ESTONIAN SYMPHONIC MUSIC. THE FIRST CENTURY 1896-1996. (0)

UNO SOOMERE
ESTONIAN SYMPHONIC MUSIC.
THE FIRST CENTURY 1896-1996.
AN OVERVIEW
With a Historical and Cultural Summary
IN MEMORY OF THE GREAT ESTONIAN COMPOSERS
CONTENTS
ESTONIA AND THE ESTONIANS
FOREWORD

IN THE FOLD OF TSARIST RUSSIA . EMERGENCE AND FIRST STEPS ON THE CLASSICAL - ROMANTIC PATH .

HISTORICAL INTRODUCTION

I. MUSICAL LIFE IN TARTU AT THE TURN OF THE CENTURY. TRAILBLAZERS: ALEKSANDER LÄTE, RUDOLF TOBIAS, ARTUR KAPP.

II. THE FIRST DECADE OF THE 20TH CENTURY. ARTUR LEMBA: THE BEGINNING OF ESTONIAN SYMPHONY AND OPERA.

III. NEW DEVELOPMENTS IN CULTURAL AND MUSICAL LIFE:

THE END OF THE TSARIST PERIOD .

THE INDEPENDENT REPUBLIC OF ESTONIA: THE INTRODUCTION OF INNOVATIONS FROM WESTERN ART AND THE EVOLUTION OF NATIONALLY ORIENTED MUSICAL TRENDS .

IV. THE TWENTIES. ARTUR KAPP: ROMANTICIST AND DRAMATIST.

V. THE INFLUENCE OF NEW WESTERN MUSICAL TRENDS. HEINO ELLER: A PROGRAMME PAINTER.

VI. THE THIRTIES. THE WIDENING OF NATIONAL SYMPHONISM. THE RISE OF ATTENTION TO HISTORY AND FOLKLORE: JUHAN AAVIK, EDUARD TUBIN, EUGEN KAPP.

VII. FURTHER MATURING OF SYMPHONIC MUSIC: HEINO ELLER, EVALD AAV, EDUARD TUBIN. THE FIRST ESTONIAN BALLET. SUMMARY OF THE REPUBLICAN PERIOD.

HALF A CENTURY UNDER SOVIET OCCUPATION . IDEOLOGY OVER MUSIC. EXTENSIVE INFLUX OF CONTEMPORARY TRENDS.

VIII. THE FORTIES. TRANSFORMATION OF ESTONIAN LIFE. THE WAR-TIME SYMPHONIC OUTPUT.

IX. THE PLANTING OF NEW CREATIVE PRINCIPLES DURING THE POST-WAR YEARS.

X. THE SECOND HALF OF THE FIFTIES. TOWARDS A MODERN IDIOM: EINO TAMBERG AND VELJO TORMIS.

XI. THE NEOCLASSICISM AND CONSTRUCTIVE THINKING OF JAAN RÄÄTS.

XII. THE FIRST HALF OF THE SIXTIES. DODECAPHONY OF ARVO PÄRT.

XIII. THE DRAMATIC PHILOSOPHICAL OUTPUT OF HELMUT ROSENVALD.

XIV. THE ELEMENTS OF JAZZ, FOLK MUSIC AND DODECAPHONY IN THE SYMPHONISM OF ANTI MARGUSTE.

XV. HEIMAR ILVES AND HIS MUSIC – DEEP IN THOUGHT AND FEELING .

XVI. THE POST-WAR SYMPHONIES OF EDUARD TUBIN. DEEPENING ACCENT ON PSYCHOLOGIC-DRAMATIC EXPRESSION.

XVII. THE SECOND HALF OF THE SIXTIES. THE NATIONAL AND INTERNATIONAL IN THE ESTONIAN SYMPHONIC MUSIC. JAAN KOHA. ESTER MÄGI. KULDAR SINK.

XVIII. THE SEVENTIES. THE NINTH SYMPHONY OF EDUARD TUBIN. THE CREATIVE EVOLUTION OF ARVO PÄRT.

XIX. THE SEVENTIES. STYLISTIC DIVERSIFICATION. THE MATURE STYLES OF HEINO JÜRISALU, ANTI MARGUSTE AND EINO TAMBERG.

XX. ALO PÕLDMÄE: FULLNESS OF COLOURS AND MULTITUDE OF DETAILS.

XXI. MATI KUULBERG: SPECTACLE, BRILLIANCE, LIGHTNESS.

XXII. RAIMO KANGRO: ROCK, POP AND NEO-CLASSICISM.

XXIII. LEPO SUMERA: DEEP NATIONAL SPIRIT, EVOCATIVE AND PHILOSOPHICAL THINKING.

XXIV. ERKKI-SVEN TÜÜR: LYRICIST SEARCHING FOR HIS PATH THROUGH SYNTHESIS.

XXV. THE EIGHTIES. SUMMARY OF THE OUTPUT OF THE SOVIET PERIOD. RIPENING OF THE PRESUMPTIONS FOR A NEW HISTORICAL TURN.

THE RE-ESTABLISHED REPUBLIC OF ESTONIA.

XXVI. THE NINETIES AND THE FIFTH GENERATION OF COMPOSERS.

XXVII. THE SPECIFIC FEATURES AND TRENDS OF ESTONIAN NATIONAL SYMPHONISM.

XXVIII. THE PERFORMANCES OF SYMPHONIC MUSIC: THE ORCHESTRAS OF TARTU AND TALLINN.

XXIX. ESTONIAN SYMPHONISTS ABOUT CREATIVITY.

CONCLUSION

APPENDIXES
APPENDIX A. SELECTED PUBLICATIONS ON ESTONIAN HISTORY AND CULTURE IN GENERAL.
APPENDIX B. BIBLIOGRAPHY OF ESTONIAN SYMPHONIC MUSIC
APPENDIX C. RECORDINGS OF SYMPHONIC MUSIC.
APPENDIX D. SCORES OF SYMPHONIC MUSIC PUBLISHED.
APPENDIX E. CHRONOLOGY OF ESTONIAN SYMPHONIES.
APPENDIX F. SOUND TAPES OF ESTONIAN SYMPHONIES IN THE ESTONIAN MUSIC INFORMATION CENTRE AT THE COMPOSERS UNION.
APPENDIX G. SOME PROGRAMMES WITH ESTONIAN MUSIC AND CONDUCTORS.
APPENDIX H. INDEX OF PERSONAL NAMES .
APPENDIX I. SELECTION OF PHOTOGRAPHS.
APPENDIX J. MUSICAL EXAMPLES . PIANO ARRANGEMENTS AND SCORE SAMPLES.

APPENDIX K. USEFUL ADDRESSES.

