the creative heritage of becoming an open meeting place, the composer and the related infor- where the key words are creation and mation and records, both in physical creativity. The Centre will provide an and digital form. The most valuable opportunity for researchers to carry assets of the archive include the out research. It will also host lectures composer’s musical manuscripts, on Arvo Pärt’s music, as well as on sketches and diaries. Arvo Pärt’s composition and creativity in a broader musical diaries, kept over forty years, sense. Particular attention is being paid reflect the composer’s quest for a form to creating an environment conducive of expression as well as his thoughts to research and learning, and good about life, his works, and religion. conditions for listening to music. Philo- Various archive materials also include sophical and theological workshops, communication with clients, publishers art exhibitions and concerts are also and musicians, thousands of photos, envisaged. The chamber hall’s excellent Arvo Pärt and records of various media, films acoustics provide a fantastic venue for and other materials related to the both performing and recording music. composer’s life, work and reception. The Arvo Pärt Centre is open to Centre – So far, the Centre’s activities have everyone who desires to listen, learn an open meeting place mainly focused on archival work. and understand. In the autumn of the year of the in 2014. According to the architects, centennial celebrations of the the building uses architectural means to Republic of Estonia, the Arvo Pärt reflect the calm and geometry of Arvo Centre will open its doors to the Pärt’s music. The building is also linked public in a unique new building. The to the surrounding landscape, creating building’s architecture is inspired by a balance between Pärt’s music and the the composer’s music, in particular beauty of the forest. by one of his most important works, The building, which has no right angles Tabula rasa. The construction of the and is conceived as a pentagonal grid Arvo Pärt Centre’s new building is of spaces and courtyards, will accom- financed by the Estonian government. modate the archive, offices, a library, The architects are Fuensanta Nieto and a 140-seat chamber hall, an exhibition Enrique Sobejano, from Spanish archi- area, a video hall, and classrooms for tectural firm Nieto Sobejano Arqui- cultural education. The total area of tectos, whose entry, named ‘Tabula’, the building is 2348 m2. was declared the winner of the inter- The Arvo Pärt Centre, founded in national architectural competition held 2010 by Arvo Pärt and his family,

30 31 Estonian National Symphony Orchestra and Neeme Järvi in 2015. Mait Jüriado

Pähn, are also known worldwide. Orchestra, and the Estonian National While the music scene of our small Opera Orchestra. There are also and relatively young country, which some project-based orchestras, such Estonian will celebrate its centenary in 2018, is as the Estonian Festival Orchestra, diverse, its orchestral scene is rather the Nordic Symphony Orchestra, compact. and the Pärnu City Orchestra, as well as a classical chamber orchestra: the The first symphony orchestra in LIISI LAANEMETS orchestral Tallinn Chamber Orchestra. From Estonia was established in Tartu in time to time, other project orchestras 1900. In the early 20th century profes- gather for various musical events. sional theatres Vanemuine in Tartu and scene AD 2017 Unlike many other countries, such Estonia Tallinn also had their own as Germany, Estonia does not have The names of the Estonian National of Neeme and Paavo Järvi—members orchestras. Today, more than a hundred a tradition of amateur orchestras. Symphony Orchestra, Tallinn Chamber of the Järvi conducting family years on, there are three professional It is only in recent years that young Orchestra or the Estonian Festival dynasty—are undoubtedly interna- symphony orchestras in Estonia— conductors have started to establish Orchestra might not be very familiar tionally known. Several other Estonian the Estonian National Symphony orchestras of amateur and/or student outside Estonia. However, the names conductors, like Risto Joost or Vello Orchestra, the Vanemuine Symphony musicians.

32 33 The relationship between Estonia’s During the Second World War, working alongside Roman Matsov Neeme Järvi’s reunion with ENSO most important symphony orchestra, Estonia was occupied alternately by (1950–1963), and became the chief after his emigration happened in 1993, the Estonian National Symphony the Soviet Union, Germany, and then conductor just three years later, when in the newly independent Republic of Orchestra (ENSO), and its Artistic again by the Soviet Union. Being he was only 26 years old. As a young Estonia. In the 2010–2011 season, he Director and Chief Conductor, subjected to occupying powers meant man, he had enough energy to pursue resumed his post as chief conductor Neeme Järvi, goes back decades. that the repertoire had to include postgraduate studies at the Leningrad and artistic director of ENSO. The 2016–2017 concert season was a certain ideological works. However, Conservatoire, where his principal ENSO (the principals of the orchestra significant one for both the symphony Estonian music, with some excep- teachers were Nikolay Rabinovich and are Triin Ruubel and Arvo Leibur) as orchestra and its chief conductor: tions, has always held an important Yevgeny Mravinsky (Järvi graduated a symphony orchestra has throughout ENSO celebrated its 90th and Neeme position in the orchestra’s repertoire. in 1966); he won First Prize at the 6th its history fulfilled different roles, Järvi his 80th birthday. Thousands of Estonians, musicians International Conducting Competition operating as a radio orchestra, concert among them, fled Estonia in the last of the Accademia Nazionale di Santa Similar to many European orchestras orchestra, and Estonia’s signature years of the World War. Thus, the Cecilia in Rome (1971), while working that were established with the orchestra. Although during the era of symphony orchestra lost a number as the chief conductor of the Estonian emergence of radio broadcasting live broadcasts, the orchestra’s main of accomplished performers and its National Opera (1963–1975). Neeme (such as the MDR Leipzig Radio task was to fill the airtime with music, chief conductor. The war was followed Järvi’s arrival brought about a consid- Symphony Orchestra in 1923, the over time recording music for the by fifty years of Soviet occupation erable expansion in the repertoire, Danish National Symphony Orchestra Estonian Radio Archive became more with its lows and highs. On the one as well as improvement and stabili- in 1925, and the BBC Symphony and more important. A large number hand, the occupation regime limited sation in the quality of the orchestra’s Orchestra in 1930), ENSO was also of symphonic works by Estonian both the free movement of musicians performance. Regular recordings for connected to the birth of national composers have been recorded by and repertoire choices (the orchestra Estonian Radio and the Melodiya radio. Before records became available, ENSO for that purpose. The orchestra had to perform a lot of mediocre Record Company became an essential concerts were broadcast live from continues to fulfil various roles and its and downright bad, but ideologi- part of the orchestra’s daily life. The a studio. ENSO’s journey began in repertoire covers the whole spectrum cally approved music). On the other fact that Neeme Järvi is one of the 1926, eight years after the birth of of genres. The nearly 100-strong hand, though, it had the opportunity most recorded conductors in the world the Republic of Estonia, when the orchestra gives 60–65 performances in to perform under the baton of top today confirms that the Maestro has first concert performed by a studio a season and prepares 3 to 4 different Soviet conductors, such as Gennady always considered recording a very trio was broadcast. The ensemble’s programmes in each month. While Rozhdestvensky, David Oistrakh, important part of his musical activities. ranks grew steadily, and, after regularly the 2016–2017 season was devoted Mstislav Rostropovich, Svjatoslav With Neeme Järvi as chief conductor, joining forces with the orchestra of the to the anniversaries of the orchestra Richter, Maxim Shostakovich, and the orchestra regularly performed in Estonia Theatre to perform major and its chief conductor, squeezing in Juri Temirkanov, just to name a few. the most important concert halls in works, the orchestra reached the size the orchestra’s first tour to China, the Leningrad and Moscow, and also went of a symphony orchestra by the late Cooperation between Neeme Järvi 2017–2018 season will be dedicated on its first tour abroad. In January 1930s. From the time that Olav Roots, and ENSO began in 1956. Four to the centenary of the Republic of 1980, Neeme Järvi and his family who later became the chief conductor years later, after Järvi graduated from Estonia. The orchestra is planning a left the Soviet Union and settled in of Orquesta Sinfonica de Colombia, Professor Nikolai Rabinovich’s opera number of tours abroad, to the U.S., the USA. However, he did not lose took the post of the chief conductor and symphonic conducting class Hong Kong, and Germany. his sense of nation, and has been in 1939, it is possible to speak about at the Leningrad Conservatoire, he one of the most active promoters of the artistic level of the orchestra. joined ENSO as a regular conductor, Estonian music in the world since.

