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2018 Kreegi Vihik (Kreek's Notebook) for Chorus and Strings by Tõnu Kõrvits: A Conductor's Guide Alex Timothy Favazza Jr.

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COLLEGE OF MUSIC

KREEGI VIHIK (KREEK’S NOTEBOOK)

FOR CHORUS AND STRINGS BY TÕNU KÕRVITS:

A CONDUCTOR’S GUIDE

By

ALEX TIMOTHY FAVAZZA, JR.

A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy

2018 Alex Timothy Favazza, Jr. defended this dissertation on April 9, 2018 The members of the supervisory committee were:

André J. Thomas Professor Directing Dissertation

Michelle Stebleton University Representative

Kevin Fenton Committee Member

William Frederickson Committee Member

The Graduate School has verified and approved the above-named committee members and certifies that the dissertation has been approved in accordance with university requirements.

ii

For my wife, Melanie Favazza, who is the love of my life.

iii ACKNOWLEDGMENTS

I cannot begin to count the ways that I have been influenced by professors at Florida

State University. I am profoundly grateful for your investment in me. Your philosophies and practices have shaped me more than I could have ever imagined. First, to Dr. André J. Thomas, my major professor and mentor, I thank you for the countless ways you have instructed and empowered me as a conductor, teacher, and scholar. I also thank you for many opportunities you have given me as well as your unwaivering support for me in everything I undertake.

I wish to acknowledge the members of my doctoral supervisory committee: Dr. Kevin

Fenton, Dr. William Frederickson, and Professor Michelle Stebleton. You are each a model of professionalism, and I appreciate your encouragement and support.

I wish to convey my deepest gratitude to Tõnu Kõrvits. Thank you for writing increbile music which has changed my life. However, I thank you even more for being a wonderful friend.

Your brilliance is only outweighed by your humility and kindness.

To Dr. Gregory Fuller, thank you for mentoring me and further opening my eyes to the depths of treasure in Estonian choral music.

To professors Mart Humal, Anu Kõlar, and Toomas Siitan from the musicology department at the Estonian Academy of Music and Theater in Tallinn, thank you for meeting with me and providing me innumerable resources in my study.

Thank you to the Estonian Theater and Music Museum, particularly to Mihkel Roolaid who personally guided me in researching folk-hymn transcription manuscripts.

Thank you to Fr. Brian Smith and the Episcopal University Center at Ruge Hall for holding the Canterbury Concert Series including the performance of Kreek’s Notebook. Thank you to my friends in the chorus and orchestra for making every moment an absolute joy.

iv To Timothy Fitzpatrick, I offer my gratitude for your insight into Estonian music and culture. Thank you for consulting with me on my study and for being a source of encouragement.

Thank you to Sam Carlton and Phil Biedenbender for playing through my rehearsal piano reductions and offering edits and suggestions.

Thank you to Grete Kõrvits for your word for word translation of Kreek’s Notebook.

Thank you to Laura Gayle Green, head librarian at the Florida State University College of Music. Thank you to the musicology faculty at the Florida State University College of Music, especially Dr. Denise Von Glahn and Dr. Sarah Eyerly. Thank you to my editor Ryan

Whittington. You are a brilliant scholar, and I am thankful to have had you on this project.

I wish to thank Marianne Kõrver for including me in her documentary on Tõnu Kõrvits.

I wish to thank Dr. Judy Bowers for encouraging me to research what I love. Thank you for your ceaseless patience with me. I hope your teaching echoes in everything I do.

Thank you to my friend and colleague Marques L. A. Garrett for listening to everything about Estonian choral music for the last three years. You are a true friend.

Thank you to my best friend Derek Meler for being a sounding board for almost every idea in this dissertation. Thank you for your unending friendship and encouragement.

Thank you to my parents Tim and Arlene Favazza who have always supported my dreams.

Thank you to my family at First Presbyterian Church Quincy, FL for your endless care and love.

Finally, I wish to honor and acknowledge my wife Melanie Favazza. I love you more than anything. I could have never done any of this without you. You are my partner in everything in life, and I thank God for you every day.

v TABLE OF CONTENTS

List of Tables ...... vii List of Figures ...... viii List of Examples ...... xii Abstract ...... xiii

1. INTRODUCTION ...... 1

2. I. NÜÜD OLE, JEESUS, KIIDETUD ...... 18

3. II. NÜÜD ON SEE PÄEV JU LÕPPENUD ...... 37

4. III. MA KIITLEN ÜKSPÄINIS NEIST VERISIST HAAVUST ...... 55

5. IV. OH VÕTA, ARMAS JEESUS, VASTU MUULT ...... 63

6. V. SU HOOLEKS ENNAST ANNAN MA ...... 86

7. VI. LENDA ÜLES KURBTUSEST ...... 99

8. VII. MINU HING, OH OLE RÕÕMUS ...... 122

9. VIII. MA VAATAN ÜLES MÄELE ...... 146

10. A CONDUCTOR’S REFLECTION ON PREPARING KREEK’S NOTEBOOK...... 159

11. CONCLUSION ...... 164

APPENDICES ...... 166

A. CATALOG AND SCORES OF CYRILLUS KREEK’S ARRANGEMENTS OF FOLK- HYMN VARIANTS THAT APPEAR IN KREEK’S NOTEBOOK ...... 166

B. CATALOG OF MAJOR WORKS FOR CHORUS: CHORAL-ORCHESTAL, MULTI- MOVEMENT, AND LARGE SCALE CHORAL WORKS BY TÕNU KÕRVITS THROUGH 2017 ...... 190

References ...... 192 Biographical Sketch ...... 197

vi LIST OF TABLES

Table 2.1 Metric distribution for diphthong vowels in Nüüd ole, Jeesus, kiidetud...... 28

Table 3.1 Metric distribution for diphthong vowels in Nüüd on see päev ju lõppenud...... 47

Table 5.1 Metric distribution for diphthong vowels in Oh võta, armas Jeesus vastu mult...... 74

Table 6.1 Metric distribution for diphthong vowels in Su hooleks ennast annan ma...... 94

Table 7.1 Metric distribution for diphthong vowels in Lenda üles kurbtusest...... 111

Table 8.1 Metric distribution for diphthong vowels in Minu hing, oh ole rõõmus ...... 133

Table 9.1 Metric distribution for diphthong vowels in Ma vaatan üles mäele...... 153

vii LIST OF FIGURES

Figure 1.1 Tõnu Kõrvits. Photo by the author...... 1

Figure 1.2 A bust of Cyrillus Kreek sitting on top of the composer’s piano at his home in Haapsalu. Photo by the author...... 8

Figure 1.3 The nave of St. Nicolas Cathedral in Haapsalu. Photo by the author...... 14

Figure 2.1 Collection manuscript EÜS IV 1857/41/ of Nüüd ole, Jeesus, kiidetud (Kihnu) by Peeter Süda 1907, courtesy of the Estonian Theater and Music Museum...... 20

Figure 2.2 Excerpt from the 1915 Tallinn Punschel Choralbuch: No. 443, Gelobet seist du, Jesus Christ. One version of the chorale that Cyrillus Kreek would have seen. Public Domain. .... 20

Figure 2.3 Melodic transformation graph of Gelobet seist du, Jesu Christ to Nüüd ole, Jeesus, kiidetud...... 21

Figure 2.4 Repurposing M7 on fourth and seventh scale degrees and harmonic use. I. Nüüd ole, Jeesus, kiidetud, Kreek’s Notebook...... 25

Figure 2.5 Chord super-imposed over different bass note, I. Nüüd ole, Jeesus, kiidetud, Kreek’s Notebook...... 25

Figure 2.6 Kõrvits’s additional iterations in melodic sequence I. Nüüd ole, Jeesus, kiidetud, Kreek’s Notebook...... 26

Figure 2.7 Example of metric distribution for diphthong vowels, Nüüd ole, Jeesus, kiidetud...... 27

Figure 2.8 Piano reduction for choral rehearsal. I. Nüüd ole, Jeesus, kiidetud. Created by the author with permission from the composer...... 30

Figure 3.1 Collection manuscript EÜS VI 878/32/ of Nüüd on see päev ju lõppenud (Rapla) by Peeter Süda 1907, courtesy of the Estonian Theater and Music Museum...... 39

Figure 3.2 Excerpt from the 1915 Tallinn Punschel Choralbuch: No. 18, Nun sich der Tag geendet hat. One version of the chorale that Cyrillus Kreek would have seen. Public Domain...... 39

Figure 3.3 Melodic transformation graph of Nun sich der Tag geendet hat to Nüüd on see päev ju lõppenud...... 40

Figure 3.4 Vocal melodic ornamentation comparison, II. Nüüd on see päev ju lõppenud...... 43

viii Figure 3.5 False relation example, m. 6, II. Nüüd on see päev ju lõppenud...... 44

Figure 3.6 Harmonic sketch in block chords, mm. 15–22, II. Nüüd on see päev ju lõppenud. .... 45

Figure 3.7 Piano reduction for choral rehearsal. II. Nüüd on see päev ju lõppenud. Created by the author with permission from the composer...... 49

Figure 4.1 Artwork depicting scene from Revelation chapter four with inscription of Ich rühme mich einzig der blutigen Wunden. Herrnhutt Gesang-Buch, 1735, public domain...... 56

Figure 4.2 Collection manuscript KM ERA III 2, 65 (59) of Ma kiitlen ükspäinis neist verisist haavust (Pärnu-Jaagupi) by Eduoard Oja 1929, courtesy of the Estonian Theater and Music Museum...... 58

Figure 4.3 Excerpt from the 1915 Tallinn Punschel Choralbuch: No. 76, Ich rühme mich einzig der blutigen Wunden. This is the version of the chorale that Cyrillus Kreek would have seen. Public domain...... 59

Figure 4.4 Melodic transformation graph of Ma kiitlen ükspäinis neist verisist haavust...... 60

Figure 4.5 Rhythmic alteration for Kreek’s Notebook, III. Ma kiitlen ükspäinis neist verisist haavust...... 60

Figure 4.6 Harmonic sketch: example of quartal hamony and resulting sevenths and ninths, mm. 27–28, III. Ma kiitlen ükspäinis neist verisist haavust...... 61

Figure 5.1 Collection manuscript KM EÜS III 677/32/ of Oh võta, armas Jeesus, vastu mult (Kolga-Jaani) by Juhan Simm 1906, courtesy of the Estonian Theater and Music Museum...... 65

Figure 5.2 Excerpt from the 1915 Tallinn Punschel Choralbuch: No. 44, Jehova nimm von mir die Kräfte hin. One version of the chorale that Cyrillus Kreek would have seen. Public Domain...... 65

Figure 5.3 Melodic transformation graph of Jehova nimm von mir die Kräfte hin to Oh võta, armas Jeesus, vastu mult...... 66

Figure 5.4 Piano reduction for choral rehearsal. IV. Oh võta, armas Jeesus, vastu mult. Created by the author with permission from the composer...... 77

Figure 6.1 Collection manuscript EÜS II 101/2/ of Su hooleks ennast annan ma (Mustjala) by T. Meerits 1905, courtesy of the Estonian Theater and Music Museum...... 88

Figure 6.2 Excerpt from the 1915 Tallinn Punschel Choralbuch: No. 88a, Ich hab’ mein’ Sach’ Gott heimgestellt. One version of the chorale that Cyrillus Kreek would have seen. Public Domain...... 89

ix

Figure 6.3 Melodic transformation graph of Su hooleks ennast annan ma...... 89

Figure 6.4 Vocal melodic ornamentation comparison, V. Su hooleks ennast annan ma...... 92

Figure 6.5 Combinatorial sketch, solo line and pedal chord, V. Su hooleks ennast annan ma. ... 93

Figure 6.6 Piano reduction for choral rehearsal. V. Su hooleks ennast annan ma. Created by the author with permission from the composer...... 96

Figure 7.1 Collection manuscript reproduction by author EÜS V 137/6/ of Lenda üles kurbtusest (Otepää) by A. Kiis...... 101

Figure 7.2 Excerpt from the 1915 Tallinn Punschel Choralbuch: No. 278, Schwing’ dich auf zu deinem Gott. One version of the chorale that Cyrillus Kreek would have seen. Public Domain...... 101

Figure 7.3 Melodic transformation graph of Lenda üles kurbtusest...... 102

Figure 7.4 Vocal melodic ornamentation comparison, VI. Lenda üles kurbtusest...... 106

Figure 7.5 Harmonic sketch in block chords and broken down into perfect fifths, VI. Lenda üles kurbtusest...... 107

Figure 7.6 Mixed-mode scale, used mm. 32-42, VI. Lenda üles kurbtusest...... 109

Figure 7.7 Piano reduction for choral rehearsal. VI. Lenda üles kurbtusest. Created by the author with permission from the composer...... 113

Figure 8.1 Minu hing, oh ole rõõmus (Lääne-Nigula) folk-hymn variant melody based on No. 148, Eesti vaimulikud rahvaviisid naiskoorile IV – arr. Cyrilus Kreek 1932...... 124

Figure 8.2 Excerpt from the 1915 Tallinn Punschel Choralbuch: No. 288, Freu’ dich sehr, o meine Seele. One version of the chorale that Cyrillus Kreek would have seen. Public Domain...... 125

Figure 8.3 Melodic transformation graph of Minu hing, oh ole rõõmus...... 126

Figure 8.4 Harmonic bass line outlining minor-major seventh in chromatic mediancy, VII. Minu hing, oh ole rõõmus...... 131

Figure 8.5 Piano reduction for choral rehearsal (no key signature) VII. Minu hing, oh ole rõõmus. Created by the author with permission from the composer...... 135

Figure 8.6 Piano reduction for choral rehearsal (with key signature) VII. Minu hing, oh ole rõõmus. Created by the author with permission from the composer...... 141

x

Figure 9.1 Collection manuscript KM EÜS V 157/103/ of Ma vaatan üles mäele (Saaremaa) by A. Kiis 1908, courtesy of the Estonian Theater and Music Museum...... 147

Figure 9.2 Excerpt from the 1915 Tallinn Punschel Choralbuch: No. 415, Ich blicke nach der Höhe. One version of the chorale that Cyrillus Kreek would have seen. Public Domain. ... 148

Figure 9.3 Melodic transformation graph of Ich blicke nach der Höhe to Ma vaatan üles mäele...... 149

Figure 9.4 Piano reduction for choral rehearsal VIII. Ma vaatan üles mäele. Created by the author with permission from the composer...... 155

xi LIST OF EXAMPLES

Musical Example 3.1 II. Nüüd on see päev ju lõppenud—Tõnu Kõrvits, m. 13. © EMIC...... 43

Musical Example 4.1 III. Ma kiitlen ükspäinis neist verisist haavust—Tõnu Kõrvits, mm. 35–36. © EMIC...... 62

Musical Example 5.1 Use of octatonic scale in string parts, IV. Oh võta, armas Jeesus, vastu mult—Tõnu Kõrvits, m. 42 © EMIC...... 71

Musical Example 5.2 Combination of pentatonic melody and octatonic harmony, IV. Oh võta, armas Jeesus, vastu mult—Tõnu Kõrvits, mm. 43–45 © EMIC...... 72

Musical Example 5.3 Cascading violin lines, IV. Oh võta, armas Jeesus, vastu mult—Tõnu Kõrvits, mm. 46–48 © EMIC...... 73

Musical Example 7.1 Viola motive, VI. Lenda üles kurbtusest—Tõnu Kõrvits, mm. 18–19 © EMIC...... 107

Musical Example 7.2 Melodic ornamentation using accompanying motive, VI. Lenda üles kurbtusest—Tõnu Kõrvits, mm. 20–24 © EMIC...... 108

Musical Example 7.3 VI. Lenda üles kurbtusest—Tõnu Kõrvits, mm. 34–36 © EMIC...... 109

Musical Example 8.1 VII. Minu hing, oh ole rõõmus—Tõnu Kõrvits, mm. 3–4 © EMIC...... 129

Musical Example 8.2 VII. Minu hing, oh ole rõõmus—Tõnu Kõrvits, mm. 3–4 © EMIC, includes enharmonic spelling on additional staff...... 130

Musical Example 8.3 VII. Minu hing, oh ole rõõmus—Tõnu Kõrvits, m.26 © EMIC...... 130

Musical Example 8.4 VII. Minu hing, oh ole rõõmus—Tõnu Kõrvits, mm. 7–8 © EMIC...... 131

Musical Example 8.5 VII. VII. Minu hing, oh ole rõõmus—Tõnu Kõrvits, mm. 16 © EMIC. . 132

Musical Example 9.1 VIII. Ma vaatan üles mäele—Tõnu Kõrvits, mm. 1–4 © EMIC...... 151

xii ABSTRACT

The purpose of this dissertation is to provide resources to enable scholarly performances of the 2007 choral-orchestral composition Kreek’s Notebook by Tõnu Kõrvits, one of Estonia’s most celebrated contemporary composers. Each movement in Kreek’s Notebook is based on a different Estonian folk-hymn variant. The piece’s title refers to Estonian composer Cyrillus

Kreek and his work collecting and preserving this medium.

This study provides background and source material for each movement of Kreek’s

Notebook as well as a translation, IPA transcription for lyrical diction, piano reduction for choral rehearsals, brief musical analysis, and discussion of performance practice.

xiii CHAPTER 1

INTRODUCTION

Introduction and Purpose Statement

Tõnu Kõrvits, pictured below in Figure 1.1, is one of Estonia’s most awarded and accomplished contemporary composers. Kõrvits’s works have been performed by numerous acclaimed orchestras and choruses throughout Europe.

Figure 1.1 Tõnu Kõrvits. Photo by the author.

Though Kõrvits has successfully written for many musical ensembles, his most well- known piece of choral music is his 2007 work Kreegi Vihik (Kreek’s Notebook) for chorus and string orchestra. This work has been performed over sixty times in Europe and at least five times

1 in the United States as of 2017.1 Kreek’s Notebook is an Estonian choral-orchestral masterwork that may provide exposure for American conductors and choruses to Estonian choral music.

Unique in its use of Estonian religious folk-hymn variants, Kreek’s Notebooks takes its name from the work of Cyrillus Kreek and other members of the Estonian Student’s Society, Eesti

Üliõpilaste Selts (EÜS), who collected and transcribed these folk hymns in the early years of the twentieth century.

Conductors and singers in the Western European tradition are conventionally taught the rudiments of English, Latin, German, Italian, and French vocal diction and musical style. These encompass a vast amount of the vocal and choral literature of the Western canon, but they do not prepare conductors and singers for works in Eastern European languages and traditions. The cultural isolation of the Soviet Union during the twentieth century made for little Western exposure to a vast body of choral music from the various Soviet states. In recent years, choral music from the former Eastern Bloc, particularly from the Baltic states, has become an increasingly more important part of the repertoire of American choruses.

Choral-orchestral masterworks specifically are central in the repertoire of university choruses, community choruses, and professional choruses in the West. The purpose of this dissertation is to enable scholarly performances of Kreek’s Notebook by providing a conductor’s guide including translations, diction for singing, piano reduction for rehearsal, source documentation and history, musical analysis, and performance practice. This dissertation is organized into eleven chapters: an introduction to Estonian folk-hymn variants, Cyrillus Kreek,

Tõnu Kõrvits and the genesis of Kreek’s Notebook, a chapter on each movement of Kreek’s

1 Tõnu Kõrvits (Estonian composer), interviewed by Alex Favazza, Tallinn, Estonia, December 14, 2017. 2 Notebook, a conductor’s reflection on preparing the work, and a summary chapter. It is the author’s hope that this study will encourage conductors to explore the great body of Estonian choral literature by providing them a guide with information necessary for a successful performance, allowing them to confidently embrace Kreek’s Notebook and works like it.

Estonian Folk-Hymn Variants

Written evidence of Estonians singing dates to the medieval literary work of Danish historian Saxo Grammaticus Gesta Danorum (Deeds of the Danes). Grammaticus writes of

Estonian warriors singing through the night in anticipation of battle.2 This style of singing was common throughout Scandinavia is often referred to as Balto-Finnic runic singing. The ancient

Balto-Finnic singing of Estonia is called Regilaul. Regilaul is a combination of two terms: regi is a poetic meter of syllabic stress and laul means “song.”3 American musicologist Mimi Daitz explored the history and influence of Regilaul, especially its influence on the compositions of

Estonian compositional father Veljo Tormis in her book Ancient Song Recovered: The Life and

Music of Veljo Tormis.4 Additionally, the 2012 film Regilaul: Songs of the Ancient Sea by

German director Ulrike Koch chronicles the history and impact of this unique singing tradition.

Regilaul is highly improvisational, an aspect of the Estonian singing tradition that is important to understanding the development of Estonian folk-songs in the following centuries.

2 Toivo Miljan, Historical Dictionary of Estonia (Lanham, MD: Rowman & Littlefield, 2004), 308.

3 Veljo Tormis, “The Essence of the Estonian Regilaul,” trans. Ülle Leis, ed. Marian Dolan, ifcm.net, accessed February 10, 2018, International Federation for Choral Music, http://ifcm.net/the-essence-of-the-estonian-regilaul/.

4 Mimi Daitz, Ancient Song Recovered: The Life and Music of Veljo Tormis (Hillsdale, NY: Pendragon Press, 2004).

3 The specific type of folk-songs used as source material in the composition of Kreek’s Notebook are Estonian folk-hymn variants. These folk-songs are the result of the fusion of the Estonian traditional singing style of Regilaul and the chorales brought to Estonia by Lutheran missionaries in the sixteenth century.

The Protestant Reformation began in 1517 and by the 1520s had spread to parts of

Estonia. Services were first held in German, which remained the language of the upper-class until the nineteenth century. By the 1530s, some services were beginning to be held in Estonian.

Lutheran missionaries brought German chorales to Estonia, and the first Estonian hymnal was printed in 1565, over one hundred years before the translation of the Bible into Estonian.5

However, Urve Lippus and Ingrid Rüütel report in their 2001 New Grove article on Estonian music that Heinrich Stahl’s Hand—vnd Hauszbuch für das Fürstenthumb Esthen (1632–8) is one of the earliest books in existence that includes Estonian text.6

Though some evidence exists of organs in local churches as early as 1329,7 organs were not commonplace even in Estonian cities until the seventeenth century.8 Therefore, most music in rural Lutheran services was performed a cappella. Parishioners sang chorales very loudly and slowly and began to improvise on the original tunes. These improvisations became local

5 Robert Kolb, “Estonia,” in Dictionary of Luther and the Lutheran traditions, ed. Timothy J. Wengert, Mark Alan Granquist, Mary Jane Haemig, Robert Kolb, Mark C. Mattes, and Jonathan Strom (Grand Rapids, MI: Baker Academic, 2017).

6 Urve Lippus and Ingrid Rüütel, “Estonia,” Grove Music Online. January 20, 2001. http://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/o mo-9781561592630-e-0000041040 (accessed November 20, 2017).

7 In Helem, Paistu. West of Tartu, in southern Estonia.

8 Lippus and Rüütel, “Estonia.”

4 performance traditions. Some versions were so highly ornamented that often the original melody, mode, and meter are completely obscured. Finnish and Swedish traditions reveal similar hymn alterations. Finnish folklorist and composer Ilmari Krohn (1867–1960) wrote:

Very rarely do we meet hymns in popular presentation as they have been printed in hymnals and that for varying reasons. Firstly, the shortage of organs and the inadequate musical education of the cantors have brought about the situation that congregations in churches sing hymns with several digressions in a lot of places even today [in the nineteenth century]. And finally, the alterations have been made because of the Germanic origin of the hymns, they have acquired national colouring which suits more the simple understandings of music that the people possess.9

The first study analyzing folk-hymn variants in Estonia was conducted in 1988 by the late

Estonian musicologist Urve Lippus. It is published in the Estonian journal Teater. Muusika.

Kino. (Theater. Music. Cinema.).10 Estonian musicologist Mart Humal performs a systematic analysis of Estonian-Swedish folk-hymn variants by comparing them to the original chorales in his 2003 book Cyrillus Kreek ja eestirootsi rahvapärased koraalivariadid (Cyrillus Kreek and

Estonian-Swedish Folk-Hymn Variants). Humal considers melismatic ornamentation, change of mode, main tone deviations, and change of form in his analysis.11 Urve Lippus also completed another article on the subject in 2003.12 Estonian musicologist Anu Kõlar and Estonian composer and scholar Kadri Hunt collaborated on a lecture on Estonian folk-hymn variants and their use in

9 Anneli Unt, “Forward,” Viamulikud rahvaviisid I, Cyrillus Kreek (Tallinn: SP Muusika), 7.

10 Urve Lippus, “Rahvapärne koraalide laulmine eestirootslaste külades (Popular Choral Singing in Estonian Swedish Communities),” Teater. Muusika. Kino., no. 12 (1988): 34–35.

11 Mart Humal, Cyrillus Kreek and Estonian-Swedish Folk-Hymn Variants (Tallinn: Estonian Theater and Music Academy, 2003), 20.

12 Urve Lippus, “Rahvapärased Koraalivariandid Eestis” (Folk-hymn Variants in Estonia),” Artikleid ja Arutlusi Eesti Kirikumuusikast, (2003): 16–38.

5 Cyrillus Kreek’s choral compositions at the 2005 Internationale Arbeitsgemeinschaft für

Hymnologie in Tartu, Estonia.13

Interest in collecting and preserving Estonian folk-hymn variants emerged during the

Estonian Age of Awakening (Ärkamisaeg). Concern for national folk-song conservation in

Estonia paralleled many similar ethnomusicological ventures throughout Europe—for example:

Bartók and Kodály in Hungary, Orff in Germany, Sibelius in Finland, and Vaughan Williams in

England. The Estonian Student’s Society, under the mentorship of historian and folklorist Dr.

Oskar Kallas, undertook the task of collecting and transcribing Estonian folk-hymn variants, particularly in Western Estonia.14 The EÜS included many young composers who would later be hailed as patriarchs of Estonian composition such as Cyrillus Kreek, Mart Saar, and Heino Eller.

The manuscripts of the collected folk-hymn variants from the EÜS are housed in the Estonian

Theater and Music Museum in Tallinn and the University of Tartu Library in Tartu, the second largest city in Estonia after the capital city of Tallinn. The collection manuscripts of the folk- hymn variants used in the composition of Kreek’s Notebook are presented in subsequent chapters of this dissertation.

Cyrillus Kreek and the Association of Folk-Hymn Variants

Anu Kõlar conducted extensive biographical research on Cyrillus Kreek’s life in her doctoral dissertation Cyrillus Kreek ja eesti muusikaelu (Cyrillus Kreek and Musical Life in

13 Anu Kõlar and Kadri Hunt. “Folk Hymn Singing in Estonia: Folk Hymns as a Source of Cyrillus Kreek’s Compositions.” Lecture transcript. Tartu, Estonia. 2005. (The conference theme was “The Hymn of the Pluralistic Societies of Europe”).

14 Ibid.

6 Estonia).15 Three short biographies predate Kõlar’s work: one by Neeme Laanepõld in 1974 and two by Tiia Järg published in 1989 and 2003. In the United States, conductor Jonathan Rodgers completed a dissertation on the Cyrillus Kreek’s published arrangements of collected Estonian secular folksongs and folk-hymn variants in 2013.16

Composer Cyrillus Kreek was born on March 26, 1889. Sources consistently list Kreek’s birthplace as Ridala parish, a rural municipality in Lääne county, western Estonian, but some discrepancies exist about the specific village of Kreek’s birthplace. The Estonian Music Info

Center website lists the composer’s birth city as the village of Võnnu, which is approximately thirteen kilometers southeast from the Estonian coastal city of Haapsalu.17 Anneli Unt,18

Jonathan Rodgers,19 and Vance Wolverton20 all report that Kreek was born in the village of

Saanika, which is about five kilometers to the southwest of Võnnu. Cyrillus Kreek himself recounts his father lifting him up on to the organ bench to hear his singing more clearly during a group music lesson at the Saanika school, placing him in the Saanika village at some point in his early childhood.21

15 Anu Kõlar, Cyrillus Kreek ja eesti muusikaelu: väitekiri muusikaajaloos (Tallinn: Eesti Muusikaamadeemia Väitekirjad 5, 2010).

16 Jonathan Rodgers, “The Published Choral Folk Songs of Cyrillus Kreek, Estonian Nationalist” (doctoral dissertation, The University of Southern Mississippi, 2013). 17“Cyrillus Kreek,” Emic.ee, Last modified 2009, goo.gl/wsbwTC.

18 Anneli Unt, “Forward,” 7.

19 Jonathan Rodgers, “The Published Choral Folk Songs of Cyrillus Kreek, Estonian Nationalist,” 8.

20 Vance Wolverton, “Baltic Portraits: Cyrillus Kreek—And Estonian Original,” Choral Journal 40, no. 2 (September 1999): 9–15.

21 Tiia Järg, Cyrillus Kreek: Helilooja (Tallinn: Eesti Muusikaühing, 1989), 11.

7 Kreek had a unique commitment to the area where he was raised in coastal western

Estonia.22 Figure 1.2 shows a bust of Kreek atop the composer’s piano at his home in Haapsalu.

During most of his life, besides some brief appointments at the conservatory in Tallinn, Kreek worked as a music teacher and choral conductor in Haapsalu.23 He became fascinated with

Estonian folk-hymn variants, particularly of western Estonia where he was raised, and created hundreds of arrangements of them in his lifetime.

Figure 1.2 A bust of Cyrillus Kreek sitting on top of the composer’s piano at his home in Haapsalu. Photo by the author.

Kreek is probably best known for his 1927 Estonian Requiem (Reekviem) which was the first choral-set Estonian translation of the Requiem text.24 Mart Humal refers to Kreek’s oeuvre with the image of an iceberg: “The main sphere of Kreek’s work—his choral music—resembles an iceberg: its top is the monumental Requiem (1927), its visible part is made up of a few dozen well known choral songs (including nine Psalms of David), but its largest and as yet nearly

22 Anu Kõlar, Cyrillus Kreek, 246.

23 Dennis Schrock, Choral Repertoire (Oxford: Oxford University Press, 2009), 643.

24 Kreek later added Latin text.

8 unknown, ‘submerged’ part consists of more than a thousand various arrangements of folk-hymn variants and original Lutheran hymns.”25

Kreek was trained at the St. Petersburg conservatory and was well acquainted with the

Evangelisches Choralbuch of Johann Punschel, which includes Estonian, Russian, and Latvian indices to five hundred harmonized Lutheran chorales. The Punschel number for source chorales associated with the collected Estonian folk-hymn variants were included for reference on the

EÜS manuscripts. Kreek also arranged many of the unaltered chorale melodies for treble and mixed choruses in a Western European style. One of Kreek’s collections of chorale arrangements is even titled “In the Style of J.S. Bach.” The comparison of Kreek to Bach in this manner is important to understanding the scope of Kreek’s work with these tunes and public association of

Kreek with folk-hymn variants.