ABOUT THE AUTHOR

ESTONIA AND THE ESTONIANS

Estonia is situated on the southern shore of the Gulf of Finland , between the Baltic Sea and Lake Peipsi . The country is populated by Estonians who belong to the Western Finnish group of nations, a branch of the Finno-Ugric stem, and speak the Estonian language . Estonia is the northernmost of the Baltic States . From west to east the length of the country is 360 kilometres and the width, from north to south , is 255 kilometres.
The area is 45,227 square kilometres of which more than 4,000 square kilometres are made up by islands and islets (over 1,000); there are more than 1,400 lakes that form nearly 5% of the total area. More than 40% of the entire area is woodland. The country is flat ; the average elevation is 50 metres above sea level. The highest peak , Suur Munamägi rises to only 317 metres. High limestone features characterise the north of the country, while the south has a drumlin terrain. The maritime climate is temperate, summers are warm and winters mildly cold , the average annual temperature is 5 degrees Celsius and the average annual precipitation is 550 millimetres. The most important assets of the soil are oil shale, phosphorite and peat.
The designation “Aestii” was first mentioned by the Roman historian Tacitus in “Germania” (98 AD). By the end of the first millennium the people of Western Europe referred to the land of our ancestors with the name Estonia (derived from Germanic languages and means East). The Estonians, our Finno-Ugric forefathers settled here in approximately 5,000 BC from northern Russia and the Urals, as fishermen and hunters. They called themselves “ rural people”, the term “Estonians” started to spread three centuries ago, taking firm root in the middle of the 19th century.
From the 13th century onwards the ancient Estonians had to continually fight for their freedom , against the Danes, Germans, Swedes, Poles and Russians. The Russians annexed the Estonian territory from Sweden after the Great Northern War in 1721 by the Treaty of Nystad. After the fall of Tsarist Russia in 1917, Estonians fought for their independence, and in 1918 the Republic of Estonia was established and endured until 1940. In the summer of that year the Soviet Union occupied all three Baltic states.
As a result of the deep inner crisis within the Soviet Empire it became possible to re-establish the Estonian Republic in August 1991. A month later Estonia joined the United Nations. In 1997 the population reached 1.462 million; from this Estonians total 65% (950,124) and other nationalities 35%. The capital Tallinn, mentioned for the first time in 1154, has a population of 434,800 (1995). Other important towns are Tartu, Kohtla-Järve, Narva and Pärnu.
Estonia is a developed industrial and agricultural country. In industrial output: oil shale, electrical energy, mineral fertilisers, paper , chemicals, building material , and textile production are prominent . In agriculture: milk, milk products , meat, grain, potatoes, fruits and vegetables.
Estonian cultural life is manifold and intense , initiated by the National Awakening movement during the second half of the 19th century. Estonian folk arts date back to the remote past. In Estonia there are 27 higher educational establishments, among them seven universities with more than 25,000 students and post-graduates (1996); the oldest is Tartu University ( founded in 1632), which enjoys a high international reputation. In Estonia there are unions of writers , artists , composers, actors , cinematographers etc; ten professional theatres, two film studios, and the state institution Estonian Concert Agency .
The first Estonian book was published in 1525; in 1996 2,234 books and booklets were published in Estonian. The first film company began in 1920. A National Broadcasting Company was established in 1924, and Estonian Television in 1955.
Unique in their dimensions and popularity , with up to 30,000 singers and audiences over 200,000, are the traditional Song Festivals , which began in Tartu in 1869: they vividly express the feeling of oneness within the nation .
For further detailed information, please consult:
Statistical Yearbook of Estonia 1997.
Statistical Yearbook of Estonia 2000.
Life in Estonia. Handbook 2005. Ambassador Collection .
Statistical Yearbook of Estonia 2006.

