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ABSTRACT Title of Dissertation: GIVING VOICE TO ABSTRACT Title of Dissertation: GIVING VOICE TO THE FORGOTTEN: AN EXAMINATION OF THE MUSIC AND CULTURE OF VELJO TORMIS’S “FORGOTTEN PEOPLES” CYCLE Erik Reid Jones, Doctor of Musical Arts, 2006 Dissertation directed by: Professor Ed Maclary Department of Music Veljo Tormis’s development as a composer was influenced by the political climate in which he was raised. He was born into a flowering and independent Estonia, with a parliamentary system of government and a people developing their own sense of individual culture after winning independence from Russia in 1920. Unfortunately, when Tormis was ten years old, this national independence and stability fell apart. Estonia would not regain its independence until 1991, when Tormis was 61. This combination of foreign occupying powers would have a significant impact on Tormis’s musical life and direction. That a people can be subsumed into a larger population might have been one of the driving factors that led Tormis to go beyond Estonia and study the music of the ancient cultures that surround his homeland. These Baltic Finns include (by his definition) the peoples surrounding the Gulf of Finland, the Gulf of Riga, and the eastern shore of the Baltic Sea. This includes Latvia, Estonia, some of far western Russia and portions of southern and eastern Finland. Out of these explorations came six cycles of a cappella choral music set to the music and languages of mostly dying cultures, in a collection called Forgotten Peoples. This purpose of this project is to make the Forgotten Peoples collection more accessible to performers and listeners. First we will examine the history, culture, and language of the six different peoples, especially among those areas where they share commonalities. Next, we will do a lyrical analysis of the pieces, pointing out stylistic traits that are common in Balto-Finnic poetry. Finally, we will take an analytical look at the construction of many of the movements in the Forgotten Peoples collection. GIVING VOICE TO THE FORGOTTEN: AN EXAMINATION OF THE MUSIC AND CULTURE OF VELJO TORMIS’S “FORGOTTEN PEOPLES” CYCLE by Erik Reid Jones Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park in partial fulfillment of the requirements for the degree of Doctor of Musical Arts 2006 Professor Ed Maclary, Chair Professor Lawrence Moss Professor Martha Randall Professor Philip Silvey Professor William Stuart ©Copyright by Erik Reid Jones 2006 PREFACE This text is meant especially for choral conductors and singers who wish to perform one or more of the six cycles from Veljo Tormis’s Forgotten Peoples collection. It is intended to provide performers with a brief and practical background on each of the six cultures and languages that Tormis used for crafting these pieces, his magnum opus, over a 20-year period. It will also give musicians an overview of the musical and textual structure of each work. First the reader will examine the history, culture, and language of the six different peoples, especially among those areas where they share commonalities. Next, the reader will understand the lyrical construction of the pieces, pointing out stylistic traits that are common in Balto-Finnic poetry. Finally, the reader will take an analytical look at the construction of all of the movements in the Forgotten Peoples collection. As a supplement to this paper, and in fulfillment of the performance requirement of the degree, digital live performances of the Master Singers of Virginia (under the direction of Erik Reid Jones) singing music from three of these cycles is included. For all six cycles I have used the publications by Edition Fazer, a division of Warner/Chappell Music Finland Oy, in the editions specifically created for English- speaking performers. What to call each of these cycles and the individual movements therein can be problematic. These songs, as a rule, do not have titles and so Tormis gave them all titles in the Estonian language, even though none of the pieces are written in Estonian. Without original language titles, English seems to be as good a choice as Estonian for referring to the collections and movements, and has the added benefit of making this paper much ii clearer and easier to comprehend. Therefore, I will refer to collections with the English title. I will refer to movements either with the English title (such as Annikkini, Maid of the Island) or with a numerical designation (the second movement from Karelian Destiny.) A complete set of lyrics in the original language, their Estonian titles, and an English translation is included in Appendix A. It is difficult to do justice to even one of these peoples, let alone all six. It is my hope, however, that this work brings the reality of who these people were a little bit closer to the performer’s world. When musicians sing these pieces, they should always remember that they are celebrating peoples whose language, culture, and very identity has been (in most cases) wiped off the map. To perform just the music itself, with no sense of the history behind each piece, is to do these cultures and the music a grave injustice. Please note that portions of this dissertation were published as a separate article in the April 2005 edition of The Choral Journal. Grateful thanks are given to Fennica Gehrman Oy, Helsinki (2006) for their permission to print the musical excerpts contained herein. iii DEDICATION To Colin Elijah Jones, whose imminent arrival on this earth was all the inspiration I needed to finish on time. iv ACKNOWLEDGEMENTS I would like to thank the following individuals and groups for their contributions to this project: Professor Ed Maclary, for his guidance and inspiration. Professor Philip Silvey, for confirming that my fascination with Veljo Tormis was not misplaced. The staff of the Estonian Embassy in Washington, DC, for encouraging this project over the last three years. The editorial staff of the ACDA Choral Journal, for printing an earlier draft of this paper as the cover story in the April 2005 issue. The Master Singers of Virginia, for having the faith in me necessary to tackle such outside-the-mainstream music. And finally, to my wife Rochelle, for late-night snacks and even later-night proofreading. v TABLE OF CONTENTS Introduction and Background ............................................................................................. 1 Regilaul, the Estonian Folk Song............................................................................ 4 Forgotten Peoples: The Music of the Baltic Finns.................................................. 5 The Peoples......................................................................................................................... 8 Geographical Distribution and Language Roots..................................................... 8 The Livonians ....................................................................................................... 12 The Votes (or Votians).......................................................................................... 16 The Izhorians (or Izhors) ...................................................................................... 20 The Ingrians .......................................................................................................... 23 The Vepsians (or the Veps)................................................................................... 30 The Karelians........................................................................................................ 32 Folklore and Song............................................................................................................. 38 The Kalevala ......................................................................................................... 38 The Baltic Singing Tradition ................................................................................ 40 The Lamenting Tradition ...................................................................................... 43 The Karelian Lament ................................................................................ 44 The Ingrian Lament................................................................................... 46 The Wedding Lament ............................................................................... 48 Motifs and Structural Elements of the Text...................................................................... 51 Base and Precious Metals ..................................................................................... 51 Alliteration and Beginning Rhyme ....................................................................... 53 Sequence and Parallelism ..................................................................................... 54 Musical Analysis............................................................................................................... 56 Livonian Heritage ................................................................................................. 57 Movement 1: Waking the Birds................................................................ 58 Movement 2: At Pasture ........................................................................... 61 Movement 3: Shrovetide........................................................................... 65 Movement 4: Wee Winkie Mouse (Lullaby)............................................ 66 Movement 5: Sang the Father, Sang the Son............................................ 67 Votic Wedding Songs ..........................................................................................
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