Most Western musicians are more familiar with Bach’s harmonizations and parodic use of sixteenth-century chorales than the original chorales themselves. Similarly, such is the case with Cyrillus Kreek’s arrangements of folk-hymn variants. Estonians are more likely to be exposed to Kreek’s arrangements than they are to the original melodies themselves. This association brings light to the title of Kreek’s Notebook by Tõnu Kõrvits. Though Cyrillus Kreek was only one of several folk-hymn variant collectors, he is the composer most closely associated with the medium.26

25 Mart Humal, Cyrillus Kreek, 20.

26 Ironically, Cyrillus Kreek was the original collector for only one of the folk-hymn variants used in Kreek’s Notebook; however, he arranged all of the tunes used in Kreek’s Notebook during his lifetime, some many times. 9 Kreek’s Notebook’s Genesis

The title page of Kreek’s Notebook bears the inscription, “Cyrillus Kreegi pool kasutatud ja kogutud Eesti vaimulikud rahvaviisid,” which translates as “Cyrillus Kreek used and collected

Estonian religious folk-songs.” Though Kreek’s Notebook was composed in 2007, Tõnu

Kõrvits’s use of the folk-hymn variants included in the work began as early as 2002. In 2002,

Tõnu Kõrvits was commissioned by the Estonian State Concert Institute (Eesti Kontsert) to write a string quartet. The result, Neli Eesti Vaimulikku Rahvaviisi (Four Estonian Sacred Folk Tunes), includes four movements, each of which is based on a different folk-hymn variant. Each of the work’s four movements are titled for the folk-hymn variant used therein. This piece was first performed December 17, 2002 in Tallinn by the Tobias String Quartet.27

The first movement of Four Estonian Sacred Folk Tunes is based on a folk-hymn variant from the Estonian town of Rapla entitled Nüüd on see päev ju lõppenud (Now the day is over). In

2005, Kõrvits re-orchestrated this movement to be set for solo electric guitar and string orchestra.

This version was premiered on February 16, 2006, by guitarist Ain Agan and the Tallinn

Chamber Orchestra under the baton of young conductor Risto Joost at the Eesti Metodisti Kirik

(Tallinn Methodist Church) in the Kadriorg district of Tallinn.28

Later the same year, Kõrvits wrote Nüüd ole, Jeesus, kiidetud (May Jesus, Thee Be

Praised) based on the folk-hymn variant of the same name from the Estonian island of Kihnu.

This work for treble chorus with string orchestra was composed for a Christmas festival in

Tallinn to be performed by members of the Youth Choir of Tallinn Music High School.29

27 “Tõnu Kõrvits, Works,” Emic.ee. Last modified January 2018, goo.gl/KCQehM.

28 Ibid.

29 Tõnu Kõrvits. Interview. 10 Kõrvits was commissioned again by the Estonian State Concert Institute in 2006, this time to write a work for a concert to be held in Tartu on February 23, 2007, dedicated to the eighty-ninth anniversary of Estonia’s first declaration of independence. Estonians regard the country’s Independence Day as February 24, 1918, when it became liberated from the Russian

Empire. Estonia had been ruled by different foreign forces such as Germany, Sweden, Denmark, and Russia since the 13th century. Soviet forces overtook Estonia in 1940, and Estonia was part of the Soviet Union until regaining independence in 1991, commonly referred to as the Singing

Revolution.30

Kõrvits’s composition was titled Thule Eleegiad (Elegies of Thule) and scored for string orchestra. Thule is a term that suggests Estonian mysticism. Thule has its origins in Ancient

Greek and has several meanings. It primarily refers to a distant unknown land to the North, sometimes indicating Scandinavia.31 The use of this term references Estonian nationalism and is fitting for the subject of the commission. The work is in three movements and is about fifteen minutes in length. The third movement is titled Ma vataan üles mäele (I Gaze at the Mountain) and makes use of the folk-hymn variant of the same name from the largest Estonian island of

Saaremaa. Elegies of Thule was premiered by the Vanemuine Symphony Orchestra, the opera and theater orchestra of Tartu, under the baton of conductor Toomas Vavilov in the Vanemuine

Concert Hall in Tartu.32

30 David J. Smith, et al, The Baltic States: Estonia, Latvia and Lithuania (London: Routledge, 2002): 27.

31 “Thule, n.,” Oxford English Dictionary Online, Oxford University Press, http://www.oed.com/view/Entry/201483?redirectedFrom=thule&.

32 “Tõnu Kõrvits, Works,” Emic.ee.

11 That same month in 2007, Tõnu Kaljuste, conductor and founder of the Estonian

Philharmonic Chamber Choir (Eesti Filharmoonia Kammerkor) and the Tallinn Chamber

Orchestra (Tallinna Kammerorkester), who only weeks earlier had received a 2007 Grammy award for their CD Arvo Pärt. Da Pacem Domine, approached Kõrvits with a request for him to write a multi-movement piece for chorus and orchestra. This work was to be based on Estonian folk-hymn variants in recognition of Kreek’s work in and passion for the medium. Paired with the Cyrillus Kreek Requiem, this piece would serve as the pinnacle performance by the Estonian

Philharmonic Chamber Choir and Tallinn Chamber Orchestra for the first annual Cyrillus Kreek

Music Days Festival. The festival, organized by Kaljuste, was scheduled for June 1–3, 2007 in the composer’s hometown of Haapsalu, Estonia.33

Kõrvits had little time to complete the work as the festival was only a few months away; therefore, he chose to incorporate some of his previous work with folk-hymn variants into the composition. He elected to use Nüüd ole, Jeesus, kiidetud for treble chorus and string orchestra as the opening movement for Kreek’s Notebook. To balance the treble movement, Kõrvits set

Nüüd on see päev ju lõppenud, the first movement from his string quartet Four Estonian Sacred

Folk Tunes and 2005 electric guitar concertino, for men’s chorus with the same orchestration.

For the third movement of Kreek’s Notebook, Kõrvits included a movement for pizzicato strings alone, Ma kiitlen ükspäinis neist verisist haavust (I Rejoice in Thy Bleeding Wounds), which is also from Four Estonian Sacred Folk Tunes. For this movement, he added a contrabass part to the string quartet to create a string orchestra version.

33 “Cyrillus Kreek Music Days in Haapsalu,” Emic.ee Music News, last modified May 31, 2007, http://www.emic.ee/cyrillus-kreek-music-days-in-haapsalu. 12 Kõrvits wrote choral parts to accompany the last two movements of Four Estonian

Sacred Folk Tunes and included Su hooleks ennast annan ma (I Shall Give Myself Up to Your

Care) and Lenda üles kurbtusest (Fly Up from Your Sorrows) as the fifth and sixth movements of

Kreek’s Notebook. Kõrvits then added a choral part to the end of Ma vataan üles mäele, the final movement of Elegies of Thüle for string orchestra, to create the eighth movement of Kreek’s

Notebook.

Kõrvits wrote two completely original movements for Kreek’s Notebook that make up the most difficult and central movements to the piece: Oh võta, armas Jeesus, vastu mult (Oh Jesus

Receive from Me) and Minu hing, oh ole rõõmus (My Soul, Oh Be Joyful). Kõrvits set Oh võta, armas Jeesus, vastu mult as the fourth movement of Kreek’s Notebook. It is a spirited movement that for the first time combines the full forces of the chorus and orchestra. He set Minu hing, oh ole rõõmus for unaccompanied chorus alone as the seventh movement of Kreek’s Notebook.

Minu hing, oh ole rõõmus is the most representative movement of Kõrvits contemporary compositional style and with its pan-tonal chromatic mediancy, is by far the most harmonically adventurous movement of Kreek’s Notebook.

Kreek’s Notebook was premiered June 3, 2007 by the Estonian Philharmonic Chamber

Choir and Tallinn Chamber Orchestra under the baton of Tõnu Kaljuste in the St. Nicolas

Cathedral in Haapsalu castle. The castle cathedral, pictured below in Figure 1.3, is the largest single-nave church in the Baltics.34 Kreek’s Notebook was the final performance of the first

Cyrillus Kreek Music Days Festival.

34 Ülla Paras, “Haapsalu Episcopal Castle & Dome Church,” Haapsalu Tourism (2003).

13

Figure 1.3 The nave of St. Nicolas Cathedral in Haapsalu. Photo by the author.

The festival was a three-day music extravaganza that began on Friday with the Haapsalu choirs joining forces under the direction of Tõnu Kaljuste. Saturday, June 2, featured two bands:

Hõim and Oort. Hõim is a band know for its unique fusion of Estonian folksongs and rock and roll. Its leader Rein Rannapi organized the first “regiroki” (a combination of Regilaul and rock and roll) in 1979, in which folksongs were extensively improvised in a rock style.35 Oort is a band from the Estonian city of Tartu that strives to preserve runo songs. They combined rock music and folk music training they received at the University of Tartu’s Viljandi Culture

Academy to create “runo-rock.”36 Hõim and Oort performed in the St. Nicolas Cathedral. The

Cyrillus Kreek Music Days Festival is still held annually in Haapsalu under the leadership of

35 “Hõim.,” Muusika.ee, Accessed January 22, 2018. http://www.muusika.ee/ansamblid/hoim.html.

36 “Arhailise Loomingu Festival,” Tartu.eu, Accessed January 22, 2018. http://www.tartu.eu/regioo/1_eng_art.html.

14 Tõnu Kaljuste and Foundation Lootsi. It remains part of the summer-long Nargenfestival in seaside cities and islands.37

Shortly after the premiere of Kreek’s Notebook the Estonian Philharmonic Chamber

Choir began work on a CD recording project of Cyrillus Kreek’s Requiem and Tõnu Kõrvits’s

Kreek’s Notebook. The CD was released in November 2008 by the Estonian Philharmonic

Chamber Choir via Estonian Public Radio, Klassikaraadio (Raadio 3). Within four years, the CD had made its way to England, to an executive at Hyperion records.

The Choir of Royal Holloway, University of London, had previously recorded two CDs of Baltic choral music (Latvian and Lithunanian) on the Hyperion label: Rihards Dubra: Hail,

Queen of Heaven in 2009 and Vytautas Miškinis: Time is Endless in 2010.38 Rupert Gough, director of the choir, was approached by Hyperion to undertake a CD recording project of

Kreek’s Notebook. The choir collaborated with the widely acclaimed Britten Sinfonia to record the work from June 21–23, 2012 in All Hallows Anglican Church in the Gospel Oak neighborhood of North London.39

The CD was released by Hyperion records in the summer of 2013 just as the Royal

Holloway Choir began a two-week tour of Estonia, Latvia, and Lithuania. While in Tallinn,

Estonia, the choir performed Kreek’s Notebook with the Tallinn Chamber Orchestra in a

37“Cyrillus Kreek,” Emic.ee.

38 “Recent CD Recordings,” Chapelchoir.co.uk, Accessed December 21, 2008. http://chapelchoir.co.uk/recordings/index.php.

39 Rupert Gough, Liner notes to Kõrvits: Kreek’s Notebook, The Choir of Royal Holloway, Hyperion CDA67968, CD, 2013.

15 performance broadcast on Estonian radio.40 The CD was an international success. An excerpt from the June 2013 review of the album in the British independent classical music magazine

International Record Review reads, “This album proclaims the excellence of British choral singing and the remarkable quality of contemporary choral music from the Baltic countries. If you think that only indigenous choirs can bring out the best in music from this part of the world, then these magnificent performances, the latest in a Hyperion series, will make you think again

… Gough and his forces deliver a spellbinding performance.”41

Since the work’s premiere in 2007, three movements from Kreek’s Notebook have been excerpted in subsequent arrangements for different performing forces. In 2008, Kõrvits arranged

Ma kiitlen ükspäinis neist verisist haavust, the pizzicato string movement, and Su hooleks ennast annan ma for guitar quartet. The arrangements appear on the Eesti Kitarriselts (Estonian Guitar

Society’s) 2008 CD Thirty Years of Estonian Guitar Music performed by the Estonian Guitar

Quartet. In 2011, Kõrvits adapted Nüüd, ole Jeesus, kiidetud for treble chorus with glockenspiel accompaniment for the Tõnu Kõrvits Portrait Concert. This arrangement was premiered on

November 27, 2011 by the Ellerhein Girls Choir under the direction of conductor Ingrid Kõrvits, the composer’s wife, at the Church of the Redeemer in the composer’s hometown of Nõmme.42

Kreek’s Notebook’s inception as a culminating compilation of Kõrvits’s treatment of

Estonian folk-hymn variants is in some ways a reflection of Cyrillus Kreek’s own varied treatments of the medium. Each movement functions as a miniature with unique compositional

40Steve Pickles, ed., “The Choir’s Baltic Adventures,” Higher, Issue 19, Winter 2013. https://www.royalholloway.ac.uk/alumni/documents/pdf/higher/higherissue19winter2013.pdf. 8.

41 “Reviews,” Hyperion-records.co.uk, Accessed December 21, 2018. https://www.hyperion-records.co.uk/dc.asp?dc=D_CDA67968&vw=dc.

42 Nõmme is a small suburb of the Estonian capital of Tallinn. 16 devices. Kõrvits does not attempt to fabricate compositional unity between movements through motivic and harmonic devices as might be traditionally expected, but he allows each movement to speak its individuality. In this way, Kreek’s Notebook functions more like a choral orchestral song cycle, and in turn, Kõrvits establishes compositional unity through the large scale formal structure of the work with performing forces and performance flow. The following chapters will investigate each movement of Kreek’s Notebook and provide history on the original chorale and folk-hymn variant, source documentation, melodic transformation graph, IPA transcription of

Estonian language, word for word translation, lyric translation, musical discussion, performance practice concerns, and an orchestral piano reduction for rehearsals when applicable.

17 CHAPTER 2

I. NÜÜD OLE, JEESUS, KIIDETUD

Source Material and Origination

The first movement of Kreek’s Notebook is based on the folk-hymn variant Nüüd ole,

Jeesus, kiidetud from the Estonian island of Kihnu. Kihnu is a small Estonian island in the Gulf of Riga off the southwest coast of the Estonian mainland with an area of about six-and-a-half square miles. Kihnu is known as “the women’s island.” This island is home to about six-hundred people. For generations, the tradition of fishing as occupation sent men out to sea for months at a time. The women assumed many roles traditionally held by men in other places in Estonia, and the culture of the island has been preserved almost exclusively by women. Kihnu is one of the world’s few matriarchal societies, and it is recognized as a UNESCO Masterpiece of Oral and

Intangible Heritage of Humanity.43 Therefore, it is all the more appropriate that Kõrvits honors this cultural tradition by setting the movement for women’s voices (SSA).

The Estonian folk-hymn collection manuscripts as well as the extensive categorization efforts of Cyrillus Kreek list references to the original Lutheran chorales that were the sources of the folk-hymn variants by their numbers in the Punschel Choralbuch. Punschel numbers are abbreviated as “P.” in the manuscripts and in Kreek’s arrangements. For example, Nüüd ole,

Jeesus, kiidetud is listed as P. 443—Punschel Choralbuch chorale number 443—which is

Gelobet seist du, Jesu Christ.

43 Sebastien Leban, “Estonia’s Kihnu—the Women’s Island,” Aljazeera.com, September 1, 2015. http://www.aljazeera.com/indepth/inpictures/2015/08/estonia-kihnu-women-island- 150819081240347.html.

18 Gelobet seist du, Jesu Christ is attributed to Martin Luther.44 Gelobet seist du, Jesu

Christ was written in 1519 and first published in Johann Walter’s 1524 Eyn geystlich Gesangk

Buchleyn. Luther and Walter likely collaborated on this chorale.45 This tune, like many chorales, has been used as source material by several composers such as Samuel Scheidt, Michael

Praetorius, Johann Krüger, Dietrich Buxtehude, Johann Pachelbel, Johann Sebastian Bach, and

Felix Mendelssohn.

Sufficient evidence does not exist to provide an exact date for the chorale’s introduction to Estonia nor its translation into Estonian. The present hymn-variant used in Kreek’s Notebook was collected in 1907 by Estonian composer and organist Peeter Süda. Süda’s collection manuscript is pictured in Figure 2.1. A later manuscript arrangement of Nüüd ole, Jeesus, kiidetud by Cyrillus Kreek, lists the tõlk (translator) as the initials “J.H.”

Figure 2.2 shows an excerpt of Gelobet seist du, Jesu Christ from the 1915 edition of the

Punschel Choralbuch in the Estonian National Library in Tallinn. Cyrillus Kreek, who was raised singing chorales and trained at the St. Petersburg Conservatory, was well acquainted with the Punschel Choralbuch and would have likely first encountered this chorale in this format.

Figure 2.3 depicts a melodic transformation graph of the melody from the chorale to the folk-hymn variant. The chorale example used is from the second movement of J.S. Bach’s

Christmas Cantata, BWV 64, Sehet, welch eine Liebe hat uns der Vater erzeiget. This example was selected because it appears to be the least altered or ornamented version used by Bach. The melodic transformation graph shows the extent to which the tune was considerably altered and

44 Thomas Braatz and Aryeh Oron, “Chorale Melodies Used in Bach’s Vocal Works: Gelobet seist du, Jesu Christ,” Bach-cantatas.com, Accessed January 22, 2018. http://www.bach- cantatas.com/CM/Gelobet-seist-du.htm.

45 Ibid. 19 how little of the original melody remained intact. The phrase sections marked by dotted slurs show similar cadential fragments and the notes connected by dotted lines show common melodic notes.

Figure 2.1 Collection manuscript EÜS IV 1857/41/ of Nüüd ole, Jeesus, kiidetud (Kihnu) by Peeter Süda 1907, courtesy of the Estonian Theater and Music Museum.

Figure 2.2 Excerpt from the 1915 Tallinn Punschel Choralbuch: No. 443, Gelobet seist du, Jesus Christ. One version of the chorale that Cyrillus Kreek would have seen. Public Domain.

20

Figure 2.3 Melodic transformation graph of Gelobet seist du, Jesu Christ to Nüüd ole, Jeesus, kiidetud.

Estonian Text

Each chapter that features a movement with text will provide an IPA transcription and translation. In this chapter the author has provided a short guide below to Estonian diction for singing that may be applied throughout the work. IPA phonemes and sequences of phonemes will both be identified by the use of square brackets throughout the text.

Estonian vowels all favor closed pronunciation [a, e, i, o, u] unlike [ɑ, ɛ, ɪ, ɔ, ʊ] vowels that appear in English. Estonian contains four additional vowels: ä ü ö and õ. These are pronounced [æ, y, ø, ɤ] respectively. The õ sound, [ɤ], is foreign to Western languages. It is common in Estonian and Russian. The [ɤ] phoneme combines [ʌ] and [œ] with a flat tongue.

The letters t and d, p and b, and k and g are not emphasized or aspirated. Their sounds should be almost the same and favor the unvoiced (sometimes d’s at the end of words are transcribed as t’s in this transcription). All t’s are dentalized and never aspirated. All r’s are

21 trilled if possible. The h sound is aspirated slightly, especially after a vowel; this sound is almost like an achlaut [x] and somewhat takes the character of the vowel that precedes it. The symbol

[ħ], h-bar voiceless pharyngeal fricative, has been used to illustrate this aspirated h, except for a few times where the ichlaut [ç] seems more practical. Double consonants are elongated (ex. nn =

[n:]).

Estonian syllabic emphasis is relatively neutral, and diphthong vowels are typically given equal metric weight. Equal syllabic stress and metric weight requires that some words be separated into metrically subdivided units to achieve properly sung Estonian diction. For example, a quarter note on the word kui would be separated into two eighth notes with [ku] on the first and [i] on the second. This concept is pervasive in the work and will be discussed more thoroughly in the performance practice section of this chapter and each of the following chapters.

IPA Transcription, Literal Translation, and Lyric Translation

I. Nüüd ole, Jeesus, kiidetud

IPA transcription—Alex Favazza

Literal translation—Greete Kõrvits

Lyric translation—Eric Dickens46

Nüüd ole; Jeesus, kiidetud, et sa neitsist sündinud,

[nyd ole jesus kidetud et sa neitsist syndinud]

Now be Jesus praised that you from virgin have born

(May Jesus now be praised, born of the virgin)

46 Kreek’s Notebook, EMIC conductor’s scores p.42–43. 22 kui inimene ilmale, sest laulvad inglid rõõmsasti

[kui inimene ilmale sest laulvad inglid rɤmsasti]

As a human to the world, about that singing angels happily

(as a man on this Earth so angels sing joyfully)

Küri eleis.

[kyri eleis]

(Lord have mercy)

Kes suurem on kui ilmamaa, Maarja süles magabta

[kes surem on kui ilmama marja syles magapta]

Who bigger is than the wide world Mary’s in lap sleeps-him

(He who is greater than the world, peacefully asleep on Mary’s lap,)

see on nüüd laps, kes ilma peal kõik asjad peab üleval

[se on nyd laps kes ilma peal kɤik asjad peab yleval]

It is now the child who the world above all things keeps high.

(this is the child that on this Earth keeps safe all manner of things.)

Nüüd igavene päikene paistab kõige üleval

[nyd igavene pæikene paistap kɤige yleval]

Now an eternal sun shines all above

(Now the everlasting sun shines forth over everything)

23

kesk öösel tema helendab, meid päeva lasteks sünnitab

[kesk øsel tema helendap meid pæeva lasteks syn:itap]

Middle night it glow us day’s into children bears.

(At night it lights up to bring us to the light of day.)

Music

The first movement of Kreek’s Notebook opens with octave pizzicato strings in a four-bar ostinato introduction in three-four time. The feeling of folk music is unmistakable in this simple introduction as the strings alternate on the open interval of E-flat to B-flat. The first harmony enters in bar five with violin I, violin II, and viola pizzicato three and four note chords followed by triplet countermelody ostinato over the continued duple ostinato bass line from the introduction. Kõrvits commented that he heard these rolled chords as a mandolin.47

The triplet countermelody contains a series of parallel sevenths and ninths alternating with open intervals to create a texture that is somehow distinctively folk-like while at the same time uniquely classical and contemporary. From this first ostinato countermelody Kõrvits foreshadows the harmonic language of the movement. He exploits the minor second (major seventh) relationships of the third and fourth scale degrees, which will be repurposed to create a pervasive harmonic texture that obscures the functions of the fourth and seventh scale degrees.

This repurposing can be seen in Figure 2.4. The resulting chords are often super imposed over a different bass note such as in Figure 2.5 to add another level of harmonic obscurity and color.

47 Tõnu Kõrvits, interview.

24

Figure 2.4 Repurposing M7 on fourth and seventh scale degrees and harmonic use. I. Nüüd ole, Jeesus, kiidetud, Kreek’s Notebook.

Figure 2.5 Chord super-imposed over different bass note, I. Nüüd ole, Jeesus, kiidetud, Kreek’s Notebook.

The treble chorus enters in the pickup to measure eight on a unison reproduction of the folk-hymn variant over the repeated triplet and duplet ostinati in the strings. The melody is presented unaltered until the final line. Kõrvits extends the final line of the original folk-hymn variant, “Kürieleis,” from one iteration to four in an addition that is virtually seamless. Kõrvits’s extension of the original melody is displayed in Figure 2.6. Kõrvits said that he extended the refrain of the folk hymn by improvising on the final phrase in sequence. To paraphrase Kõrvits: the folk-hymn came about by improvisation and embellishment on a Lutheran tune in an

Estonian folk style; I am Estonian and can improvise too.48

48 Tõnu Kõrvits, interview. 25

Figure 2.6 Kõrvits’s additional iterations in melodic sequence. I. Nüüd ole, Jeesus, kiidetud, Kreek’s Notebook.

Nüüd ole, Jeesus, kiidetud follows an essentially strophic form, and Kõrvits uses a variety of compositional elements in each strophe to build the texture to the culmination of the movement. In bar sixteen, the celli are the first string part to play arco in a countermelody that outlines the final line of the folk-hymn. Kõrvits expands the choral harmony in each strophe first to two-part homophony at bar twenty-three, then two-part with brief imitation in descant style at bar twenty-eight, and finally three-part harmony at the movement’s climactic strophe from bar thirty-six through forty-four. At bar twenty-eight, violin I, violin II, and viola join celli playing arco with portato phrases. This creates a cascade of color at the same time that the choir first leaves its homophonic texture. At bar thirty-three, the contrabass part joins the rest of the orchestra playing arco in a dramatic build to the climactic strophe that begins at bar thirty-six.

This section features the largest range, dynamic, and rhythmic ornamentation as the treble chorus reaches the highest vocal range of the movement. Kõrvits returns to pizzicato as in the opening of the movement, first with the contrabass in bar forty-eight, then the rest of the orchestra in bar forty-nine playing the triple and duple ostinato from bar five. The treble chorus then sings the folk-hymn melody in unison on an [u] repeating finally on a hum as the texture fades into the bare open interval pizzicato from the opening for the end of the movement.

26 Performance Practice

The main question of performance practice in preparing the orchestra for Nüüd ole,

Jeesus, kiidetud is how to play the four-note triple stop. Should the section split the notes in the four-note chords, or should each player roll all four pitches? Tõnu Kõrvits recommends having each player roll all four notes, as this technique creates the color of a folk-like strum and imitates the color of a mandolin.49

The most difficult issue concerning performance practice for Western choirs attempting to offer authentic performances of Estonian choral music is the Estonian diction and metric distribution of diphthong vowels. Just as in English, the Estonian standards for diphthong execution are intuitive and not metrically addressed in scores. Table 2.1 provides a list of diphthong vowels and their metric distribution in Nüüd ole, Jeesus, kiidetud. Figure 2.7 provides an example of the first two entries in Table 2.1. One notable exception to this distribution is the final phrase: küri eleis. Both of these words have borrowed origin.50 The final diphthong should not be divided evenly. The sustained vowel should be [e] and the [is] should come immediately before a note’s release.

Figure 2.7 Example of metric distribution for diphthong vowels, Nüüd ole, Jeesus, kiidetud.

49 Tõnu Kõrvits, interview.

50 Greek origin: Kyrie Eleison 27 Table 2.1 Metric distribution for diphthong vowels in Nüüd ole, Jeesus, kiidetud.

Location in the Word or portion How word is Metric distribution score: measure, beat of word notated in score for diphthong vowels m. 10, bt. 3 Neit- Two slurred eighth [ne] on first eighth, [it] notes on second eighth m. 11, bt. 5 Kui Two slurred eighth [ku] on first eighth, [i] notes on second eighth m. 14, bt. 1 Laul- One quarter note Split into eighths, [la] on first eighth, [ul] on second eighth m. 23, bt. 4 Kui One quarter note Split into eighths, [ku] on first eighth, [i] on second eighth m. 24 (2nd time), bt. 3 Peal One quarter note Split into eighths, [pe] on first eighth, [al] on second eighth m. 24 (2nd time), bt. 4 Kõik One quarter note Split into eighths, [kɤ] on first eighth, [ik] on second eighth m. 25 (2nd time), bt. 4 Peab Three slurred eighth- [pe] over first two note triplets triplet eighths, [ab] on the third eighth note triplet m. 37, bt. 1 Päi- One quarter note Split into eighths, [pæ] on first eighth, [i] on second eighth m. 37, bt. 4 Pais One quarter note Split into eighths, [pa] on first eighth, [is] on second eighth m. 38, bt. 3 Kõi- Two slurred eighth [kɤ] on first eighth notes note, [i] on second eighth m. 37 (2nd time), bt. 4 Meid Two slurred eighth [me] on first eighth, notes [id] on second eighth m. 38 (2nd time), bt. 1 Päe- One quarter note Split into eighths, [pæ] on first eighth, [e] on second eighth

Orchestral Piano Reduction for Rehearsal

This chapter concludes with Figure 2.8, which is an orchestral piano reduction for choral rehearsals. The choral parts of Kreek’s Notebook do not come with a piano reduction for

28 rehearsal. Many fine Estonian choirs rehearse primarily unaccompanied assisted by the use of tuning forks. The Western choral rehearsal traditionally includes the presence of a skilled collaborative pianist to assist in learning and hearing the larger harmonic plan.

Because of the dense texture and wide range of the string orchestra, many parts are condensed or excluded to allow the reduction to be more accessible. Though, like many orchestral reductions, it is not idiomatic to the piano and requires a highly skilled collaborative artist. However, under no circumstances should movements be performed from Kreek’s

Notebook with piano and chorus. Tõnu Kõrvits did arrange Nüüd ole, Jeesus, kiidetud for treble chorus with glockenspiel.

29 I. Nüüd ole, Jeesus, kiidetud

Naiskoorile ja keelpillidele Tõnu Kõrvits / Eesti vaimulik rahvaviis (Kihnu) q = 80 Soprano b 3 4 & b b 4 ∑ ∑ ∑ ∑ 4

Alto b 3 4 & b b 4 ∑ ∑ ∑ ∑ 4 pizz. b 3 4 Piano for & b b 4 Œ Œ Œ Œ 4 rehearsal œ. œ. œ. œ. œ. œ. œ. œ. only p ? b 3 œ œ œ œ œ œ œ œ œ œ œ œ 4 b b 4 œ œ œ œ œ œ œ œ 4 œ. œ. . œ. . œ. œ. . œ. . œ. œ. . œ. . œ. œ. . œ. . 5 p p S b 4 & b b 4 ∑ ∑ Ó Œ œ œNüüd

A bb 4 ∑ ∑ Ó Œ & b 4 œ œ 3 5 3 . 3 . . . . . œ . . . œ œ . . . œ œ. bbb 4 gœ œ œ œ œ œ œ œ gœ œ œ œ œ œ œ œ gœ gœ œ œ & 4 gœ œ œ œ 3 gœ œ œ œ 3 gœ gœ œ œ œ gœ Pno. 3 . . . 3 . . . g. œ. gœœ ...... g . . . œ . . . . œ . . œ ? 4 œ œ gœ gœœ œ œ gœ gœœ gœ . b œ 3 gœ g œ 3 gœ g g œ Œ b b 4 œ gœ g œ œ gœ g œ œ. œ. œ œ. œ. g œ. œ. g . 8 S b œ œ œ & b b œ œ œ œ œ œ œ œ œ o - le, Jee - sus, kii - de 3 - tud, et

A b & b b œ œ œ œ œ œ œ œ œ œ œ œ 3 8 3 . 3 ...... œ . . . . . œ b œ œ œ œ œ œ b b gœ œ œ œ œ œ gœ œ œ œ œ œ & gœ œ œ œ 3 gœ œ œ œ 3 Pno. 3 . . . 3 ...... œ. œ œ. . . œ. œ œ. . ? b œ œ gœ gœœ œ œ gœ gœœ b b œ 3 gœ g œ œ 3 gœ g œ œ. œ. g œ. œ. g Kreek's Notebook is copyrighted material, ©2007 EMIC rehearsal piano reduction made by Alex Favazza with permission of the composer

Figure 2.8 Piano reduction for choral rehearsal. I. Nüüd ole, Jeesus, kiidetud. Created by the author with permission from the composer.