34 35 performances that have earned Orchestre de Paris, principal conductor superlatives from critics wherever it of hr-Sinfonieorchester and the Cincinnati has played. According to Paavo Järvi, Symphony Orchestra and has been it is very hard for talented young appointed the new Chief Conductor Estonian musicians to make contacts and Music Director of the Tonhalle-Or- with top players from other countries: chester Zürich for a five-year term from “If you are a young player in Estonia, the 2019–20 season, considers the it doesn’t matter how good you are, Estonian Festival Orchestra to be one it’s hard to make contact with a top of the most important musical outlets. player in the west. Now we can give Despite its short existence, EFO these young musicians the advantage has performed together with many to both play with top colleagues from esteemed musicians, such as Radu around Europe and get to know them Lupu, Lisa Batiashivili, Viktoria as new friends. This spirit is what Mullova, Zhang Zuo, Matthew drives the orchestra and makes me Hunt, Martin Kuuskmann, Nicolas particularly proud as its father figure.” Dautricourt, Khatia Buniatishvili and EFO can give these young musicians others. While the orchestra initially the advantage to both play with top only performed as the focal point colleagues from around Europe and of the Pärnu Music Festival, it has get to know them as new friends. little by little started to take on a life EFO’s principal is Florian Donderer, of its own. Until 2017, the orchestra who is also the principal of Deutsche performed only in Pärnu, but in Kammerphilharmonie Bremen. Estonian Festival Orchestra August 2017 it made its first tour to Kaupo Kikkas The fulfilment of the dream is our neighbouring countries on the confirmed by overwhelming feedback Baltic coast, performing in , In the past decade, the Estonian has been a holiday favourite for from both audiences and critics at Finland, and . In Festival Orchestra (EFO), founded esteemed musicians (including David home and abroad, who praise the January 2018, EFO will celebrate the by Paavo Järvi, Neeme Järvi’s eldest Oistrakh and Dmitri Shostakovich) highly concentrated music-making centenary of the Republic of Estonia son and Artistic Adviser to ENSO and has hosted numerous summer where every detail is worked out, and with a tour to major European capitals, (since 2002), has become one of the festivals over the years. Paavo Järvi’s also the joy of making music, boosted including , Berlin, , most successful symphony orchestras ambitious long-time dream of creating by the impulse from the charismatic Zurich and Luxembourg, performing alongside ENSO. an orchestra of carefully selected and brilliant Paavo Järvi. Paavo Järvi, Erkki-Sven Tüür’s 9th symphony, members—today, members include EFO made its first appearance in who has served as the chief conductor commissioned for this occasion. the best players in Estonian orchestras, 2011 at the Pärnu Music Festival of Tokyo’s NHK Symphony Orchestra talented Estonian instrumentalists as the resident summer orchestra. since the 2015–2016 season and the pursuing careers abroad, and leading From 2016, it has performed under Artistic Director of Deutsche Kammer- musicians from top orchestras across the name of the Estonian Festival philharmonie Bremen since 2004, and Europe—has been crowned with Orchestra. The resort town of Pärnu has worked as the music director of

36 37 While the two Estonian theatre Opera has set itself the objective orchestras—one, the Estonian of performing in grand old opera National Opera (chief conductor houses: performances were given at and artistic director Vello Pähn) the Moscow Helikon Opera in 2016, at and the other, the Vanemuine the Mariinsky Theatre in St. Petersburg Theatre (chief conductor and music in the autumn of 2017. director Paul Mägi)—remain out of the spotlight due to their everyday work with theatre repertoire, both Chamber orchestras in Estonia have orchestras also give a number of not performed very consistently. Today symphonic concerts each year. Since the oldest Estonian chamber orchestra 2000, the is the Tallinn Chamber Orchestra Orchestra together with its choir and (TCO), founded 25 years ago by Tõnu soloists has regularly given concert Kaljuste. While a chamber orchestra performances of various operas, to of the same name performed between great success. In 2016, the Estonian 1961 and 1976, it was not the prede- public was treated to Donizetti’s cessor of today’s Tallinn Chamber ‘Anna Bolena’ for the first time in Orchestra. TCO comprises around the history of the Estonian National twenty highly rated string players, who Opera (conductor ); also regularly perform as soloists and other concert performances include chamber musicians. The principal of Strauss’s ‘Arabella’ (2015, conductor the orchestra is Harry Traksmann. Vello Pähn), Rimski-Korsakov’s ‘The TCO is characterised by its outstanding Snow Maiden’ (2014, conductor Vello ensemble skills, flexibility and Pähn), Gounod’s ‘Romeo and Juliet’ style-sensitive play. Its diverse reper- (2013, conductor Vello Pähn), and toire ranges from baroque to contem- Bellini’s ‘Norma’ (2012, conductor porary music. The Tallinn Chamber Alberto Hold-Garrido). While this and Orchestra has a long-standing Tallinn Chamber Orchestra Kaupo Kikkas the coming season of the Estonian cooperation with Estonia’s signature National Opera, as those of many choir, the Estonian Philharmonic Risto Joost, who has also been artistic Estonian Philharmonic Chamber other ensembles, are devoted to the Chamber Choir (both founded by director of the MDR Leipzig Radio Choir in the Netherlands and Belgium upcoming centenary of the Republic Tõnu Kaljuste)—in particular the Choir (MDF Rundfunkchor) since 2015 in January. Celebrations for the 25th of Estonia, in October the orchestra performance and recording of Arvo and was the chief conductor of the birthday of the orchestra reach their toured Finland to celebrate the Pärt’s works. Besides Tõnu Kaljuste, Netherlands Chamber Orchestra peak in March and April 2018, when 100. anniversary of our northern Finnish conductor Juha Kangas has and Choir in 2011–2015. TCO the orchestra will perform under the neighbour. At a time when many worked with the orchestra as the chief will celebrate the centenary of the baton of all conductors who have Estonian ensembles and orchestras conductor and artistic director (1995– Republic of Estonia with a European become important to the orchestra are seeking the attention of Asian 1996, 2001–2003). Since autumn 2013, tour and perform together with the over years. audiences, the Estonian National the chief conductor of TCO has been