FOREWORD

This book is first and foremost written by a composer. I am of the opinion that it is a creative individual that must take on this hard task : realising it, presumably, more profoundly as he stands nearer to the Source of all sources from which all the innermost sublime and substantial ideas stream .
In this book Estonian symphonic music is discussed from its starting point, the pathetic overture Julius Caesar (1896) by Rudolf Tobias , up to the works of the young composers of the 1990s. This is the first book that presents a general treatment of the Estonian symphonic music. Other Estonian literature on this subject has offered a broader background. This book should appeal to composers, musicologists, conductors, educationalists, instrumentalists, music students, as well as everybody interested in Estonian symphonic music.
The book is divided into 29 chapters where more than 70 orchestral compositions of 32 composers are examined. The background on the developments in music is illustrated through historical data and cultural achievements in literature, art, theatre and film in all their complexity . For making the music accessible 238 score examples (piano arrangements and some score originals) have been added. There is a Bibliography and list of useful addresses.
I have worked on this text for twenty- five years , with some intervals, paying a lot of attention to the phenomena of cultural life in general. Without this background and the changes in it there would be no new and novel happenings in the Arts. For evaluating the past and present we need a perspective. This perspective cannot be confined to that which is at hand at the present moment: it loses its sense . While examining our present achievements we must not praise them excessively: this may lead to the abasement of the ideal .
The essential development of Estonian music has taken place within the past one hundred years. The creation of national symphonic works indicated that a remarkable cultural level had been attained. A need for such music had arisen and there were composers able to fulfil that need. Further development has brought forth pregnant, succinct individual works based on both nationally inspired and international means of expression. Juxtaposing the beginnings and the present moment we may observe the continual increase of manifold aesthetic values , being merged into the cultural life of the epoch, mirroring the eternal demands of Man’s spiritual existence.
I am aware of the complexity and difficulty of the task I have undertaken. Estonian symphonic music: this is a wide world of sound, full of contradictory artistic ideas, strivings, explorations, discoveries, success and failure . This is the musical chronicle of an epoch already lived. Naturally, one person cannot grasp it totally with all its multiple manifestations: it seems impossible. Therefore we have to have certain reservations when evaluating the works of composers who are still writing. There is no temporal distance between music and the listener. The spirituality and pithiness of music opening up in the course of time pronounce the last word on either the value or worthlessness of any musical composition .
I am writing about Estonian symphonists and symphonism. What do I mean by this term? For example, one can speak of the symphonism of Eduard Tubin , Artur Kapp and Arvo Pärt . In its best and exact sense symphonism means the creation of a sublime philosophical idea in music in an intense extensive and developing form. Symphonism is a way of thinking through the medium of music and therefore perhaps the most prefect way in its singularity. Only an artist whose inner world is rich in thought and perception and who is endowed with a strong faculty of logical thinking and powerful fantasy , can develop into a symphonist. In symphonism both the dynamics of inner and outer world conflicts, collisions and dialectics springing from the synthesis of opposing forces are revealed. Due to these qualities symphonism becomes apparent in opera , oratorio, concerto and chamber music. However , the broadest opportunities for the method are pronounced in orchestral music.
From a historical standpoint we can divide the evolution of Estonian symphonic music into four periods: Russian Empire 1896-1918; Republic of Estonia 1918-1940; Soviet occupation 1940-1991; and the re-established independent Republic of Estonia since 1991. The latter period, however, began with some difficulties and serious problems.
It is important to note that during the period 1908-2000 Estonian composers wrote 144 symphonies. This great number serves as motivation to confine myself to orchestral works. Moreover , this number may be somewhat larger if we take into account that I have no exact information about the activities of all Estonian composers living outside Estonia. From this uneven and variegated whole I had to choose works worthy of attention. Thus I have had to treat the symphonists in the same manner . I apologise if a colleague does not find his name mentioned. The volume for this extensive work is limited. As the manifold activity of several elder composers still has deep significance today , I have, for the sake of completeness, discussed their other spheres of operation .
Symphonic music is divided into two large subsections: instrumental and choral (oratorio and cantata) works. The latter has been severely cut from this work; some examples from momentous stage and oratorical works constitute an exception. The orchestral music will be discussed in some detail, bringing forth the human being and their eternal problems in the widest and deepest sense. The need to be concise and comprehensive has directed the choice of music. I have attempted to elicit the most essential without analysing all of the details . However, the reverse may happen and some of the essential may get lost .
Nevertheless, it is impossible to handle all the challenges of one specific musical field in a single book. Several questions connected with creativity, both of the musician (inducements, scope of ideas, intentions) and the listener-auditor (traditionalism, novelty, subjective wishes), can be answered most effectively by the music itself. Thus many unanswered questions remain . Therefore, this book should be considered as an attempt to convey a general picture . Moreover, I had to set limits in the treatment of the historical-cultural status forming an integral part of the whole.
A book on this subject may be conceived in two different ways :
1) Laying the main emphasis on symphonism as the creative method and demonstrating how different composers in different periods have applied it individually.
In this case the creative method would be the “ axis ” with the composer “spinning” around it. This is a deductive form of research.
2) Observing Estonian symphonic output both in an exact and broad sense and connecting these aspects. Both the individuality of the creative method with the concomitant typical features are taken into account, thus the orchestral music would illustrate, to advantage , the “axis”. This is the inductive form of research. The latter approach seems more expedient to the author.
To get a deeper understanding of every single work I try to establish the idea concerning musical thought and feeling, through this concept the philosophical aspect of creation will make itself manifest. From this we can attain a deeper understanding of the composer’s thought processes . In evaluation I begin with ethical aspects and the cultural-historical background.
The aim has been to attain maximal objectivity by not only relying on my spiritual criteria and personal opinion but also offering the viewpoint of others – composers and scholars – in order to create a wider base for evaluation. Simultaneously I am not obliged to follow any intricate theories whoever the theorist may be. The only real source for all is the live animated performance of music.
Speaking about the intrinsic value of music composition, the great erudite Estonian composer, Maestro Heimar Ilves, noted that approximately 80 to 90% is hidden in the creative ideas within the thematic material.1 The great, decisive role of thematics, core ideas, is emphasised by the outstanding symphonist Eduard Tubin and by Artur Kapp, both meritorious Estonian composers.
When we want to consider a musical work seriously there must be a considerable core idea: vivid, momentous, profound and absorbing. It may be expressed through different means and not only through a completed conception. We can recognise this when it is evident that there is no equivalent possible in words . Music and speech are two different forms of language: often flowing in parallel , but never coinciding.
Creation is simply unexplainable and those who are of the opinion that by analysing music its value can be analysed, have taken a wrong path. Value remains beyond analytical means.2
The first Estonian symphonists (Tobias, Kapp, Lemba) began with a classical-romantic background applying historically defined subdivisions: action , mediation, playfulness, and closure. With all this complexity there must be for the listener a recognisable value-judgement core: it may be comprehensible either semantically or absolutely.
We must not forget that all change and transition in Estonian symphonism, in whatever period, never dominated all the composers. Perseverance, poise and conservatism1 have shown, usually later than sooner, that all is not gold that glitters from afar, and chasing “ fresh -isms” may prove to be a naïve and infantile stimulation.
“Concrete” music, instrumental (absurdist) theatre, “happenings” – such affairs do not, in my opinion, illustrate an exceptional talent , but rather feebleness. One of the great absurdities seems to be the fusion of many antagonistic styles, methodologies and languages in one composition: all becomes equally hazy and flat. Remembering the beginning of the 1960s , when the “new wave” of Modernism had arrived on my doorstep, I have to note some points that are still relevant today.
Firstly, the symphonist as a creative entity: their spiritual existence is the key to the value of their music. During the Soviet occupation a popular bon mot was: “Artists are engineers of the human soul .” It has certain credibility even today. A genuine talent will exert a profound influence on their audience : acknowledged internationally, they have taken tremendous responsibility on themselves, leading , possibly, masses either towards illumination or spiritual repression.
Secondly, the concept of symphony has diffused; maybe other designations would be more fitting: musical pictures, sound poems , scenes, moments, etc. In connection with this a question of relative and absolute aesthetic values arises. How far can an author go that his compositions can still be considered music?
Music must be renewed every day. (Karlheinz Stockhausen)
All is music. (John Cage)
At least for a certain time consonance must be eliminated from music. ( Arnold Schönberg)
All are architects . (Joseph Beuys)
Structure – this is one of the keywords of modern music. (Pierre Boulez)
We should in the first place draw a flexible borderline between art music and background music (usually performed to accompany visual arts). It is common to connect contemporaneity with technical forms. I cannot consider the aspect of analysis in detailed, all-dissecting, formal treatment either as conclusive or resolute. This is just a reverse process to creation. I agree with Arnold Schönberg who said: “… look at my works what they are and not how they have done .”1
In my understanding the terms contemporary, modern, up-to-date, new, novel, old- fashioned and so on, have become unclear and even lost their synonymous content. Everything seems relative. However, on an absolute spiritual level, which we have yet to reach , all contradictions will, in the end, find their solution . This is the true path and there stand the genuine answers. In other words, when trying to evaluate music you have to shift attention from your Head to your spiritual Heart .
Genuine art production must be the source for spiritual nourishment. Real advancement as I comprehend it stands in mounting higher, nearer to divinity, not vice versa. The orchestral creation may be considered a powerful means for spiritual growth .
Modern Estonian symphonism exhibits diverse , uneven, splintered tendencies. Several young composers have shifted their attention to timbres and “ pure ” sound. The major , painful problem is the shortage of vigorous, impressive and profound core ideas.
Considering that Estonian symphonism as a profession is just a century old we can hardly regard ourselves as highly developed. The opinions and evaluations from a modern perspective may seem an exaggeration, as Rudolf Tobias prophetically stated in 1913.2
Commentary and evaluation is a complicated challenge since no human language is able to adequately express everything that has been expressed in music. The essential thing for the qualified reader is undoubtedly listening to Estonian music: experiencing its emotions and discovering its ideas and values.
It appears that the contemporary is not “contemporary” at all. In its deepest layers it maintains inseparable connections with the past and makes its way into the future. The requirement for the novel appears as an assertion towards the external search, but is it not evident that the start of the search should be internal , towards the Primary Source. What I mean here is not so much a certain style but the essence of the music we would like to adopt. This is neither old nor new, because it is born from the Absolute. This cannot be put into words but recognised only. We hear and sense it in the Indian raga, the Gregorian chant , the mass of Palestrina, the passion of Bach and the symphony of Beethoven . At the side of such music modern poly -stylistics may be just a desperate quest.
The values in Estonian music and their reception in the world indicate that first of all the works of Rudolf Tobias, Eduard Tubin and Arvo Pärt are recognised and appreciated. The reasons for this simply flow from their music.
Some of my colleagues may find one or another aspect of Estonian symphonism lacking in my survey . This is unavoidable. I opine that what may seem very important “inside” here, may seem quite unimportant to observers “outside”. If there is anything exemplary in my investigation, it is undoubtedly Estonian symphonic music at its highest and most sublime. It is natural that high value in music, its sublime and profound impact, on the base of a grand spiritual idea, can be expressed completely only by pure and clear means. Our analyses and evaluations, be they either positive or negative , do not change the value of a single composition in an absolute sense.
As Buddha put it:
It was so of old, Atula. It is not just so today. They criticise him who sits in silence, they criticise him who talks a lot. They even criticise him who speaks in moderation. There is not a man in the world who is not criticised.
(Dhammapada, Adage 227).
A spiritual level and erudition in the arts, the ability to recognise and evaluate existing high artistic qualities is essential. The more the listener searches for the sublime spiritual germ in music and is able discover and evaluate it all, the more competent and objective they will become.
I must thank the late Professor Leo Normet, PhD, of the Estonian Academy of Music for his advice and assistance in my use of English musicological expressions . Professor Roman Toi, PhD, of the Royal Conservatory of Toronto; Doctor Ea Jansen of The Institute of History at Tallinn University for their valuable opinions; Professors Margus Pärtlas and Eino Tamberg of the Estonian Academy of Music and Maris Männik-Kirme of Tallinn University for their useful remarks.
I deliver my sincere gratitude to the musicologist Priit Kuusk for his thorough and erudite help with annotations. My thanks also to the English editor Janusz Peters and his research team Maria Ehrenberg and Karola Tönov for their kind assistance in the preparation of the manuscript for publication.
And last but not least I owe many thanks to our prominent and meritorious conductor Maestro Neeme Järvi for his essential assistance in setting the manuscript in motion .
This book is indebted to Bhagavan Sri Satya Sai Baba, the God Incarnate in Prasanthi Nilayam, the Southern Indian State Andhra Pradesh. For the fundamental conceptions in the arts and life I rely on His guidance, especially on the brief presentation of ageless Truths in the subchapter About Spirituality in Music.
Uno Soomere
Tallinn, January 2008.

IN THE FOLD OF TSARIST RUSSIA. EMERGENCE AND FIRST STEPS ON THE CLASSICAL-ROMANTIC PATH.