30 I. Nüüd ole, Jeesus, kiidetud

10 3 3 S b 5 4 & b b œ œ œ œ œ œ 4 œ œ œ œ œ 4 œ œ œ œ œ sa neit - sist œ sünœ - di - nud, œ kuiœ i - ni - me - ne 3 3 A bb œ 5 œ 4 œ œ œ & b œ œ œ œ œ 4 œ œ œ œ œ œ œ 4 œ œ œ 3 10 3 . 3 ...... œ œ. gœ b œ œ œ œ. œ gœœ gœ b b gœ œ œ œ œ œ 5 gœ gœ œ œ 4 g œ g & gœ œ œ œ 3 4 gœ gœ œ œ œ œ œ œ 4 g œ Pno. 3 g. œ g œ . . œ . . . . . gœ œ œ3 ...... g...... œ . . gœ . . . œ œ. . ? b œ œ œ gœ gœœ 5 gœ œ œ. œ 4 œ œ œ. œ œ œ 3 g g œ . . Œ . 3 3 b b œ œ gœ g 4 œ œ. œ. 4 œ œ. œ. 13 . . . 3 3 S b 5 4 & b b œ œ œ œ œ œ œ œ œ œ œ œ œ 4 œ œ œ œ Œ 4 il - ma 3 - le, sest laul - vad ing - lid œ rõõmœ - sas - ti. œ 3 3 A b & b b œ œ œ œ œ œ œ œ œ œ œ œ 45 œ œ Œ 4 3 œ œ œ œ œ œ 3 13 . 3 gœ. . 3 gœ. . 3 g œ gœ g œ gœ g œ bb gœœ gœ gœœ gœ 5 gœœ Œ. gœ œ œ 4 & b g œ g œ 4 g œ gœ œ œ 4 Pno. œ œ . œ œ . œ œ . g . . . œ. .3 . œ. .3 . œ. .3 . . œ. œ. . . œ. œ. . . œ. 3 ? b œ œ œ. œ. œ œ œ œ œ. œ. œ œ 5 œ œ œ. œ. œ 4 b b œ œ . 3 3 œ œ . 3 3 4 œ œ . 3 œ 4 œ. . . œ. . . œ. . . œ. œ. . 16 P 3 3 3 3 S bb 4 œ 3 4 & b 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 œ œ œ œ œ 4 Kü - ri e - leis, kü - ri e - leis, kü - ri e - leis, kü - ri e œ- œleis. 3 3 3 3 A b 4 3 4 & b b 4 œ œ œ œ œ œ œ œ œ 4 œ 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 16 . . b 4 œ. œ. œœ. œœ. œœ. g œ 3 gœ gœ 4 & b b 4 gœœ gœœ Œ g œ g œ g œ Œ gœœ gœœ Œ œ 4 gœ gœ Œ 4 g g g œ g œ g œ gœœ g œ.œ gœ gœ. œ Pno. g . œ. . ? 4 Œ ˙ œ œ Œ œ 3 4 bbb 4 œ œ œ œ˙. œ œ œ œ 4 ˙ œ œ 4 Œ . Œ Œ . œ Œ œ Œ g . P. . . . . gœ Œ .

Figure 2.8 (continued).

31 I. Nüüd ole, Jeesus, kiidetud 20 S bb 4 ∑ Ó Œ & b 4 œ œ w Kes A b 4 & b b 4 ∑ Ó Œ œ œ w 3 20 3 . 3 ...... œ . . œ œ . . œ œ. bbb 4 gœ œ œ œ œ œ œ œ gœ œ œ œ œ œ œ œ gœ gœ œ œ & 4 gœ œ œ œ 3 gœ œ œ œ 3 gœ gœ œ œ œ œ Pno. 3 . . . 3 . . . g. œ...... œ . . . œ . g œ ? b 4 œ œ gœœ œ œ gœœ gœœ œ. b 4 œ 3 œ g œ œ 3 œ g œ . . œ Œ b œ œ . g œ œ . g œ œ . 23 . . . . 3 S b œ œ œ 5 & b b . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 suu - rem on kui il - ma 3 - maa, Maar - ja sü - les œ on nüüd laps, kes il - ma peal kõik as - jad peab 3 A b 5 & b b . œ œ œ œ œ œ œ œ 4 œ œ œ œ œ œ œ œ 23 œ. œ. b œ . œ. œ œ œ œ œ œ . œ. œ. b b . œ œ œ œ. œ œ œ œ œ œ œ œ œ œ . œ œ œ œ 5 & œ œ œ. . œœ œ œ. œ. . œ . . œ œ. . œ 4 Pno. œ. . œ- œ- . œ. - - ...... - - œ œ œ ? b . ˙ œ œ œ œ 5 b b . œ œ œ ˙œ œ œ 3 4 œ œ œ Œ œ. œ œ Œ œ. œ. . œ. . 26 1. 3 . . 2. 3 S b 5 4 & b b 4 œ œ œ œ œ . œ œ œ œ Œ 4 maœ - gab ta, œ œsee œü - le - val. œ

3 3 A b & b b 45 œ . Œ 4 œ œ œ œ œ œ œ œ œ œ œ œ œ 26 . œ. . . œ. œ. . œ. . bb 5 œ œ œ ‰ œ. œ œ œ . œ œ œ ‰ œ œ 4 & b 4 œ- œ . œ- . œ œ œ 4 Pno. œ . œœ œ - . - œ- ? 5 œ . . œ œ 4 bb 4 . œ. œ œ . œ œ ˙ 4 b œ œ œ. œ. œ œ œ œ œ Œ .

Figure 2.8 (continued).

32 I. Nüüd ole, Jeesus, kiidetud 3 28 F 3 S b 4 œ œ œ 3 & b b 4 . Ó ˙ œ œ œ œ œ œ œ œ œ 4 Kü - ri e - leis, œ kü - ri e - leis,

3 3 A b 4 . 3 & b b 4 . œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 Kü - ri e - leis, küœ - œri e - leis, 3 28 arco œ œ œ bb 4 . ‰ œ œ œ œ œ œ ‰ œœ œœ œ œ œ œœ œ œ œ œ œ œ œ 3 & b 4 . œœ œœ œœ œœ œ œ œ œ œœ œ œ œ 4 Pno. 3 3 œ œ F - ? b 4 . œ œ œ œ œ œ œ œ œ œ œ 3 b b 4 . w œ œ. œ. œ 4 w œ. œ. œ. . 31 1. 2. S b b b 3 œ œ œ œ . œ œ œ œ 4 & 4 3 œ œ œ œ œ 4 kü - ri e - leis, kü - ri 3 e - leis.œ 3 3 A b 3 4 & b b 4 œ œ œ œ . œ œ œ œ 4 œ œ œ œ œ œ 31 b œ œ œ œ œ œ & b b 43 œ œ œ œ . ‰ œ œ œ œ 4 œ œ œ œ œ 3 œ œ Pno. œ 3 Œ Œ œ ? 3 œ œ œ œ œ œ œ 4 bbb 4 œ œ œ œ œ œ . œ œ œ œ 4 . J ‰ 33 . . . . S b 4 œ & b b 4 ∑ Ó Œ œ w Nüüd

A b 4 & b b 4 ∑ Ó Œ œ w œ 33 œ b 4 œ j œ œ œ œ œ œ & b b 4 œ œ ‰ œ œ œ œ ‰ œ œ œ œ ‰ œ œ Pno. œ œ œ J œ ? 4 œ œ œ œ œ œ œ œ œ bbb 4 œ œ œ œ œ œ œ œ œ arcoœw œw œw

Figure 2.8 (continued).

33 I. Nüüd ole, Jeesus, kiidetud 36 f S b œ œ œ œ œ œ œ œ œ œ œ 5 & b b . œ œ œ œ œ œ œ œ œ œ œ œ 4 i - ga - ve - ne päi - ke 3 - ne pais - tab kõi - ge 3 öö - sel te - ma he - len - dab, meid päe - va las - teks 3 3 A b 5 & b b . œ œ œ œ œ 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ 36 œ ˙ ˙ œ œ œ œ œ œ ˙ bb . ˙ ˙ œ œ œ œ œ œ œ œ œ œ ˙ 5 & b . 3 3 3 œ 4 Pno. f 3 œœ œ ‰ œ œ œ œ œ œ œ ‰ œ œ œ œ œ ‰ œ œ œ œ œ ? b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 5 b . J w J w J w œ œ œ 4 b w w w 39 1. 3 2. 3 S b 5 œ 4 & b b 4 œ œ œ œ œ . œ œ œ œ Œ 4 œü - le - val, œ kesk œ œ sün - ni - tab. 3 3 A b & b b 45 œ . Œ 4 œ œ œ œ œ œ œ œ œ œ œ œ œ 39 œ œ 3 œ œ œ œ b 5 œ œ œ œ œ œ œ œ œ 4 & b b 4 œ œ œ œ œœ œ . œ œ œ œ œ œ 4 œ œ œ 3 Pno. 3 œ œ 3 j j œ ‰ œ œ œ œ œ œ ‰ œ œ œ œ œ œ ? b 5 J ˙ œ œ œ œ g . J ˙ œ œ œ œ œ œ œ 4 b b 4 ˙ œ œ gœ . ˙ œ 4 œ gœ 3 41 S b œ œ œ œ œ œ & b b 4 . Ó ˙ œ œ Kü - ri e - leis, 3 3 A bbb 4 . œ & 4 . œ œ œ œ œ œ œ œ œ œ œ Kü - ri e - leis, kü - ri e - leis,

41 œ œ œ œ œ œ œ œ œ œ œ b 4 œ œ œ œ œ œ œ œ œ b b . œ 3 œ œ & 4 3 œ Pno. œ œ œ ‰ œ œ œ œ œ œ ˙ ≈ œ œ ? b 4 . . ˙ œ œ b b 4 ˙ ‰ œ œ

Figure 2.8 (continued).

34 3 I. Nüüd ole, Jeesus, kiidetud 43 1. 2. S b œ œ œ 3 œ œ 4 & b b œ œ œ œ 4 œ œ œ œ œ œ . œ œ œ œ œ 4 kü - ri e - leis, kü - ri 3 e - leis, kü - ri 3 e - leis.œ

3 3 3 A b 3 4 & b b œ œ œ 4 œ œ œ œ . œ œ œ œ 4 œ œ œ œ œ œ œ œ œ 43 œ œ œ œ œ bb œ œ œ œ œ œ 3 œ œ œ œ œ . œ œ œ œ œ 4 & b œ 4 3 . 3 4 œ 3 œ œ Pno. œ œ ˙ œ œ œ œ œœ ? b g j œ œ 3 œ œ œ . œ œ 4 b b gœ œ œ œ 4 ˙ . ˙ 4 g ˙ 3 46 S b 4 & b b 4 ∑ Ó Œ œ w Uuœ

A b 4 & b b 4 ∑ Ó Œ œ œ w pizz. 46 b œ œ & b b 4 ‰ œ œ œ œ œ œ ‰ ‰ Œ dim.œ œ œ œ œœ œœ œ œ œœ ˙˙ œ. œ Pno. 3 œ œ œ ˙ œ. œ 3 œ. œ ? b 4 œ œ œ œ œ œ Œ Œ b b 4 w gœ œ œ g œ œ œ œ œ œ œ œ gœ œ œ œ . Œ pizz.. . . . 49 3 S b & b b . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 45 œ œ 3 œ œ 3 A b 5 & b b . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 œ œ 3 œ œ 49 3 . 3 . 3 ...... œ . . . . . œ . . . . . œ b œ œ œ œ œ œ œ œ œ b b . gœ œ œ œ œ œ gœ œ œ œ œ œ gœ œ œ œ œ œ 5 & gœ œ œ œ 3 gœ œ œ œ 3 gœ œ œ œ 3 4 Pno. 3 . . . 3 . . . 3 ...... œ. œ . œ. œ . œ. œ ? b . œ œ œ œ œ œ 5 b b . œ 3 œ Œ œ 3 œ Œ œ 3 œ Œ 4 œ. œ. . œ. œ. . œ. œ. .

Figure 2.8 (continued).

35 I. Nüüd ole, Jeesus, kiidetud 52 1. 3 2. 3 S bb 5 œ . 4 œ 3 & b 4 œ œ œ œ œ œ œ . 4 œ œ œ œ œ 4 3 mm 3 A b 5 . 4 3 & b b 4 œ œ œ œ œ œ œ œ . 4 œ œ œ œ œ œ 4 52 . . b 5 œ œ. œ 4 œ œ. œ 3 & b b 4 gœ œ œ œ œ . 4 gœ œ œ œ 4 g œ œ œ. œ. . g œ œ œ. Pno. 3 œ. 3 œ. . . ? b 5 w- œ œ 4 w- 3 b b 4 œ œ œ . 4 œ œ œ 4 -œ œ œ . Œ Œ œ œ œ . Œ 54 ...... S b 3 & b b 4 ∑ ∑ ∑ ∑

A b & b b 43 ∑ ∑ ∑ ∑

54 b 3 & b b 4 Œ œ œ Œ œ œ Œ œ œ Œ œ œ Pno. œ. œ. œ. œ. œ. œ. œ. œ. - - - - ? b 3 ˙ ˙ ˙ ˙ b b 4 ˙. œ œ œ. œ œ ˙. œ œ œ. œ œ œ œ œ . œ œ œ . œ œ œ . œ œ œ . 58 ...... S b & b b ∑ ∑ ∑ ∑

A b & b b ∑ ∑ ∑ ∑

58 bb Œ Œ Œ œ Œ Œ & b œ œ œ œ œ œ œ Pno. œ. œ. œ. œ. œ. œ. . - - - ? . bbb œ˙. œ œ œ˙. œ œ œ˙. œ œ œ Œ Œ œ œ œ . œ œ œ . œ œ œ ......

Figure 2.8 (continued).

36 CHAPTER 3

II. NÜÜD ON SEE PÄEV JU LÕPPENUD

Source Material and Origination

The second movement of Kreek’s Notebook is based on the folk-hymn variant Nüüd on see päev ju lõppenud. At least two versions of the folk-hymn variant titled Nüüd on see päev ju lõppenud exist in collection manuscripts and Cyrillus Kreek’s arrangements: one from the

Estonian village of Rapla collected in 1909, and one from the Estonian borough of Risti collected in 1914. The present folk-hymn variant used by Kõrvits in Kreek’s Notebook originates from

Rapla.

Rapla is a town of around six-thousand people that lies fifty kilometers south of the

Estonian capital of Tallinn in central Estonia.51 Records for Rapla date back to the thirteenth century Kong Valdemars Jordebog (Danish Census Book).52 Rapla is home to the St. Mary

Magdalene Lutheran Church, a cathedral-sized limestone building that can seat three thousand people. This church was constructed in 1901 and is the only two-towered rural church in

Estonia.53 It is home to the annual summer Rapla Church Music Festival, a festival whose goal is to bring high-art classical music to rural communities in Estonia.54

51 “Rapla Town,” Rapla.ee, accessed February 1, 2018. http://rapla.kovtp.ee/web/eng/rapla-tow.

52 Valter Lang, “Introduction: Keava—The Hand of the Sun,” Journal of Estonian Archeology 16, Supplement No. 1 (2012): 8.

53 “St. Mary Magdalene’s Lutheran Church in Rapla,” Turismweb.ee, accessed February 1, 2018. https://www.turismiweb.ee/en/company/st-st-mary-magdalens-lutheran-church-in- rapla/9461/.

54 “History,” Raplafestival.ee, accessed February 1, 2018. http://www.raplafestival.ee/eng-festivalist. 37 The 1909 collection manuscript of Nüüd on see päev ju lõppenud lists the corresponding

Punschel Choralbuch number as P. 18. Punschel chorale number eighteen is Nun sich der Tag geendet hat (Now the Day is Over). Nüüd on see päev ju lõppenud originated as the chorale Nun sich der Tag geendet hat. The melody of Nun sich der Tag geendet hat was written by seventeenth-century German composer and organist Adam Krieger. The melody was based on

Krieger’s own secular tune Ihr schönsten Blumen in der Au, which is published in Krieger’s

1657 Neue Arien collection of secular songs. Ihr schönsten Blumen in der Au itself was based on a Dutch song by Jacob Cats that was originally based on a poem by Cervantes.55 The date for the composition of the Nun sich der Tag geendet hat melody is not absolute, but records list 1666 as the year of Krieger’s death. The melody is well known mostly because of the text composed in

1670 by German lawyer and writer Johann Friedrich Herzog. While Adam Krieger himself wrote the first stanza, Herzog wrote the second through eighth verses of Nun sich der Tag geendet hat.56

No translator is listed on any manuscripts of arrangements of Nüüd on see päev ju lõppenud, and no date is available for the introduction of the chorale to Estonia. Due to the extent of the alteration and ornamentation present in this folk-hymn variant, speculation would suggest that the tune was introduced in the late-seventeenth or early-eighteenth century in

Estonia. This speculation is based on the idea that the majority of Estonian folk-hymn variation occurred in the eighteenth century.57

55 John H. Baron, “Krieger, Adam,” Grove Music Online. January 20, 2001. goo.gl/vaLHUR.

56 John Richard Watson, “Johann Friedrich Herzog,” The Canterbury Dictionary of Hymnology, Canterbury Press, http://www.hymnology.co.uk/j/johann-friedrich-herzog.

57 Anneli Unt, “Forward,” 7. 38 The version of Nüüd on see päev ju lõppenud from Rapla was collected in 1909 by

Estonian conductor and collector Peeter Penna. Penna’s collection manuscript is pictured in

Figure 3.1. Figure 3.2 shows an excerpt of Nun sich der Tag geendet hat as Cyrillus Kreek would have likely first encountered the chorale from the 1915 edition Punschel Choralbuch in the

Estonian National Library in Tallinn.

Figure 3.1. Collection manuscript EÜS VI 878/32/ of Nüüd on see päev ju lõppenud (Rapla) by Peeter Süda 1907, courtesy of the Estonian Theater and Music Museum.

Figure 3.2 Excerpt from the 1915 Tallinn Punschel Choralbuch: No. 18, Nun sich der Tag geendet hat. One version of the chorale that Cyrillus Kreek would have seen. Public Domain.

Figure 3.3 depicts a melodic transformation graph of the melody from the chorale to the folk-hymn variant. The chorale example used is from Bach’s chorale harmonization BWV 396.

This example was selected as it appears with virtually no melodic embellishment. The melodic transformation graph shows the extent to which the tune was altered by improvisation. The dotted slurs show virtually identical phrase structure. Notes connected by dotted lines show retained melodic notes. This particular transformation resulted in a folk-hymn variant consisting

39 of essentially two repeated phrases. These two repeated phrases incorporate melodic material from the antecedent and consequent phrases in the original chorale. The pickup and first full bar of the folk-hymn variant seems to be a simple ornamentation of the fifth bar of the original chorale, while the second bar of the folk-hymn variant seems to be an ornamentation of the second bar of the original chorale. These comparisons are marked by rectangles in Figure 3.3.

Figure 3.3 Melodic transformation graph of Nun sich der Tag geendet hat to Nüüd on see päev ju lõppenud.

IPA Transcription, Literal Translation, and Lyric Translation

II. Nüüd on see päev ju lõppenud

IPA transcription—Alex Favazza

Literal translation—Greete Kõrvits

Lyric translation— Eric Dickens58

58 Kreek’s Notebook, EMIC conductor’s scores p.42–43. 40 Nüüd on see päev ju lõppenud ja kätte jõudnud öö

[nyd on se pæev ju lɤp:enud ja kæt:e jɤunud ø]

Now is that day already ended and has arrived night

(Now the day is over, night is drawing nigh)

Kõik magab, mis on väsinud ja lõpnud raske töö

[kɤik magap mis on væsinud ja lõpnud raske tø]

All sleeps that is tired and finished heavy work

(All who are weary are asleep and the heavy work is done)

Sul, Jumal, pole väsimust, ei maga, uinu Sa.

[sul jumal pole væsimust ei maga uinu sa]

You God have no tiredness not sleeping slumbering you

(Lord, you know no weariness, neither sleep nor slumber.)

Sa vihkad ikka pimedust, sest valgus oled Sa.

[sa viħkad ik:a pimedust sest valgus oled sa]

You hate still the darkness because light are you

(You always loathe the darkness as you yourself are light.)

Mu peale mõtle, Issand, nüüd, et pime öö on käes

[mu peale mɤtle is:and nyd et pime ø on kæes]

Me about think Lord now that the dark night is here

41 (Think of me now my Lord, now the dark night is at hand.)

Mul anna andeks minu süüd, mind hoia heldesti.

[mul an:a andeks minu syd mind hoia heldesti]

Me give it forgive my guilts me hold gently

(Forgive me for my sins, protect me with your grace.)

Nüüd on see päev ju lõppenud ja kätte jõudnud öö

[nyd on se pæev ju lɤp:enud ja kæt:e jɤunud ø]

Now is that day already ended and has arrived night

(Now the day is over, night is drawing nigh.)

Music

Nüüd on see päev ju lõppenud is scored for men’s chorus and strings. The movement of

Kreek’s Notebook opens with pianissimo open fifths between viola and violin II, which move in parallel half notes from E-flat3 and B-flat3 to G3 and D4. These open fifths are decorated by a pizzicato open fifth of the same pitches on the downbeat of the first and third bars. The violin II

D4 in the second bar is ornamented by two grace notes: D to an E-flat upper neighbor. In the following bar the violin II and viola trade ornamental thirty-second-note oscillating gestures.

Though Kõrvits introduces this use of decoration and ornamentation subtly in the first three bars, he slowly expands his use of the device until almost every part is undulating with sixteenth-note triplets, quintuplets, and grace notes. Musical Example 3.1 depicts pervasive ornamentation in bar thirteen of the movement. Kõrvits’s use of ornamentation creates a soundscape that sounds almost improvisatory, further reinforcing the folk aesthetic.

42

Musical Example 3.1 II. Nüüd on see päev ju lõppenud—Tõnu Kõrvits, m. 13. © EMIC.

Basses and baritones enter in the pickup to bar five with a unison iteration of the folk- hymn variant melody at a piano dynamic. Kõrvits alters the folk-hymn melody slightly by ornamentation as seen in Figure 3.4. Alterations are marked with dotted brackets.

Figure 3.4 Vocal melodic ornamentation comparison, II. Nüüd on see päev ju lõppenud. 43

The Rapla folk-hymn variant melody of Nüüd on see päev ju lõppenud, besides some chromatic changing tones, is primarily in the G-Dorian mode. Kõrvits brings emphasis to the raised-sixth scale degree of the Dorian melody modal mixture and the use of false relation.

Figure 3.5 depicts bar six, which is the first false relation. The viola sustains an E-flat3 as the lowest note in the string texture while the vocal melody has a quarter note D3 on the downbeat and moves in eighths from C3 to E-natural3 on an escape tone. This example foreshadows the use of modal mixture and false relation as a primary harmonic structural device.

Figure 3.5 False relation example, m. 6, II. Nüüd on see päev ju lõppenud.

In bar eleven, violin I enters for the first time on a C-sharp4 against the violin II D4 over the viola F3 in a miniature of modal mixture between Dorian and minor, retaining the major and minor sixth from F. In bars fifteen through twenty-two, Kõrvits exploits mode mixture and false relation to its highest degree yet, resulting in chromatic chordal extensions and split thirds. These esoteric harmonies are redolent of blues and jazz writing and seem to speak more as color than function. These harmonies are further emphasized by the rhythmic and dynamic motion in the passage. The low strings articulate structurally on the first and third beats of each measure, while

44 the chromatic extensions occur on off-beats with crescendi. This offbeat figure is punctuated by escape tones that begin in violin II and continue in violin I. Figure 3.6 depicts a harmonic sketch of bars fifteen through twenty-two as block chords with escape tones slurred. Octaves are displaced as necessary for ease of reading harmony.

Figure 3.6 Harmonic sketch in block chords, mm. 15–22, II. Nüüd on see päev ju lõppenud.

Bars twenty-three and twenty-four serve as transition material. Kõrvits scores a pianissimo motive in bar twenty-three for violin I that decorates the contour of the folk-hymn variant melody with an ascending sextuplet and set of triplet grace notes. In bar twenty-four, celli lead a crescendo to forte with a rhythmically expanding gesture that begins with a descending sixteenth-note quintuplet followed by an eighth-note triplet and finally two eighth notes.

At bar twenty-five, the violins take over the folk-hymn variant melody while tenor and bass parts sing a countermelody. The violins are paired first in perfect fifths displaced by an octave (twelfths) until bar twenty-eight, then in tenths displaced by an octave (seventeenths). The voices rejoin the violins on the final tag of the folk-hymn melody in bar thirty-one.

45 In bars thirty-three through thirty-eight, Kõrvits employs a new countermelody that is sung in canon between bass and tenor over a static pedal G1 in the contrabass part and open fifth

G2 and D3 in the cello part. At bar thirty-nine, Kõrvits reprises a truncated version of the opening gesture of the movement with open fifths between violin II and viola punctuated by pizzicato in the cello. After one iteration of this gesture, violin I reprises the opening phrase of the folk-hymn variant melody over the fifths in violin II and viola.

Kõrvits uses the same transitional motive in the violin part and extends the motive in the cello to transition to the end of the movement. In the final two measures, tenor and bass divide for the first time to sing lõppenud (ended) pianissimo in block chords doubled by strings. The final cadence is plagal-like, yet the penultimate chord sounds like a repurposed dominant chord.

The resolution from the C major-minor seventh chord to an open G, D, A sonority further reinforces the Dorian-mode setting of the folk-hymn variant.

Performance Practice

One key concern in preparing the orchestra for the second movement is the consideration of grace notes and multi-note groupings. Kõrvits suggests that grace notes occur on the beats they are scored rather than before.59 Though not marked in the full score, Nüüd on se päev ju lõppenud should continue attaca to the third movement if possible. The chorus, violin I and II should release while viola, cello, and contrabass sustain their final notes into the third movement.

The second movement includes some particularly problematic vowel sequences and questions for metric distribution of vowels. Table 3.1 provides a list of diphthong vowels and their metric distribution in Nüüd ole, Jeesus, kiidetud.

59 Tõnu Kõrvits, interview. 46 Table 3.1 Metric distribution for diphthong vowels in Nüüd on see päev ju lõppenud.

Location in the Word or portion How word is Metric distribution score: measure, beat of word notated in score for diphthong vowels m. 5, bt. 3 Päev Two slurred eighth [pæ] on first eighth, notes [ev] on second eighth m. 7, bt. 4 Jõud- One eighth note (this Split into sixteenths, goes by so quickly, [jɤ] on first sixteenth, that the distinction is [ud] on second likely not to be sixteenth heard) m. 8, bt. 4 Kõik Two slurred eighth [kɤ] on first eighth, [ik] notes on second eighth m. 17, bt. 1 Ei Two slurred eighth [e] on first eighth, [i] notes on second eighth m. 25, bt. 3–4 Peal One dotted quarter Split into one eighth note and one quarter, [pe] on eighth, [al] on quarter m. 28, bt. 1–3 Käes One quarter note and [kæ] on quarter, [es] on one half note, slurred half m. 31, bt. 1 Hoi- Two slurred eighth [ho] on first eighth, [i] notes on second eighth m. 33, bt. 3 in bass Päev One quarter note Split into eighths, [pæ] and m. 34, bt. 1 in on first eighth, [ev] on tenor second eighth m. 35, bt. 3 in bass Jõud- One triplet quarter Split into eighth notes and m. 36, bt. 1 in within value of quarter tenor triplet, [jɤ] on first eighth, [ud] on second eighth m. 46, bt. 1 Päev One half note Split into quarters, [pæ] on first quarter, [ev] on second quarter

Orchestral Piano Reduction for Rehearsal

This chapter concludes with Figure 3.7, which is an orchestral-piano reduction of Nüüd on see päev ju lõppenud for choral rehearsals. Because of the dense texture and wide range of the string orchestra, many voicings and parts are condensed or excluded to allow the reduction to be playable. Like many orchestral reductions, it is not idiomatic to the piano and requires a highly

47 skilled collaborative artist. However, under no circumstances should movements be performed from Kreek’s Notebook with piano and chorus.

48 Nüüd on see päev ju lõppenud Meeskoorile ja keepillidele

Tõnu Kõrvits/ Eesti vaimulik rahvaviis (Rapla) q = 64 p Bass ? 4 ∑ ∑ ∑ Ó Œ œ œ Nüüd

4 Piano for & 4 œ b œ œ œ œ œ rehearsal b˙ ˙ ˙ ˙ b˙ ˙ œ œ œ œ œ ˙ only ? 4 b˙ ˙ ˙ ˙ b˙ ˙ ˙ œ œ œ œ œ œ 4 J

5

B j ? œ œ bœ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ#œ nœ œ œ œ œ on see päev juœ lõp - pe - nud jaJ kät 5 - - - te jõud - nud 5 3 & ˙ ˙ œ œ ˙ œ œ œ œ œ œ N˙ Pno. ˙ ˙ b˙ J ˙ ¯ RH ¯ RH ? (bœ) b˙ ˙ (bœ) œ œ ˙ œ Œ Ó œ Œ

8 3

B j ? œ nœ œ œ bœ ˙ œ œ bœ œ œ œ œ œ œ öö. Kõik ma - gab, mis onœ 8 6 & œ œ œ œ. Pno. ˙ œ œ œ ˙ œ b˙ 3 nœ œ œ œ ˙ RH (bœ¯) ? œ bœ œ ˙ œ Œ ˙ Nœ œ œ

©2007 EMIC

Figure 3.7 Piano reduction for choral rehearsal. II. Nüüd on see päev ju lõppenud. Created by the author with permission from the composer. 49 2 Nüüd on see päev ju lõppenud

10 B ? œ 6 œ œ œ œ œ. œ œ bœ œ œ #œ œ œ œ œ 4 vä - si - 3 nud jaJ lõp - nud ras - ke 10 6 ‰ j 6 & Nœ œ œ œ œ . œ œ. ˙ 4 Pno. œ bœ œ œ œ œ œ ˙ #˙ RH ¯ œ ? b˙ ˙ (bœ) œ ˙ 6 œ Œ 4

12 B ? 6 4 . ∑ töö.w 6 12 ˙ #œ œ œ nœ 6 ? bœ œ œœ œ j bœnœ œ œ œ œ œ & 4 œ Œ ˙ Œ œ œ ‰ 5 & ‰ œ. #œ œ œ bœ nœ œ œ Pno. œ. œ œ œ œ poco cresc. 5 3 3 ? 6 j œ 4 œ œ bœ œ œœ œ œ œ ‰ œ bœ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ

14 P j T œ 4 œ œ œ œ. V Ó Ó Œ œ 4 bœ œ œ œ œ œ œ œ œ ‰ Sul, Ju - mal, po - le vä - si - must, 14 6 3 4 j j j ‰ ‰ Œ j Œ ‰ #œœ ‰ bœœ j ‰ #œœ ‰ bœœ j & œ bœ œ œ œ œ 4 #œ n œ œ #œ n œ œ Pno. œ nœ œ œ œ œ œ œ œ ˙ sim. 6 p (poco) w œ . œ. œ. . œ. œ. ? Œ 4 œ œ œ œ pizz. œ. œ. . œ. œ. . œ. œ. p

Figure 3.7 (continued)

50 Nüüd on see päev ju lõppenud 3

17 j T œ œ œ . œ V œ nœ œ œ œ œ. œ bœ œ ˙ œ œ bœ œ œ œ œ œ œ œ œ œ œ J ei ma - ga, ui - nu Sa. Sa vih - kad ik - ka pi - me - dust, sest 17 œ b œ œ ##œ ‰Nbœœ j ‰#œœ j ‰# œœ œ ‰ œ. ‰b#œœ œ ‰ œ ‰b#œ J ‰ œ J & œ œ J œ. œ J #œœ J Pno. . . œ. œ. . . œ. œ. . œ. œ œ. . œ. nœœ ? œ bœ œ nœ œ bœ. œ œ bœ œ œ œ . bœ . œ œ . œ bœ . œ . . . œ. . . œ. . . .

21 3 T œ gl. U 5 V nœ œ œ bœ œ œbœ œ œ œ. ‰ ∑ 4 val - gus o - led Sa. . 21 nœ b œ œ œ bœ j œ œ œ œ œ œ œ œ & ‰Nœœ J ‰ œ ‰ œ. œ. ‰ #œ œ 45 b#œœ œ. œ. 6 Pno. π œ. œ. œ. œ. ? ? œ œ œ Ó & b˙ ˙ 5 œ . œ œ . b ˙ ˙ 4 . œ. . .