38 39 the UK. This is also where Toccata Classics has now recorded and released a series of albums of piano music

KAI TAAL Young called ‘Heino Eller – Complete Piano Music’, performed by Sten Lassman, musicians are one of the most remarkable Estonian pianists of the younger generation. The majority of prominent Estonian the hallmark musicians are graduates of the Tallinn Music High School—even the fact that such school still exists in Europe today of Estonia is remarkable. The school was founded in the 1960s on the model of similar schools in Leningrad and Moscow, Estonia: small in terms of both about to celebrate its first centenary Sten Lassman population and area, yet big in terms and the history of our professional providing upper secondary education Kaupo Kikkas of culture. We have made Estonia big culture is not much longer either. and specialist music studies with by singing and playing music, dancing the objective of preparing students The current fortunate situation where and writing poetry, painting and for university studies in music. It is the Estonian music scene is famous performing on the stage. The history an expensive undertaking for the and successful promises to continue of Estonian professional music is not State because of the large number for decades because a new generation very long, but is impressive—we have of music subjects and the share of of musicians is gaining a foothold in Arvo Pärt and Veljo Tormis, Heino individual lessons. The skill levels of the music scene alongside the masters. Eller and Eduard Tubin, the Estonian Tallinn Music High School students Many talented young musicians study National Symphony Orchestra and graduates have been consist- and pursue their careers abroad, and (ENSO) and the Estonian Philhar- ently very high for more than half a even more have found their place in monic Chamber Choir, Neeme and century. Students are very successful in Estonian orchestras and educational Paavo Järvi and many others. This list competitions, and graduates are highly institutions. While during the Soviet could go on and on. While Estonian regarded as professional musicians and era musicians pursued postgraduate music and musicians are highly music teachers. All three musicians education at Leningrad or Moscow regarded across the world, this should showcased in this article were educated conservatories, today they head for not be taken for granted. The quality at Tallinn Music High School. music academies in Western countries, of our musicians is the result of years mainly Germany or the UK. The The most famous, best loved and of excellent work by music teachers, Guildhall School of Music and Drama most successful pianist of the new their fastidiousness and extraordinary and the Royal Academy of Music in generation, Mihkel Poll (born in dedication, which is bearing fruit , UK, are the preferred choice 1986) completed his PhD in Professor to this day. It is amazing that our for young Estonian musicians—the Ivari Ilja’s PhD class at the Estonian high culture is so rich and so highly majority of our young pianists have Academy of Music and Theatre Mihkel Poll regarded—the Republic of Estonia is improved their skills in the capital of (EAMT), studied in the meanwhile Kaupo Kikkas

40 41 the premiere). Poll has established elected chairman of the Estonian long-term cooperation with conductor Pianists Association. He is a musician Anu Tali and has toured Europe with who performs in Estonia, Europe and the Nordic Symphony Orchestra. also America. Hopefully, his career as a performer will continue to flourish Nearly every Estonian musician as it has so far. sooner or later undertakes teaching—it is inevitable considering the small size In 1991, the largest Estonian concert of our country and limited performing organisation, Eesti Kontsert, launched opportunities. Mihkel Poll has been the ‘Con Brio’ competition-festival for teaching at the Estonian Academy young musicians. Unlike most other of Music and Theatre for a number competitions, ‘Con Brio’ was open of years already; he also performs to all instruments and ensembles. at school concerts, introducing and The competition was extremely promoting classical piano music to popular and successful and provided children. an excellent springboard for many Marcel Johannes Kits brilliant young Estonian musicians. David Ausserhofer A performance of high quality is In 2013, the competition was replaced graduating from Tallinn Music High guaranteed with Mihkel Poll. He is a by the TV contest ‘Stars of Classical School (Mart Laas’ class), Marcel musician with exquisite technique and Music,’ which, besides hardening the continued his studies with Professor enviably good taste; he is dedicated young musicians’ performance nerves, Francis Gouton at Trossingen Mari Poll-Novakovič and meticulous, respects his audience offers them an opportunity of media University of Music (Germany), Kaupo Kikkas and is very demanding of himself. exposure. The three seasons of ‘Stars and has been performing mainly in Although his concerts often feature of Classical Music’ have brought Europe since then. Kits has won a at the Guildhall School of Music and piano music no older than 100 years, Estonians much closer to classical number of national and international Drama with Professor Ronan O’Hora he is an expert performer of the music; young contestants are popular competitions, including the first prize and also attended the masterclasses Romantic composers. At his last solo and loved by the viewers. The impact and two special prizes at the Johannes by Professor Eliso Virsaladze at the concert in the Estonia Concert Hall, of the programme on young children Brahms competition in Pörtschach Scuola di Musica di Fiesole in Italy. he gave a breath-taking performance at the start of their music education (). Kits often performs with Mihkel Poll has won numerous prizes of Schumann and Chopin. He also cannot be underestimated—an various orchestras and gives solo at national and international compe- plays in chamber music groups, often attractive format and dazzling role performances. He has worked with titions. He set himself ambitious together with his violinist sister Mari models can make new talents to decide pianists Sten Heinoja and Rasmus goals at a very young age, performing Poll-Novakovič, with whom he in favour of a career as a professional Andreas Raide. Marcel Johannes Kits complicated repertoire with skill far has recorded a CD of 20th-century musician. and Rasmus Andreas Raide will give beyond what was typical for his age. music. Mihkel Poll’s two solo CDs, a debut performance at Konzerthaus Poll often performs with symphony released under the Ondine and Dux The winner of the first season of Berlin in February 2018, and will tour orchestras. His repertoire includes, labels, feature music from the same ‘Stars of Classical Music’ was young Estonia a month later. For this season, among others, piano concertos by period. Despite his young age, Poll cellist (born Marcel Johannes Kits solo concerts have been planned in the Estonian composers Erkki-Sven has become an opinion leader within in 1995), one of the most promising U.S., China and Japan as well as perfor- Tüür and Helena Tulve (the latter as Estonian cultural circles, and was young musicians of recent years. After