HISTORICAL INTRODUCTION

Listening to poetry and singing the finest vital functions awaken.
You feel being appeased by it. You will improve and progress.
Kristjan Raud, 1911.
Estonian culture did not possess the same opportunities for development as the great nations of the West: from the middle of the thirteenth century Estonia, in essence, had the status of a colonial territory and Estonians had to live under the oppression of several foreign powers: Germany , Russia, Denmark , Poland and Sweden.
Throughout this period the main channel of expression, national spirit , and the guardian of national identity was the indigenous Estonian folk art: runic poetry, songs , tales, tunes , dances, richly decorated handicraft, and folk customs. The ancient Estonian runic song stood quite apart from the European tradition : the core consisting of one-two phrases in small diapason (up to 5-6 tones), recitative performance, slow movements, a governing epic -lyrical mood with mostly stable rhythmic patterns , as a rule usually sung by women in one voice . In the second half of the 19th century Estonian folk song and folk poetry were displaying novel features. The end rhyme became dominant and previous archaic melodies were substituted by more lively tunes sometimes reproducing features from German and Swedish music.
After the Great Northern War in 1721 Estonia became part of the Russian Empire; though Estonians had lived as the serfs of the Baltic-German nobility since the 16th century, they would remain serfs until 1816 when serfdom in Estonia was abolished by the Russian tsarist government . The Baltic Germans retained their upper class position , both spiritual and economic , until the end of the 19th century. The abolition of serfdom and the reforms that followed stimulated the economic development and the rise of an Estonian class of small landowners, peasants with some civil rights .
At the same time the rise of national self- consciousness encouraged Estonians into purposeful efforts to acquire education. Some important preconditions for this had been obtained. Teachers received their education mostly from the pedagogical seminaries in the towns of Tartu and Valga. Village teachers and parish clerks were called “the salt of the earth” and their manifold educational and cultural activities inspired the people.
The first choirs and later brass bands were organised in rural areas during the 1820s and 30s. Singing and instrumental playing were included in the curriculum of parish schools by the second quarter of the century. By the end of the century, due to these schools teaching in the mother tongue, the majority of Estonians had attained full literacy. This education programme would become the foundation for the progress of a nascent national culture and the development of a young Estonian intelligentsia.
Improvements in the economic capacity of the peasantry on the one hand and the continuation of the education programme on the other soon bore the first fruit. The period between 1860 and 1885 is generally known in Estonian history as the Era of National Awakening: the emergence of national self-consciousness without political independence. The elevation of educational and cultural life, the organisation of communal and political activity became the main national aims. Estonians recognised they were bound by their country, their language, spirit and common goals in their struggle against foreign domination. The Estonian intelligentsia, growing and developing, became the spiritual and ideological backbone of the nation.
During the period of National Awakening the first cultural institutions were founded and the first prominent Estonians in the cultural field, whose activities would have a deep and lasting influence, came to the forefront of Estonian society. Johann Voldemar Jannsen (1819-1890) was the first editor of the first permanent Estonian newspaper , Pärnu Postimees (Pärnu Postman), established in 1857; he was also the founder of the first influential cultural society Vanemuine in 1865. In 1869 the Vanemuine Society organised the first national song festival , all choirs and brass bands gathered together in Tartu. Though following German patterns, this all-Estonian enterprise became a national tradition and, coloured by the Estonian spirit, expressed the unity of the Estonian people. In its essence this became a spiritual manifestation of national potential. The success of the festival led to more choirs and bands being organised in Estonia. The following year the society would found the first amateur theatre. Dr. Friedrich Reinhold Kreutzwald (1803-1882) was the compiler of the national epic poem , Kalevipoeg, the first Estonian literary work to achieve international recognition, published in sequels between 1857 and 1861; he was a strong influence on the young Estonian intellectuals, a writer , a practising physician, and a member of foreign societies (the Finnish Literary Society and the Hungarian Academy of Sciences ). Dr. Karl August Hermann (1851-1909) was a philologist, the most prominent figure in the music life during the National Awakening, and the publisher of the first Estonian music journal Laulu ja Mängu Leht (Newspaper of Song and Play).1
The early Estonian nationalists fought for civil rights, the democratisation of society, raising the educational and cultural level, and against privileges and rank . Dr. Jakob Hurt (1839-1907), pastor, theologian, folklorist and philologist, became the ideological leader of the nation and was the first president of Eesti Kirjameeste Selts (Society of Estonian Men of Letters ). He outlined a wide national cultural programme to deal with the substantial cultural and educational challenges that deeply engrossed him; he was the initiator and organiser of a great collection of folklore and folk songs, and scholarly research. Jakob Hurt advocated the rights of the Estonian language in schools and official management , emphasised the importance of folklore, equal rights of all nations to existence, and the advancement of the church in the spiritual life of the nation. Carl Robert Jakobson (1841-1882), as well as being a journalist, writer and educationalist, was an active politician and ideologist; his ideal was to have a free Estonian farmer, independent of the German landlord, achieving this status through the redemption of his land.
The original literature of the period well represented the time; nationalist ideas together with protests against the privileges of the Baltic-German nobility stood in the forefront. Historical topics were often written in prose , for example, stories by Eduard Bornhöhe (1862-1923), Tasuja (Avenger), novels by Andres Saal (1861- 1931 ), such as Vambola. These were romantically inspired scenes from the heroic and desperate struggle against the German knightly orders in the 13th and 14th centuries. Under the harsh conditions of the Russification programme initiated in the 1880s such books stimulated the national spirit and willpower to resist all alien oppression.
The poetess and playwright Lydia Koidula (1843-1886, daughter of Johann Voldemar Jannsen) played an exceptionally important role in the two decades before her death ; her poetic talent emotionally and inspirationally expressed the national spirit, glorifying her homeland and its people. Koidula’s song, Mu Isamaa on Minu Arm (My Country is My Love) with the music written by Gustav Ernesaks (1908-1993) finished every song festival since 1947 (a tradition still very much alive ), and became the unofficial anthem during the Soviet occupation when her father ’s Mu isamaa, mu õnn ja rõõm (My Country is My Pride and Joy), the anthem of the first independent Estonian Republic (music by Friedrich Pacius, 1809-1891) was banned. For the Vanemuine Society, as a founder member of the national amateur theatre, her first play, Saaremaa Onupoeg (The Cousin from Saaremaa) was the inaugural performance of the theatre in 1870.
The completion of Johann Köler’s (1826-1899) studies at the Academy of Arts in St. Petersburg in 1855 may be given as the birth date of Estonian national art. Though he travelled extensively in Europe, with a long sojourn in Italy, and became a professor and member of the Russian Academy of Arts (he was also the private teacher to Maria, the daughter of Tsar Alexander II), he became one of the prominent and influential leaders of the Estonian democratic movement. Other figures of note are the sculptors August Weizenberg (1837-1921) and Amandus Adamson (1855-1929); both studied in St. Petersburg and in Europe, gaining European recognition.
The first notable Estonian composers, the brothers Aleksander Saebelmann-Kunileid (1849-1875) and Friedrich August Saebelmann (1851-1911), were amateurs. However, their songs and arrangements of folk tunes have preserved their intrinsic value.
Several composers were inevitably influenced , and therefore limited, in their development by the spirit of German music (a singing style often referred to as Liedertafel). Yet we have to appreciate the long historical connections with German culture; whether in music of different genre or in other fields. In the 19th century German cultural influences were the attainable means to gain an insight into advanced Western culture, as well as other world cultures . We may argue that the process of “national awakening” had a connection with the resurgence of the Baltic-German culture.
The ideas of the German Enlightenment philosopher and critic Johann Gottfried von Herder (1744-1803), the theorist of Sturm und Drang, had exerted an influence on the emerging Estonian intelligentsia. In this respect , Tartu University, having international connections and developing an international reputation, had a remarkable effect on the cultural thought of the whole nation.
The Russification policies of the late 19th century restrained the development of national cultural life. It was a specific counter -attack on the influence of German culture by the tsarist government. The Russian language was established as the official language in all schools and government institutions. In spite of this Estonian social and cultural life continued to develop, the song festivals retained their nationalist spirit, choral singing remained popular and the number of brass bands grew. David Otto Wirkhaus (1837-1912) was the first organiser and conductor at the all-Estonian song festivals.
The non-existence of national independence, the limitations to civil liberties and political activity, the shortage of funds and capable intellectuals all provided obstacles for a general cultural evolution as well as the development in music. This was the era that witnessed the blossoming of an amateur in music.
Johannes Kappel (1855- 1902 ), composer and organist, graduated from the St. Petersburg Conservatoire with honours in 1881; he would become the first professional musician of Estonia. Miina Härma (1864-1941), the first female Estonian composer, and Konstantin Türnpu (1865-1927)1 also graduated from the Conservatoire; they graduated as organists having studied composition as a subsidiary subject. However, they would not become symphonists.
Symphonic music was still waiting for its time.