24

T f V 45 ∑ 4 Œ œ j bœ. œ œ ˙ Mu peaœ. - leœ mõt - le, Isœ - sand, nüüd,

B bœ. ? 5 ∑ 4 Œ œ œ. œ œ œ œ ˙ 4 4 J 24 œ œ œ œ œ œ œ. œ 5 œ. 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ . ‰ 5 œ bœ & 4 œ ˙. 4 œ J Pno. 5 3 f 3 œ œ œ ? 45 Ó œ œ œ œ#œ bœ œ 4 œ œ œ œ œ œ bœ œ œ œœ œ œ œ 5 œ œ œ œ œ œ œ œ œ œ f

Figure 3.7 (continued)

51 4 Nüüd on see päev ju lõppenud

27 T œ œ nœ œ. V œ nœ œ œ. j bœ ˙ Œ œ œ œ. bœ et pi - me öö onœ käes. Mul an - na an - deks

B nœ œ œ . bœ bœ œ œ. ? œ œ œ ˙ Œ bœ J b˙ 27 œ œ #œ œ œ œ œ. œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ. œ bœ œ œ œ œbœ œ œ œ œ œ œ J 5 Pno. œ ? bœœœœ œ œ œ œ. Œ œ œ œ œ œœ#œbœ œ œ b˙ bœ œ œ œ œ . bœ œ 9 œ

30 p 3 T œ œ œ j V œ œ bœ œ. J bœ œ œ œ ˙. Œ Ó œ #œ œ mi - nu süüd, mind hoi - a hel - des - ti. Nüüd on see

B p ? œ nœ œ œ. œ œ œ Œ œ #œ œ nœ œ J bœ œ œ œ ˙. 3 J 30 œ Nüüd on see päev ju œ œ œ œ œ # œ œ œ œ œ bœ œ œ œ bœ œ œ œ œ œ U œ œ œ œ œ œ ‰ ∑ & œœ œ œ Pno. œ œ#œ œ œ. U œ ? œ . nœ œ œ # œ œ œ .. œ œ œ. J œ bœ œ œ œ œ ˙.. ‰ w œ π

Figure 3.7 (continued)

52 Nüüd on see päev ju lõppenud 5

34 3 3 T j #œ œ nœ bœ ˙ V nœ œ bœ œ œ œ. œ #œ nœ bœ œ œ Œ Œ ˙ päev juœ lõp - pe - nud ja kät - te jõudœ -nud öö. Mul an-na an - deks,

B bœ œ bœ bœ ? œ œ œ. œ #œ nœ œ œ œ Œ bœ œ œ #œ nœ œ w 3 J 3

34 lõp - pe - nud ja kät - te jõud - nud öö, mul an - na an - deks mi - nu süüd

& ∑ ∑ ∑ ∑ ∑ Pno. ? w w w w w

39

T V ∑ ∑ ∑

B ? ∑ ∑ ∑

39 œ œ bœ œ œ œ œ œ & œ œ œ œ œ œ œ œ Pno. b˙ ˙ œ œ œ œ œ œ p ˙ ? b˙ ˙ ˙ œ œ œ œ œ œ œ bb˙ ˙ 6

Figure 3.7 (continued)

53 6 Nüüd on see päev ju lõppenud

42 5

T gl. V Œ ˙. œ œ œ œ mul an - na œ œ#an˙ - deks,w

B ˙ œ œ gl. ? Œ . œ œ œ œ#˙ w 5 42 , j œ œ œ & œ ˙ Œ œ #œ nœ œ œ œ nœ œ œ œ œ œ œ œ œ œ ˙ 6 Pno. b˙ N˙ ? ˙ œ œ œ œ œ œ œ , 6 b˙ w & b ˙ N˙ w p (long) 45 U U T , , Uw V ∑ ˙ ˙ ˙˙ b˙ w päev ju lõp - pe˙ - nud.

B ? ∑ ˙ ˙ w bb˙ ˙ w 45 ˙ œ œ œ œ nœ b œ œ œ œ œ ˙ U , U , #œ œ œ œ Ó & 6 Pno. b˙ ˙ w π rall. ˙˙ ˙ w œ œ œ œ œ bœ ? 3 œ œ œ œ œ & b˙ œ 3 œ œ #œ œ œ bœ b˙ w b ˙ œ 5 b ˙ ˙ w ˙ w

Figure 3.7 (continued)

54 CHAPTER 4

III. MA KIITLEN ÜKSPÄINIS NEIST VERISIST HAAVUST

Source Material and Origination

The third movement of Kreek’s Notebook is for pizzicato strings alone. It is based on an

Estonian folk-hymn variant titled Ma kiitlen ükspäinis neist verisist haavust. Multiple versions of folk-hymn variants with this same title exist in collection manuscripts and Cyrillus Kreek arrangements. They differ by regional origin. The present folk-hymn variant used by Kõrvits in

Kreek’s Notebook originates from Pärnu-Jaagupi and was collected in 1929.

Pärnu-Jaagupi is a village of about twelve hundred people in western Estonia. The village is home to the sixteenth-century gothic Pärnu-Jaagupi Church dedicated to St. James the Great.

This single nave church is made of granite and accompanied by a large limestone bell tower.60

The 1929 Pärnu Jaguppi collection manuscript of Ma kiitlen ükspäinis neist verisist haavust lists the corresponding Punschel Choralbuch number as P. 76. Punschel chorale number

76 is Ich rühme mich einzig der blutigen Wunden (I Alone Praise Those Wounds that Bleed). Ma kiitlen ükspäinis neist verisist haavust originated as the chorale Ich rühme mich einzig der blutigen Wunden. The composer of the chorale’s melody is unknown, but the source of the melody is a traditional Moravian (Brethren) tune.61 The text of Ich rühme mich einzig der blutigen Wunden was written by German priest and poet Johann Scheffler. No exact date can be identified for the hymn’s composition, but Scheffler wrote his final poetry in 1675 and died in

60 “Pärnu-Jaagupi Church,” Visitestonia.com, accessed February 14, 2018. https://www.visitestonia.com/en/parnu-jaagupi-church.

61 “The Liturgy and the Office of Worship and Hymns of the American Province of the Unitas Fratrum, or the Moravian Church,” (Bethlehem, PA: Moravian Pub. Office, 1908), 477. 55 1677, dating this text to the mid-seventeenth century. Scheffler was born Lutheran, but changed his name to Angelus Silesius after converting to Catholicism. Many of his works are attributed to various combinations of these two names such as “Johann Angelus.”62

The text was first published in the Vollständiges Gesang-Buch of 1679. It appeared as the second verse to the hymn Ach alles was Himmel und Erde umschliesset. The title Ich rühme mich einzig der blutigen Wunden first appeared separately from Ach alles was Himmel und Erde umshcliesset in the 1735 text-only Moravian Brethren hymnal Herrnhut Gesang-Buch. It appears first in the front matter of the hymnal inscribed in a piece of artwork that depicts a scene of

Heaven from Revelation Chapter Four in which elders lie prostrate worshipping a lamb. See

Figure 4.1. The hymn text then appears on page five-hundred nine.

Figure 4.1 Artwork depicting scene from Revelation chapter four with inscription of Ich rühme mich einzig der blutigen Wunden. Herrnhutt Gesang-Buch, 1735, public domain.

62 James Mears, “Ich rühme mich einzig der blutigen Wunden,” in A Dictionary of Hymnology: Setting forth the Origin and History of Christian Hymns of All Ages and Nations, ed. John Julian (New York: Dover, 1957), 1005.

56

The tune appears in very few hymnals, but it is included in the 1754 North American

Moravian hymnal with text translated into English with the title “I Glory in Nothing but in the

Wounds Bloody.”63 It appears in subsequent editions of Moravian hymnals as late as 1905 with the altered translation, “I’ll Glory in Nothing but only in Jesus” with text attributed to J.

Angelus.64

Though most of the source chorale melodies associated with folk-hymn variants used in

Kreek’s Notebook are Lutheran in origin, it is not strange that this tune is Moravian. The

Moravian movement gained substantial ground in Estonia beginning as early as the 1730’s.65

Consequently, this likely explains Estonian exposure to Ich rühme mich einzig der blutigen

Wunden, which first appeared as a title in the Brethren hymnal of 1735. Deeper study of the development of Estonian hymn singing and the reform efforts of Germans (including aspects of the Moravian tradition) in the region is explored in Toomas Siiten’s doctoral dissertation, published as a book by Edition IMC in 2003: Die Choralreform in den Ostseeprovinzen in der ersten Hälfte des 19. Jahrhunderts. Ein Beitrag zur Geschichte des protestantischen

Kirchengesangs in Eestland und Livland.66

63 James Mears, “Ich rühme,” 1005.

64 “The Liturgy…Moravian Church,” 110.

65 Indrek Jürjo, “Influences of Pietism and the Moravian Brethren,” Estonica: Encyclopedia about Estonia. October 10, 2012. http://www.estonica.org/en/History/1710- 1850_The_Baltic_Landesstaat/Influences_of_Pietism_and_the_Moravian_Brethren/.

66 Toomas Siitan, Die Choralreform in den Ostseeprovinzen in der ersten Hälfte des 19. Jahrhunderts. Ein Beitrag zur Geschichte des protestantischen Kirchengesangs in Eestland und Livland, (Sinzig: Studio Verlag, 2003), abstract, trans.

57 No translator from German to Estonian is listed on any manuscripts for Ma kiitlen

ükspäinis neist verisist haavust, and no date is available for the introduction of the tune to

Estonians. Due to the surge of the Brethren movement in the 1730s and its inclusion in the 1735

Herrnhut Gesang-Buch, the early eighteenth century would be a reasonable estimation for the hymn’s introduction to Estonia.

The Pärnu-Jaagupi folk-hymn variant of Ma kiitlen ükspäinis neist verisist haavust was collected in 1929 by Estonian composer and conductor Eduard Oja. Oja’s collection manuscript is pictured below in Figure 4.2. Ma kiitlen ükspäinis neist verisist haavust is the second melody on the collection manuscript. Local woman Katarina Lõo sang the melody that Oja transcribed.

Figure 4.3 shows an excerpt of Ich rühme mich einzig der blutigen Wunden from the 1915 edition of the Punschel Choralbuch as Cyrillus Kreek would have likely encountered the hymn.

Figure 4.2 Collection manuscript KM ERA III 2, 65 (59) of Ma kiitlen ükspäinis neist verisist haavust (Pärnu-Jaagupi) by Eduoard Oja 1929, courtesy of the Estonian Theater and Music Museum.

58

Figure 4.3 Excerpt from the 1915 Tallinn Punschel Choralbuch: No. 76, Ich rühme mich einzig der blutigen Wunden. This is the version of the chorale that Cyrillus Kreek would have seen. Public domain.

Figure 4.4 shows a melodic transformation graph from the original hymn to the Pärnu-

Jaagupi folk-hymn variant. This particular transformation resulted in a folk-hymn variant consisting of one four-bar phrase that is repeated. For the purpose of the figure, the folk-hymn variant is repeated three times to show the length of poetic verse as it would align with the chorale. This four-bar phrase seems to combine melodic elements from both sections of the original chorale to create one compact melody. The contour of the folk-hymn variant melody reflects the descending scalar content of the A and A’ sections of the chorale (marked in Figure

4.4 by dotted lines) while it is ornamented by the repeated thirds gesture in the B section (marked in Figure 4.4 with brackets).

Kõrvits further alters the folk-hymn variant rhythmically by first reversing the opening fourth gesture from a dotted-eighth, sixteenth rhythm to a sixteenth, dotted-eighth rhythm. See

Figure 4.5. He also reverses third beat of the first full measure of the folk-hymn variant from an eighth note followed by two sixteenths to two sixteenths followed by an eighth. He then replaces all the remaining eighth-note groups with the sixteenth, dotted-eighth figure. Besides the opening notes in the low strings, held over from the second movement, Kõrvits sets the entire movement pizzicato. This pizzicato causes the sixteenth, dotted-eighth gestures to sound like grace notes plucked on the beat. This texture further reinforces the folk nature of the folk-hymn variant.

59

Figure 4.4 Melodic transformation graph of Ma kiitlen ükspäinis neist verisist haavust.

Figure 4.5 Rhythmic alteration for Kreek’s Notebook, III. Ma kiitlen ükspäinis neist verisist haavust.

60 Music

The movement opens with the perfect fifth G and D sustained from the second movement by the viola, cello, and contrabass while violins I and II play open-string pizzicato quarter notes on A4 and E5 in three-four time. The open-string A and E pizzicato crescendoes over five bars as

Kõrvits fades into the new texture of the third movement. At the pick-up to bar seven, violin I introduces the altered folk-hymn variant melody alone over four bars. Violin I then repeats the altered folk-hymn, this time rejoined by violin II on the quarter-note, open-string, pizzicato A4 and E5 accompaniment.

At bar fifteen, the viola joins the texture, and Kõrvits departs from direct presentation of the altered folk-hymn variant. He begins to obscure the melodic content as he shifts melody fragments between parts of the orchestra. He also begins to employ open fifth and open fourth voicing between parts as the cello enters in the third beat of bar twenty-six and contrabass on the downbeat of bar twenty-eight. This exploitation of quartal harmony results in a texture of sevenths and ninths. An example of this harmony is given in Figure 4.6.

Figure 4.6 Harmonic sketch: example of quartal hamony and resulting sevenths and ninths, mm. 27–28, III. Ma kiitlen ükspäinis neist verisist haavust.

In the third beat of bar thirty-four, Kõrvits intensifies the texture with repeated four-note strummed chords voiced mostly in fifths and fourths in viola and cello. Because of the open

61 voicing, the viola and cello parts overlap causing major second dissonances and a dense texture, pictured in Musical Example 4.1.

Musical Example 4.1 III. Ma kiitlen ükspäinis neist verisist haavust—Tõnu Kõrvits, mm. 35–36. © EMIC.

In bar thirty-eight, dynamics lower to piano and the lower strings and upper strings trade melodic fragments until bar forty-eight, when all strings play a final pizzicato octave A2 and A3 on the final note.

62 CHAPTER 5

IV. OH VÕTA, ARMAS JEESUS, VASTU MULT

Source Material and Origination

The fourth movement of Kreek’s Notebook is the first to combine the full forces of mixed chorus and strings. The movement is based on the folk-hymn variant Oh võta, armas Jeesus, vastu mult from Kolga-Jaani. Kolga-Jaani is a very small village in Central Estonia.

The collection manuscript for Oh võta, armas Jeesus, vastu mult lists the corresponding

Punschel Choralbuch number as P. 44. Punschel chorale number forty-four is Jehova nimm von mir die Kräfte hin (Jehovah Take the Power from Me). The translation for the movement’s title listed in the liner notes of the Royal Holloway Choir’s recording is O Receive from Me Dear

Jesus.67

Little information is available on the chorale Jehova nimm von mir die Kräfte hin. The text was written by German theologian Gottfried Arnold.68 The Punschel Choralbuch lists this date for the tune as 1700. This tune is found in the 1786 collection Vierstimmige alte und neue

Choralgesänge, mit Provinzial Abweichungen von Johann Christoph Kühnau, Kantor und

Musikdirektor wie auch Lehrer bey der Königl[ichen] Realschule zu Berlin (Four-Part Old and

New Chorale Songs with Provincial Deviations from Johann Christoph Kühnau, Cantor,

Teacher, and Music Director for the Royal Secondary School of Berlin) with the Johann

Anastasius Freylinghausen text Du Geist des Herrn der du von Gott (You Spirit of the Lord, You are from God). This collection includes many chorales attributed to the composer Johann

67 Rupert Gough, liner notes, 2.

68 Albert Friedrich Wilhelm Fischer, Kirchenlieder-lexicon, Volume 1 and 2, (Gotha: F. A. Perthes, 1878), 427. 63 Christoph Kühnau; however, the composer for Du Geist des Herrn der du von Gott is listed as anonymous.69 Outside of the Punschel Choralbuch, the text Jehova nimm von mir die Kräfte hin is rarely the text associated with this hymn.

No translator is listed on any manuscript arrangement of Oh võta, armas Jeesus, vastu mult and no date is available for the introduction of the chorale to Estonia. Since the date for the melody is recorded as 1700, and the tune appears in few later collections or hymnals outside of the Punschel Choralbuch, reasonable speculation would suggest that the tune was introduced in

Estonia by the early eighteenth century.

The Kolga-Jaani folk-hymn variant of Oh võta, armas Jeesus, vastu mult was recorded in a manuscript by Estonian composer Juhan Simm in 1906 (see Figure 5.1). Oh võta, armas

Jeesus, vastu mult is the fifth stave down on the manuscript. This folk-hymn variant is particularly short and repeats to cover the text of the chorale. Simm lists the singer who demonstrated the tune for his transcription as [Y.] Konia.70 Figure 5.2 shows an excerpt of Oh võta, armas Jeesus, vastu mult as Cyrillus Kreek would have likely encountered the chorale from the 1915 edition Punschel Choralbuch in the Estonian National Library in Tallinn.

Juhan Simm was from the small lakeside village of Kivilõppe in central Estonia.71 Since

Simm was raised in central Estonia, it is fitting that he would be the collector of folk-hymn variants from Kolga-Jaani, which is about forty kilometers north of Kivilõppe.

69 Christoph Kühnau, Vierstimmige alte und neue Choralgesänge, RISM, https://opac.rism.info/search?id=220036567.

70 The letter of the singer’s first initial is difficult to identify on the manuscript, but is most likely a Y—this is evident in Figure 5.1. The brackets around the letter reflect this ambiguity.

71 “Juhan Simm,” Emic.ee, last modified 2014, goo.gl/48hJqV. 64

Figure 5.1. Collection manuscript KM EÜS III 677/32/ of Oh võta, armas Jeesus, vastu mult (Kolga-Jaani) by Juhan Simm 1906, courtesy of the Estonian Theater and Music Museum.

Figure 5.2 Excerpt from the 1915 Tallinn Punschel Choralbuch: No. 44, Jehova nimm von mir die Kräfte hin. One version of the chorale that Cyrillus Kreek would have seen. Public Domain.

Figure 5.3 depicts a melodic transformation graph from the Punschel chorale to the folk- hymn variant from Kolga-Jaani. This folk-hymn retains almost no direct melodic material from the chorale. Similar to the folk-hymn variant used in movement three, Oh võta, armas Jeesus,

65 vastu mult combines a couple melodic gestures with melodic contour to create a repeated compact variant. These gestures are marked in Figure 5.3 with brackets and dotted lines.

Figure 5.3 Melodic transformation graph of Jehova nimm von mir die Kräfte hin to Oh võta, armas Jeesus, vastu mult.

IPA Transcription, Literal Translation, and Lyric Translation

IV. Oh võta, armas Jeesus, vastu muult

IPA transcription—Alex Favazza

Literal translation—Greete Kõrvits

Lyric translation—Eric Dickens72

Oh võta, armas Jeesus vastu mult,

72 Kreek’s Notebook, EMIC conductor’s scores p.42–43. 66 [oħ vɤta armas jesus vastu mult]

Oh take good Jesus accept from me

(Oh receive me dear Jesus)

mis Sinu vaimu väes ma saanud sult

[mis sinu vaimu væes ma sanud sult]

What your spirit’s in power I’ve gotten from you.

(what I have received from you in spirit.)

Su päralt peab mu süda olema

[su pæralt peab mu syda olema]

Your own must my heart be,

(My heart shall belong to you,)

ei eal Su pruut küll muidu pühaks saa

[ei eal su prut kyl muidu pyħaks sa]

No never your bride shall otherwise holy become.

(nor shall your bride ever be other than holy.)

Ei ilmas pruut muu pääle mõtlegi

[ei ilmas prut mu pæle mɤtlegi]

No never bride me of will think,

(In this world the bride shall not think of me,)

67

kui oma peiu pääle üksiti.

[kui oma peiu pæle yksiti]

Than her groom of alone,

(but only her bridegroom,)

Ma pean teda meeles pidama

[ma pean teda meles pidama]

I must him in mind keep,

(I shall keep him in mind,)

kes ennast mulle peiuks andnud ka

[kes en:ast mul:e peiuks andnud ka]

Who himself to me as a groom given too.

(he who also let me be his bride.)

Jeesus! Su päralt peab mu süda olema

[jesus su pæralt peab mu syda olema]

Jesus! your own must my heart be,

(Jesus, my heart shall belong to you,)

oh Jeesus! Ma pean Teda meeles pidama.

[oħ jesus ma pean teda meles pidama]

68 Oh Jesus! I must him in mind keep.

(Oh Jesus, I will cherish him in my mind.)

Sa Isa sõna! Kõik nüüd uueks loo ja südamest

[sa isa sɤna kɤik nyd ueks lo ja sydamest]

You Father’s word! All now new Lord’s from heart

(You word of God, recreate all now and from the heart)

kõik vana välja too.

[kɤik vana vælja to]

All old out bring.

(remove all that is old.)

Need lunastatud tulgu rõõmsasti

[ned lunastatud tulgu rɤmsasti]

Those redeemed may come happily

(May those redeemed come joyfully)

Jeruusalemma Talle pulmale

[jerusalem:a tal:e pulmale]

To Jerusalem to His wedding.

(to his wedding feast in Jerusalem.)

69 ja Sinu arm mu südant uueks teeb

[ja sinu arm mu sydant ueks tep]

And Your grace my heart new makes.

(Your grace will renew my heart.)

Music

Movement four opens with a monophonic ostinato in the bass choral part for seven bars.

This ostinato is foundational for the movement and appears in different parts throughout. Tenors enter on the pick-up to bar eight with the first iteration of the Kolga-Jaani folk-hymn variant, first in its original form, then with ornamentation. In bar ten, strings enter for the first time with cello and contrabass on a whole-note chord of A1, E2, G2, A2 with hairpin crescendo and decrescendo.

Violin II and viola enter at bar fourteen with viola doubling the choral bass ostinato. At bar fourteen, tenor leaves the folk-hymn variant and decorates the ostinato with a descant-like divisi that foreshadows the octatonic harmonic language of the second section of the movement with juxtaposed augmented and minor triadic movement. In bar sixteen, the bass ostinato moves down a perfect fourth to create a sense of dominant pedal leading to the soprano and alto entrance in bar twenty-one.

In bar twenty-one, violins I and II begin a series of pentatonic gestures. These gestures do not directly imitate or have a consistent relationship between the parts. They often line up with each other in perfect fourths, perfect fifths, minor sevenths, or major ninths, but with no direct pattern. These pentatonic undulations do not have a direct harmonic function, but they create a bed of folk color for the treble voices singing adaptations of the folk-hymn variant. In bar

70 twenty-seven, the tenor re-enters on the ostinato from the opening doubled by viola. Alto and bass enter on the folk-hymn variation in octaves doubled by cello to finish the opening section.

The following bars, 32–37, function as transition material to the next large section.

Contrabass and cello join in pentatonic gestures first on eighth notes and quarter notes. They then foreshadow the following section with sixteenth-note gestures. A gradual crescendo over the transition culminates in bar thirty-seven when violin I, violin II, and viola play a flurry of ascending sixteenth notes leading to the chorus’ entrance at bar thirty-eight.

The chorus and orchestra have a declamatory fortissimo of A and E open fifths on the word Jeesus! followed by lively sixteenth-note flourishes in the string parts. Kõrvits creates a fresh harmonic palate by infusing pentatonic and octatonic scales. Musical Examples 5.1 and 5.2 show Kõrvits’s use of octatonic scales and infusion with pentatonic melody.

Musical Example 5.1 Use of octatonic scale in string parts, IV. Oh võta, armas Jeesus, vastu mult—Tõnu Kõrvits, m. 42 © EMIC.

71

Musical Example 5.2 Combination of pentatonic melody and octatonic harmony, IV. Oh võta, armas Jeesus, vastu mult—Tõnu Kõrvits, mm. 43–45 © EMIC.

In bar forty-six, Kõrvits brings back the bass ostinato from the beginning in the contrabass and bass choral part while soprano, alto, and tenor sing an altered version of the hymn-variant. The bass ostinato is a charged fortissimo that drives the section forward. In an interview with Rupert Gough, Kõrvits likened this bass line to Jimi Hendrix.73 Tõnu Kõrvits loves rock and roll and blues music. Albums of Led Zeppelin, Pink Floyd, Genesis, Radiohead, and others are always playing in his car and in his home. It is no surprise that rock inspired passages always find a way into his music.74

Over this rock and roll bass line Kõrvits divides the violin I and II parts and cascades string lines of overlapping sixteenth notes starting on A6 in each part. These overlapping string lines, shown in Musical Example 5.3, create a color that is like clouds of octatonic and pentatonic dissonances. By bar fifty, these lines eventually melt into a raw unison of repeated B- flat3, A3, G3, A3 played on the G string.

73 Rupert Gough, liner notes, 5.

74 Tõnu Kõrvits, interview. 72 At bar fifty-two, the bass choral part rejoins soprano, alto, and tenor on the melody while contrabass plays pedal octave A1 and A2. Kõrvits seamlessly weaves his own melody into his alterations of the folk-hymn variant. Without consulting the arrangements of Cyrillus Kreek or hymn-variant manuscripts, the Western conductor would be unlikely to tell what is source material and what Kõrvits wrote independently.

Musical Example 5.3 Cascading violin lines, IV. Oh võta, armas Jeesus, vastu mult—Tõnu Kõrvits, mm. 46–48 © EMIC.

Kõrvits ends this section with a four-measure tag with homorhythmic chorus in four-part harmony continuing to exploit the combinatorial harmonic language of the movement. The chorus ends humming on an F major-major-seventh chord and the movement repeats back to the transitional material of bar thirty-two. The movement repeats the boisterous B section, but the second time the chorus’ F major-major-seventh chord holds on attaca to the fifth movement.

Performance Practice

The fourth movement opens unaccompanied with an ostinato that repeats an A3 multiple times in the choral bass part. The chorus must continually energize the pitch to avoid a surprise 73 when the low strings enter at bar ten. Additionally, some of the loudest singing called for in the movement is scored in a relatively low part of the vocal range. The chorus must access a bright tone, so the melody may cut through the string texture. The scoring of the F major-major-seventh chord at bar sixty-two is tied across the bar line. This is for the attaca to movement five. The first time through, the chorus should cut off at the repeat. There are parts listed with the designation to hum for the second time through at the first repeat, but these are not sung on either published recording.

One key concern in preparing the orchestra for the fourth movement is string articulation in the B section. In order to maintain the strident energy of the string lines, players must play sixteenth notes with separation. The conductor must also communicate to the chorus and orchestra that the cut-off for strings at the end of the fourth movement is not for chorus as they hold a pedal chord into the next movement.

The fourth movement raises questions for metric distribution of vowels. Table 5.1 provides a list of diphthong vowels and their metric distribution in Oh võta, armas Jeesus, vastu mult.

Table 5.1 Metric distribution for diphthong vowels in Oh võta, armas Jeesus, vastu mult.

Location in the Word or portion How word is Metric distribution score: measure, beat of word notated in score for diphthong vowels m. 14, bt. 3–5 in tenor Peab One dotted half note Divide into one eighth and one half tied to an eighth, [pe] on first eighth, [ab] on remaining note value m. 17, bt. 3 in bass Väes One quarter note Split into eighths, [væ] on first eighth, [es] on second eighth m. 18, bt. 5 in bass Ei Two slurred eighth [e] on first eighth, [i] notes on second eighth

74 Table 5.1 Metric distribution for diphthong vowels in Oh võta, armas Jeesus, vastu mult – continued. Location in the Word or portion How word is Metric distribution score: measure, beat of word notated in score for diphthong vowels m. 19, bt. 1 in bass Eal One quarter note Split into eighths, [e] on first eighth, [al] on second eighth m. 20, bt. 1 in bass Mui- One quarter note Split into eighths, [mu] on first eighth, [i] on second eighth m. 21, bt. 1 Ei One quarter note Split into eighths, [e] on first eighth, [i] on second eighth m. 23, bt. 6 Kui One quarter note Split into eighths, [ku] on first eighth, [i] on second eighth m. 24, bt. 3 Pei- Two slurred eighth (alto split into eighths), notes in soprano, one [e] on first eighth, [i] quarter note in alto on second eighth m. 27, bt. 1–2 in Pean Two slurred quarter [pe] on first quarter, soprano and alto, bt. notes in soprano and [an] on second quarter 3–4 in tenor alto, one quarter note in soprano and alto, and two eighth notes [pe] on quarter, [an] on in tenor two slurred eighths in tenor m. 31, bt. 1 in tenor Pei- One quarter note Split into eighths, [pe] and bass on first eighth, [i] on second eighth m. 39, bt. 3 Peab Two slurred eighth (bass split into notes in soprano, alto eighths), [pe] on first and tenor, one eighth, [ab] on second quarter note in bass eighth m. 43, bt. 1–2 Pean Two eighth notes and [pe] on two slurred one quarter note in eighths, [an] on quarter soprano and bass, note in soprano and two quarter notes in bass, [pe] on first alto and tenor quarter, [an] on second quarter in alto and tenor m. 47, bt. 1 Kõik Two slurred eighth (bass split into notes in soprano, eighths), [kɤ] on first alto, and tenor, one eighth, [ik] on second quarter note in bass eighth m. 49, bt. 4 Kõik One quarter note Split into eighths, [kɤ] on first eighth, [ik] on second eighth

75

Orchestral Piano Reduction for Rehearsal

This chapter concludes with Figure 5.4, which is an orchestral-piano reduction of Oh võta, armas Jeesus, vastu mult for choral rehearsals. Because of the dense texture and wide range of the string orchestra, many voicings and parts are condensed or excluded to allow the reduction to be playable. This movement is particularly problematic for reducing the orchestral parts as the lines often overlap in ways that are too difficult to voice pianistically. Routinely, only one line of ascending sixteenth notes is represented in the reduction to simply give the chorus the feel of what is happening rhythmically in the orchestra. Typical of orchestral reductions, this is not idiomatic to the piano and requires a highly skilled collaborative artist. However, under no circumstances should movements be performed from Kreek’s Notebook with piano and chorus.

76 IV. Oh võta, armas Jeesus, vastu mult Tõnu Kõrvits/Eesti vaimulik rahaviis (Kolga-Jaani)

q = 120 Soprano & 4 ∑ ∑ ∑ ∑ ∑

Alto & 4 ∑ ∑ ∑ ∑ ∑

Tenor V 4 ∑ ∑ ∑ ∑ ∑ p Bass bœ bœ ? 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ Œ œ œ œ œ œ œ œ œ œ 4 Oh võ - ta, ar - mas Jee - sus vas - tu mult, sa võ - ta vas - tu ar - mas

& 4 ∑ ∑ ∑ ∑ ∑ Piano ? 4 4 ∑ ∑ ∑ ∑ ∑

6

S & ∑ ∑ ∑ ∑ ∑

A & ∑ ∑ ∑ ∑ ∑

T œ œ œ V ∑ Ó Œ œ œ œ œ bœ œ œ œ œ œ ˙. œ Oh võ - ta, ar - mas Jee - sus vas - tu mult, mis

B bœ ? œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ Jee - sus mult. Oh võ - ta, ar - mas Jee - sus vas - tu mult, sa võ - ta 6

& ∑ ∑ ∑ ∑ ∑ Pno.