42 43 working towards her Master’s degree soloist—we can consider ourselves at the University of Augsburg. Triin very lucky. This season, Ruubel will Ruubel regularly performs abroad, have her debut in the Berliner Philhar- giving chamber concerts and solo monie, as well as engagements as a performances with orchestras. Triin soloist with the Estonian National has won a number of prizes at inter- Symphony Orchestra on their US tour. national competitions, such as the Grand Prix at the ‘Remember Enescu’ competition in Sinaia, Romania, and Speaking of young Estonian musicians, the first prize and special prizes at the we cannot omit mentioning the International Competition for Violin, explosive success of Uue Tänava Kloster Schöntal (Schöntal, Germany). Orkester (the New Street Orchestra, Triin’s interest in contemporary conductor Kaspar Mänd) in the music has led to the establishment of Estonian music scene. Last season, the the contemporary music ensemble youth orchestra accomplished its goal Neophon, and to collaboration with of performing all nine symphonies by composers Wolfgang Rihm, Peter and continues Ruzicka and Jörg Widmann. Contem- to give impressive performances that are loved by the audience. While the Triin Ruubel porary music has also an important Kaupo Kikkas place in her solo repertoire and various Estonian composers have dedicated mances with the Jerusalem Symphony very capable and talented cellist with works to her. In addition to teaching Orchestra and Kymi Sinfonietta. great potential for an international at the Estonian Academy of Music career as a soloist. My last experience with Marcel’s and Theatre, Triin also teaches at the performance is from last April, when If you listen to the Estonian National Järvi Summer Academy of the Pärnu Marcel played Beethoven’s Concerto Symphony Orchestra, it is very likely Music Festival and is a member of the for Violin, Cello, and Piano with that you are enjoying the perfor- Estonian Festival Orchestra. the Estonian National Symphony mance of one of our best young Listening to her solo performances Orchestra (conductor Olari Elts), violinists, the brilliant and talented with the Estonian National Symphony his violinist twin sister Katariina Triin Ruubel (born 1988). Since Orchestra, in particular her interpre- Maria Kits, and pianist Sten Heinoja. April 2015, she has held the position tations of Sibelius’ and Elgar’s Violin His instrument’s tone was beautiful, of principal of the Estonian National Concertos have been a breath-taking ethereal and translucent, yet dazzling Symphony Orchestra. After gradu- experience. Despite Ruubel’s young and intensive. It is not often that you ating from Tallinn Music High School age and heavy workload, her beautiful hear such a pleasant combination. Kits’ (under Tiiu Peäske), Triin continued sound, stylish approach and technical technique is brilliant and his artistic her education at Hochschule für Musik excellence make her one of the best poise and stage charm never fail to und Theater Rostock, in the class of musicians in Estonia today. It is a win over audiences He is definitely a Professor Petru Munteanu, and is great fortune that the principal of our Age Juurikas signature orchestra is also a brilliant Sadu-Triste Juurikas

44 45 orchestra has only performed in Estonia so far, it is probably just a matter of time before they spread their wings and extend their activities across the border. Brilliant performances have been given both in Estonia and abroad by the expressive and suggestive pianist Age Juurikas, cellist Theodor Sink, who enchants the audience with his warmth and natural musicality, the original and exciting pianist Sten Heinoja, and many others. Our young conductors do not need to be introduced separately – Mikhail Gerts, Risto Joost, Mikk Murdvee and others have been household names among audiences of European theatres and concert halls Last summer’s Youth Song Festival, ‘Here I’ll Stay’. for years. Estonian musicians play in many European orchestras. Most of them meet at the Pärnu Music Festival to perform together as the Estonian Festival Orchestra, under the baton of Estonians and our beloved conductors Neeme and Paavo Järvi. It is wonderful that young KAIE TANNER performers have the opportunity to pursue a career in the wider world, while choral music: not forgetting Estonia. Ethnic belonging myths and realities has lost some of its importance in today’s globalised society, and the Estonians and choral music are like improvement in the field of choral Theodor Sink language of music is, luckily, universal. two peas in a pod, like peanut butter music. And choir singers make up Carol Liis Metsla The essential features of Estonian and jelly, like hand and glove. At much less than half of our population. musicians are quality, dedication, style international music conferences, I Our population is 1,315,635 people and technical proficiency. I believe that often hear: “You are from Estonia? (according to Statistics Estonia) and as time goes on, these features will Everything is great with choral music we have 47,613 choir singers and brass become all the more valuable. in YOUR country.“ Or: “50% of your band members (the latter are tradi- population sing in a choir, don’t they?” tionally counted as the ‘song festival crowd’). That means only 3.62% of I usually respond, in a typically the population actually sing in a choir self-deprecating Estonian style, that or play in brass band. even in Estonia there is room for

46 47 However, according to the song and 16), 137 boys’ choirs, 98 female How are choirs organised information to Estonian choirs and celebration study of 2013, more choirs, 57 male choirs and 44 girls’ and governed? organising study trips for Estonian than half (51%) of the Estonian choirs with 880 choir conductors choir conductors to the World population have at some point altogether. There are thousands of organisa- Symposium on Choral Music and to participated in a song celebration as tions in the world that bring choral the Europa Cantat Festival. Estonia is probably one of the few a performer, roughly two-thirds have music performers together, and some European countries where the majority attended as an audience member, countries have more than one national of choir singers (61.4%) are children and 90% have followed TV or radio organisation. The Estonian structure What do the choirs do? and young people. In most countries, broadcasts of our greatest mass choir is clear and simple: all choirs and brass choir singing is viewed as a hobby for The Estonian choir music scene is singing event. Thus, it is indeed true bands fall under jurisdiction of the middle-aged and elderly people. On the large and diverse. Choirs perform that the song celebration is very Estonian Choral Association (ECA). one hand, this makes us very happy; at various local events, such as the important for Estonians, which may Any concerns that choirs may have on the other hand, we cannot help opening of buildings, Advent candle be a reason for the myth that “half can be addressed to the ECA. More but wonder: where do all these choir lighting ceremonies, corporate of the population sings in a choir.” specific issues for different types singers disappear after leaving school of choir and their conductors are Christmas parties, welcoming It should be also noted that Estonian and why have they abandoned singing? handled by the ECA’s sub-organi- ceremonies for Olympic medal choral music and the song celebration One of the reasons is probably the sations: the Estonian Male Choirs winners, award ceremonies, presi- tradition are not quite the same thing. academic rigour and heavy student Association, the Estonian Female dential receptions and dignitaries’ There is no doubt that the song workload at the upper-secondary level Song Society, the Estonian Mixed birthday parties. Queen Elizabeth celebration is the biggest and most that leaves little time for hobbies. After Choirs Association, the Estonian II was treated to a choral concert inclusive event in our choral culture, leaving school, former choir singers are Chamber Choirs Union, the Estonian on the Town Hall Square during her but there is much more to it. Without too busy pursuing further education Choral Conductors Association and visit to Estonia, and our choirs sang the ‘much more,’ our song celebration (at Estonian universities or elsewhere), the Estonian Society for Music for the Emperor of Japan at the Song tradition would not be what it is today, finding their first jobs, and starting a Education. However, membership of Celebration Grounds. The opening with regular performances from choirs family. People have more than enough a sub-organisation is voluntary, and concert of the Estonian EU Presi- that are active on the cultural scene to on their plate with earning money and not every choir is a member. While dency in June 2017 also featured keep the level high, thus ensuring the setting up their lives. It is also true that children’s and youth choirs are direct choral music (but not exclusively). high standard of performances at the while most children are able to sing members of the Choral Association, Estonian choirs are becoming increas- song celebration that are held every in a one or two-part children’s choir, there is no specific sub-organisation— ingly bold in using videos, lights, five years. and many school choirs admit nearly collecting membership fees would be staging and choreography during everybody, even a three-part children’s a disproportionately heavy burden their performances—choir music has choir requires somewhat higher musical on the conductors of school choirs. come a long way from being a solemn What kind of choirs do we skills from singers, never mind what is The Estonian Choral Association is event with unsmiling singers dressed have? required for a four-part girls’, mixed or a member of the European Choral in sombre black clothing. boys’ choir. Thus, it is the nature of There are 1,417 choirs currently active Association—Europa Cantat—and Besides the national song celebration things that not everyone who happily in Estonia: 406 children’s choirs for the International Federation for there are regional choral events all warbled Twinkle, Twinkle, Little Star younger children (aged between 6 and Choral Music (IFCM). The Associa- over Estonia. Performing at such in a choir of first-graders, can sing in 11), 392 mixed choirs, 283 children’s tion’s responsibilities include distrib- events is a matter of honour for every (at least) a four-part choir. choirs for teenagers (aged between 12 uting international choral music local choir. These mini song festivals