I. MUSICAL LIFE IN TARTU AT THE TURN OF THE CENTURY.

TRAILBLAZERS: ALEKSANDER LÄTE, RUDOLF TOBIAS, ARTUR KAPP.

The tsarist Russification policy failed to halt the consolidation of the Estonian social and cultural consciousness to pursue their aims and aspirations. By the turn of the century the university town of Tartu retained its leading role as the cultural centre of Estonia. The general level of cultural life was rising and the body of Estonian intelligentsia was growing rapidly. Two distinct groups of the Estonian intelligentsia can be identified. The faction in Tartu, gathered round the newspaper Postimees, was led by Jaan Tõnisson (1868-1941?), a lawyer and politician, one of the founders of the first Estonian bank in 1902 and establisher of the first Estonian political party Rahvameelne Eduerakond (National Progressive Party) in 1905.1 The group in Tallinn centred round the newspaper Teataja (The Announcer), and was headed by the lawyer and politician Konstantin Päts (1874-1957). Among the members were the writers Eduard Vilde (1865-1933), Anton Hansen Tammsaare (1878-1940), and the philologist Johann Voldemar Veski (1873-1968). The newspaper concentrated on economic development, social problems and democratic reform, availability of primary and secondary education in the native language of Estonians.
In Estonian literature critical realism came to the fore , exemplified in the works of Eduard Vilde, many of which have a strong social background; Külmale maale (To the Frozen North, 1896), for example, depicted the poverty and decline in village life. At the same time the mature works of the poet Juhan Liiv (1864-1912) had a great impact reflecting both the sorrow he felt about the problems of Estonian society and the adoration he had for his country.
In the visual arts realism was adopting modern trends. Many artists took their subject matter from rural life. Kristjan Raud (1865-1943) became the first whose charcoal drawings and paintings reflected national symbolic backgrounds. As the opportunities for artists to work in Estonia improved, Kristjan Raud and Ants Laikmaa (1866-1942), opened their studios in Tallinn and Tartu. Both are regarded as the founders of national art life. Impressionism had exerted an influence on the works of Konrad Mägi (1878-1925) and Paul Burman (1888-1934), their works express the richness of colour in nature . Exhibitions were organised, Estonian folk art was cherished and collected into the archive of Eesti Rahva Muuseum (Estonian National Museum ) founded in 1909 for research and popularisation of Estonian history and culture. In spite of the lack of badly needed funds, Estonian society demonstrated its selflessness by supporting the establishment of schools, cultural societies and theatre buildings.
In drama at the turn of the century several permanent amateur theatre companies were established. According to the press of the time there were over a hundred amateur groups and 84 music societies in Estonia. Contemporary foreign plays were performed for the first time (for example, Ibsen and Shaw).
The music life in Tartu was evolving both in width and depth and Estonian music achieved a higher level as the first professional orchestral works were written by Rudolf Tobias (1873-1918), Aleksander Läte (1860-1948) and Artur Kapp (1878-1952).
Aleksander Läte, after graduating from the Dresden Conservatoire where he studied choral composition between 1895 and 1897, settled in Tartu in 1900. There he founded the first Estonian symphony orchestra composed of students, school teachers and pupils from the secondary school. The first performance of the orchestra took place in November 1900, compositions by Haydn , Schubert and Cherubini were performed and the audience’s reception was extremely warm. Inspired by this success Läte organised two choirs to perform cantatas and oratorios. At the same time he was active as a music critic and one of the pioneers of Estonian chamber music. His most fruitful years were between 1900 and 1907. The output of the composer indicates a transition, after a long formative process, from following German patterns to a more crisp expression.
His first attempt in symphonic music was the overture Kalevala (1897, completed in 1900), the term-work at the Dresden Conservatoire, depicting the Finnish national epic in sound. The hero of this programmatic work is Väinämöinen, coming from the ocean and ordained to work and fight on Earth. Kalevala was composed for twofold instrumental scoring, also used by Tobias, Kapp and other contemporaries. The form was conventional: an introduction, sonata- allegro form, and coda . The main theme (Väinämöinen) is not especially vigorous, it is somewhat mild and static. There is a soft and lyrical subsidiary theme expressing the hero’s love for the Northern Maiden ; though there is little contrast between the themes .

Example 1.

Example 2.

The development could have been more purposeful. Preference has been given to repetitions, with some alterations, of the main theme. Qualitatively novel sequences are few. Both the classical harmony and the scanty imitational polyphony are simple . The final section (Presto) proceeds in gushing swing .
The German critic Carl Hunnius wrote:
Praising the Overture we can say that it reveals a vivid character , contains deep thoughts and is composed boldly with firm features. But its drawback stands in the not great impression at the end. We consider the short and unexpected final Presto guilty in this, booming and banging… threatening to demolish the stately edifice.1
The overture was warmly received, as with every new symphonic composition at the time, but it did not have any permanent influence on Estonian symphonic music. Obviously such themes demanded quite a different creative hand, one that could express “thunder and lightning ”. Some later works by Läte do not excel the overture in their quality . No doubt , for the composer the overture was a weighty achievement .
From 1904 onwards the activities of the composer Rudolf Tobias played an important role in Tartu. He returned from St. Petersburg, where he had graduated from the Conservatoire as a composer and organist in 1897. He was active as a music teacher, conductor, organist, pianist , critic, and together with Läte arranged performances of classical music. Tobias formed the first Estonian string quartet and Heino Eller (1887-1970) was its first violinist. In 1906 the Vanemuine Theatre orchestra became professional. This all helped bring about a qualitative change in the musical life of the town.
By 1908 both Läte and Tobias had ceased their activities in Tartu but the foundations for performing Estonian symphonic music had been laid . From the summer of 1908 symphonic concerts continued under the baton of Samuel Lindpere (1872-1928).
Tobias was one of the first Estonian music journalists and critics . In his writings he expressed his faith in the future of Estonian music, however, he realised that there were no favourable opportunities for the performance of large works under the restricting circumstances. He hoped to find suitable opportunities in Western Europe and left for Europe in January 1908. Before departure, he gave a concert of his works, a second concert took place later in Tallinn.1 The programme included his pathetic overture Julius Caesar. This work stands out as the first Estonian symphonic composition, written in 1896, during his student years in St. Petersburg, one year earlier than Kalevala by Aleksander Läte. The music was inspired by the Shakespearian tragedy of the same title.
The overture begins with a bright introductory theme on brass instruments : let us call it the theme of Caesar:

Example 3.

The next subsidiary theme is mournful and restless. As a formal novelty the subsidiary theme is presented in a D major tonality (the main tonality being C minor ), characterised by the effect of a brightening colourful harmony and non-quadratic structure:

Example 4.

The main theme (Allegro) is full of energy, like a challenge:

Example 5.