? ∑ ∑ ∑ ∑ ww ©2007 EMIC w

Figure 5.4 Piano reduction for choral rehearsal. IV. Oh võta, armas Jeesus, vastu mult. Created by the author with permission from the composer. 77 2 IV. Oh võta, armas Jeesus, vastu mult 11 S 6 5 & ∑ ∑ ∑ 4 ∑ 4

A & ∑ ∑ ∑ 46 ∑ 45

j T œ œ œ œ œ œ 6 œ œ 5 V œ œ œ bœ œ œ œ œ œ ˙. œ 4 #œ nœ #˙. œ 4 Si - nu vai - mu väes ma saa - nud Sult. Su pä - ralt peab mu

B bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? œ œ œ œ Œ œ œ 6 œ œ œ 5 vas - tu ar - mas Jee - sus mult. Oh võ - ta, 4 ar - mas Jee - sus vas - tu 4 11 6 5 & ∑ ∑ ∑ 4 ∑ 4 Pno. œ œ œ œ œ œ œ œ œ ? ∑ ∑ ∑ 46 45 p

15 S 5 4 5 4 & 4 ∑ 4 ∑ ∑ 4 ∑ 4

A 5 4 5 4 & 4 ∑ 4 ∑ ∑ 4 ∑ 4

T 5 œ œ œ 4 5 4 V 4 #œ nœ #œ bœ 4 w w 4 w œ 4 sü - da o - le #- ma.œ poco

B œ œ œ œ œ ? 5 œ 4 œ œ œ œ œ œ œ œ œ œ œ œ œ 5 œ œ œ œ œ œ œ œ œ 4 4 mult, sa võ - ta 4 vas - tu mult, mis Si - nu vai - mu väes ma 4 saa - nud Sult, ei 4 15 Ó Ó Ó 5 ? 4 ˙ œ˙ 5 ˙œ. œ œ 4 & 4 ∑ 4 œ œ œ œ œ œ œ œ œ œ œ œ 4 œ œ œ œ œ œ 4 Pno. p ? 5 œ œ œ ˙. 4 5 4 4 4 ˙ ˙ ˙ ˙ 4 ˙ ˙ œ 4 ˙ ˙ ˙ œ

Figure 5.4 (continued)

78 IV. Oh võta, armas Jeesus, vastu mult 3 19 P S 4 œ 6 & 4 ∑ ∑ Œ œ œ œ œ bœ œ œ 4 Ei il - mas pruut muu pää - le P A 4 ∑ ∑ Œ bœ 6 & 4 œ œ œ œ œ œ œ 4

T 4 6 V 4 w w w ∑ 4

B œ œ œ ? 4 œ œ œ œ œ œ œ œ œ w ∑ 6 4 eal Su pruut küll mui - du pü - haks saa. 4 19 œ œ œ ? 4 œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ 6 4 œ œ œ œ œ œ œ œ œ œ 4 Pno. œ œ œ œ œ P ? 4 w ∑ 46 œ ˙ œ œ ˙ œ w 23 œ œ œ œ S 6 4 œ œ œ & 4 œ œ bœ ˙. œ 4 œ œ œ bœ œ œ œ œ œ ˙. œ mõt - le - gi, kui o - ma pei - u pää - le ük - si - ti. Ma

A 6 4 bœ œ œ ˙. œ & 4 œ œ#œ ˙. œ 4 œ #œ œ œ œ œ œ

T 6 4 V 4 ∑ 4 ∑ ∑ ∑

B ? 6 4 4 ∑ 4 ∑ ∑ ∑

23 6 œ œ œ œ œ 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 4 œ œ œ œ œ œ œ œ œ œ œ 4 œ œ œ œ œ œœœ œ œ œ œ œ œœœ œ œ œ œ Pno. œ œ œ œ œ œ œ œ œ ? 6 4 w 4 ∑ 4 ∑ ∑

Figure 5.4 (continue)

79 4 IV. Oh võta, armas Jeesus, vastu mult 27 S bœ œ & bœ œ #œ nœ bœ œ w w w pean te - da mee - les pi - da - ma,

A & œ bœ œ œbœ œ œ œ œ #œ œ œ nœ œ #œ œ ˙. œ œ œ œ œ œ kes en - nast mul - le pei - uks and - nud

T V œ œ œ œ œ œ œ œ œbœ œ œ œ œ œ œ œ œ œ w w Ma pean te - da mee - les pi - da - ma,

B œ bœ œ ? ∑ ∑ Ó Œ œ œ œ œ œ œ œ œ œ œ kes en - nast mul - le pei - uks and - nud 27 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Pno. œ œ ‰ œ œ œ œ œ œ œ ? œ œ œ œ œ œ œ œ œbœ œ œ œ œ œ œ œ œ œ œ œ œbœ œ œ œ œœœ œ œ w w w w œ ˙ œ œ œ œ 32

S & . w w ∑ ∑ ∑

A & . ∑ ∑ ∑ 1.wka. w 2.mm

T V . w w ∑ ∑ ∑

B ? . w w ∑ ∑ ∑ 1. ka. 32 2.mm œ œ œ œ . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & . œœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Pno. œ œ œ œ ‰ ‰ œ poco a poco cresc. œ œ œ œ œ œ œ œ œ œ œ œœœœ œ œœœœ œ œœ ? . œ œ œ œ œœ œ œ œœœ œpocoœ a poco cresc.œ œ œ œ œ

Figure 5.4 (continued)

80 IV. Oh võta, armas Jeesus, vastu mult 5 37 ƒ S 5 œ. œ 4 & ∑ 4 J Ó œ œ 4 œbœ œ œ œ œ Jee - sus! Su pä - ralt peab mu

A ƒ j ∑ 5 œ œ Ó œ 4 & 4 . œ 4 œ œ œ œ œ ƒ T œ œ œ ∑ 5 . Ó œ 4 œ œ œ bœ V 4 Jee - sus!J Suœ 4 pä - ralt peab mu ƒ œ B œ. œ œ œ œ œ œ œ ? ∑ 45 J Ó 4 37 œ œ >œ. >œ œ œ œ œ #œ #œ ˙ √ œ œ œ œ. œ œ#œ œ œœœ œ œ œ 5 J Œ bœ #œ 4 œœœ œ & œ œ œ 4 #œ 4 œ Pno. œ ƒ ˙ œ >œ. >œ œ œ œ œ œ œ œ bœ ? ˙ ˙ 5 #œ œ œ œ 4 œ œ ˙ 4 J œ 4 40 ƒ S 5 œ. œ 4 & #œ nœ œ œ ˙ Œ œ 4 J Ó œ œ 4 sü - da o - le - ma, oh Jee - sus! Ma

A Œ 5 jÓ 4 & œ œ œ œ ˙ œ 4 œ. œ œ œ 4

T œ œ #œ nœ œ ˙ Œ œ 5 . Ó œ 4 V sü - da o - leœ - ma, oh 4 Jee - sus!J Maœ 4

B ? œ œ œ 5 œ. œ œ œ 4 œ œ ˙ Œ 4 J Ó 4 40 œ œ >œ. >œ œ œ œ œ . #œ #œ œ œ œ œ œ œ œ œ œ œœœœœ œ œœœ œ 5 œ œ œ#œ œ 4 & œœ œ œœ 4 J Œ #œbœ#œ 4 Pno. ƒ #œ nœ ? œ œ œ œ ˙ œ 5 >œ. >œ œ#œ œ œ 4 œ œ ˙ Œ œ œ œ 4 J œœœ 4 ƒ

Figure 5.4 (continued)

81 6 IV. Oh võta, armas Jeesus, vastu mult 43 S 4 œ & 4 œ bœ œ œ œ œ #œ œ nœ œ œ œ œ ˙ Œ pean Te - da mee - les pi - da - ma. Saœ

A 4 Œ & 4 œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ

T œ œ 4 œ œ œ bœ #œ œ nœ œ œ œ ˙ Œ V 4 pean Te - da mee - les pi - da œ- ma. Saœ œ B œ œ œ œ œ œ œ œ œ ? 4 œ œ œ ˙ Œ œ 43 œ œ ˙ √ œ œ œ œ 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 4 œ œ œ œ œ œ œ œ Pno. œ œ œ œ œ œ #œ nœ #œ nœ œ œ œ œ ? 4 œ œ bœ œ œ œ œ œ œ œ ˙ 4 œ œ œ ˙ Œ 46

S & œ œ bœ œ œ œ œ œ œ I - sa sõ - na!œ Kõik œ nüüdœ uu - eks

A bœ & œ œ œ œ œ œ œ œ œ œ œ

T V œ œ bœ œ œ œ œ I - sa sõ - na!œ œKõik œ nüüdœ uu - eks œ

B ? œ œ œ œ œ œ œ œ œ bœ œ œ œ 46 √ œ #œ œ œ nœ œ œ œ #œ œ œ nœ œ œ & #œ nœ bœ #œ œ œ #œ œ œ #œ nœ bœ #œ œ œ #œ œ œ Pno. bœ ? œ œ œ œ œ œ œ œ œ œ œ

Figure 5.4 (continued)

82 IV. Oh võta, armas Jeesus, vastu mult 7 48

S & Œ œ œ bœ œ œ œ œ œ œ œ œ loo˙ jaœ sü - da - mest kõikœ va œ- naœ väl - ja

A Œ œ bœ œ œ œ & ˙ œ œ œ œ œ œ œ œ œ œ

T V Œ œ œ bœ œ œ œ œ œ œ loo˙ jaœ sü - da - mest kõikœ vaœ œ- naœ väl - ja œ

B ? looœ œ œ jaœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 48 œ #œ œ œ nœ #œ œ nœ œ #œ & bœ œ œ œ œ œ œ œ œbœ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ Pno. œ Œ ? ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 51

S & Œ œ œ œ œ too.˙ œ œ œ œ œ œ œ œ œ œ œ œ Need lu - nas - ta - tud tul - gu rõõm - sas -

A Œ & ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

T V Œ œ too.˙ œ Needœ luœ - œnas œ- taœ œ- tudœ œ tulœ - œgu œ rõõm œ- œsas œ-

B ? œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ Needœ œ œ 51 #œ œ œ œ œ œ œ œ & bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Pno. #œ bœ œ œ œ œ œ œ #œ bœ œ œ œ œ œ œ

? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ

Figure 5.4 (continued)

83 8 IV. Oh võta, armas Jeesus, vastu mult 54

S & Œ œ œ œ œ œ ˙ti Jeœ œ- ruu - sa - lemœ - œma œ Talœ - le pulœ - maœ œ-

A & Œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ

T V Œ œ œ œ ˙ti Jeœ œ- suu - sa œ- lemœ - œma œ Talœ - le œ pulœ - maœ œ-

B œ œ œ ? ˙ Œ œ œ œ œ œ œ œ œ œ œ œ

54 œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ ˙ œ œ œ œ Pno. #œ nœ #œ œ nœ #œ ˙ œ œ œ ? ˙ Œ œ œ œ œ œ œ œ œ œ œ œ

57 p S 6 5 & w w 4 ˙ ˙ Œ œ 4 œ œ bœ œ œ œ œ œ le. mu sü- dant uu - eks teeb, p A 6 5 & 4 Œ 4 œ œ œ w w ˙ ˙ œ #œ bœ p T 6 5 œ bœ V w ˙ Œ 4 bœ œ œ 4 œ œ le. jaœ Si - nu #arm˙. mu sü- dant uu - eks # teeb,œ p B ? w ˙ 6 #œ nœ 5 œ œ œ Œ œ 4 ˙. œ 4 œ œ 57 bœ 6 5 & œ#œ nœ œ#œ nœ œ#œ nœ œ œ œ 4 4 Pno. #œ œ bœ w w. ˙. ˙ ? w 6 5 w w 4 w. 4 ˙. ˙ w. ˙. ˙

Figure 5.4 (continued)

84 IV. Oh võta, armas Jeesus, vastu mult 9 61 2nd time attaca S 4 & 4 . ˙. ˙ mm.w

A & 4 . ˙. ˙ w T 4 V 4 . ˙. ˙ mm.w

B ? 4 ˙. ˙ 4 . ˙. ˙ w 61 3 4 . & œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ 4 w . Pno. w ? 4 ˙. ˙ 4 w . ˙. ˙ w

Figure 5.4 (continued)

85 CHAPTER 6

V. SU HOOLEKS ENNAST ANNAN MA

Source Material and Origination

The fifth movement of Kreek’s Notebook includes mixed chorus, soprano (or mezzo- soprano) soloist, and strings. However, the forces in this movement are never all performing at the same time. The movement begins with unaccompanied mixed chorus and soprano soloist while the second section features strings alone.

The fifth movement of Kreek’s Notebook is based on the folk-hymn variant Su hooleks ennast annan ma from the coastal village of Mustjala on the largest Estonian island of Saaremaa.

Mustjala is home to about seven hundred people as well as the Mustjala Church.75 The UK

Hydrographic manual with sailing directions for the Baltic Sea, notes that the Mustjala Church, with its white stone and dark roof, is a “useful mark for shipping.”76 Mustjala is also home to the annual Mustjala Music Festival. While the music festival holds some concerts in traditional locations like the Mustjala Church, it is also known for its experimental venues such as a canon foxhole on the Ninase peninsula which was built by the Soviet Army in 1939.77

The 1905 collection manuscript of Su hooleks ennast annan ma lists the corresponding

Punschel Choralbuch number as P. 88a. Punschel chorale number 88a is Ich hab’ mein’ Sach’

Gott heimgestellt. Su hooleks ennast annan ma originated as the chorale Ich hab’ mein’ Sach’

75 “Mustjala Vald,” mustjala.ee, accessed March 6, 2018.

76 Admiralty Sailing Directions: Baltic Pilot Vol. II NP19, 17th edition, Taunton: UK Hydrographic Office, 2018.

77 “XVIII Mustjala Festival,” mustjalafestival.ee, accessed March 6, 2018. http://mustjalafestival.ee/?page_id=259. 86 Gott heimgestellt (I Have Left All that Concerns Me Up to God). The melody for Ich hab’ mein’

Sach’ Gott heimgestellt originated as a German secular folksong with the title Es ist auf Erd kein schwerer Leidn (It is Not a Bad Cause) from the year 1500. This melody was contrafacted with the text Ich weiß mir ein Röslein hübsch und fein (I Know a Rose Pretty and Fine) as it appears in Johann Rau’s 1589 Wetterer Hymn Book. At first glance, one might assume from common uses of the term Röslein in song that this text is secular; in this case, however, the use of the

“pretty rose” is allegorical for the Gospel in this instance.78

The text of Ich hab’ mein’ Sach’ Gott heimgestellt was written by German pastor and hymnist Johann Leon near the end of the sixteenth century. This hymn text was first printed in its entirety in the 1589 Nürnberg Psalmen, geistliche Lieder und Kirchengesäng. Most of the stanzas can be traced to Leon’s earlier writings such as “Funeral Sermons” from 1581–1582.79 It remains unknown when the chorale became associated with the Leon text, but J. S. Bach scholar

Thomas Braatz suggests that this probably happened at the end of the sixteenth century.80 The text appears associated with the chorale melody in the 1682 Neu Leipziger Gesangbuch edited by

Gottfried Vopelius.

78 Thomas Braatz, “Ich hab mein Sach Gott heimgestellt Text and Translation of Chorale,” bach-cantatas.com, last updated June 4, 2017, http://www.bach- cantatas.com/Texts/Chorale009-Eng3.htm.

79 James Mears, “Ich hab mein Sach Gott heimgestellt,” in A Dictionary of Hymnology: Setting forth the Origin and History of Christian Hymns of All Ages and Nations, ed. John Julian (New York: Dover, 1957), 671.

80 Thomas Braatz, “Chorale Background: Ich hab mein Sach Gott heimgestellt,” bach- chorales.com, last updated 2017, goo.gl/8ds3aQ. 87 J. S. Bach set this melody five different times: as chorale BWV 351, in three organ chorale settings BWV 707, BWV 708, BWV 1113, and most notably in movement II of his 1707

Cantata BWV 106 Gottes Zeit ist die allerbeste Zeit.81

No translator for Estonian is listed on manuscripts or arrangements of Su hooleks ennast annan ma, and no date is available for the introduction of the chorale into Estonia. The Mustjala folk-hymn variant of Su hooleks ennast annan ma was collected in 1905 by EÜS member T.

Meerits. Meerits’s collection manuscript is pictured below in Figure 6.1. Figure 6.2 shows an excerpt of Ich hab’ mein’ Sach’ Gott heimgestellt as Cyrillus Kreek would have encountered the chorale from the 1915 edition of the Punschel Chorabluch in the Estonian National Library in

Tallinn.

Figure 6.1 Collection manuscript EÜS II 101/2/ of Su hooleks ennast annan ma (Mustjala) by T. Meerits 1905, courtesy of the Estonian Theater and Music Museum.

81 Thomas Braatz, “Ich hab mein Sach Gott heimgestellt Text and Translation of Chorale.” 88

Figure 6.2 Excerpt from the 1915 Tallinn Punschel Choralbuch: No. 88a, Ich hab’ mein’ Sach’ Gott heimgestellt. One version of the chorale that Cyrillus Kreek would have seen. Public Domain.

Figure 6.3 depicts a melodic transformation graph of the melody from the chorale to the folk-hymn variant. The chorale example used is the melody from Bach’s chorale harmonization

BWV 351. This example was selected because it involves very little melodic embellishment.

Figure 6.3 Melodic transformation graph of Su hooleks ennast annan ma.

89 The original chorale and the folk-hymn variant are structured in ternary style forms; however, the chorale’s form is ABA1 while the folk-hymn variant is AABA. The folk-hymn variant seems to have assumed elements from both the antecedent and consequent phrases of the

A period in the chorale. Through the process of improvisation over time the folk-hymn variant fused these two phrases into one repeated phrase that ends on an authentic cadence. Evidence of this fusion may be seen most clearly in the descending-third motive from the tonic pitch to the sixth scale degree. The B sections of the chorale and folk-hymn variant hold a similar contour and phrase length. The folk-hymn variant also retains much of the melodic material of the chorale, which it extends by embellishment.

IPA Transcription, Literal Translation, and Lyric Translation

V. Su hooleks ennast annan ma

IPA transcription—Alex Favazza

Literal translation—Greete Kõrvits

Lyric translation—Eric Dickens82

Su hooleks ennast annan ma,

[su ħoleks en:ast an:an ma]

To your care myself give I,

(I shall give myself up to your care)

oh Jumal, ihu, hingega.

82 Kreek’s Notebook, EMIC conductor’s scores pp. 42–43. 90 [oħ jumal iħu ħingega]

Oh God, with body, with soul.

(O Lord, body and soul.)

Kui enam päivi kingid Sa,

[kui enam pæivi kingid sa]

If more days give you,

(If you give me more days of life)

siis tahan ma ka rahul olla sellega

[sis taħan ma ka raħul ol:a sel:ega]

Then want I also content be with that.

(then I shall be content.)

Music

The fifth movement of Kreek’s Notebook begins with the F major-major seventh chord sustained by the chorus held attaca from the end of the fourth movement. The fifth movement features a soprano (or mezzo-soprano) soloist with unaccompanied chorus for the first ten bars.

The following twenty-seven bars feature the strings alone.

Kõrvits further embellishes the folk-hymn variant in the soprano solo as seen in Figure

6.4. Melodic alterations are marked with dotted brackets. But, the most fascinating aspect of

Kõrvits’s setting of Su hooleks ennast annan ma is the combinatorial harmonic setting in the vocal section. Kõrvits superimposes the folk-hymn variant melody in A minor (harmonic minor with elements of Dorian) over the backdrop of the F major-major pedal chord. This combination

91 creates false relations and split chords between the solo line and the choral parts. A combinatorial graph of these relations is pictured in Figure 6.5. The most dissonant scale degree relationships are marked with dotted lines.

Figure 6.4 Vocal melodic ornamentation comparison, V. Su hooleks ennast annan ma.

92

Figure 6.5 Combinatorial sketch, solo line and pedal chord, V. Su hooleks ennast annan ma.

Kõrvits additionally punctuates the combinatorial harmonic language with gestures in the choral accompaniment that exploit minor-second relationships. These particular minor-second relationships obscure thirds and sevenths in relation to the pedal bass throughout.

Bars eleven through thirty-seven feature the folk-hymn variant melody in different string parts with varying accompaniment figures. The melody starts in the viola accompanied by cello on a pedal A2 and improvisatory-like figures in violin II. In bar fifteen, violin I enters with ornamented flourishes. In the third beat of measure seventeen, the contrabass enters on a high pizzicato gesture. In bar nineteen, violin I, II, and viola cadence on an open fifth of A3, E4, and

A4. In bar twenty, violin I takes the folk-hymn variant melody two octaves above the viola iteration from bar eleven. The melody floats above thirty-second-note flourishes and multinote groupings in violin II, viola, and cello. The final restatement of the folk-hymn variant melody occurs in octaves in cello and contrabass. This statement is pianissimo accompanied by half-note chords in violin I, violin II, and viola. The movement ends with an open cadence on A1, A2, E3, and A3 with a slow dectuplet line in the first violin G-string.

93 Performance Practice

The first performance practice consideration for the fifth movement of Kreek’s Notebook is the type of voice for the soprano solo. Kõrvits suggests that this should be a singer with a unique voice that can sing the solo more like a folk singer than an operatic singer. Kõrvits also suggests the solo be performed with minimal vibrato.83

Holding the pedal chord from movement four through the first ten bars of the fifth movement represents some of the most difficult singing thus far in Kreek’s Notebook. It is essential that the chorus maintain key as the viola enters during the fermata of the vocal cadence.

Knowing that the strings will enter later in the movement coupled with the vertigo-like sensation created by the combinatorial harmony makes tuning somewhat difficult.

The conductor should make viola players aware that their entrance on beat four in bar ten happens during the solo and choral fermata. The conductor should also be aware of the strings involved in playing the thirty-second note flourishes in bars twenty-one and twenty-two as well as twenty-four through twenty-eight. These are often played across three or four strings. The violin I dectuplet in the final bar is after a rallentando and may be played quite slowly.

Like the other movements of Kreek’s Notebook, Su hooleks ennast annan ma requires metric vowel distribution in certain words. These are specified in Table 6.1 below.

Table 6.1. Metric distribution for diphthong vowels in Su hooleks ennast annan ma.

Location in the Word or portion How word is Metric distribution score: measure, beat of word notated in score for diphthong vowels m. 5, bt. 6 in solo Kui One quarter note Divide into two eighths [ku] on first eighth, [i] on second eighth m. 6, bt. 3 in solo Päi- Two slurred eighth [pæ] on first eighth, [i] notes on second eighth

83 Tõnu Kõrvits, interview. 94 Orchestral Piano Reduction for Rehearsal

This chapter concludes with Figure 6.6, which is a piano reduction of Su hooleks ennast annan ma for choral rehearsals. Because of the sustentation, crossing, and overlapping of parts in the full score, some elements are condensed or excluded to allow the reduction to be more playable. Since the last twenty-seven bars are orchestra alone, they have been omitted from the rehearsal reduction and multi-measure rests have been inserted.

95 III. Su hooleks ennast annan Tõnu Kõrvits/Eesti vaimulik rahaviis (Mustjala)

q = 72 3 3 # 4 6 4 6 & 4 Ó Œ œ œ œ œ#œ œ œ 4 œ #œ œ ˙ Œ 4 œ œ œ œœœœ œ 4 Suœ hoo - leks en - nastœ an - nan ma, ohœ Ju - mal, i - hu,œ hin - π Soprano # 4 6 4 6 & 4 w w 4 ˙ œ œ#œ œ œ œ#œ ˙ 4 w 4

Alto # π & 4 46 4 46 w w w. w π Tenor # 4 6 4 6 V 4 w w 4 w. 4 w 4 π Bass ? # 4 6 4 6 4 nw w 4 w. 4 w 4 q = 72π 3 3 # 4 œ œ œ œ 6 œ œ œ 4 œ œ œ œ 6 Piano for & 4 ˙. œ #œ œ œ œ 4 #œ nœ œ œ œ œ#œ œ œ 4 œ œ œœ œ 4 rehearsal w w w. w only π ? # 4 w w 6 w. 4 w 6 4 nw w 4 w. 4 w 4 softly rearticulate sustained chord throughout to reinforce harmony during rehearsal

©2007 EMIC

Figure 6.6 Piano reduction for choral rehearsal. V. Su hooleks ennast annan ma. Created by the author with permission from the composer. 96 2 III. Su hooleks ennast annan 5 j # j œ 6 œ œœœ œœ ˙ Œ œ 4 œ œœœœ œ œ œ 6 œ n œ œ œ ˙ Œ œ œ 7 & 4 #œ 4 3 #œ 4 œ 4 - 3 ge - ga. Kui e - nam päi - vi kin - gid Sa, siis 5 3 3 S # 6 4 6 7 & 4 œbœœ#œœ 4 4 4 ˙ œ ˙ w ˙ œ œ œ œ œ œ œ œ ˙ A # 6 4 6 7 & 4 4 4 4 w. w ˙ œ œ œ œ œ œ œ œ ˙ T # 6 4 6 7 V 4 w. 4 w 4 w. 4

B ? # 6 4 6 7 4 w. 4 w 4 w. 4

5 3 3 j j œ # 6 œ 4 œ 6 œ Œ œ 7 & 4 œ œœœ#œ œ œœbœœ œ nœ 4 œ œœœ œ œ#œ œ 4 œ n œ œ œ ˙ œ 4 3 œœ œ œ 3 œ œ œ œ œ ˙ Pno. ˙ œ œ œ œ œ œ œ œ ˙ (w.) (w) ? # 6 w 4 w 6 w 7 4 w. 4 w 4 w. 4

Figure 6.6 (continued).

97 III. Su hooleks ennast annan 3 8 # U 27 7 œ œ œ 4 & 4 œ œ œ œ œ Œ 4 œ œ œœœœ œ œ œ #œ œ ˙ ta - han ma ˙ kaœ ra - hul ol - laœ sel - le - ga. 8 27 S # 7 U 4 & 4 w. œ 4 w w

3 3 A # U 27 & 47 4 ˙. bœ bœ œ œ œ bœ ˙ w w 3 3 27 T # 7 U 4 V 4 ˙. œ nœ œ œ œ bœ ˙ 4 w w 27 B ? # 7 U 4 4 w. œ 4 w w

8 3 # 3 U 27 7 œ œ œ œ 4 œ œ & 4 œ œ œ œ bnœœ bœ œ nœ 4 œ œ œœœ œ œ œ œ #œ ˙ Pno. 3 œ œ3 bœ œ w w U 27 ? # 7 ˙ œ nœ œ œ œ bœ ˙ 4 w w 4 w.. œ 4 w w

Figure 6.6 (continued).

98 CHAPTER 7

VI. LENDA ÜLES KURBTUSEST

Source Material and Origination

The sixth movement for Kreek’s Notebook is scored for mixed chorus and string orchestra. This movement is based on the folk-hymn variant Lenda üles kurbtusest from the southern Estonian town of Otepää. Otepää is a town of about four-thousand in the most southern

Estonian county of Valga.84 Archeological finds in Otepää show evidence of human settlement in the area dating to the sixth and seventh centuries. Otepää was first mentioned in print in the

Novgorod Chronicles in the year 1116.85 (Novgorod was a medieval Slavic kingdom that covered lands east of Estonia, which now comprise areas of northwestern Russia and eastern

Finland). Modern Otepää is a winter destination in Estonia, home to a bevy of ski resorts.86 The town is also host to cross-country skiing competitions such as the 2005 FIS World Cup.87

The folk-hymn variant Lenda üles kurbtusest (Fly from Sorrow) from Otepää was collected by EÜS member A. Kiis. Jüri Illak, a local of Otepää, sang the melody that Kiis transcribed. The Punschel Choralbuch chorale number associated with Lenda üles kurbtusest is

P. 278. This chorale is Schwing’ dich auf zu deinem Gott (Fly to Your God). Lenda üles kurbtusest originated as the chorale Schwing’ dich auf zu deinem Gott. The chorale melody for

84 Marika Kivilaid and Greta Tischler, “Southern Estonia and Nomenclature of Territorial Units for Statistics,” Quarterly Bulletin of Statistics Estonia, no. 3 (2017): 12.

85 Heino Mägi, “Introduction to Otepää,” otepaa.eu, accessed March 12, 2018, goo.gl/mg9tdr.

86 Ibid.

87 “FIS World Cup—Event Results,” fis-ski.com, accessed March 12, 2018, goo.gl/3bd3ip. 99 Schwing’ dich auf zu deinem Gott was likely composed around or before 1653 as it was first printed in the 1653 Union Hymn Book commissioned by Electress Luise Henriette of

Brandeburg.88 The tune is attributed to composer Johann Crüger. The text of the chorale was written by German minister and hymnist Paul Gerhardt.89 Crüger set many of Gerhardt’s hymns.

J. S. Bach set the second verse of Gerhardt’s hymn to a different chorale melody in the sixth movement of Cantata BWV 40 Darzu ist erschienen der Sohn Gottes. Portions of this text were also set to this different melody in cantatas by Johann Christoph Schmidt, Georg Philipp

Telemann, and Gottfried August Homilius.90

The EÜS collection manuscript for Lenda üles kurbtusest is not available in the Estonian

Theater and Music Musuem; however, Cyrillus Kreek arranged the folk-hymn variant for treble voices in 1934. Mart Humal’s 1991 edition of Kreek’s arrangement includes the information for the singer, transcriber, region, and related Punschel Choralbuch chorale number.91 No translator is listed for the Estonian text.

A reproduction of the folk-hymn variant melody by the author based on the 1934 arrangement by Cyrillus Kreek for treble voices is pictured in Figure 7.1. Figure 7.2 shows an excerpt of the chorale Lenda üles kurbtusest as Cyrillus Kreek would have encountered it in the

1915 edition of the Punschel Choralbuch from the Estonian National Library in Tallinn.

88 Paul Kohler, “Lieder von Paul Gerhardt,” gottesdienst-ref.ch, March 2007, goo.gl/h8d4Sq.

89 Ibid.

90 Thomas Braatz and Aryeh Oron, “Chorale Melodies used in Bach’s Vocal Works: Schwing dich auf zu deinem Gott,” Bach-cantatas.com, last updated May 2017. goo.gl/fREu24.

91 Cyrillus Kreek, Eesti vaimulikud rahvaviisid naiskoorile IV, edited by Mart Humal (Tallinn: Kirjastus Muusika, 1996), 1. 100

Figure 7.1 Collection manuscript reproduction by author EÜS V 137/6/ of Lenda üles kurbtusest (Otepää) by A. Kiis.

Figure 7.2 Excerpt from the 1915 Tallinn Punschel Choralbuch: No. 278, Schwing’ dich auf zu deinem Gott. One version of the chorale that Cyrillus Kreek would have seen. Public Domain.

Figure 7.3 depicts a melodic transformation graph from the Punschel chorale to the folk- hymn variant from Otepää. Lenda üles kurbtusest is in an AABB form while Schwing’ dich auf zu deinem Gott is in traditional Bar form (Stollen, Stollen, Abgesang). The folk-hymn vairant retains very little direct melodic material from the chorale, but it combines gestures from different sections of the chorale similar to some of the other folk-hymn variants discussed in this dissertation. The notes with direct melodic content are marked with dotted lines. Gestures with similar melodic contour are marked with dotted slurs. Three gestures seem to have been inverted between the chorale and the folk-hymn variant. These gestures are marked in the figure with

101 slurs. These inversions may be purely coincidental, but they occur at similar phrase points penultimate to cadences.

Figure 7.3 Melodic transformation graph of Lenda üles kurbtusest.

IPA Transcription, Literal Translation, and Lyric Translation

VI. Lenda üles kurbtusest

IPA transcription—Alex Favazza

Literal translation—Greete Kõrvits

Lyric translation—Eric Dickens92

92 Kreek’s Notebook, EMIC conductor’s scores pp. 42–43. 102 Lenda üles kurbtusest, süda, Isa poole!

[lenda yles kurptusest syda isa pole]

Fly up from sorrows, heart, father towards!

(Fly up from your sorrows, heart, toward the Lord!)

Astu välja mure ööst armu valgusele

[astu vælja mure øst armu valgusele]

Step out worry’s night grace’s to light.

(Step forth from the night of grief and into the light of grace.)

Kurja vaimu kavalust ara mõistma tõtta

[kurja vaimu kavalust ara mɤistma tɤt:a]

Evil spirit’s cleverness don’t to understand rush.

(The deceit of the evil spirit– do not take as true.)

Vaata, armu rõõmustust tahab ta Sult võtta

[vata armu rɤmustust taħap ta sult vɤt:a]

Behold, love’s joyness wants he from you to take.