48 49 are often used as testing grounds for focuses on folk music. the national song celebration reper- Estonian singers enjoy the compe- toire. They are also a meeting place for tition, putting their skills to the test the tradition bearers of folk culture— and comparing talents. Estonian singers, folk dancers, musicians and choirs are also enthusiastic partici- orchestras, as well as local audiences. pants in choir competitions in other Another tradition is nationwide choral countries—each year between 30 festivals for different types of choir: and 60 Estonian choirs bring home mixed choirs, female choirs and male prizes from such competitions. We choirs all have their own special event. are proud that the Collegium Musicale Neither cold nor rain or wind—so chamber choir won the Grand Prix at common at open-air concerts in last year’s ‘Let the Peoples Sing’ inter- June—can quash the Estonians’ desire national choir competition, organised to sing together. by the European Broadcasting Union A number of competitions are held (EBU). We are always overjoyed when Estonian National Opera Boys’ Choir for choirs that want to put their skills the Grand Prix for the Tallinn Choir to the test. There are national compe- Festival remains in Estonia, although titions in every category: children’s, the last time this happened was in returning from a study trip brings back works of Estonian composers, which boys’, girls’, male and mixed choirs. 2013, when Head ööd, vend chamber an impressive stack of choral scores. is only natural. While Pärt, Tormis and Pop music lovers can compete with choir was awarded the Grand Prix. Sisask are names that are known around each other at the Pop-Jazz Estonian choir music aficionados the world, we have an ever-increasing Festival or at the Lauluragin pop and know by heart which Estonian choirs The preferred repertoire number of new composers whose jazz choir competition, held in Valga. have received the Grammy Award for of the choirs works are performed by different choirs: Best Choral Performance: Ellerhein, Tõnu Kõrvits, Pärt Uusberg, Tauno Estonia also hosts two international Years ago, when Carus Verlag published the Estonian Philharmonic Chamber Aints, Andres Lemba, Evelin Seppar, choir festivals. The Tallinn Interna- its Musica Sacra Baltica. Sacred choral Choir, the Estonian National Male Riho Esko Maimets, Rasmus Puur, tional Choir Festival, launched in music from Baltic countries certain Choir and Vox Clamantis. The latter Mirjam Tally… 1972, is a classical choir competition foreign choral conductors immediately also won the Diapason d’Or award a involving different types of choirs and dubbed it “the secret choral music Choirs also enjoy singing folk music couple of years ago. various music styles. To participate, from Baltic countries,” claiming that it arrangements and works by modern candidates must submit a recent CD Delegations of Estonian choir was very difficult to find and get scores composers. From the older reper- or video recording of their perfor- conductors consistently rank among of our choral music. Fortunately, the toire, the romanticists Mendelssohn mance for audition. In terms of the the most numerous both at the World situation has improved: thanks to the and Brahms are preferred; works award fund, the Tallinn festival is Symposium on Choral Music and Estonian Music Information Centre, from the baroque period and before among the biggest in Europe. The at various European choir festivals. the scores of Estonian choral music are performed less often. The latter participants include around 30 choirs Our conductors take great interest in are now available for purchase online is the domain of individual chamber from all over the world, including developments abroad: how and what (www.emic.ee). choirs. The number of Estonian pop , Africa and the Americas. choirs sing in other countries. It goes and jazz choirs is quite small—these Estonian choirs mainly perform the The Pärnu International Choir Festival without saying that every conductor styles are still to be fully discovered by

50 51 our choral singers. However, they are be enough conductors for every choir. I, too, feel that they are my singers, Those who could not get in waited becoming increasingly popular. This is why we are looking for ways to my people. This is my stage, my patiently for their turn. make the choral conducting profession celebration fire, my people among When it comes to the question of Another memory from that tour more attractive, to increase pay and the audience. It is an especially good which composers are most likely to comes to mind: a young man sporting offer regular training—to ensure that feeling to realise that each and every be represented in the repertoire of a green Mohawk passed me on an no choir is forced to disband due to a performer and audience member feels the majority of Estonian choirs, the uphill, pedalling his rather rickety lack of conductors. the same way. answer is Veljo Tormis and Gustav bike loaded with a crate of beer Ernesaks. No song festival is complete At the 2017 Youth Song Celebration, To sum up, I would like to mention quite frantically. He looked back over without Ernesaks’ Mu isamaa on minu mina jään (Here I’ll Stay), 17 young one example of the Estonians’ his shoulder to spur on his friends: arm (My Fatherland is My Love), and conductors had their debuts. While relation to choir singing. “Step on it! The there is hardly a single Estonian who in the past, the honour of conducting of Technology chamber choir will A few years ago, the Choral Associ- is not familiar with this song. at a song celebration was mainly perform in 10 minutes!” ation was involved in planning the entrusted to experienced conductors, cultural programme for a bicycle And finally, at the end of the final in 2017 many conductors were in their tour organised by the Estonian Green performance in a church yard, all the Why are we concerned? 20s, and even some students or recent Movement. It was a massive event: cyclists stood up to join the choir graduates from the Estonian Academy While on the surface it may seem thousands of cyclists rode for three in singing Põhjamaa (A Song of the of Music and Theatre. This trust was that choir conducting is a very highly days around Estonia, making stops Nordic Land), a song familiar to many justified—the young conductors did regarded profession in Estonia, the from time to time to see the sights, from numerous song festivals. I am an admirable job, singers enjoyed reality is not as rosy. The reason is participate in debates and attend quite sure that Estonia is the only singing under the baton of their the relatively low salaries of choir concerts. Normally, the performers place on this planet where such things peers, and the rehearsals as well as directors and the prevailing attitude, at such events are various bands and can happen. the celebration itself were marked by which can be traced back to the pop artists; this time, however, they a new energy. The song celebration’s Soviet time, that choir music as also included choirs. Looking at the title, Here I’ll Stay, was a kind of vow mass culture should be available to diverse company of cyclists (while to stay in the homeland, to stick to all free of charge. ‘Free of charge,’ their age ranged from 7 to 70, the music, to remain in the profession of however, is often seen as a synonym majority were young people), I was choral conducting, to continue choir of ‘worthless.’ not sure they would enjoy choir singing—depending on how each music... Well, there was no reason for The majority of active choir conductors participant understood the slogan. in Estonia are over 50 years old, which concern. The first stop was a small is a cause for concern—who will I believe that Estonia will always church that served as the venue for conduct our more than 1,000 choirs be a country of choirs. Singing a concert by Toomas Voll’s children’s in 30 years time? On a brighter note, together is in our blood; it is a part choir. The church was packed to the there is a new generation of excellent, of our identity. The tradition of rafters, so Toomas Voll with his usual exciting, and energetic young choir song celebrations is something every efficiency gave three concerts in a row, conductors emerging and already active Estonian can relate to and feel very like in a cinema: a 25-minute concert, on the choral music scene. However, personally about. When looking at and audience out, the next churchful of if the number of choral conducting listening to the tens of thousands of people in, a 25-minute performance, students remains small, there will not choir singers at a song celebration, and then again, three times in a row.