The thematics of the overture is concentrated; the development section is based on recurrences of themes and their modifications. The mutability of timbres, both the openness of harmonic “direction” and the non-quadratic form are remarkable features.
Tobias is applying the principle of motivic development, yet all the themes maintain their basic character evenly in the process. In harmony the classical homophonic foundation is obvious. The leading role belongs to the strings , while the solos of the brass are unpretentious, giving the whole texture an airiness of sound. The inflexionally intensified repetitions build the tension in the whole.
In his work Tobias appears as a pathetic rather than a psychologically dramatic composer. The inner world of his hero Caesar has been explored convincingly and with vigour, especially if we take into account that Tobias was only 23 and the overture was his term work. We can detect neither a pronounced individuality nor direct influence, apart from some stylistic patterns of Beethoven. Yet the features of individuality are in sight : especially in harmony and the shaping of form. We consider the overture a valuable cornerstone of Estonian symphonic music, though here and in the following symphonic works of the period, the pursuit of national musical expression had yet to start.
Included in the concert programme of 1907 was Tobias’s Konzertstück, the first piano concerto with orchestra in Estonian music, probably completed in 1898 . The composer played the solo . We can observe the influence of Schumann, Liszt and Grieg. The romantic-lyrical spirit is dominant, dramatic elements seem to vanish into the multicoloured stream of beautiful thoughts. In spite of the classical rondo -sonata form of the Finale improvisational freedom is prevalent: poetic reverie alternates with vigorous outbursts, being somewhat decorative and spectacular.
Tobias developed into a grand master in his last period in Germany, his music abounding with ideas and vitality. Already during his Tartu years he had an intention to write an opera on the national epic Kalevipoeg. In Germany, the search for national expression became manifest in Capriccio (1909) based on the Estonian folk tune Varese sõjasõnumida (The Crow’s War Message ), the ballad Sest Ilmaneitsist ilusast (The Beautiful Heavenly Maiden, 1911) and Kalevipoja epiloog (Kalevipoeg’s Epilogue, 1912) for reciter and orchestra.
In Berlin he became acquainted with some prominent musicians, Ferruccio Busoni among them, who held in high esteem his piano playing, erudition in music and openness. During the last six years of his life (1912-1918), apart from a two year hiatus in the German army, he taught music theory at Königliche Hochschule für Musik (Berlin Royal College of Music). The years in Germany, especially the war years, brought much hardship, and an overstrained life struggle led to his death from pneumonia in October 1918.
Tobias as a creator with a dramatic nature concentrated his energies on oratorio and cantata, being a pioneer in many respects. His oratorio Des Jona Sendung (The Mission of Jonah, 1909) for five soloists, three choirs, organ and symphony orchestra, is one of the most profound and forceful works in Estonian music. Its first performance was in Leipzig in the same year,1 finding approval in the German press, an acknowledgement in spite of certain failure in rendition. A partial performance took place in Tallinn, August 25th, 1913 to mark the opening of the new Estonia Theatre and Concert Hall buildings.
I hope that my work will not be lost for the Estonians, from the deepest roots of my heart I have raised it as I experienced everything I wanted to tell about my hero.2
The oratorio consists of 38 sections arranged into 5 scenes. The dramatic tension of the work is shown through the contrasting heavenly and mundane forces. The essential message of Jonah to the people is to lead a pious, pure life and to surrender oneself to God’s will. The composer was seized by the character of Jonah and saw him as a symbol of moral resistance of a minority to the rulers of Nineveh. And the prophet fulfils his mission.
Example 6. Leitmotif of God.
Example 7. Leitmotif of Jonah.
In 1910 Tobias wrote:
Ecclesiastical music exists and is a powerful agent that every serious musician must take into consideration, whether he wishes it or not. Mystical threads are invisibly connecting musical art and the religious world proceeding between superhuman and mysticism. The composers of today are lacking the organ of interest in transcendental matters, but in most cases they have not found timely contents for traditional forms of sacred music.3
Dr. Hermann Kretzschmar, the Rector of Königliche Hochschule für Musik, after becoming acquainted with the oratorio said that from the time of J.S. Bach to the present (1912) there was no other powerful composition in the given genre. Thanks to his oratorio Tobias was accepted as a temporary lecturer on music theory at the Hochschule in 1912.
For decades this great and large, deeply individual and dynamic work, full of creative imagination (not limited by the short Book of Jonah in its essence) remained unknown. The first full performance of the oratorio took place in Tallinn on May 25th, 1989, the soloists, choirs and orchestra conducted by Peeter Lilje (1950-1993). A restored oratorio, by Vardo Rumessen, was performed on June 23rd, 1994, conducted by Neeme Järvi (b. 1937). A successful tour of Northern Europe followed. Leo Krämer, the principal conductor of the Estonian National Symphony Orchestra, 1991-1993, stated:
I delight in the synthesis that can be found in the Oratorio. This is Europe at the end of the nineteenth century, St. Petersburg included. The composer has interwoven all the threads in a genial manner, so the full accordance is recognisable. This is marvellous.1
In 1928 Mart Saar (1882-1963) wrote:
Tobias is a strong talent with a tendency towards Neo- classicism . He impresses us more with the strength of his talent and character than with originality. What we can recognise in his works is alert , courageous, vivid and optimistic moods with an aspiration for powerful, mighty, potent and grand conceptions. His melody is precious, even sublime and abstract . His polyphony differs from that of Wagner and Richard Strauss as more limited and dependent on harmonic bases… With all his mastery of composition he has not set any element of music, let it be harmony, counterpoint or form-polishing as a special purpose for himself .’2
The second orchestral work in Estonian music – we must keep in mind the chronological order of their completion – was the dramatic overture Don Carlos 1, composed as a term work by Artur Kapp in 1899.
Artur Kapp graduated from the St. Petersburg Conservatoire in composition in 1900. He continued working in St. Petersburg as a teacher and organist, having given concerts in Moscow , Estonia and Finland since 1898. In 1904 he accepted the post of director at the Astrakhan2 Music School, where his activities were numerous: teaching, composing prolifically, and performing as an organist and conductor. In 1920 he returned home to Estonia.
Don Carlos was first performed in Pavlovsk3, later in Moscow, in Astrakhan and in Tartu4. In the work the main feature of Kapp’s individual style for powerful dramatic tension associated with passionate lyricism was already developing. The score has an abundance of thematic material. The introductory theme begins with the doleful sounds of a French horn :

Example 8.

The strenuous singing main theme (Violins) is activated by chromatics and syncopation:

Example 9.

The subsidiary theme is also in a minor key and played as if in one exhalation of breath, this is a wide “vocalisation” (Flute, Clarinet and Violins): like the plaintive song of a lost soul:

Example 10.

In the slightly extended development section all the thematic material has been remarkably transformed. The music of Kapp, in accordance with his nature, is intrinsically dynamic. The introductory theme is remodelled at the end, in a powerful imperative movement. The influences of Beethoven and Tchaikovsky may be detected. The score is compact though not overloaded. Quick changes dart throughout the piece , the composer illustrates the inner contradictions, pain, hopes and poetry of the hero, Prince Carlos, son of Philip II. This may sound operatic without the staging, but Kapp had a remarkable penchant for psychological characterisation. In comparison with Julius Caesar we hear more thematic material and as a result the form is more extensive.
Generally in the first orchestral compositions by Rudolf Tobias, Aleksander Läte and Artur Kapp we can discern notable national-romantic tendencies. To be precise it was the classical-romantic background that gave impetus to their development. This was nothing extraordinary because influences from German and Russian music were still perceptible. In subject matter and creative approach we can draw parallels with painting and sculpture where the precepts of academic art prevailed before the turn of the century: the artists had a similar educational background and many had studied in St. Petersburg.

II. THE FIRST DECADE OF THE 20TH CENTURY.

ARTUR LEMBA: THE BEGINNING OF ESTONIAN SYMPHONY AND OPERA.