(Look how it strives to take from you the joy of his grace.)

Tema armu panen ma põhjaks lootusele

[tema armu panen ma pɤçjaks lotusele]

His grace put I as foundation to hope,

103 (I shall make his grace the foundation of my hope.)

ei siis ükski vägisaa kahju teha mulle

[ei sis ykski vægisa kaħju teħa mul:e]

That then none power harm does to me.

(thenceforth no other power will be able to harm me.)

Seisjat selle kalju pääl võivad ähvardada

[seisjat sel:e kalju pæ:l vɤivat æħvardada]

A stander this rock on may threaten.

(They who stand upon the rock can be forever threatened.)

Tuuled, tormid, piksehääl, kahju nad ei saada

[tulet tormit pikseħæl kaħju nat ei sada]

Winds, storms, thunder’s voice, harm they won’t send.

(Yet no winds, storms, nor thunder will ever do them harm.)

Nõnda kiida, süda, sa, kui Sind püüab petta

[nɤnda kida syda sa kui sint pyap pet:a]

So praise, heart, you, when you tries to deceive

(So heart, give praise when [Satan] tries to deceive)

saatan kavalusega usku ära võtta

104 [satan kavalusega usku æra vɤt:a]

Satan with cleverness faith away take.

([Satan] you with his guile and rob you of your faith.)

Lenda üles kurbtusest, rõõmu mägedele

[lenda yles kurptusest rɤmu mægedele]

Fly up from sorrows joy’s mountains.

(Fly up from your sorrows onto the hills of joy.)

Astu välja mure ööst armu valgusele

[astu vælja mure øst armu valgusele]

Step out worry’s night grace’s to light.

(Step forth from the night of grief into the light of grace.)

Music

The sixth movement opens with a flowing pianissimo C-major ostinato in the strings. At bar five, Kõrvits introduces the folk-hymn variant melody Lenda üles kurbtusest in the soprano.

The folk-hymn variant is in G minor, but Kõrvits places it above a C-major foundation to reinvent the tune as C Mixolydian.

Kõrvits ornaments the folk-hymn variant and re-emphasizes this Mixolydian harmony by altering the first note in the second phrase from the fifth scale degree of D to the raised sixth scale degree of E-natural, hinting at G Mixolydian. Kõrvits also ornaments the rhythms in the folk-hymn variant at the end of each A section and at the end of the first B section with a turn- like oscillation. This ornamentation foreshadows how Kõrvits will infuse melodies with rhythmic

105 flourishes throughout the movement. A comparison of Kõrvits opening melody and the folk- hymn variant melody is shown in Figure 7.4. Melodic and rhythmic alterations are noted with dotted brackets.

Figure 7.4 Vocal melodic ornamentation comparison, VI. Lenda üles kurbtusest.

In bar thirteen, alto joins soprano on the B section of the folk-hymn variant. Kõrvits reharmonizes this section of the folk-hymn variant melody with a series of extended seventh

106 chords in seamless rhythmic sequence. Though the open fifths of the violin I, cello, and contrabass are straightforward in the orchestration, upon deeper investigation, one may note pervasive quartal harmony. Figure 7.5 shows a breakdown of the qartal harmony in bars thirteen through sixteen.

Figure 7.5 Harmonic sketch in block chords and broken down into perfect fifths, VI. Lenda üles kurbtusest.

At bar eighteen, the viola introduces a motive of three triplet sixteenth notes followed by six eighth notes as shown in Musical Example 7.1. This motive will become central to the string writing in the movement.

Musical Example 7.1 Viola motive, VI. Lenda üles kurbtusest—Tõnu Kõrvits, mm. 18–19 © EMIC.

107 Viola plays this motive for two bars before violin I enters on the folk-hymn variant melody and tenor and bass parts enter on a countermelody. Viola continues the motive as an accompaniment figure, but Kõrvits begins to saturate the melody with ornamentation with rhythms from the accompanying motive (shown in Musical Example 7.2).

Musical Example 7.2 Melodic ornamentation using accompanying motive, VI. Lenda üles kurbtusest—Tõnu Kõrvits, mm. 20–24 © EMIC.

At bar twenty-eight, soprano and alto reenter on the B section of the folk-hymn variant doubled up the octave by violin I and II. This passage stays closer to the original melody placing trebles in a higher register. Unlike his first harmonization of the B section over the bass line A- flat, G, F, and E-flat, Kõrvits reharmonizes the second iteration of the B section with E-flat to F and cadencing on C major.

The following section, for orchestra alone, is preceded by two bars of transition material with viola sustaining a G3 and D4 while violin I and II play the accompanying sixteenth-note triplet motive in thirds beginning on F4 and A4. These two bars outline a mixed-mode scale that is the foundation of the harmony in the following section. This scale combines the C-sharp raised fourth of G Lydian with the F-natural lowered seventh of G Mixolydian (scale shown in Figure 108 7.6). This transition begins subito piano, but quickly crescendos over the two bars to a boisterious forte in bar thirty-four.

Figure 7.6 Mixed-mode scale, used mm. 32-42, VI. Lenda üles kurbtusest.

At bar thirty-four, cello enters with the folk-hymn variant melody in D minor over a pedal G while violins I and II swirl above in ascending sequences of the triplet sixteenth-note motive. These four bars are repeated as in the folk-hymn variant, but contrabass joins on the repeat. Contrabass reinforces the pedal G down the octave with a driving eighth-note pattern on four G1 eighth notes followed by an eighth rest and three more eighth notes: G1, F1, F1. An excerpt of this section is shown below in Musical Example 7.3.

Musical Example 7.3 VI. Lenda üles kurbtusest—Tõnu Kõrvits, mm. 34–36 © EMIC.

Kõrvits thickens the texture further as he explores the B section of the folk-hymn variant.

Viola joins the violins I and II in the swirling accompaniment motive while cello continues the 109 melody over double-octave pedal D and A. Kõrvits creates anticipation for the listener through a rhythmic build up as if he is going to repeat the B section as he has done each time previously, but he suprises the listener by dropping out the whole orchestra except viola on the downbeat.

Viola plays one subito piano C-natural and violins I and II utter a single soft iteration of the accompanying motive in descending parallel fourths beginning on E5 and B-flat4. With this short gesture Kõrvits seamlessly pivots back into C Mixolydian and the flowing string ostinato from the beginning returns.

This surprising transition may be viewed as a type of formal text painting. The first line of text in Lenda üles kurbtusest translates as “Fly up from your sorrows, heart, toward the Lord!”

The motive that Kõrvits exploits throughout the dance-like strings-only section creates a type of rhythmic tension. This section also includes the most severe harmonic tension with the use of the mixed-mode scale. The string parts fly up until they disappear suddenly with a whisp of one gesture of transitional pivot.

The final section of the sixth movement includes a return of the opening string and choral material. Kõrvits decorates this recapitulation with a simple violin I descant over the A sections.

He reiterates his first harmonization from the B section of the folk-hymn variant, but with a thicker orchestration. In the last five bars, the flowing C-major ostinato returns and the movement gently fades away via a four-bar diminuendo until the orchestra ends in octave open fifths on C and G.

Performance Practice

The sixth movement of Kreek’s Notebook includes many examples of different types of string harmonics. The choral conductor who might be unfamiliar with the notation of harmonics in string writing, in addition to consulting written resources on the subject, may be well served to

110 meet with a string specialist. A string specialist can show the conductor using instruments how harmonics are physically created, the difference between various types of harmonic notation, and the difference in the sounding pitches based on notation.

String players should place grace notes on the beat rather than directly before the beat whenever possible. One particularly exposed example of this is in the opening ostinato passage.

Violin II has an eighth grace note D4 slurred to a half note C4 on beat three of the second bar.

This grace note should be played on beat three rather than directly before.93

The sixth movement also raises concerns for metric division of diphthong vowels. Table

7.1 provides a list of diphthong vowels and their metric distribution in Lenda üles kurbtusest.

Table 7.1 Metric distribution for diphthong vowels in Lenda üles kurbtusest.

Location in the Word or portion How word is Metric distribution score: measure, beat of word notated in score for diphthong vowels m. 13, bt. 3 in soprano Vai- Two slurred eighth [va] on first eighth, [i] and alto notes on second eighth m. 15, bt. 3 in soprano Mõist- Two slurred eighth [mɤ] on first eighth, and alto notes [ist] on second eighth m. 24, bt. 1 in tenor Ei One quarter note Split into eighths, [e] and bass on first eighth, [i] on second eighth m. 28 (1st time), bt. 1 Seis- One quarter note Split into eighths, [se] in soprano and alto on first eighth, [is] on second eighth m. 30 (1st time), bt. 1 Või- One quarter note in Split into eighths, [vɤ] soprano, tenor, and on first eighth, [i] on bass, two slurred second eighth eighths in tenor m. 30 (2nd time), bt. 4 Ei Two slurred eighths [e] on first eighth, [i] on second eighth m. 48, bt. 1 in Kui One quarter note Split into eighths, [ku] soprano, alto, and on first eighth, [i] on tenor second eighth

93 Tõnu Kõrvits, interview. 111 Orchestral Piano Reduction for Rehearsal

This chapter concludes with Figure 7.7, which is an orchestral-piano reduction of Lenda

üles kurbtusest for choral rehearsals. Because of the dense texture and wide range of the string orchestra, many voicings and parts are condensed or excluded to allow the reduction to be playable. This movement is particularly problematic for reducing the orchestral parts as the rhythmic flourishes make lines too difficult to voice pianistically. Routinely, only one string line is represented in each hand of the reduction to create a sense of the rhythmic underlay in the orchestra. This movement’s reduction includes some pitches notated to be sustained that must be abandonded for other parts. The collaborative pianist should simply pedal those notes as harmonically appropriate and address moving parts. This reduction is not highly idiomatic to the piano and requires a skilled collaborative artist. However, under no circumstances should movements be performed from Kreek’s Notebook with piano and chorus.

112 Lenda üles kurbtusest Tõnu Kõrvits/ Eesti vaimulik rahvaviis (Otepää)

q = 98-102 Soprano & 4 ∑ ∑ ∑ ∑

Alto & 4 ∑ ∑ ∑ ∑

Tenor V 4 ∑ ∑ ∑ ∑

Bass ? 4 4 ∑ ∑ ∑ ∑ w w 4 w w w w Piano for & 4 w w œ œ rehearsal Ó ˙ Ó J ˙ Ó ˙ Ó J ˙ only π Œ ‰ Œ ‰ Œ ‰ Œ ‰ ? 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 œ ˙. œ ˙. œ ˙. œ ˙. œ ˙. œ ˙. œ ˙. œ ˙. 5 S p œ bœ œ œ œ bœ œ œ œ œ. ‰ œ bœ œ œ œ œ œ bœ œ . ‰ & Lenœ - da œü - les œ kurb - tu - sest, sü - da, I - sa œ poo - le! œ œ

A & ∑ ∑ ∑ ∑

T V ∑ ∑ ∑ ∑

B ? ∑ ∑ ∑ ∑

5

j j & Ó Ó œ Ó Ó œ Pno. ˙ ˙ ˙ ˙ Œ ‰ Œ ‰ Œ ‰ Œ ‰ ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙. œ ˙. œ ˙. œ ˙. œ ˙. œ ˙. œ ˙. œ ˙. ©2007 EMIC

Figure 7.7 Piano reduction for choral rehearsal. VI. Lenda üles kurbtusest. Created by the author with permission from the composer. 113 Lenda üles kurbtusest 2 9 5 S œ œ & bœ œ œ œ œ œ œ bœ œ œ œ. ‰ bœ œ œ œ œ œbœ œ œ ˙ Œ Asœ - tu väl - ja mu - re ööst ar - mu val - gu - se - œ le.

A & ∑ ∑ ∑ ∑

T V ∑ ∑ ∑ ∑

B ? ∑ ∑ ∑ ∑

9

& Ó œ Ó œ Ó œ Ó œ œ œ Pno. (œ) œ (œ) œ (œ) œ œ Œ ‰ Œ ‰ Œ ‰ Œ œ œ ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ ˙ œ ˙ œ ˙ œ ˙ œ ˙. œ ˙. œ ˙.

13 S bœ . bœ œ œ œ œ œ bœ œ œ. ‰ œ œ bœ œ œ œ œ œ . ‰ . & 1.Kur - ja vai - mu ka - va œ- lust ä - ra mõist - ma œ tõt - ta.œ œ œ œ 2.Vaa - ta, ar - mu rõõ - mus - tust ta - hab ta Sult

A & . œ bœ œ ‰ œ œ œ ‰ . œ œ bœ œ œ œ œ œ. œ œ œ bœ œ œ œœ œ œ.

T V . ∑ ∑ ∑ ∑ .

B ? . ∑ ∑ ∑ ∑ .

13 . bœ œ œ Œ ‰ . & . œ œ bœ œ œ œ œ œ œ œ œ œ œ . Pno. bœ œ œ bœ œ œ œ bœ œ œ œ bœ P j Œ œ. bœ ? . bœ ˙. œ ˙. œ ˙. œ œ . bœ ˙. œ ˙. œ ˙. bœ bœ ˙

Figure 7.7 (continued).

114 Lenda üles kurbtusest 3 17 2.

S & œ b˙ Œ ∑ ∑ ∑ võt - ta.

A & œ ˙ Œ ∑ ∑ ∑ F T ∑ ∑ ∑ œ œ V Teœ - maœ ar - mu F B œ œ ? ∑ ∑ ∑ œ œ

17 bœ œ bœ œ œ œ œœœœ œ œ œœœœ œ œ œ œ œ œ & œ Œ ‰ ‰ 3 bœ œ œ ‰ 3 bœ œ œ Pno. œ œ bœ œ j w w F Œ œ bœ w w œ ? œ œ . & ‰ œ œœ bœ bœ ˙ 3 œ œ bœ ˙ œ œ 21

S & ∑ ∑ ∑

A & ∑ ∑ ∑

T œ œ œ . ‰ bœ œ œ bœ œ . ‰ V pa - nen maœ põh - jaks loo - tuœ - seœ - - - le,œ

B ? bœ œ œ œ bœ œ œ. ‰ œ bœ œ œ. ‰

21 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ bœ œ œ œ œ œ bœ œ œ œ œœ œ. & 3 6 3 ‰ Pno.

3 3 œ ‰ œ bœ œ ‰ œ œ œ bœ œ ‰ œ bœ œ & œ œ œ œ œ œ 3 œ œ œ œ œ œ œ œ œ

Figure 7.7 (continued).

115 Lenda üles kurbtusest 4 24

S & ∑ ∑ ∑

A & ∑ ∑ ∑

T œ œ œ œ œ œ œ œ. ‰ bœ œ œ V eiœ siisœ üks - ki vä - gi saa kah - juœ te - ha

B œ bœ œ œ œ œ œ ? œ œ . ‰ œ œ œ 24 œ œ bœ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ ˙ œ œ œ bœ œ œ œ œ œ œ œ 6 œ & 6 3 Pno.

3 œ œ ‰ œ œœbœ œ ‰ œ bœ œ ‰ œ œ œ bœ œ & 3 œ œ œ œ œ œ œ œ œ 3 œ œ œ 27 S œ œ bœ œ œ œ œ œ œ ∑ . 3 bœ œ œ. ‰ & 1.Seis - jat sel - le kal - ju œ pääl 2.Tuu - led, tor - mid, pik - se - hääl,

A & ∑ . bœ œ œ œ œ œ œ ‰ œ œ 3 œ œ œ œ.

T . ‰ . b˙ ˙ ˙.. ‰ V mul˙ - le.œ 1.Kal - ju pääl 2.Pik - se hääl, B .. ? ˙ œ. ‰ . b˙ ˙ ˙ ‰

27 bœ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ. œ 3 œ œ œ œ œ & ‰ 3 ‰ . 6 Pno. 3 œ bœ œ œ œ bœ œ ? œ bœ œœ œ œ bœœ œœ œ œ œ ‰ œ bœ œ . œ bœ & œ œ œœ œ œ bœ œ 3 3

Figure 7.7 (continued).

116 Lenda üles kurbtusest 5 30 2.

S œ œ bœ œ œ œ ˙ . ‰ . ∑ ∑ & või - vad äh - var œ- da - da.œ kah - ju nad ei saa - da.

A & œ œ ‰ . ∑ ∑ œ œ œ œ œ ˙ œ.

T œ œ œ ˙ . ‰ . ∑ ∑ V võiœ œ - vadœ äh - var œ- da - da.œ kah - ju nad ei saa - da. B bœ œ œ ? œ œ œ ˙ œ. ‰ . ∑ ∑

30 3 œ œ bœ œ œ œ œ œ œ œ œ œ ˙ œ. œ & œ œ. ‰ . ‰ œœœœ œ œ ‰ #œ œœ œ œ œ œ œ sub. œ œ œ 3 œ œ œ Pno. p cresc. nœ œ œ œ bœœ œ œ œ œ œbœ œ œ œ œ w w ? œ œ œ œ œ œ œ œ œ . 3 3 œ 34

S & . ∑ ∑ ∑

A & . ∑ ∑ ∑

T V . ∑ ∑ ∑

B ? . ∑ ∑ ∑

34 œ œ œ œ œ œ œ œ œ œœ œ œ 3 œ œ œ . œ œ#œ œ œ 3 œ #œ œ & . ‰ 3 œ œ œ ‰ ‰ Pno. f 3

? j œ œ œ œ œ ˙ j œ œ œ œ œ œ œ . œ œ œ œ œ œ œ œ œ œ œ œ œ œ#œ œ ˙. Œ ˙ ‰ œ œ œ 6 f

Figure 7.7 (continued).

117 Lenda üles kurbtusest 6 37 2.

S & ∑ . ∑ ∑

A & ∑ . ∑ ∑

T V ∑ . ∑ ∑

B ? ∑ . ∑ ∑ 37 œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ 3 œ œ œ . 3 œ œ#œ œ œ œ œ#œ œ œ & ‰ . ‰ ‰ 3 œ œ œ Pno. œ œ œ œ #œ œ œ œ ? œ œ ‰ œ œ . œ œ Ó œ œ ˙ œ œ œ œ œ œ œ œ œ 40

S & ∑ ∑ ∑ ∑

A & ∑ ∑ ∑ ∑

T V ∑ ∑ ∑ ∑

B ? ∑ ∑ ∑ ∑

40 œœœœ œ œœœœ œ œ œ œ œ ‰ 3 œ#œ œ ‰ œ œ#œ œ œ œ œ ‰ 3 œ #œœœœ ‰ nœ bœ & œ œ 3 œ 3 3 œ œ Pno. sub. œ œ ˙ p œ œ ˙ ? œ œ œ œ œ j œ œ œ œ œ œ œ œ œ ‰ Ó œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Figure 7.7 (continued).

118 Lenda üles kurbtusest 7 44 p S ∑ ∑ bœ œ œ œ bœ œ œ œ œ. ‰ & Nõnœ - da kiiœ - da, œ sü - da, sa,

A & ∑ ∑ œ. ‰ Nõn˙ - da˙ kii˙ - da, p T ∑ ∑ bœ œ œ œ bœ œ œ œ . ‰ V Nõnœ - da kiiœ - da, œ sü - da, sa,œ p B ? ∑ ∑ ˙ ˙ ˙ œ. ‰ Nõn - da kii - da, 44 w w j & Ó Ó œ œ Pno. ˙ ˙ Ó ˙ Ó J ˙ Œ ‰ Œ ‰ Œ ‰ Œ ‰ ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙. œ ˙. œ ˙. œ ˙. 48 œ ˙. œ ˙. œ ˙. œ ˙. S œ œ & bœ œ œ œ œ œ œ bœ œ œ œ. ‰ bœ œ œ œ œ œ œ bœ œ œ œ. ‰ kui Sind püü - ab pet - ta saaœ - tan ka - va - lu - se - ga

A & œ œ œ ‰ ˙ ˙ œ. ‰ kui Sind püü - œab petœ - œta œ. saa˙ - tan

T œ œ bœ œ œ œ œ œ bœ œ . ‰ bœ œ œ œ bœ œ œ œ. ‰ V kui Sind püü - ab œ pet - ta œ œ saaœ - tan kaœ - va œ- luœ - se - ga

B ? ˙ ˙ œ œ œ. ‰ w ˙.. ‰ püü - ab pet - ta, saa - tan 48 ‰ œ œ œ œ ˙ œ œ w w & œ œ œ œ Pno. Ó ˙ Ó J ˙ Ó (œ) œ Ó (œ) œ Œ ‰ Œ ‰ Œ ‰ Œ ‰ ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙. œ ˙. œ ˙ œ ˙. œ ˙. œ ˙. œ ˙ œ ˙.

Figure 7.7 (continued).

119 Lenda üles kurbtusest 8 52 5 F S bœ œ œ bœ œ œ œ œbœ œ Œ bœ œ œ œ œ œ bœ œ œ. ‰ & us - ku ä - ra œ võt - œ œ ta.˙ Len - da ü - les kurb - tu œ- sest F A œ & œ œ Œ œ bœ œ œ œ œ. ‰ us - ku œä - œra võtœ - ta.˙ œ œ bœ œ 5 F T œ œ V bœ œ œ œ œ œbœ œ œ ˙ Œ b˙ bœ. ‰ us - ku ä - ra võt - œ ta. bLen˙ - da ˙ü - les

B F ? ˙ ˙ œ ˙ Œ ‰ us - ku võt - ta. b˙ ˙ ˙ œ. 52 œ œ œ œ œ bœ œ & ˙ œ œ œ bœ œ œ œ œ œ Pno. Ó œ œ œ œ œ œ bœ bœ œ œ bœ œ œ œ (œ) P œ Œ ‰ Œ œ œ ? œ œ œ œ œ œ œ œ œ bœ ˙. œ ˙. œ ˙. œ ˙. bœ ˙. œ ˙. 56 œ ˙. œ ˙. f S bœ œ œ bœ œ œ œ œ œ . ‰ bœ œ œ œ œ œ bœ œ œ. ‰ & rõõ - mu mä - ge œ- de - le.œ œ œ œ As - tu väl - ja mu - re œ ööst f A & œ œ œ œ œ œ ‰ œ œ bœ œ œ œ œ ‰ œ œ bœ œ œ œ œ. œ œ bœ œ . f T b˙ ˙ V ˙ b˙.. ‰ b˙ bœ. ‰ kurb˙ - tu - sest. As - tu väl - ja f B ? b˙.. ‰ b˙ ˙ ˙ œ. ‰ ˙ ˙ 56 œ. bœ œ œ bœ bœ. œ j œ œ œ œ œ bœ œ œ œ œ œ œ œ œ & Œ ‰ œ œ œ bœ œ œ bœ bœ œ ‰ œ œ Pno. bœ œ œ œ f Œ œ œ bœ œ ? œ ˙. œ œ bœ ˙. œ ˙. œ ˙. bœ bœ ˙ bœ ˙. œ ˙.

Figure 7.7 (continued).

120 Lenda üles kurbtusest 9 60

S œ œ bœ œ œ œ œ . ∑ ∑ & ar - mu val - gu œ - se - le.˙

A & œ œ œ œ œ ∑ ∑ œ œ bœ b˙.

T ˙ œ œ bw ∑ ∑ V mu - re ööst.

B ? ˙ ˙ bw ∑ ∑

60 œ œ œ & bœ œ œ œ bœ œ œ Ó Œ œ œ Œ Œ œ Pno. bœœ œœ bœ dim. ‰ œ œ Ó ‰ œ œ J J Œ œ bœ œ œ œ Œ ˙ Œ ˙ ? œ ˙. bœ ˙œ œ œ œ œ œ ˙. bœ ˙ œ ˙. œ ˙. 64 œ ˙. œ ˙.

S & ∑ ∑ ∑

A & ∑ ∑ ∑

T V ∑ ∑ ∑

B ? ∑ ∑ ∑

64 U & œ Œ Œ œ œ œ Œ Œ œ œ w Pno. Ó ‰ œ œ Ó ‰ œ œ gw J J g Œ Œ g ? œ ˙ œ ˙ g œ œ gw œ œ ˙. œ œ ˙. gw . . u

Figure 7.7 (continued).

121 CHAPTER 8

VII. MINU HING, OH OLE RÕÕMUS

Source Material and Origination

The seventh movement of Kreek’s Notebook is scored for unaccompanied chorus. This movement contains Kõrvits’s most adventurous harmonic writing in the work. The movement is loosely based on the folk-hymn variant for which the movement is titled Minu hing, oh ole rõõmus (My Soul, oh be Joyful). At least four different local versions of folk-hymn variants titled Minu hing, oh ole rõõmus exist as documented by manuscripts of Cyrillus Kreek’s arrangements. These each originate from western Estonian localities. The present version of

Minu hing, oh ole rõõmus as quoted in Kreek’s Notebook comes from the rural coastal parish of

Lääne-Nigula.

Lääne-Nigula parish is part of Lääne county and includes the seaside city of Haapsalu which, for most of Cyrillus Kreek’s life, was the composer’s home. This folk-hymn variant was collected by Kreek himself. The Punschel Choralbuch chorale number associated with Minu hing, oh ole rõõmus is P. 288. This chorale is Freu’ dich sehr, o meine Seele (Rejoice Greatly, O

My Soul). Minu hing, oh ole rõõmus originated as the chorale Freu’ dich sehr, o meine Seele.

This chorale melody is well-known to most western choral musicians. It typically appears in most modern hymnals with the text “Comfort, Comfort, Ye My People” and is commonly indexed as tunes GENEVAN 42 or FREU DICH SEHR. This melody originated as an anonymously attributed secular French folk tune called Ne l’oseray je dire (I Do Not Dare Say).

Ne l’oseray je dire is included in the Le Manuscrit de Bayeux, a collection of popular French folk

122 tunes compiled around 1510.94 French composer Louis Borgeouis converted this tune into a chorale melody for Psalm 42 Ainsi que la biche rée (As the Deer) in the vernacular Calvinist

Geneva Psalter of 1551.95

The first appearance of the text Freu’ dich sehr, o meine Seele associated with this chorale tune was in German composer Christoph Demantius’s 1620 Threnodiae from Freiberg,

Saxony.96 This collection of funeral hymns in up to six voices is the only example of

Demantius’s setting homorhythmic protestant hymns.97

Many composers have set this tune since the sixteenth century. J. S. Bach set this chorale tune eight times in cantatas. It was also set by Pachelbel, Telemann, Max Reger, Sigfrid Karg-

Elert, and Marcel Duprè.98

The EÜS collection manuscript for Minu hing, oh ole rõõmus is not available in the

Estonian Theater and Music Musuem; however, Cyrillus Kreek arranged the folk-hymn variant for treble voices in 1932 and for mixed voices in 1938. Mart Humal’s 1991 edition of Kreek’s arrangement includes the information for the singer, transcriber, region, and related Punschel

Choralbuch chorale number.99 No translator is listed for the Estonian text.

94 Thomas Braatz and Aryeh Oron, “Chorale Melodies used in Bach’s Vocal Works: Freu dich sehr, o meine Seele,” Bach-cantatas.com, last updated November 2011, goo.gl/cgDiQW.

95 Ibid.

96 John Julian hymnology dictionary

97 Walter Blankenburg and Dorothea Schröder, “Demantius [Demant], (Johannes) Christoph,” Grove Music Online, goo.gl/moiP1v.

98 Thomas Braatz and Aryeh Oron “Chorale Melodies…Freu dich sehr, o meine Seele.”

99 Cyrillus Kreek, Eesti vaimulikud rahvaviisid naiskoorile IV, edited by Mart Humal (Tallinn: Kirjastus Muusika, 1996), 17. 123 A reproduction of the folk-hymn variant melody by the author based on the 1932 arrangement by Cyrillus Kreek for treble voices is pictured in Figure 8.1. Kreek’s arrangement features a segmentation, antiphonal-style melodic presentation. A leader sings a melodic passage on sixteenth notes and the chorus responds more slowly, in quarter notes, with a harmonized melody. This suggests that the folk-hymn variant was performed locally by call and response.

Figure 8.1 Minu hing, oh ole rõõmus (Lääne-Nigula) folk-hymn variant melody based on No. 148, Eesti vaimulikud rahvaviisid naiskoorile IV – arr. Cyrilus Kreek 1932.

124 Figure 8.2 shows an excerpt of the chorale Freu’ dich sehr, o meine Seele as Cyrillus

Kreek would have encountered it in the 1915 edition of the Punschel Choralbuch from the

Estonian National Library in Tallinn.

Figure 8.2 Excerpt from the 1915 Tallinn Punschel Choralbuch: No. 288, Freu’ dich sehr, o meine Seele. One version of the chorale that Cyrillus Kreek would have seen. Public Domain.

Figure 8.3 features a melodic transformation graph from the chorale melody to the Lääne-

Nigula folk-hymn variant. For this example, only the response portions of the folk-hymn melody are included as they structurally match the chorale Bar form. Minu hing, oh ole rõõmus deviates very little from the original melody. The two main differences are rhythmic variation and performance practice. The rhythmic variations are noted in Figure 8.3 with dotted brackets.

Besides one triplet, each rhythmic alteration is from a quarter note to a dotted eighth and sixteenth. Almost every one of these gestures includes a melodic anticipation on the sixteenth note. However, two of these gestures in the last line include an echapée-style melodic alteration.

The difference of these in performance practice is primarily the call and response style of the folk-hymn variant. This style is common to folk performance practice across many cultures in the music of worship. This is also likely the greatest source of improvisation on the tune. The

125 notation of the leader’s part in sixteenth notes should be interperated in free tempo and not directly related to the group’s tempo in response.

Figure 8.3 Melodic transformation graph of Minu hing, oh ole rõõmus.

IPA Transcription, Literal Translation, and Lyric Translation

VII. Minu hing, oh ole rõõmus

IPA transcription—Alex Favazza

Literal translation—Greete Kõrvits

126 Lyric translation—Eric Dickens100

Minu mure, vaev ja häda

[minu mure vaev ja ħæda]

My worry, sorrow and trouble

(My grief, sorrow, and troubles)

lõpeb viimaks otsa ka lɤpeb vimaks otsa ka]

Ends finally to finish too.

(will finally come to an end.)

Küll mu Isand tunneb seda ka.

[kyl: mu isant tun:ep seda ka]

Surely my Lord feels it, too

(My Lord knows this as certain,)

kinnitab, mind armuga

[kin:itap mint armuga]

Confirms me with love.

(he affirms me in his love.)

100 Kreek’s Notebook, EMIC conductor’s scores p.42–43. 127 Music

Minu hing, oh ole rõõmus is the most harmonically explorative movement in Kreek’s

Notebook. While this movement is most representative of Kõrvits’s voice as a composer, it is also includes the least use of folk-hymn material. The seventh movement opens with a solo incipit from the folk-hymn melody, presumably in homage to the folk-hymn variant’s antiphonal style. Thereafter, the movement is through-composed and, save two very brief references, involves no use of the folk-hymn variant.

Though through-composed, the movement’s form could be loosely considered ternary as material from the opening bars appears at the movement’s end. However, harmony is the primary articulator of form in Minu hing, oh ole rõõmus. Kõrvits expands these harmonic gestures and infuses them throughout the movement. Identifying some of these harmonic concepts may help provide compositional structure to the performer and listener. But, as discussed later in this section, one should proceed with caution when considering the harmonic language of movement seven. Kõrvits purposefully blurs the line between function and color. One may easily read too much into a passage and in turn detract from the abstract power of the sonority.