52 53 International Music Day – October 1st more than 100 free concerts all across Collegium Musicale on International Music Day. Estonia on a single day Kristel Üksvärav

On International Music Day — held public transport or even in a bog, the on 1 Octobers — the Estonian Music public can choose to visit performances Council organizes more than 100 free of varying genres, ranging from classical events, which bring together performers to folk to jazz. The day-long celebration and audiences in both conventional of music culminates with the traditional settings as well as at unorthodox Estonian Music Awards Ceremony. locations. Be it at a concert hall, on

Reinut Tepp, Kaari Uus, Kadri Kukk at Manor. Susanna Paabumets

Anni Toompere at the Railway Station in Valga. Arne Kiin Võru Music School Tallinn Chamber Orchestra on the stage of Škoda Ice Arena at Estonian Music Awards Ceremony. Tõnis Anton Tiit Mõtus 54 55 Concert on a Estonian National trolleybus. Male Choir at Solaris Peeter Langovits Shopping Centre. Peeter Langovits

ENSO performing at the Kristjan Kannukene and Henri Zibo at Haapsalu Telliskivi Creative City. Neurological Rehabilitation Centre. Peeter Langovits Kaija Niiler Estonian TV Girls Choir at Kalev SPA. Rein Rannap on the plane AN2. Rene Jakobson Jaanus Lensment

Nõmme Station Restaurant Elsa – Evelin Samuel and Marten Altrov. Jako-Priit Raud Paljassaare, Maimu Jõgeda. Lemmetu

Ellerhein Girls’56 Choir at the Guard Battalion. 57 Estonia – most

MARKO LÕHMUS MARKO festivalised country A couple of years ago, in response The tradition of holding music to my question about how they festivals in various genres actually dates spent their summer, the wife of back to the Soviet times. Let us not one foreign ambassador residing in forget that the very first jazz festival in Estonia exclaimed: “Estonia is the the Soviet empire was held in Tallinn most festivalised of all the countries in 1967, with performers including the we have been posted to! We did not famous Charles Lloyd Quartet. It was have much time to spend in our home precisely because of the appearance of country because there were so many the American quartet that the Tallinn exciting music festivals here that we Jazz Festival, which had begun in 1949, wanted to visit this summer.” This was shelved for a long time by the certainly was a compliment. But it communist regime: until, that is, the also prompted me to ask whether the grand dame of Estonian jazz, Anne ambassador’s wife had in mind the Erm, resumed the tradition with the Haapsalu Early Music Festival. better-known trademark festivals, or Jazzkaar festival. Jazzkaar has been Sabine Burger if she had also noticed those with a a beacon for the organisers of other smaller target group—held during festivals, showing how determined century. The Haapsalu Early Music of year, during the week of Orthodox cold seasons when the concert scene and persistent efforts have helped a Festival spoils the audience with Christmas celebrations; the Ceciliana is scarce, where a festival provides the festival team evolve into an organ- golden soloists and ensembles from early music festival, organized by the local musicians with an opportunity to ization that holds jazz concerts and different countries, often involving Early Music Centre of the Estonian shine and to enjoy foreign performers. satellite festivals all year round. Estonian musicians in their perfor- Academy of Music and Theatre, takes Fortunately, the lady was a true culture mances as well; the Early place in March, offering high-quality A number of Estonian festivals aficionado who was able to talk at Music Festival often aims its music harpsichord music. focus on different cultures, transi- projects at young people. The festival length about various events—from Some musical theatre festivals, targeted tions and periods of early music; the season in Estonia is not just summer. the baroque music fireworks at the at foreign tourists, seem to be the most oldest—the Haapsalu and Viljandi For example, the (Bach Haapsalu Early Music Festival to the bachFest original events among the line-up of early music festivals—have been Festival) complements the range of fire eating accompanied by Haydn at festivals. The genre itself requires running for more than a quarter of a early music festivals at the beginning the Birgitta Festival. strong financial backing—this is why

58 59 for a number of years now. The on the Nina Peninsula. Guitar festival focuses on opera classics virtuosi from Estonia and elsewhere performed by one or two guest opera gather in summer for the Tallinn theatres. As this festival is full of the Guitar Festival and in autumn for glamour that has been associated with the Viljandi Guitar Festival, held in the world of opera throughout history, the Estonian folk capital Viljandi. In for many guests the gala night of the terms of genre, neither festival has festival is the most anticipated event put in place any strict limits, which of the year. Both the Saaremaa Opera has resulted in fascinating groups and Days and the Jõhvi Ballet Festival are a great deal of experimenting. organized by Eesti Kontsert, the State The Tallinn Chamber Music Festival Concert Institute. The Jõhvi festival and the Tallinn Winter Festival focuses on links between ballet and are held in different seasons and other arts. The Great Hall of the feature different genres of Estonian Jõhvi Concert Hall has the largest classical chamber music performed and most modern stage in Estonia, in numerous churches and chamber Saaremaa Opera Days. and the festival makes the best use of halls in Tallinn. However, the focus is Eesti Kontsert its possibilities. traditionally on vocal chamber music we can talk about a search for a new, The latest PromFest opera produc- While chamber music is the focus of a and the Lied. rather than an established tradition. tions have also been performed at number of festivals, great performers It is the Estonian opera and ballet the Birgitta Festival, held in the ruins can also be seen at numerous festivals that have offered an exciting of the mediaeval (Saint Birgitta) concerts and concert series between change to our dance and song theatres. Convent. The Birgitta Festival festivals. The Kuressaare Chamber PromFest, an international opera combines the mystical charm of the Music Days, the Mustjala Music festival held biannually in Pärnu, is an mediaeval convent with the latest in Festival and the Chamber ingenious symbiosis between a compe- contemporary music theatre. The Music Days give a good overview tition for young singers and an original Birgitta Festival, offering an eclectic of Estonian chamber musicians opera production. The Klaudia Taev range of genres and applying a broad performing in various ensembles. Competition for Young Opera approach to music theatre, attempts A trademark of these festivals is Singers is also held in the Summer to offer something for every taste: the search for unusual venues for Capital of Estonia. The grand prix of the programme includes a ballet, the ensembles, playing music and with the Klaudia Taev Competition is the staging of major works, golden operas, music in the enchanting island nature, opportunity to take a leading role in and more intimate and experimental making use of the exciting landmarks the subsequent year’s PromFest opera opuses. There is always something for of Estonian islands, such as Kõpu production. Winners have the right to families with children. lighthouse, Kuressaare castle or the specify their desired roles. The artistic The Saaremaa Opera Days have abandoned coastal artillery fortresses risks have been raised to the maximum been a major tourist attraction for and the outcome is often worth this Saaremaa, the largest Estonian island, Mustjala Music Festival. leap of faith.