The Russian revolution of 1905 gave a strong incentive for further developments both in the social and spiritual spheres in Estonia. This was the time for the extensive formation of a middle class in Estonia and the deepening of social contradictions within the nation. Political parties were formed. The revolution was an important event in liberating the thought and active energy of the Estonians: the ideas of territorial autonomy and self-determination were spreading.
The Noor-Eesti (Young Estonia) developed as an important cultural and literary movement. In their first almanac, issued in 1905, the ideological leader and poet Gustav Suits declared:
Unanimity, common perceptions are the things we need in Estonia. The lack of these is the damnation of our people; it is one the main reasons for our powerlessness, our appalling incapability. I cannot say that such qualities as courage, self- confidence , spirit of initiative, good faith and hope for the future can be found to any remarkable extent in Estonia. We say: Youth is obliging! And we shout: More culture! More European culture! Let us be Estonians but let us also become Europeans.
The Young Estonia movement emerged thanks to the heightening of the general cultural level. In the vanguard of the movement were the writers and literary critics: Gustav Suits (1883-1956); Friedebert Tuglas (1886- 1971 ); Villem Ridala (1885-1973); Bernhard Linde (1886-1954); and Johannes Aavik (1880-1973). Submerging into the depths of life, bringing forth its nature and offering it to the intelligent reader were the stated aims. Emphasis was laid on artistic-aesthetic expression while the social function of art was considered as secondary. Several other writers had contact with the movement: August Kitzberg (1855-1927), Aino Kallas (1878-1956) and Anton Hansen Tammsaare. Several painters belonged to the movement: Kristjan Raud, Nikolai Triik (1884-1940), Konrad Mägi (1878-1925) and Aleksander Tassa (1882-1955). The Young Estonians shared broad cultural interests; they studied and translated literary and artistic works from Scandinavia and Europe, and an influential role was played by the journals Noor-Eesti (1910-1911) and Vaba Sõna (Free Word, 1914-1916).
This important development was due to a change in the general world-view, and the widening and deepening national consciousness. At its height (the years before the First World War) the Young Estonians immersed themselves in the ideas of Western philosophy and art (Impressionism, Symbolism etc), obviating Russian and German influences, initially Scandinavian ones were emphasised, followed by other European ideas. The needs of an evolving cultural society directed the attention of the literary intelligentsia and artists towards the great Western cultural centres, many went to study in Helsinki , Berlin, Paris , and so on.
However, Estonian composers were not very eager to study in the West (exceptions being: Adalbert Wirkhaus in Leipzig with Max Reger, and Juhan Simm in Berlin, improving his conducting skills later at the Paris Grand Opera). The academic St. Petersburg Conservatoire with its international teaching staff was more to their taste .
On the initiative of the circle that had gathered round Postimees, Eesti Kirjanduse Selts (Estonian Literary Society) was established in 1907, considering the promotion of literature, arts and sciences, and the study of homeland and nation as its main tasks. Estonian art was influenced by the growing interest in folk art that emphasised folklore and the ancient past. There were remarkable achievements in poetry and fiction as well as in historical and landscape painting and book illustration. Mention should be made of poet and linguist Gustav Suits, poetess Marie Under (1883-1980), writer Eduard Vilde (1865-1933), artists and book illustrators Konrad Mägi and Nikolai Triik.
The first decades of the new century saw the reformation of the literary language. Johannes Aavik enriched the vocabulary and modernised its structure. Johannes Voldemar Veski and Villem Ridala should also be mentioned as meritorious linguistic innovators.
In Tartu the new building of the Vanemuine Theatre was inaugurated in 19061– an event that turned into an international affair. The prominent stage producer and theatre educator Karl Menning (1874-1941) became head of the company in Tartu and continued with his principles of ensemble theatre. His method based on psychological realism would influence the Estonian theatre for decades. In his opinion the main function of theatre had to be educational. A position similar to Menning was held by Karl Jungholz (1878-1925) in Tallinn. Both had studied under Max Reinhardt in Berlin. At the same time the actors in the Estonia Theatre in Tallinn displayed a certain romantic-theatrical tendency, preferring a more international repertoire (Shakespeare and Schiller among others) and musical production.
1906 turned out to be a remarkable year. Both Tartu’s Vanemuine and the Estonia Theatre in Tallinn became professional. For the celebration concert of this event in Tartu, two new works were written: The First Estonian Suite by Artur Kapp and Overture-Fantasy No. 12 by Mihkel Lüdig (1880-1958). Kapp’s Suite is important because for the first time an Estonian composer used Estonian folk music. Lüdig also touched upon a folk tune. Kapp used quotations from the tunes as themes for variation . In spite of his professionalism the work lacks originality: the national spirit reveals itself “academically”.
The Overture-Fantasy of Lüdig is based on two themes. The first theme is wistful though bright in character, expressing yearning and deep sincerity:
Example 11.
The second theme: the Estonian folk tune Get up, Sweet Brothers is brisk and joyous:
Example 12.
Repetitions of modifications are intrinsic elements in the shaping of form. The general harmonic scheme is not complicated: sophisticated polyphonic thinking is not in the composer’s nature. The instrumentation appears economical, mutable and lively, the abundance of details seems to be a deviation of the sonata-allegro form. We may say that the developmental process is limited: but this is not Lüdig’s way of thinking. There is neither a wide sweep nor a synthesis of materials. The overture is almost reminiscent of Tchaikovsky though without resemblance in either style or idiom. Lüdig is a lyricist and romantic; his musical spirit presents sublime pathos and brilliance, with candid sincerity. This work easily stands out among his few short orchestral compositions.
The first operas were staged in 1908-1909: Conradin Kreutzer’s Das Nachtlager in Granada (A Short Stay in Granada) and Friedrich von Flotow’s Alessandro Stradella1, directed by Paul Pinna (1884-1949) under the baton of Adalbert Wirkhaus (1880-1961). The first Estonian operetta, Jaaniöö (Midsummer Night ), was composed by the latter and staged in 1911.
The honour of writing the first opera and the first symphony must be given to Artur Lemba (1885-1963). Artur Lemba graduated from the St. Petersburg Conservatoire in 1908 in piano and composition with admirable success (Gold and Silver medals respectively).
Lemba was only 20 when he composed Sabina (1905), a story derived from ancient Roman history. The first version of the libretto was also written by Lemba. The first performance of this romantic drama took place in the Pavlovo Hall, organised and staged on the initiative of the Estonian Women’s Society, in 1906.2 The plot and libretto was not to the liking of the Estonian audience. The Estonian poetess Anna Haava (1864-1957) reshaped it into poetic form under the title The Daughter of Lembitu (Lembitu was a 13th-century Estonian leader and freedom fighter against the Livonian Brothers of the Sword).
The two-act opera begins with a spring morning scene , maidens are singing, and Aino the daughter of Lembitu appears. A young Estonian Meelis expresses his love for Aino but she declines him, in her aria she appeals to the spirit of her ancestors for strength.
In the second act the historical Battle of St. Matthew's Day (September 21st, 1217) has just taken place and Lembitu is dead. Aino, the people, and the knights arrive; the knights demand surrender. Aino is disdainful of both the knights and Meelis, who appeared with them. Grasping a sword she kills herself.
Obviously the main weakness of The Daughter of Lembitu is rooted in the libretto, it seems lacking in both depth and width, and is too short, without genuine inner development of the characters . Certain superficiality is noticeable. Fully charged national literary content and thoroughly restrained romantic music did not find an accord. The German critic Carl Hunnius wrote:
The influences of Niels Gade, Anton Rubinstein and Richard Wagner may be felt. The final chorus sounds like something ancient and is very pleasing… we might hope that in the sense of national expression Lemba will develop fruitfully. Of this… there may be seen yet but very little. 1
In his recitals, on April 26th and 27th 1908 in the Vanemuine Theatre, Lemba demonstrated his abilities both as a conductor and pianist. Lemba remained a piano teacher at the St. Petersburg Conservatoire, he was awarded professorship at the age of 30. His wide range of activities as a teacher, composer and concert pianist continued there until 1920, when he returned to Estonia. He was one of Estonia’s first professional pianists together with his elder brother Theodor Lemba (1876-1962). In the Twenties and Thirties he gave recitals in several European cities: Helsinki, Stockholm , Budapest, and Paris. In his First Piano Concerto (1905, composed in his student years), which is one of his best achievements, the salient features of his style may be recognised: the breadth of melody, romantic spirit and form winning plaudits for its grace and serenity, refined orchestration. This music may seem too “smooth”; we do not encounter severe challenges. Nevertheless, it is very poetic and popular.
The first Estonian symphony was composed in 1908 as his diploma work in composition.1 The symphony marks the peak of his symphonic output, complete both in orchestration (triple scoring) and in form (four movements). Some instruments not regularly used were added (Piccolo, Cor anglais, Tuba and Harp ). The work begins with a serious and noble introduction expressing tranquillity and vitality:
Example 13.
The main theme is wistfully narrated yet becoming excitable:
Example 14.
The subsidiary theme is lucid and warm, the emotion rising to passionate at times :
Example 15.
The concluding theme is jubilant.
In the developmental process the main theme is always recognisable, the composer producing an extensive melodious breath. The vigorous culmination is put forward in the Coda; the introductory theme appears in the major key, having forged its way through the developmental process. Here are hope and power . Though some stylistic resemblance with Glazunov and Tchaikovsky may be perceived , Lemba uttered emphatically his own word.
The second movement introduces two themes; the first almost vocal and contemplative, the second passionate. The music seems to tell the story of the young Lemba: it is full of feeling and a search for happiness . Meditation and grief are juxtaposed, yet depression is not expressed.
The third movement is a Scherzo , joyous, even mischievous, like a stylisation from a Viennese ‘ classic ’: the individuality of Lemba is less perceivable here. The music proceeds in pleasurable mood and cheerful play:
Example 16.
The fourth movement: Finale in sonata form. The sad and restless themes are almost similar. The process is quite short without enriching features in the recapitulation.
The texture of the symphony is mostly homophonic. Vocal in character, memorable themes are without any folksong inflections, yet all music written by a national composer cannot be anything but national. Lemba’s thoughts are far from tragedy and deep meditation. The beauty of his thoughts as a whole and their plasticity reveals the classicalism of Lemba’s conception, hence the leading idea is transformed from gloom to brightness and power.
In all Estonian music of those years some influences of the classical heritage were obvious. This was the historical inheritance as the place from which every artist was at least starting.
Lemba’s style had sprung out of his early ideals and was not subject to any particular change during the next decade. Yet in the Twenties and Thirties some features from Estonian folk music are used intentionally as in his opera Kalmuneid (The Maiden from the Grave ), Sophia Vardi’s libretto, based on folk tales, and in his Second Symphony and chamber music. However, these quotation -like elements did not become organic , essential ingredients of his idiom. Without these elements Lemba expressed himself with greater authenticity.
Looking back at the whole field of his activities it seems the most significant was his role as the prominent Estonian concert pianist during the first half of the 20th century. Lemba’s best symphonic works, especially his five piano concertos, have deserved critical acclaim . By his character Lemba was lyrical, without extremes and sentimentality, his pianism was a crisp, deep and perfect , delightful interpretation .
It may seem incomprehensible that several prominent musicians like Tobias, Kapp, Lemba, Lüdig and others did not live in their homeland where their energy and knowledge were sorely needed. When considering the social situation, the lack of material preconditions for suitable employment was quite obvious. The tsarist regime was not interested in supporting Estonian cultural life, in fact the regime attempted to suppress the national initiative. There were no state music schools. No one was publishing and therefore purchasing larger Estonian compositions. Keeping in mind the spiritual atmosphere of the period, one can assert that Estonian artists contributed greatly to the development of Estonian culture. There was general progress in musical life, the number of singers and instrumentalists increased. Thus the way was paved for a further qualitative leap.