Following the solo incipit, tenor and bass enter poco forte in two bars of 2+2+3 composite meter notated with the time signature of 2/2+3/4. The entrance is punctuated by a dissonant major seventh between E-flat3 in the bass and D4 in the tenor which resolves directly into three descending perfect fifths on E-flat D-flat and C-flat. This passage is repeated in the second bar and decorated with additional major seventh in the form a quarter note echapée from

A-flat3 to C4 in the tenor over D-flat3 in the bass.

Kõrvits use of descending perfect fifths in the bass is pervasive throughout the movement and contributes to its unique color. These fifths have an earthy feel – reminiscent of folk music,

128 yet also dark and powerful like the fifths of a powerchord on an electric guitar. Their ambiguity allows the composer the ability to entwine major and minor harmonies and obscure the movement’s tonality. Kõrvits explores a haunting melody above these fifths which is decorated by major sevenths and flat ninths (some enharmonic). These sonorities are exploited throughout the movement through false relations, mixed-mode chords, and direct split chords.

Soprano and alto enter in bar three on a B-flat3 and E-flat4 respectively over the descending gesture’s repeat in tenor and bass. The soprano part rises a half step to E4 to cause a chilling dissonance with alto part who at the same time moves to an E-flat4 while tenor and bass descend to the open fifth of G-flat3 and C-flat3. The soprano then moves to a G4 which causes another striking dissonance with the sustained G-flat in the tenor. The soprano resolves to G-flat4 in the fourth bar as the tenor and bass sound another major seventh E-flat and D below. This G- flat provides the third of the movement’s first minor-major seventh chord. This passage is also the first appearance of the E–G–E-flat gesture.101 These gestures are both central to the movement’s compositional construction and harmonic language. Bars three and four are pictured in Musical Example 8.1. The E–G–E-flat gesture is noted with dotted brackets and a dotted line.

Musical Example 8.1 VII. Minu hing, oh ole rõõmus—Tõnu Kõrvits, mm. 3–4 © EMIC.

101 The soprano part has E–G and the E-flat is present on the downbeat in Alto and Bass parts. 129 The E–G–E-flat motive is woven into the fabric of the movement. Musical Examples 8.2 shows an example of it hidden within a texture. This gesture is of importance structurally because of its prominence in the movement’s eerie final cadence pictured in Musical Example

8.3. E–G–E-flat is also an important gesture in music history. Kõrvits’ direct presentation of the gesture at the final cadence may very well be a tip of the hat to Arnold Schönberg’s No. 8

“Nacht” from his Op. 21, Pierrot Lunaire.

Musical Example 8.2 VII. Minu hing, oh ole rõõmus—Tõnu Kõrvits, mm. 3–4 © EMIC, includes enharmonic spelling on additional staff.

Musical Example 8.3 VII. Minu hing, oh ole rõõmus—Tõnu Kõrvits, m.26 © EMIC. 130 The ambiguity of parallel descending fifths also aids Kõrvits in his use of chromatic mediancy throughout the movement. In bar six, Kõrvits begins to often repurposing notes across chords. An example of this from measures seven through eight is shown in Musical Example 8.1.

Kõrvits descends in choramtic thirds repurposing each root as the subsequent major third of the next chord. He moves from the major third to the minor third in a form of false relation and the resulting minor third is repurposed as a common tone in the next chromatic mediant. Somehow,

Kõrvits manages to make these minor thirds sound like resolutions.

Musical Example 8.4 VII. Minu hing, oh ole rõõmus—Tõnu Kõrvits, mm. 7–8 © EMIC.

A bass line sketch for these two measures is pictured in Figure 8.4. Kõrvits reinforces the minor-major seventh sonority as an articulator of structure by outlining it in parallel chromatic mediant chords.

Figure 8.4 Harmonic bass line outlining minor-major seventh in chromatic mediancy, VII. Minu hing, oh ole rõõmus.

131 The movement’s climaxes in a full-throttled homorhythmic passage that includes false relations, chromatic mediancy, chromatic extensions, and the E–G–E-flat motive shown in

Musical Example 8.5.

Musical Example 8.5 VII. Minu hing, oh ole rõõmus—Tõnu Kõrvits, mm. 16 © EMIC.

One goal of systematic analysis is to distinguish how the various parts of a work of art reinforce the whole of that work. Detailed inspection can also aid the conductor in identifying potentional pitfalls for performers. However, the constant search for structural meaning through sonority in a contemporary free-form movement like Minu hing, oh ole rõõmus can create a potential danger of over-classification. Over-analysis may distill Kõrvits’s art into a sequence of intervals.

This chapter’s discussion of harmonic devices employed in the movement should serve primarily to direct the conductor’s eyes and ears to guide posts for structure. No attempt at analysis can truly do justice to the harmonic mystery that Kõrvits employs in the seventh movement. Conductors may find teasing apart the compositional strands woven in the tapestry of 132 Minu hing, oh ole rõõmus to be less than fruitful in crafting a truly cogent explanation of the work. Kõrvits routinely obfuscates the line between function and color, and much of the movement’s beauty is in its enigma.

Performance Practice

Minu hing, oh ole rõõmus contains the most difficult singing called for in Kreek’s

Notebook. This movement is mentally and vocally taxing. It requires a strong ear and tenacious commitment to accuracy to maintain accurate pitch and pleasing intonation. The lack of a key signature in the choral score coupled with the ubiquitous presence of accidentals can present a type of musical vertigo when accidentals are carried through a long measure.

The EPCC and Royal Holloway recordings of this movement feature a baritone vocalist on the opening solo, but the voice type is not specified in the score. Both recordings’ soloists perform the opening incipit relatively freely at a tempo about half time in relation to the chorus.

The short text of this movement requires little consideration of the metric distribution of diphthong vowels. The single word vaev is split as noted in Table 8.1; however, most instances are rather intuitive to the skilled singer.

Table 8.1 Metric distribution for diphthong vowels in Minu hing, oh ole rõõmus.

Location in the Word or portion How word is Metric distribution score: measure, beat of word notated in score for diphthong vowels Incipit, bt. 2 Vaev One eighth note Split into sixteenths, [va] on first sixteenth, [ev] on second sixteenth m. 2, bt. 1 in tenor and Vaev One dotted quarter Divide into one quarter bass note and one eighth [va] on the quarter, [ev] on the eighth

Table 8.1 Metric distribution for diphthong vowels in Minu hing, oh ole rõõmus – continued.

133 Location in the Word or portion How word is Metric distribution score: measure, beat of word notated in score for diphthong vowels m. 3, bt. 4 in soprano Vaev Two quarter notes Divide the final dotted and alto and one dotted quarter into one quarter quarter note slurred and one eighth [va] on in soprano, one half the value of three note and one dotted quarter notes, [ev] on quarter note slurred the eighth in alto m. 4, bt. 1 in tenor and Vaev One dotted quarter Divide into one quarter bass note and one eighth [va] on the quarter, [ev] on the eighth m. 17, bt. 1–4 in tenor Vaev One dotted hole note Remove the tie, [va] on and bass tied to a quarter note the dotted whole note, [ev] on the quarter note m. 23, bt. 1 in tenor Vaev One dotted quarter Divide into one quarter and bass note and one eighth [va] on the quarter, [ev] on the eighth m. 24, bt. 3 in soprano Vaev One dotted quarter Divide into one quarter and alto note and one eighth [va] on the quarter, [ev] on the eighth

Orchestral Piano Reduction for Rehearsal

This chapter concludes with Figures 8.5 and 8.6, which are two versions of a piano reduction of Minu hing, oh ole rõõmus for choral rehearsals. Figure 8.5 is a reduction with no key signature. Figure 8.6 is a reduction with the key signature of G-flat to facilitate easier reading for the collaborative pianist in rehearsal. Additionally, some voicings have been spelled enharmonically in each reduction to aid in reading the reduction. The seventh movement is only intended to be performed unaccompanied, and under no circumstances should this movement be performed with piano.

134 Minu hing, oh ole rõõmus Tõnu Kõrvits/ Eesti vaimulik rahvaviis (Lääne-Nigula) (solo) q = 56 U bb b b 4 œ. œœ œ œ nn n n 2ˆ3 V b b 2 œ œ œœ œ œ. œœ œ œ œ. œ. œœ n n 2 4 ( ) Mi - nu mu - re, vaev ja hä - da lõ - peb vii - maks ot - sa ka. b n & b bbbb 42 „ n nnnn 2ˆ43

? b b 4 „ n n 2ˆ3 b b bb 2 n n nn 2 4 h = 56 poco S f & 2ˆ43 ∑ ∑ 42 œ bmu˙ - re˙. n jaœ vaevœ poco f A 2 3 4 & 2ˆ4 ∑ ∑ 2 b˙ ˙. bœ ˙ poco (sim.) f T 2 3 œ œ. 4 œ V 2ˆ4 bœ b˙ b˙. bœ bœ œ b˙. 2 bœ b˙ bw Mi - nu mu - re, vaev jaJ hä - da, mi - nu mu - re, (sim.) poco f B ? 2ˆ3 bœ œ b˙ bœ. œ b˙ 4 bœ œ b˙ 2 4 b˙. J b˙. 2 bw poco f 2 3 4 & 2ˆ4 ∑ ∑ 2 . bœ œ œ poco (sim.) b˙œ bœ ˙. œ ˙ f nœ bœ nœ. œ œ bœ Œ ? 2ˆ3 bœ œ bb˙ b˙. bœ. œ bbœ˙ b˙. 4 b œ œ bb˙ bw 2 4 b ˙. J b ˙. 2 b w

©EMIC 2007

Figure 8.5 Piano reduction for choral rehearsal (no key signature) VII. Minu hing, oh ole rõõmus. Created by the author with permission from the composer.

135 2 Minu hing, oh ole rõõmus 4 p S j j ∫ œ 3 & bœ. bœ b˙ b˙ œ b˙ ˙ ∑ 2 ja hä - bdaw lõ - bpebœ ot - sa. p F A j j 3 & œ. bœ b˙ b˙ b œ œ ˙ œ œ ˙ 2 bw poco lõ - bpebœ ot - sa mu mu - breœ b jaœ hä˙ - bda,˙ p F T œ. œ j nœ 3 V bœ bœ bœ nœ œ œ nœ bœ œ bœ œ. œ bœ b˙ œ bœ 2 vaev jaJ hä - da, mu mu - re lõ - peb vii - maks ot - sa ka, mu mu - re ja hä˙ - bda˙ p F B ? bœ bœ 3 bœ. œ b˙ bw bw b˙. b˙ bœ 2 vaev jaJ hä - da b lõw - b peb,˙. mu mu - re ja nhä˙ - bda˙ 4

j j ∫ œ 3 bœ b˙ b œ b˙ ˙ & Abœ. b œ ˙ w poco bb˙ J œ œ ˙ œ œ 2 . J bw bœ ˙ bœ bœ ˙ b˙ j p F œ. bœ œ nœ bœ œ j nœ b˙ œ ? bœ œ bœ œ nœ œ œ bœ œ. œ bœ b ˙ bœ œ 3 . b ˙ bw bw b˙. bœ ˙ b˙ 2 J b w b ˙. n˙ b ˙

7 π S 3 4 j & 2 ∑ 2 ∑ bœ. œ bœ bœ œ œ Küll mu Is - sand tun - neb bseœ -bdaœ F A 3 4 Ó & 2 nœbœbœ œ œ 2 lõ - peb vii - b maksœ bœ botœ bœ- œsa bœ wka. w.

T F j 3 œ 4 ∫ œ V 2 bœ b˙ œ 2 b˙ ˙ bœ œ ˙ w. Ó lõ - peb vii - maks œ ot - sa ka. F B ? 3 4 2 bœ œ b˙ 2 w bw w. Ó lõ - peb vii - maksn˙ otw - b wsa. w. 7 3 4 jbœ & 2 nœbœbœ œ œ 2 bœ. œ bœ œ œ bœ bœ F bœ bœ bœ bœ œ bœ w w. Ó j π œ bœ ∫ œ ? 3 bœ œ b˙ œ 4 b˙ ˙ bœ œ ˙ w. 2 b ˙ œ 2 w bw w. Ó n˙ w b w w.

Figure 8.5 (continued).

136 Minu hing, oh ole rõõmus 3 10 S 2 4 b˙ ˙ b˙ 2 & 2 ∑ 2 b˙ 2 bka.W lõ - peb vii - maks f A F Œ j 2 b˙ 4 b˙ n˙ bœ 2 & œ bœ bœ 2 œ bœ 2 bœ b˙ 2 bMuœ bmuœ - œ bre˙. ja hä - da lõ - peb vii - maks F f T b˙ œ bœ Œ 2 bœ bœ 4 b˙ œ bœ bœ 2 V nœ . bœ 2 2 3 b˙ 2 Mu mu˙ - bre˙ ja hä - da lõ - peb vii - maks F B œ ˙ bw ? Œ 2 ∑ 42 ∑ 2 Mu mu - re 10 f F 2 4 b˙ ˙ b˙ 2 & œ 2 b˙ 2 b ˙ n˙ b œ bœ ˙ 2 bW J bœ œ œ bœ b˙ Œ bœ bœ œ b˙. F b˙ f œ bœ bœ bœ b˙ œ bœ bœ nœ bœ 3 b˙ ? Œ œ ˙ bbw˙. 2 42 2

13 S 2 5 4 6 & 2 bœ b˙ 2 bw. w 2 w. œ œ bœ 2 botœ - sa ka. btunœ -neb se - da,

A 2 5 4 6 & 2 nœ bœ 2 j j 2 2 ot - sa, lõ - peb ot -bœ sa. n˙ bœ œ œ œ w. W cresc. T 2 nœ 5 4 j 6 V 2 bœ b˙ 2 ∑ 2 bœ. œ bœ bœ bœ œ œ œ 2 ot - sa. Küll mu Is - sand tun - neb se - da,

B ? 2 5 bœ 4 6 2 ∑ 2 œ œ ˙ bw. 2 w Ó Ó 2 lõ -npebœ ot˙ - b wsa.. w 13 2 5 4 6 & 2 bœ nbœ˙ bœ 2 bw. w 2 w. œ œ bœ 2 bœ b œ œ œ bœ w W cresc. bœ œ J . œ J j bnœ˙ b˙ bœ bœ. œ bœ bœ b œ œ œ œ ? 2 5 œ œ . 4 6 2 2 nœ ˙ bbw. 2 w Ó Ó 2

Figure 8.5 (continued).

137 4 Minu hing, oh ole rõõmus 16 f p S 6 bœ œ œ 4 & 2 bœ bœ œ w. 2 bw nœ kin - ni - tab mind ar - mu - ga, btunœ - nebœ nseœ - da - f p A 6 œ 4 & 2 œ bœ nœ bœ œ w. 2 w bœ œ btunœ - nebœ se - da f p T 6 œ œ œ œ œ 4 V 2 nœ bœ bœ œ œ œ nœ œ bœ 2 bw. œ Œ kin - ni - tab mind ar - mu - ga. Mu hä - da ja da f p B bœ œ bœ œ œ œ Nœ Aœ Aœ œ œ . ? 26 n œ œ bœ bœ bbœ n œ œ œ œ 42 bbw. œ Œ kin - ni - tab mind ar - mu - ga. Mu hä - da ja Is - - - 16 6 #œ nnœ #œ . 4 & 2 n œ ##œ n œ bbœ bbœ bbw. 2 w bœ bœ nbœ bnœ f b œ b œ * nœ p bnnœ bnœ # nœ #nœ bnœ bœ b œnœ #œ n bœ b bœ bnnœ b bœ n bœ bw. œ ? 26 n œ nœ bœ b œ nn œ n œ b œ b œ n œ 42 bb w. œ Œ poco 18 S œ & bœ b˙ bw b˙ b˙ nœ œ bœ œ mi - nu Is - sand, Is - sand tun - neb se - da poco

A & bœ œ n˙ bw mi - nu b Is˙ - bsand,w b Is˙ - sand ka. poco T œ bœ bœ V nœ œ bœ œ bœ n˙ bœ œ bw Mi - nu Is - sand tun - neb se - da ka. poco

B bw ? bœ œ b˙ bw b w Ó Ó b Miœ - œnu b Is˙ - b sandw ka 18 nœ & bœ b˙ bw b˙ bnb˙œ nœ nœ bœ bœ bœ bn œœ bnœ˙ bœ bb œœ bœ bb ˙œ bœ bœ bb w poco n˙

?g bœ gb œ bœ b˙ bw bw Ó Ó g bœ b œ b ˙ b w b w

From m.16 – 26 an accidental is placed on every note in the rehearsal piano to help avoid confusion *

Figure 8.5 (continued).

138 Minu hing, oh ole rõõmus poco 5 20 3 S 3 6 & 2 n˙ b˙. b˙. 2 bka.W bMu˙ Is - sand˙ tunœ - nebœ se - da poco 3 A & 23 ˙. 26 bW b˙ b˙ ˙ œ œ poco b˙.

T bW 3 œ bœ œ . 6 V 2 Œ œ 3 b˙ w 2 Mu Is - sand. poco

B œ bœ ? bœ œ œ bœ œ ˙ 23 w. w. 26 kin - ni - tab mind ar - mu -b ga.˙ w. w. 20 3 3 b˙. b˙. 6 & 2 n˙ 3 n ˙ . 2 bbbww ww bb˙ b ˙ bb˙ bbpocoœ bbœ b ˙ Œ nœ bœ nœ b˙ w ? bœ nœ bœ nœ bœ nœ b˙ 3 w nœ w. 6 bœ b ˙ 2 w. w. 2 23 π S 6 & 2 bw. j ka. bMiœ - nuœ mu˙ - re,˙ w. bvaevœ. jaœ hä˙ - da˙ π A 6 & 2 . j bw bœ œ ˙ ˙ w. bœ. œ ˙ ˙ π T 6 œ V 2 bœ. œ b˙ w Ó Ó bœ b˙ bW Vaev jaJ hä - da lõ - peb vii - maks π B j ? 6 œ. œ bw Ó Ó bœ œ b˙ bW 2 œ. œ ˙ b w 23 6 . j & 2 bw . . b w. bbœ bbœ bb˙ bb˙ w. bbœ. bbœ bb˙ bb˙ j J bœ. bœ bw π nœ bœ ? 6 n œ n œ #˙ b w Ó Ó bœ b œ bb˙ bW 2 nœ. nœn ˙ bw b W . J n˙

Figure 8.5 (continued).

139 6 Minu hing, oh ole rõõmus 25

S U & b˙ bka,w. miœ - nuœ mu - re˙ b lõw - Wpeb.

A & bw. nœ nœ b˙ b˙ bw W T œ V bœ b˙ bW n˙ ot - sa ka, n lõ˙ - bWpeb.

B ? b˙ b˙ bW bw W b w W 25 U & b˙ bbw. n#œ nbœœb ˙ b˙ bbw bbW . n˙ n˙ bW nœ bœ b˙ bW U ? b˙ b ˙ b W bw bW b w b W

Figure 8.5 (continued).

140 Minu hing, oh ole rõõmus Tõnu Kõrvits/ Eesti vaimulik rahvaviis (Lääne-Nigula) (solo) q = 56 U bb b b 4 œ. œ œ œ œ 2ˆ3 V b b 2 œ œ œ œ œ œ. œ œ œ œ œ. œ. œ œ 2 4 ( ) Mi - nu mu - re, vaev ja hä - da lõ - peb vii - maks ot - sa ka. b & b bbbb 42 „ 2ˆ43

? b b 4 „ 2ˆ3 b b bb 2 2 4 h = 56 poco f S b & b bbbb 2ˆ43 ∑ ∑ 42 nœ mu˙ - re˙. n jaœ vaevœ poco f A b b 2 3 4 & b b bb 2ˆ4 ∑ ∑ 2 ˙ ˙. œ ˙ poco (sim.) f T b b 2 3 nœ nœ. 4 nœ V b b bb 2ˆ4 œ ˙ ˙. œ œ nœ ˙. 2 œ ˙ w Mi - nu mu - re, vaev jaJ hä - da, mi - nu mu - re, (sim.) poco f B ? b b 2ˆ3 œ œ ˙ œ. œ ˙ 4 œ œ ˙ b b bb 2 4 ˙. J ˙. 2 w poco f b b b 2 3 4 & b b b 2ˆ4 ∑ ∑ 2 . bœ œ nœ poco (sim.) n˙œ œ ˙. œ ˙ f nœ œ nœ. œ nœ œ Œ ? b b 2ˆ3 œ œ ˙ ˙. œ. œ œ˙ ˙. 4 œ œ ˙ w b b bb 2 4 ˙. J ˙. 2 w

©EMIC 2007

Figure 8.6 Piano reduction for choral rehearsal (with key signature) VII. Minu hing, oh ole rõõmus. Created by the author with permission from the composer. 141 2 Minu hing, oh ole rõõmus 4 p S j b b j ∫ œ 3 & b b bb Aœ. œ ˙ ˙ œ ˙ ˙ ∑ 2 ja hä - daw lõ - pebœ ot - sa. p F A b b j j 3 b b b b œ & b œ. bœ ˙ ˙ œ ˙ œ œ n˙ 2 w poco lõ - pebœ ot - sa mu mu - reœ jaœ hä˙ - da,˙ p F T b b b nœ. nœ Aœ j nœ 3 V b b b œ œ œ nœ œ nœ œ œ œ œ. œ œ ˙ œ œ 2 vaev jaJ hä - da, mu mu - re lõ - peb vii - maks ot - sa ka, mu mu - re ja nhä˙ - da˙ p F B ? œ œ 3 bbbb b œ. œ ˙ w w ˙. ˙ œ 2 b vaev jaJ hä - da b lõw - peb,˙. mu mu - re ja nhä˙ - da˙ 4

j b b j ∫ œ 3 b b b œ ˙ b œ ˙ ˙ & b Aœ. bœ ˙ w poco ˙ J œ œ ˙ œ œ 2 . J Aw œ n˙ œ œ ˙ A˙ j p F nœ. œ nœ œ œ œ j nœ ˙ œ ? b œ œ œ œ nœ œ nœ œ œ. œ œ ˙ œ œ 3 b bb b . ˙ w w ˙. œ n˙ ˙ 2 b J bw ˙. n ˙ ˙

7 π S b b b 3 4 j & b b b 2 ∑ 2 ∑ œ. nœ œ bœ œ œ Küll mu Is - sand tun - neb seœ - daœ

A F bbbb b 3 4 Ó & b 2 nœbœ œ œ nœ 2 lõ - peb vii - maksœ œ otœ œ- œsa œ wka. w.

T F j b b b 3 nœ 4 ∫ œ V b b b 2 œ ˙ œ 2 A˙ ˙ bœ œ ˙ w. Ó lõ - peb vii - maksnœ ot - sa ka. F B ? b 3 œ œ 4 b bb b 2 ˙ 2 w w w. Ó b lõ - peb vii - maksn˙ botw - wsa. w. 7 bb b b 3 4 jœ & b b 2 nœbœ œ œ nœ 2 œ. nœ bœ œ œ œ œ F œ œ œ œ œ œ w w. Ó j π nœ œ ∫ œ ? b 3 œ œ ˙ œ 4 A˙ ˙ bœ œ ˙ w. b bb b 2 ˙ nœ 2 w w w. Ó b nœ bw w w.

Figure 8.6 (continued).

142

Minu hing, oh ole rõõmus 3 10 S b ˙ & b bbbb 2 ∑ 42 n˙ b˙ ˙ 2 ka.W lõ - peb vii - maks f A b F b bb b Œ j 2 ˙ 4 ˙ ˙ œ 2 & b n œ bœ œ 2 nœ œ 2 œ ˙ 2 Muœ muœ - œ re˙. ja hä - da lõ - peb vii - maks F f T b˙ nœ bœ bb b b Œ 2 œ œ 4 ˙ nœ bœ œ 2 V b b nœ b˙ . œ 2 2 3 ˙ 2 Mu mu - re˙ ja hä - da lõ - peb vii - maks F B ? 2 4 2 bb b b Œ nœ ˙ w 2 ∑ 2 ∑ 2 b b Mu mu - re 10 f b b b F 2 4 ˙ n˙ b˙ 2 & b b b n œ 2 ˙ 2 ˙ n ˙ b œ œ ˙ 2 W œ J bœ œ œ nœ œ ˙ Œ œ ˙. f F b˙ ˙ nœ bœ œ œ œ nœ bœ œ ˙ ? b b Œ nnœ b˙ ˙. 2 4 3 2 b b bb ˙ w 2 2 2 13 S b b b 2 5 4 6 & b b b 2 œ ˙ 2 w. w 2 w. œ œ œ 2 otœ - sa ka. tunœ -neb se - da,

A b & b bbbb 2 nœ bœ 25 j j 42 26 ot˙ - sa, lõ - peb ot - œ sa. œ œ nœ œ w. W cresc. T b b 2 nœ 5 4 j 6 V b b bb 2 œ ˙ 2 ∑ 2 œ. nœ œ bœ œ œ œ œ 2 ot - sa. Küll mu Is - sand tun - neb se - da,

B ? b 2 5 œ 4 6 b bb b 2 ∑ 2 nœ œ ˙ w. 2 w Ó Ó 2 b lõ -npebœ bot˙ - wsa.. w 13 b b b 2 5 4 6 & b b b 2 œ nœ˙bœ 2 w. w 2 w. œ œ œ 2 ˙œ nœ œ œ œ œ w W cresc. œ nœ J . J j œ ˙ œ œ. nœ œ bœ œ œ œ œ ? b b b 2 Œ 5 nœ œ ˙ . 4 6 b b b 2 2 nœ b˙ w. 2 w Ó Ó 2

Figure 8.6 (continued). 143 4 Minu hing, oh ole rõõmus 16 f p S b b 6 œ nœ œ 4 & b b bb 2 œ œ œ w. 2 w nœ kin - ni - tab mind ar - mu - ga, tunœ - nebœ nseœ - da - f p A b b b 6 nœ 4 & b b b 2 nœ œ nœ œ œ w. 2 w œ œ tunœ - nebœ se - da f p T b b 6 nœ œ œ œ œ 4 V b b bb 2 œ œ œnœ œ œ bœ œ œ 2 w. œ Œ kin - ni - tab mind ar - mu - ga. Mu hä - da ja da f p B nœ œ œ œ œ œ œ œ œ œ œ . ? bb b b 26 bœ œ œ œ œ nœ œ œ œ 42 bw. œ Œ b b kin - ni - tab mind ar - mu - ga. Mu hä - da ja Is - - - 16 b b b 6 œ nnœ œ . 4 & b b b 2 nœ œ nœ œ œ w. 2 w œ œ bœœ nœ f œ œ œ p nnœ œ œ œ œ œ œnœ œ œ bœ œ œ œ w. œ ? bb b b 26 bœ œ œ œ œ nœ œ œ œ 42 bw. œ Œ b b poco 18 S b b nœ 3 & b b bb œ ˙ w ˙ ˙ nœ œ bœ œ 2 mi - nu Is - sand, Is - sand tun - neb se - da ka.W poco A bb b b 3 & b b œ œ ˙ n˙ w 2 pocomi - nu Is - sand,w Is˙ - sand ka. W T b b nœ œ œ 3 V b b bb œ œ œ œ œ n˙ œ œ w W 2 pocoMi - nu Is - sand tun - neb se - da ka. B ? w nœbœ œ œ 3 bb b b œ œ ˙ w w Ó Ó œ œ œ ˙ 2 b b Miœ - nuœ Is˙ - bsandw ka kin - ni - tab mind ar - mu - ga.˙ 18 b b b nœ 3 & b b b œ œ ˙ w ˙ nb˙œ œ nwœ œ bœ œ w w 2 poconœ b˙œ œ œœ œ n˙ ˙œ œ w ww ww œ ? g nœbœ œ œ 3 bb b b g œ œ ˙ w w Ó Ó œ œ œ ˙ 2 b b g œ œ ˙ bw w ˙

Figure 8.6 (continued).

144 poco Minu hing, oh ole rõõmus 5 21 3 π S b b 3 6 & b b bb 2 n˙ ˙. ˙. 2 w. Mu˙ Is - sand˙ tunœ - nebœ se - da ka. Miœ - nuœ mu˙ - re,˙ poco 3 A b π & b bbbb 23 n˙. 26 ˙ ˙ ˙ œ œ poco˙. w. œ œ ˙ ˙ π T b b b 3 nœ œ œ . 6 . V b b b 2 Œ nœ 3 ˙ w 2 œ œ ˙ w Ó Ó Mu Is - sand. poco Vaev jaJ hä - da π B j ? b b 3 w. w. 6 nœ. œ w Ó Ó b b bb 2 w. w. 2 n œ. œ b˙ w 21 3 b b bb b 3 ˙. ˙. 6 w. & b 2 n˙ 3 n˙ . 2 ˙ ˙ ˙ pocoœ œ ˙ w. œ œ ˙ ˙ œ j Œ nœ nœ œ ˙ w. œ. œ ˙ w π ? b b b 3 w. w. 6 nœ œ ˙ w Ó Ó b b b 2 w. w. 2 n œ. œ b˙ w 24 J S b b U & b b bb j ˙ w. vaevœ. jaœ hä˙ - da˙ ka,w. miœ - nuœ mu - re˙ lõw - Wpeb.

A b b & b b bb j w. œ. œ ˙ ˙ w. œ nœ ˙ ˙ w W T b b nœ nœ V b b bb œ ˙ W œ ˙ W n˙ lõ - peb vii - maks ot - sa ka, n lõ˙ - bWpeb.

B ? b b b œ œ ˙ W ˙ ˙ W b b b w W 24 U b b b j & b b b . . . ˙ w. œ. œ ˙ ˙ w. œ nœœ ˙ ˙ w W J nœ œ ˙ W nœ œ ˙ W n˙ U ? b b b œ œ ˙ W ˙ ˙ W n˙ W b b b w W

Figure 8.6 (continued).

145 CHAPTER 9

VIII. MA VAATAN ÜLES MÄELE

Source Material and Origination

As mentioned in Chapter One, the eighth movement of Kreek’s Notebook originated as

Kõrvits’s orchestral piece Thule Eleegiad (Elegies of Thule). For Kreek’s Notebook, the composer added a triumphal homorhythmic choral part as well as an extended triangle tremolo to the end of the orchestral piece. This movement is based on the folk-hymn variant Ma vaatan üles mäele from the island of Saaremaa.

The collection manuscript for Ma vaatan üles mäele lists the corresponding Punschel

Choralbuch number as P. 415. Punschel chorale number four-hundred fifteen is Ich blicke nach der Höhe (I Look Up to Heights). The translation for the movement’s title listed in the liner notes of the Royal Holloway Choir’s recording is I Gaze Up at the Hill.102

Little information is available on the chorale Ich blicke nach der Höhe. The Punschel

Choralbuch lists only “Gnadau” for authorship. Gnadau is a city in the German state of Saxony-

Anhalt that was founded as a settlement for Moravians. The chorale is included in the 1784 edition of the Choral-Buch, enthaltend alle zu dem Gesangbuche der Evangilischen Bruder-

Gemeinen vom Jahre 1778 gehorige Melodien compiled by Moravian composer Christian

Gregor. This 1784 collection was the standardization of all tunes in use by Moravians at that time. The front matter of the collection contains an article on which tunes contained are of

102 Rupert Gough, liner notes, 2.

146 Moravian origin. Ich blicke nach der Höhe is listed as one of these, and German Moravian composer Johann Daniel Grimm’s 1755 chorale book is listed as the possible source.103

This title and melody are additionally contained in two chorale book manuscripts, both anonymously attributed: an untitled collection of 734 chorales which is housed in the National

Library of Poland in Warsaw from the 1750s and an untitled collection of 240 chorales housed in the Royal Conservatory Library in Brussells, Belgium.104

No translator is listed on any manuscript or arrangement of Ma vaatan üles mäele and no date is available for the chorale’s introduction to Estonia. Since it is included in the 1784 Gregor

Moravian songbook, it is likely that it was introduced to Estonia around the end of the eighteenth century.