60 61 and premieres of various works are A professional symphony orchestra the highlight of the programme at the is also at the core of the Pärnu Pühalepa Music Festival. Pühalepa Music Festival and Järvi Academy. is a small village on the island of As the name suggests, the event is a Hiiumaa, not far from the home of follow-up and further development Erkki-Sven Tüür, one of the most of the David Oistrakh festival, where fascinating and international modern Neeme Järvi offered master classes to Estonian composers. Performances young conductors. The Pärnu Music of his new works have often been Festival and Paavo Järvi have together the absolute highlight of the Pühalepa created a completely new orchestra, festival. Besides early music festivals, the Estonian Festival Orchestra, which the Pühalepa festival has in a way from this season is also performing restored the traditions of the early and outside the festival, in particular modern music festival held in Tallinn abroad. Paavo Järvi’s interpretation in the 1980s. Traditional orthodox and the performance of the dream vocal music, including choral music, is team comprised of his friends and performed in a brilliant manner at the partners in music, together with the Credo international religious music special acoustics of the Pärnu Concert festival, held in Tallinn each autumn. Hall, have become a benchmark for Estonian Music Days. orchestral music in Estonia. The Estonian Music Days, held in Peeter Langovits spring in Tallinn, focus on different The Viljandi Folk Music Festival Thanks to the 150-year-old song churches and concert halls around orchestras that perform only works has found a place on the Parnassus of festival tradition, Estonia is considered Tallinn with acoustics virtually created by Estonian composers. This festival to be a country with a strong choral for choral music attracts a significant is one of the oldest music festivals in culture. While many amateur choirs number of choirs from across the Estonia—the Estonian Composers’ perform in various genres, we also world. Moreover, the festival offers Union initiated the festival to showcase have world-class choirs, such as the the opportunity to experience the the works of its members back in Estonian Philharmonic Chamber quintessence of Estonian choral 1979. To ensure consistency the Choir and the Estonian National singing and the high level of our festival programme does not focus Male Choir. Numerous choir festivals conducting school. The Pärnu only on new works, but always features or other musical events focusing on International Choir Festival is, on earlier works by Estonian composers choral music play an important role. the other hand, the meeting place of and those from neighboring countries. The Tallinn International Choir choirs focusing on folk and heritage The highlights of the Tallinn concert Festival, held in odd years, has estab- songs. Similar to the Tallinn festival, season are the Estonian Music Days’ lished itself in the European amateur the Pärnu festival is built around a orchestral music concerts, usually choir competition calendar. Smooth competition, the difference being performed by our representative organisation, a high-level jury and the that the performers are younger and orchestra—the Estonian National Paavo Järvi and Radu Lupu in Pärnu (2017). Symphony Orchestra. opportunity to perform in different less academic. Modern choral music Kaupo Kikkas

62 63 the world’s folk and traditional music creative fantasy of both solo singers festivals. The festival, which began as and instrumentalists alike, encouraging a pedagogical project by the Viljandi the audience to look at folk music Culture Academy, has come a long way, from a different perspective. Moorland acquired a large and loyal audience, Since Estonia has the biggest number and brought the small town of Viljandi of festivals per inhabitant, based on to the forefront of the world’s folk Elegies – statistics, this overview is but an festival venues. The Viljandi festival is introduction for those discovering not only about the perfect technique Classical Recording of 2018 our festival scene. Villu Veski, a jazz demonstrated by musicians; it also musician and the leader of Juu Jääb offers an opportunity to see and listen Festival in Muhu island and the The annual Estonian ‘Golden Record’ stage music, choral music and a work to fascinating instruments and singing, Estonian Music Festivals Associ- (Kuldne Plaat) pop music award was by an Estonian composer. This year’s and to enjoy novel approaches to folk ation, states, “At the time when global established by the Estonian Associ- winner, Moorland Elegies (Lageda music. It is the special atmosphere and stability is in decline, music festivals are ation of the Phonogram Producers in laulud) for mixed choir and string mutually supportive dynamic that takes once again giving a helping hand to 1998, the same year that the Associ- orchestra (2015) by Tõnu Kõrvits, was possession of the town, its residents mankind in its search for identity and ation was established. Estonian nominated in the last two categories. and visitors over a weekend in July. cohesion. A music festival is a forum phonogram producers wanted to Based on poems by Emily Brontë, However, the Viljandi festival is not for artists to spread an honest message honour musical accomplishments Kõrvits’ work was very warmly the only one that brings together folk that reunites humanity, without regard by local pop musicians. Today, received at its premiere, in Tallinn’s St. music lovers. For example, the to religion or political affiliation or lack there are 19 award categories in John’s Church on 31 October 2015 by festival, held in spring, Elohelü thereof. Today, festivals are the keepers the Golden Record. In the last five the Estonian Philharmonic Chamber encourages competition in putting folk of traditions and meeting places that years, the Estonian Association of Choir and the Tallinn Chamber music into contemporary forms and offer an experience without which it the Phonogram Producers, together Orchestra, conducted by Risto Joost. expressions. The competitions within would be difficult to imagine life.“ with the Estonian Music Council, For this work, the composer also the event stretch the limits of the has also awarded the Golden Record received the National Cultural Award to a classical music recording. of the Republic of Estonia in 2016. Indeed, Estonian musicians won the A record, released by Ondine in the prestigious Grammy a decade earlier, spring of 2017, also attracted inter- in 2004, when the Grammy award was national attention, receiving plenty given to the Virgin Classics recording of recognition by critics—dozens of Sibelius Cantatas with the Estonian of reviews in record magazines, National Symphony Orchestra, the Record of the Week award by Estonian National Male Choir and German web portal Classic heute, and Ellerhein Girls Choir, conducted by many others. On 25 January 2018, the Paavo Järvi. Golden Record of 2018 was added to these earlier awards. The Classical Record of the Year category includes four genre categories: Juu Jääb Festival chamber music, symphony music or