The Saaremaa folk-hymn variant of Ma vaatan üles mäele was recorded in a manuscript by EÜS member A. Kiis in 1908 (see Figure 9.1). Kiis lists the singer who demonstrated the tune for his transcription as Liisa Krepp.

Figure 9.1. Collection manuscript KM EÜS V 157/103/ of Ma vaatan üles mäele (Saaremaa) by A. Kiis 1908, courtesy of the Estonian Theater and Music Museum.

103 Christian Gregor, ed. Choral-Buch, enthaltend alle zu dem Gesangbuche der Evangilischen Bruder-Gemeinen vom Jahre 1778 gehorige Melodien, (Leipzig: Breitkopfischen Buchdruckerey, 1784), 30.

104 RISM (Répertoire international des sources musicales) 147 Figure 9.2 shows an excerpt of Oh võta, armas Jeesus, vastu mult as Cyrillus Kreek would have likely encountered the chorale from the 1915 edition Punschel Choralbuch in the

Estonian National Library in Tallinn.

Figure 9.2 Excerpt from the 1915 Tallinn Punschel Choralbuch: No. 415, Ich blicke nach der Höhe. One version of the chorale that Cyrillus Kreek would have seen. Public Domain.

Figure 9.3 depicts a melodic transformation graph from the Punschel chorale to the folk- hymn variant from Saaremaa. This folk-hymn retains some melodic reference points from the chorale, marked here with dotted lines. The two melodies retain direct form between each other.

The chorale melody has implied harmonic voice leading that is abandonded in the folk-hymn variant. The section of the chorale with the most implied harmonic voice leading is the same section in the folk-hymn variant with no melodic reference points. This section is marked below with dotted brackets. The chorale and folk-hymn variant share only a descending melodic contour in this section. Diatonicization of the chorale melody as a product of improvisation makes sense as folk improvisation rarely involves secondary function.

Another point of interest in the comparison of the chorale and folk-hymn variant is key and range. Kiis recorded the folk-hymn variant in C-major, a key that causes this melody to sit in the highest part of most singers’ ranges. The chorale is in G-major in the Punschel as well as the

Gregor songbook and the two additional manuscripts listed. Cyrillus Kreek arranged this folk-

148 hymn variant for treble chorus in A-major. Kõrvits also sets the eighth movement of Kreek’s

Notebook in A-major.

Figure 9.3 Melodic transformation graph of Ich blicke nach der Höhe to Ma vaatan üles mäele.

149 IPA Transcription, Literal Translation, and Lyric Translation

VIII. Ma vaatan üles mäele

IPA transcription—Alex Favazza

Literal translation—Greete Kõrvits

Lyric translation—Eric Dickens105

Ma vaatan üles mäele, kus Jeesus verene

[ma vatan yles mæele kus jesus verene]

I gaze up to the mountain, where Jesus bloody

(I gaze up at the hill where Jesus all bloodied)

end heitis pale peale ja nuttis raskesti

[end ħeitis pale peale ja nut:is raskesti]

Himself laid block upon and wept heavily.

(threw himself to the ground face down and wept grievously.)

Oh õnnis paistmine end näita sagesti,

[oħ ɤn:is paistmine ent næita sagesti]

Oh blessed shine yourself show often,

(Oh blessed revelation, may you often occur,)

et meil ta surma mure jääks meelde alati

105 Kreek’s Notebook, EMIC conductor’s scores p.42–43. 150 [et meil ta surma mure jæks melde alati]

That for us his death’s grief would remember always.

(so that this grievous death will always be in our mind.)

Music

In movement eight, Kõrvits creates an atmospheric wash of diatonic melodic imitation in the strings. Each string part includes two-part, rhythmically independent divisi, and violin I and cello have solo sections in addition to the divisi. Kõrvits crafts rhythmic motives based on the folk hymn variant that feature two against three at the quarter and eighth note levels. From the opening bars, pictured in Musical Example 9.1, the combination of these motives obscures the listener’s perception of rhythmic pulse. Kõrvits then obscures the harmonic pallete with diatonic polychords and quartal harmonies.

Musical Example 9.1 VIII. Ma vaatan üles mäele—Tõnu Kõrvits, mm. 1–4 © EMIC.

In bar eight, violin II 1 and 2 take up the rhymic motives from the opening. Beginning with the quarter note pick-up into bar ten, Kõrvits introduces the folk-hymn variant melody in the viola under these motivic undulations. A violin I solo doubles four bars of the melody with 151 viola one octave above from the pick-up to bar eighteen through bar twenty-one. By the end of the viola’s iteration of the melody in bar twenty-five, all parts of the orchestra have entered except contrabass. Contrabass enters on an iteration of the folk-hymn variant melody (in the octave of E2 to E3) from bar twenty-seven to forty-two. At bar forty-two, contrabass divides to a

D2 and A2 subdominant-like pedal for two bars under the swirling canons of sesquialteric motives.

In bar forty-four, the contrabass drops out and the triangle enters on a sustained tremolo marked delicato and poco mezzo-piano which continues through the end of the piece. The chorus enters for the first time in the pick-up to bar forty-six in a triumphant forte statement of the folk- hymn variant in octaves with violin I. The soprano and alto double the tenor and bass one octave above, and violin I doubles the soprano and alto one octave above. This entrance is punctuated with a pedal A1 and E2 in contrabass.

This pedal continues until bar fifty-three when the chorus divides into parts. The contrabass then plays colla parte one octave below the bass part of the chorus. At the end of the statement of the folk-hymn variant melody, the chorus sustains a subdominant-like quartal sonority consisting of D3, A3, E4, A4 for three bars with a gradual diminuendo to piano. The rhythmic motives of the orchestra fade out over these bars and are replaced with alternating sustained fifths in diatonic quartal harmonies. These create an ethereal soundscape void of audible rhythmic pulse or harmonic funtion. Tenor and bass enter on a hum doubled by cello and contrabass on a plagal cadence with a four-three suspension in the tenor part. At the release of the tenor, bass, cello, and contrabass chord, the quartal clouds float up as Kõrvits three violin parts into harmonics under a rallentando. The final chord is a pianissimo A-major which includes open fifth harmonics in violin I 1, violin I 2, and viola 1.

152 Performance Practice

The divisi and rhythmic independence of parts causes textural concerns for balance in the eighth movement. The folk-hymn variant melody is presented completely three times: first by viola, then contrabass, and lastly choir with violin I 1. The conductor may help the orchestra by letting players know when these parts should be featured.

The entrance of the triangle can be a guide post for the chorus who has to count forty- four bars of rests.

The eighth movement raises only a few concerns for metric division of diphthong vowels.

Table 9.1 provides a list of diphthong vowels and their metric distribution in Ma vaatan üles mäele.

Table 9.1 Metric distribution for diphthong vowels in Ma vaatan üles mäele.

Location in the Word or portion How word is Metric distribution score: measure, beat of word notated in score for diphthong vowels m. 47, bt. 1 Mäe- One quarter note Split into eighths, [mæ] on first eighth, [e] on second eighth m. 50, bt. 1 Hei- One quarter note Split into eighths, [ħe] on first eighth, [i] on second eighth m. 51, bt. 1 Pea- Two slurred eighth [pe] on first eighth, [a] notes on second eighth m. 54, bt. 3 Paist- One quarter note Split into eighths, [pa] on first eighth, [ist] on second eighth m. 56, bt. 1 Näi- One quarter note Split into eighths, [næ] on first eighth, [i] on second eighth m. 58, bt. 1 in Meil- One quarter note Split into eighths, [me] soprano, alto, and on first eighth, [il] on tenor second eighth m. 58, bt. 1–2 in bass Meil- One half note Split into quarters, [me] on first quarter, [il] on second quarter

153 Orchestral Piano Reduction for Rehearsal

This chapter concludes with Figure 9.7, which is an orchestral-piano reduction of Ma vaatan üles mäele for choral rehearsals. The first forty-two bars, which are strings alone, are marked with a multi-measure rest. This reduction begins two bars before the entrance of the triangle. The triangle entrance is marked with a cue in the choral parts. Since this movement involves divisi in every string part, many parts are condensed or excluded to allow the reduction to be playable. However, the reduction attempts to provide as much rhythmic context as possible so as to make the singers somewhat aware of the contrast between the chorus and orchestra parts.

This movement is particularly problematic for reducing the orchestral parts as the independent rhythmic figures constantly overlap, and rarely is one gesture clearly more important. This movement’s reduction includes some pitches notated to be sustained that must be abandonded for other parts. The collaborative pianist should simply pedal those notes as harmonically appropriate and address moving parts. The final section of the reduction is an attempt to recreate the atmospheric diatonic polychords of the sustained string parts. The collaborative artist should pedal throughout this section as indicated to create a sense of chordal ambiguity. This reduction is not highly idiomatic to the piano and requires a skilled collaborative artist. However, under no circumstances should movements be performed from Kreek’s Notebook with piano and chorus.

154 VIII. Ma vaatan üles mäele Tõnu Kõrvits

q = 72 f Soprano # # 41 # 4 ∑ ∑ & 4 triangle cue Oæ ¥æ. Maœ

Alto # 41 f ## 4 ∑ ∑ & 4 triangle cue Oæ ¥æ. Maœ

Tenor # # 41 f # 4 ∑ ∑ V 4 triangle cue Oæ ¥æ. Maœ 41 f Bass ? # # 4 ∑ ∑ O ¥. œ # 4 triangle cue æ æ Ma

3 q = 72 3 3 3 3 j # 41 j œ # 4 j œ œ œ œ œ œ œœœ œ # œ œ Œ œ œ œ œ œœœ œœœœ œœœ œ œ œ œœ & 4 œ œ œ J œ œ œœœ œ 3 Piano œ œ œ œ œ œ œœœœœ œœ œ œ œ œ œ 3 œ œ œ œ 3 3 j f 41 Ó œ œ œ œ œ œ œ œ œ ? # # 4 œœœœ œ œ œ œ œ œœ # 4 3 œ 3 3 3 w w 46 3 S # # # œ œ œ œ. ‰ œ œ œ œ œ œ œ œ Œ & œ œ œ œ 3 œ œ œ œ ˙ vaa - tan ü - les mäe - le, kus Jee - sus ve - re - ne endœ 3 A # # # œ œ œ œ. ‰ œ œ œ œ œ œ œ œ Œ & œ œ œ œ 3 œ œ œ œ ˙ vaa - tan ü - les mäe - le, kus Jee - sus ve - re - ne endœ 3

T # ## œ œ œ œ. ‰ œ œ œ œ œ œ œ œ Œ V œ œ œ œ 3 œ œ œ œ ˙ vaa - tan ü - les mäe - le, kus Jee - sus ve - re - ne endœ œ œ œ œ œ œ œ B ? # # œ œ œ œ œ. œ œ œ œ œ œ œ œ ˙ # ‰ 3 3 Œ œ vaa - tan ü - les mäe - le, kus Jee - sus ve - re - ne end

46 j œ œ œ œ œ œ œ œ œ œ œ œ œ # # gœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œ œ œ # g 3 œ 3 œ œ & gœ œ œ 3 3 œ g 3 3 3 œ Pno. 3 3 3 3 j Œ Œ œ œ œ ‰ œ œ œ œ œ œ œ ? # # w œ œ œ œ œ w œ œ œ w œ œ œ œ œ gwœ œ œ œ # w w w gw © EMIC 2007

Figure 9.4 Piano reduction for choral rehearsal VIII. Ma vaatan üles mäele. Created by the author with permission from the composer. 155 2 VIII. Ma vaatan üles mäele 50 S # # & # œ œ œ œ œ œ œ œ. ‰ œ œ œ œ œ œ œ œ ˙ Œ œ hei - tis pa - le pea - le ja nut - tis ras - kes - ti. Oh

A # # & # œ œ œ œ œ œ œ œ. ‰ œ œ œ œ œ œ œ œ ˙ Œ œ hei - tis pa - le pea - le ja nut - tis ras - kes - ti. Oh

T # # V # œ œ œ œ œ œ œ œ. ‰ œ œ œ œ œ œ œ œ ˙ Œ œ hei - tis pa - le pea - le ja nut - tis ras - kes - ti. Oh œ B œ œ œ œ œ œ œ. œ œ œ œ œ œ ˙ œ ? ### œ ‰ œ Œ hei - tis pa - le pea - le ja nut - tis ras - kes - ti. Oh 50 œ # # gœ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ # gœ œ œ œ œ œ. ‰ ˙ œ œœœœ œ œ œ & gœ 3 3 œ œ œ g 3 3 3 Pno. 3 j j j œ Œ œ œ œ ‰ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ ‰ œ ‰ ? # # w œ œ œ œ gw œ œ w œ ˙ œ œ ˙ œ œ œ # w gw w ˙ ˙

3 54 S # # œ œ œ œ œ œ œ & # œ œ œ œ ˙ Œ œ œ œ œ œ ˙ Œ õn - nis paist - mi - ne end näi - ta sa - ges - ti etœ

A # # & # œ œ œ œ œ œ ˙ œ œ œ œ œ œ Œ õn - nis paist - mi - ne end näi - ta sa - gesœ - ˙ti etœ

T # # œ œ œ œ œ œ œ V # œ œ œ ˙ Œ œ œ œ œ ˙ Œ õn - nis paist - mi - ne end näi - ta sa - ges - ti et

B # œ œ œ œ œ œ ˙ œ œ œ œ ˙ œ ? ## œ œ œ œ ˙. œ œ œ œ ˙ œ œ õn - nis paist - mi - ne end näi - ta sa - ges - ti et

54 œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ # # œ œ œ œ œ œ œ œ œ œ œ œ # œ œ œ ˙ Œ œ 3 3 œ & 3 3 3 Pno. 3 3 3 œ œ j œ œ œ œ ? # # œ œ œ œ œ. œ œ œ œ œ œ˙ œ œ œ œ œ ˙ œ ˙ œ œ # w w ˙ ˙ ˙ ˙

Figure 9.4 (continued).

156 VIII. Ma vaatan üles mäele 3 58 dim. S # # & # œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ w meil ta sur - ma mu - re jääks meel - de 3 a - la - ti. dim. A # # & # œ œ œ œ œ œ œ œ œ œ œ œ œ œ meil ta sur - ma mu - re jääks meel - deœ œa - œla - ti.w dim. T # # œ œ œ œ V # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w meil ta sur - ma mu - re jääks meel - de 3 a - la - ti. dim. B ? # # ˙ œ œ œ œ œ œ # œ œ œ œ œ œ w meil˙ ta mu - re jääks meel - de a - la - ti.

58 œ œ œ œ œ ˙œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ ### gœ ˙.œ œ ˙ œ œ œ œ œ œ œ œ & gœ 3 œ œ œ œ œ œ œ g 3 dim.3 œ 3 œ Pno. 3 3 3 j j œ œ œ ? # # wœ œ œ œ œ œ œ ˙œ œ œ œ œ œ œ œ œ œ œ œ w˙ œ. j # ˙ ˙œ ˙ w œ

62 p S # # & # w w ∑ ∑ ∑ ∑ p A # ## & w w ∑ ∑ ∑ ∑ p T # # V # w w ∑ ∑ ∑ ∑ p B # ? ## w w ∑ ∑ ∑ ∑

62 œ gœ # # œ œ œ œ œ gœ gœ # J Ó. œ Œ Œ Œ œ Œ Œ Œ œ gœ Œ g Œ œ Œ & 3 œ g g œ Pno. œ g g j j p g g œ œ œ œ œ g g œ # œ œ œ œ œ œ. œ œ œ œ ˙ œ g gœ œ œ ? ## w w & œ Œ œ Œ Œ œ Œ Œ gœ Œ gœ œ Œ œ œ œ œ gœ through m.69 °

Figure 9.4 (continued).

157 4 VIII. Ma vaatan üles mäele very long 68 S # U ## ∑ ∑ ∑ ∑ ∑ ∑ & w π mm A # # U & # ∑ ∑ ∑ ∑ ∑ ∑ π mmw T # # U V # ∑ ∑ ˙ ˙ Œ ∑ mm w ˙. mmw π U B ? # # w ˙. # ∑ ∑ ˙ ˙ w ˙. Œ ∑ w ˙mm ˙ π mm 68 U œ gw # # œ œ ? ˙ ˙ œ œ gw # œ Œ œ Œ Œ œ Œ ww ˙. & œ Œ Œ œ gw & œ œ . œ g Pno. œ π œ œ√ œ # # ? œ œ ? U & # Œ Œ œ œ Œ Œ œ w Œ & Œ Œ w œ œ . as before w w ˙. w *

Figure 9.4 (continued).

158 CHAPTER 10

A CONDUCTOR’S REFLECTION ON PREPARING KREEK’S NOTEBOOK

In January of 2018, I was fortunate to have the opportunity to prepare and conduct

Kreek’s Notebook as part of the inaugural season of the Canterbury Concert Series hosted by the

Episcopal University Center at Florida State University. This concert, Sounds of the Baltics, was the first event in the series and featured works for chorus and string orchestra by Baltic composers Pēteris Vasks and Tõnu Kõrvits. The concert was held in the EUC’s Chapel of the

Resurrection.

Through the generous donations of patrons to the series, I hired eighteen string players and one percussionist for the concert. All the players were students from the FSU College of

Music. Eighteen is near the minimum size orchestra that a conductor could have to successfully perform Kreek’s Notebook. The eighth movement has ten-part divisi in the strings. As previously mentioned, the work was premiered by the Tallinn Chamber Orchestra, which is a similarly sized group.

I also assembled a choir of nineteen singers for this performance. All but three of these singers were Florida State University students. This is also probably the minimum size chorus that a conductor could have to successfully perform Kreek’s Notebook. The Estonian

Philharmonic Chamber Choir, who premiered the work in 2007, performed the work with twenty-eight members.

I prepared the chorus without orchestra for three two-hour rehearsals with the help of collaborative pianist Phil Biedenbender. I shared the podium in these rehearsals with conductor

159 Jeremy Wiggins who was preparing the United States premiere of Pēteris Vasks’s Da Pacem

Domine with the chorus.

Similarly, I prepared the orchestra without the chorus in two two-hour rehearsals which I also shared with Jeremy. The chorus and orchestra joined for a final rehearsal the day before the concert. The combined group also rehearsed together at the sound check the day of the concert.

Preparing this work was a gratifying experience that gave me an even deeper appreciation for the detail in this work. One struggle for non-Estonian choruses with this work will most likely be the Estonian diction. This chorus was extremely skilled in lyrical diction and adapted quickly to the eccentricities of Estonian pronunciation with little need of reinforcement.

The chorus needs to be capable of multiple tonal concepts throughout Kreek’s Notebook.

Passages in the work call for full singing, capable of cutting through a loud orchestra such as in the fourth movement, while other passages call for lyrical sensitivity, such as the fifth movement.

The first movement is scored for SSA treble voices. Besides one measure of soprano divisi in the eighth movement, this is the only movement with treble divisi. The first movement would be comfortable to sing for most treble choruses. As mentioned in the first chapter, the first movement was originally written as a stand-alone piece for treble chorus and strings for a

Christmas festival. It is a great piece to excerpt for a Holiday Collage type concert. Kõrvits also wrote a version of this movement later for treble chorus and glockenspiel.

The only issue that I really found in preparing the first movement was something that was somewhat problematic throughout the work: helping the choir differentiate between u vowels [u] and ü vowels [y] when those vowels are nearby each other in a phrase. I have experienced this issue before in preparing works in German. Something about singing [y] and then switching to

160 [u] makes it difficult to not accidentally sing [y] when it is not called for. However, this issue was resolved speedily, and we laughed about it in rehearsal.

Preparing the first movement with the strings was pretty seamless. There are a couple places to consider balance in the orchestra. Celli play the melody under portato gestures in the violin and viola. This line should be brought out.

The second movement contains a few pitfalls for choir. There are two unison quintuplets that require some rehearsing. The movement also contains a couple false relations between the choir and the orchestra, one example can be seen in Figure 3.5 from Chapter 3. In bar forty-three, the chorus has two false relations in one bar, E-natural against E-flat chord in the orchestra and a

C-sharp against the orchestra’s C-major chord. This C-sharp is also approached by a quintuplet.

The movement includes two slides that need to be worked out for timing: bar twenty-two where tenors slide up a major second from F3 to G3 and bar forty-two where all parts slide from C- sharp3 to C3. The second movement splits into four choral parts in the last two bars. This divisi includes a low C2 in the bass II part, which is not an accessible note for most singers.

The orchestral parts are much harder to navigate than the choral parts. The movement has many grace notes multi-note groupings and thirty-second note flourishes. Getting these groupings to fit cleanly in the rhythmic structure of the work demands tremendous attention to detail.

The third movement is pretty straightforward. I did find that the younger string players struggled with keeping the sixteenth notes on the beat for the repeated sixteenth dotted eighth passages. As they played they tended to rush and turn the figures into dotted eighth sixteenth note passages happening before the beat. We were able to work this out within two rehearsals.

161 The fourth movement begins unaccompanied, and it is essential for the choir to keep the pitch for when the orchestra enters. In the fourteenth bar, the tenors divide and sing a rather difficult descending passage in thirds that drops below the basses. In bar forty-six, the basses sing the same bass line as the contrabass. This passage is low in the range and requires a brighter approach to cut through the texture. At the meno mosso in bar fifty-nine, the choral harmonies are somewhat difficult. This passage also includes a low D2 for bass II.

The fourth movement requires the most difficult string playing. This movement contains many fast passages with sixteenth notes, none of which are slurred. This can prove tricky for maintaining the ensemble’s rhythmic integrity. This movement was difficult to bring together rhythmically. I found that some less experienced players had a tendency to rush the sixteenth note passages.

The fifth movement contains an unaccompanied pedal chord in the choral parts that is highly difficult to sustain. The bass part sustains a low F2 for eleven bars at a slow tempo and through fermati. Additionally, the soloist sings in a different key from the chord below. These elements in themselves would not be as challenging if the orchestra did not enter while the choir was sustaining their final chord.

The second section of the fifth movement includes pervasive ornamentation. These passages are not terribly difficult, but they do require some rehearsal to keep them metrically precise. As mentioned in the sixth chapter, the string parts from the fifth movement include difficult thirty-second note flourishes that cross three strings.

The only problem that I faced in preparing the sixth movement was maintaining the tempo which is marked at quarter note equals between ninety-eight and one hundred two beats per minute. This movement had a propensity to drag.

162 The most challenging aspect of preparing Kreek’s Notebook for chorus is the seventh movement, Minu hing, oh ole rõõmus. Even with highy skilled singers, the pan-tonality and pervasive dissonance of this movement take time to find their place in the ear and the voice. I certainly spent the mot time on the seventh movement in rehearsals.

The most challenging part of preparing the orchestra is probably the eighth movement.

Players are often one or two on a part as well as being asked to play rhythms that drastically contrast with the other players in their section. Playing the rhythms successfully while maintaining accurate intonation is a difficult task.

As for bowing, Kõrvits’s slurs are mostly intunitive as a function of bowing; therefore, string players will need little guidance for the bowings in Kreek’s Notebook. Meeting with a player to discuss bowing before the first rehearsal, though, will most likely maximize rehearsal efficiency.

Preparing and conducting Kreek’s Notebook was a highly rewarding experience. The work is very popular with audiences. The choral-miniature style of the movements and the variety in the music helps to keep audience members’ attention.

163 CHAPTER 11

CONCLUSION

Summary

Choral-orchestral masterworks are an important part of the repertoire of university, community, and professional choruses in the West. Conductors are customarily well educated concerning the choral literature of important German, Italian, French, and English composers throughout history. However, the choral tradition of Estonia is a rich musical treasure and deserves consideration in programming. The purpose of this study was to enable scholarly performances of a specific Estonian choral-orchestral masterwork, Kreek’s Notebook by contemporary Estonian composer Tõnu Kõrvits through providing a general resource for conductors interested in this work.

This study included a discussion of the development of Estonian folk-hymn variants as well as their association with twentieth-century Estonian composer Cyrillus Kreek. This introduction also included a history of the genesis of Kreek’s Notebook.

Kreek’s Notebook is organized into eight movements, each of which is based on a different Estonian folk-hymn variant. This dissertation investigated the source material for each movement: the folk-hymn variants, including source documentation when available, the original chorales associated with each, and tracing their melodic transformation.

A literal and poetic translation was included for each movement as well as an IPA transcription for lyric diction and a table for the metric distribution of diphthong vowels.

Chapters two, three, five, six, seven, eight, and nine end with an orchestral piano reduction for choral rehearsals. Chapters two through nine also include a brief musical investigation into

Kõrvits’s compositional techniques and the articulators of form for each movement. 164 Future Research

The present study focused specifically on a single work by Tõnu Kõrvits but not on the composer himself. A documentary to be released in the Fall of 2018, directed by Marianne

Kõrver, will focus on the composer himself. Tõnu Kõrvits is in demand as a composer and regularly has several commissions; however, he is in the prime of his career, and his greatest works may have yet to be written.

Kõrvits works are representative of a fresh comtemporary voice in classical music composition. The harmonic exploration in the eighth movement of Kreek’s Notebook is more characteristic of the majority of Kõrvits’s compositions. His 2015 work Mooreland Elegies has the same instrumentation and a more explorative harmonic palette. This work was recently recorded by the Estonian Philharmonic Chamber Choir with the Tallinn Chamber Orchestra. The recording has received numerous accolades. This work could be the subject for a similar type of study in the future.

Kõrvits has written for many different media. He has scored the music for several films from documentaries to puppet movies. A comparitive study considering salient features of

Kõrvits’s compositional techniques across different media could prove a fascinating investigation.

Tõnu Kõrvits is a composer in a line of well-known Estonian composers. He studied with

Jan Rääts, who himself was a student of Mart Saar and Heino Eller. Kõrvits occupies the Heino

Eller composition studio at the Tallinn Conservatory. A study on the lineage of composers and stylistic traits passed on through the Tallinn school of composers may prove a thought-provoking inquiry into the development of compositional techniques in Estonia.

165 APPENDIX A

CATALOG AND SCORES OF CYRILLUS KREEK’S ARRANGEMENTS OF FOLK-HYMN VARIANTS THAT OCCUR IN KREEK’S NOTEBOOK

Title Region Voicing Year of Collection Number Publisher of origin arrangement in Collection Nüüd ole, Kihnu SSA 1931 Eesti 74 Kirjastus Jeesus vaimulikud Muusika kiidetud rahvaviisid naiskoorile II Nüüd ole, Kihnu SATB 1949 75 56 Kirjastus Jeesus Kaanonit Muusika kiidetud segakoorile II Nüüd on see Rapla SSA 1933 Eesti 13 Kirjastus päev ju vaimulikud Muusika lõppenud rahvaviisid naiskoorile I Nüüd on see Rapla SATB 1949 75 11 Kirjastus päev ju Kaanonit Muusika lõppenud segakoorile I Ma kiitlen Pärnu- SSA 1933 Eesti 46 Kirjastus ükspäinis Jaagupi vaimulikud Muusika neist verisist rahvaviisid haavust naiskoorile I Oh võta, Kolga- SSA 1933 Eesti 36 Kirjastus armas Jeesus, Jaani vaimulikud Muusika vastu mult rahvaviisid naiskoorile I Oh võta, Kolga- SATB 1949 75 24 Kirjastus armas Jeesus, Jaani Kaanonit Muusika vastu mult segakoorile I Su hooleks Mustjala SSA 1933 Eesti 59 Kirjastus ennast annan vaimulikud Muusika ma rahvaviisid

166 naiskoorile I Su hooleks Mustjala SATB 1949 75 42 Kirjastus ennast annan Kaanonit Muusika ma segakoorile II Su hooleks Mustjala SATB 1949 75 43 Kirjastus ennast annan Kaanonit Muusika ma segakoorile II Lenda üles Otepää SSA 1934 Eesti 138 Kirjastus kurbtusest vaimulikud Muusika rahvaviisid naiskoorile IV Minu hing, oh Lääne- SSA 1932 Eesti 148 Kirjastus ole rõõmus Nigula vaimulikud Muusika rahvaviisid naiskoorile IV Minu hing, oh Lääne- SATB 1938 25 17 Edition 49 ole rõõmus Nigula vaimulikku rahvalaulu Ma vaatan Saaremaa SSA 1933 Eesti 169 Kirjastus üles mäele vaimulikud Muusika rahvaviisid naiskoorile IV

167

168

169

170

171

172

173

174

175

176

177

178

179

180

181

182

183

184

185

186

187

188

189 APPENDIX B

CATALOG OF MAJOR WORKS FOR CHORUS: CHORAL- ORCHESTRAL, MULTI-MOVEMENT, AND LARGE SCALE CHORAL WORKS BY TÕNU KÕRVITS THROUGH 2017

Title Year of Language Voicing Instrumentation Length Publisher composition Mooreland 2015 English SATB String orchestra 55’ Estonian Elegies Music Information Center By the 2014 Estonian SATB String orchestra, 10’ Estonian Rivers of solo cello Music Babylon Information Center Kreek’s 2007 Estonian SATB String orchestra 30’ Estonian Notebook Music Information Center Baltic 2010 English SATB Bassoon 22’ Estonian Elegies Music Information Center Hymns 2009 Swedish SATB Saxophone 25’ Estonian from the quartet Music Western Information Coast Center Seven 2009 Estonian SATB Cello 25’ Estonian Dreams of and Music Seven English Information Birds Center Songs 2005 Estonian TTBB Percussion 12’ Estonian About Rain Music and Wind Information Center Three 2001 Estonian TTBB Flute, harp, 6’ Estonian Prayers to percussion Music Light Up a Information Face Center Songs from 2016 Estonian TTBB unaccompanied 21’ Estonian Delores’s Music Songbook Information Center 190 Canticle of 2014 English SATB unaccompanied 30’ Estonian the Sun Music Information Center Stabat 2014 Latin SATB unaccompanied 11’ Estonian Mater Music Information Center Songs of 2011 Estonian SSAA unaccompanied 15’ Estonian Song of Music Songs Information Center Haikus of 2011 Estonian SSAA unaccompanied 8’ Estonian Nõmme Music Information Center Three 2008 Icelandic SATB unaccompanied 12’ Estonian Songs from Music Iceland Information Center

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196 BIOGRAPHICAL SKETCH

Name: Alex Favazza

Birthplace: Knoxville, Tennessee

Date of Birth: 26 February 1987

Higher Education: Doctor of Philosophy (2018) Florida State University Tallahassee, Florida

Master of Music (2015) The University of Southern Mississippi Hattiesburg, Mississippi

Bachelor of Music Education (2009) Middle Tennessee State University Murfreesboro, Tennessee

Professional Experience: Shelby County Schools Southwind High School Memphis, Tennessee Choral Director, 2009–2013

Publications: “Your Heart” SATB with piano (2017) (Colla Voce Music 44-96720) “To Thee, Cherubim and Seraphim” SATB with piano (opt. orchestra) from Te Deum in D Major HWV 283 – G. F. Handel, ed. and arr. – Alex Favazza (2017) (Hinshaw Music HMC 2530) “Bes Inshafat bi Jamal” SATB with piano and horn (2017) (Hinshaw Music HMC 2526) “Pasce Agnos Meos” TTBB unaccompanied (2015) (Colla Voce Music 44-96750) “I Thought of You” SATB unaccompanied (2015) (Colla Voce Music 44-96790) “Hidden Love” SSAA unaccompanied (2015) (Colla Voce Music 44-96780) “Garden Song” SATB with piano and flute (2014) (Colla Voce Music 44-96770)

197