64 65 FROM ESTONIA TO ASIA 16.09 Saku, Cosmo Hall (Estonian National Estonian National Male Choir, Estonian Male Choir) National Symphony Orchestra, 17.09 Sendai, Tohoku University (Estonian Estonia 100 Vox Clamantis National Male Choir) programme abroad highlights 2018 02.03; 05.03 Hong Kong Arts Festival, Vox 21.–22.09 Shibuya, NHK Hall (NHK Clamantis: Richter + Pärt – Symphony Orchestra, Estonian National Concert at an Exhibition Male Choir) ESTONIAN FESTIVAL ORCHESTRA DRESDNER GEDENKTAG 03.03 Hong Kong Arts Festival, 23.09 Sumida Triphony Hall (Estonian TOUR IN EUROPE Estonian National Male Choir, Dresdner HK City Hall, Vox Clamantis National Male Choir) Conductor Paavo Järvi Philharmonie, conductors Michael 04.03 Hong Kong Arts Festival, HK City Hall, 24.09 Nishinomya, Osaka, Hyogo Sanderling, Mikk Üleoja, soloist Mikhael 18.01 Brussels, Bozar (world premiere: Vox Clamantis and Jean Pennetier Performing Arts Centre (Estonian National Petrenko Erkki-Sven Tüür, Symphony No. 9 Mythos) 20.03 Beijing University, Estonian National Male Choir) 11.02 (Pärt, MacMillan, Reger, Shostakovich), 20.–24.01 Tonhalle Maag (Zürich), Male Choir Dresden, Kulturpalast Philharmonie Köln, Philharmonie Berlin, 22.03 Shanghai Oriental Art Centre, 13.02 (Shostakovich, Symphony No. 13 Babi THE MUSIC OF ARVO PÄRT, FRANCE Konzerthaus Vienna, Philharmonie Estonian National Male Choir Luxembourg (soloist Viktoria Mullova) Yar), Dresden, Kulturpalast Estonian Philharmonic Chamber Choir, 24.–25.03 Final concert of Hong Kong Tallinn Chamber Orchestra, conductor 13.08 London BBC Proms Arts Festival: Estonian National Symphony Tõnu Kaljuste 14.08 Amsterdam Concertgebow RUDOLF TOBIAS’S ORATORIO DES JONA Orchestra, Estonian National Male Choir, 20.10 Philharmonie de Paris SENDUNG, BERLIN conductor Leif Segerstam 15.08 Hamburg Elbfilharmonie 21.10 Nantes, La Cité Nantes Events Centre Estonian National Symphony Orchestra, 27.03 Singapore Esplanade, Estonian State Choir Latvija, conductor Neeme Järvi, National Male Choir THE MUSIC OF ARVO PÄRT, GRONINGEN soloists Susanne Bernhard, Annely Peebo, ESTONIAN PHILHARMONIC CHAMBER Estonian Philharmonic Chamber Choir, Dominik Wortig, Ain Anger, Johann Tilli CHOIR AND TALLINN CHAMBER Tallinn Chamber Orchestra, 20.02 Berlin, Konzerthaus ADAM’S PASSION BY ARVO PÄRT & ORCHESTRA TOUR IN USA conductor Risto Joost ROBERT WILSON, BERLIN 06–18.11 New York, Fayetteville, Kansas City, 25.01 Groningen, De Oosterpoort Konzerthausorchester Berlin, Estonian Stanford (California), Santa Barbara, Los ESTONIAN NATIONAL OPERA IN RIGA Philharmonic Chamber Choir, Angeles. AND VILNIUS conductor Tõnu Kaljuste, directed by Conductor Tõnu Kaljuste, founder of both ARVO PÄRT WEEKEND, BRUSSELS Programme at Latvian National Opera, Riga Robert Wilson ensembles. Music by Arvo Pärt, Erkki-Sven Philharmonic Chamber Choir, Tallinn 27.02 The Goblin. Ballet by Eduard Tubin 28–30.03 Berlin, Konzerthaus Tüür, Carlo Gesualdo, Brett Dean. Chamber Orchestra, conductors Tõnu 28.02 Opera and Ballet Gala Kaljuste, Risto Joost, Kaspars Putninš ESTONIAN PHILHARMONIC CHAMBER 01.03 Cardillac. Opera by Paul Hindemith 26–28.01 Brussels, Flagey ESTONIAN EVENING AT 21C MUSIC CHOIR CONCERTS FESTIVAL, TORONTO Conductor Kaspars Putninš Programme at Lithuanian National Vox Clamantis, Maarja Nuut 30.01 London, Barbican, Milton Court ESTONIAN NATIONAL ORCHESTRA TOUR Opera, Vilnius 26.05 Toronto, Koerner Hall 31.01 Dublin, National Concert Hall TO THE USA 15.05 Tannhäuser. Opera by Richard Wagner Conductors Neeme Järvi and Arvo Volmer 05.02 Amsterdam, Muziekgebouw 16.05 The Goblin. Ballet by Eduard Tubin 27.01–07.02 St. Augustine and West Palm NHK SYMPHONY ORCHESTRA AND 17.05 A Streetcar Named Desire. Ballet by Beach (Florida), Mason City and Ames ESTONIAN NATIONAL MALE CHOIR, JAPAN Nancy Meckler and Annabelle Lopez Ochoa (Iowa), Ann Arbor (Michigan), Palm Desert NHK Symphony Orchestra, conductor and Soka, Aliso Viejo (California) Paavo Järvi, Estonian National Male Choir, conductor Mikk Üleoja Source: The Estonia 100 15.09 Toyota City Concert Hall (Estonian Organising Committee National Male Choir) 66 67 Authors

Toomas Siitan (1958) is a musicologist (PhD in musicology in 2003) and conductor. Since 1986, he has taught music history at the Estonian Academy of Music and Theatre (since 2004 as a professor) and was appointed head of the musicological department in 2013. Since 1990, he has been an active conductor, and has served as the artistic director of the Haapsalu Early Music Festiva since 1994.

Kerri Kotta (1969) is a musicologist (PhD in musicology 2004) and composer. He is professor of music theory (2015) and research professor at Estonian Academy of Music and Theatre; Chairman of the Estonian Musicological Society, since 2013; Chairman of the International Eduard Tubin Society; and Editor-in-Chief of the Eduard Tubin Complete Works, since 2015.

Evi Arujärv (1953) is a musicologist, music journalist and essayist. She has been the head of Estonian Music Information Centre since 2007.

Liisi Laanemets (1983) is a young musicologist, music critic, and publicist.

Kai Taal (1973) is a trained pianist, piano teacher, and music publicist.

Kaie Tanner (1975) is a choral conductor and manager. She is currently the general secretary of the Estonian Choral Association and a conductor of the Estonian Radio Children’s Choirs, has been active in organizing Estonian and international choral festivals, competitions and singing weeks, and has conducted at the Estonian Youth Song Celebrations. She is a board member of the European Choral Association – Europa Cantat and the president of Choral Festival Network.

Marko Lõhmus (1969) is the head of the Centre for Cultural Management and Humanities, and associate professor at the Estonian Academy of Music and Theatre. Erlier has been managing director of Pärnu City Orchestra, the State Concert Institute and the Tallinn Philharmonic Society.

68 N0 13 2018 Music in Estonia Estonian Music Review