III. NEW DEVELOPMENTS IN CULTURAL AND MUSICAL LIFE:

THE END OF THE TSARIST PERIOD.

The First World War deepened the political nonconformity of Estonians. This was for Estonians the time for the rise of the middle class and consolidation of national forces. The Baltic-Germans suffered a defeat as their privileged position dwindled in society.
The Young Estonia movement’s interest in social affairs continued to grow , they protested against the First World War; however, the movement broke up in 1916. This was due to the harsh conditions created by the war, limited publishing opportunities, and internal differences of opinion. Their activity had widened the horizon of Estonian intellectuals, extended literary links with Europe and heightened aesthetic awareness.
Eduard Vilde continued as Estonia’s prominent novelist, even in the midst of a new generation of writers that included Anton Hansen Tammsaare and Mait Metsanurk (1879-1957). In poetry, Tuulemaa (Land of the Winds, 1913) by Gustav Suits was innovative both in thematics and form: reflections on Man, homeland, world and universe in their connections and antagonisms, scepticism and disillusionment are illustrated in a mature and individual formulation. Drama was rising to a new level tackling complicated social problems: August Kitzberg’s tragedy Libahunt (The Werewolf, 1912). Before the historic watershed of 1917, the main genres of Estonian literature had attained a notable artist level.
At the same time Estonian cinematography took its first steps. Cinematographic achievements had been first demonstrated in Tartu and Tallinn in 1896. The first stationary cinema was built in Tallinn in 1907. The first Estonian filmmaker was Johannes Pääsuke (1892-1919) from Tartu. He is the author of the first Estonian feature film: Karujaht Pärnumaal ( Bear Hunt in Pärnu county , 1914), a political satire involving the Mayor of Pärnu.
The main centre for national romantic art ideology and practice was the atelier and art of Ants Laikmaa. Like his Finnish colleagues he aspired to create a unitary national style in art, applied art, furniture design and architecture .
The opening of the new opera and concert house Estonia on August 24th, 1913 was a major event in Estonian cultural history. The accomplishment of this significant enterprise was a result of nation-wide cooperation in the face of incessant opposition from the tsarist regime and the weakening Baltic-German factions. The new representative buildings1 gave actors, artists and composers better facilities for creative work.
During the First World War Estonian musical life was at a standstill except in Tallinn and Tartu. The performances of the Estonia Theatre orchestra were popular, most of them conducted by Raimund Kull (1882-1942). The Vanemuine Theatre orchestra was similarly quite actively engaged under the baton of Juhan Aavik (1884-1982) and Juhan Simm (1885- 1959 )
In literature and art we can observe numerous individual innovations, in symphonic music such qualities were still rare . The beginnings of using new ideas can be noticed in the smaller symphonic works of Artur Kapp and Heino Eller. Kapp, in response to the communist terror he witnessed in Astrakhan, composed the symphonic prelude Hauad (Tombs, 1917). The tone poems Videvik (Twilight, 1917) and Koit ( Dawn , 1920) by Eller are gripping, expressive pictures inspired by Nature.
In 1913 Rudolf Tobias wrote strikingly and prophetically:
Still we cannot speak of a wholly developed typical Estonian image . This is hindered by a number of factors… our own national psyche expresses itself from a leaden grey stormy sky to clear blue, slowly but intensely… Our phlegm is more philosophical apathy than lack of temperament ; maybe as a healthy reaction against the pressure and drudgery that has lasted for centuries. This is connected with bitter humour and self-mockery… due to our constitution we are inclined less towards outer colourful effects than ideological depths and this feature will always be recognised in our arts as the guiding principle.2
The Russian February Revolution of 1917 overthrew the tsarist regime, and the Russian Provisional Government granted Estonia autonomy. For the first time an all-Estonian governing body, Maanõukogu (Estonian Land Council ), was elected.
The February Revolution brought spiritual liberation to Estonia and encouraged popular initiative, including the establishment of various organisations. In spring 1917 a literary group called Siuru (the name of a mythical bird in the national epic Kalevipoeg) was formed. Its members included Friedebert Tuglas, Marie Under, Artur Adson (1889-1977), Hendrik Visnapuu (1890-1951), August Gailit (1891-1960), Johannes Semper (1892-1970). They represented the neo-Romantic spirit, Symbolism and Impressionism; avoiding acute social problems they preferred to glorify sensory enjoyment and physical beauty. In these early years Marie Under had already shown her extraordinary talent, offering in her poetry an exalted and luxuriant feeling for nature and Mankind. The others in the group published their articles , essays, short stories, poetry and, following the traditions of Young Estonia, promoted foreign art and literature. Yet the group broke up, due to the difficult socio-political climate and internal dissension on creative principles, in 1919.
In 1918 a new artistic and literary group Pallas (founded by Konrad Mägi, Aleksander Tassa and Friedebert Tuglas) was launched in Tartu; some members had studied in the West and they introduced innovatory trends. Friedebert Tuglas became one of Estonia’s most authoritative leading cultural figures in several fields of endeavour. A year later an art school also called Pallas was founded, it became Estonia’s key centre of artistic education, liberal in spirit, training new generations of artist until 1944.
In the Russian October Revolution of 1917 the Russian Bolsheviks overthrew the Russian Provisional Government and seized power in Estonia. In spite of severe obstacles the Estonian Land Council assembled and declared itself the highest authority in the country until new legal state institutions could be elected. Estonian political leaders, working “ underground ”, proclaimed independence on February 24th, 1918 and formed the Estonian Provisional Government. Nevertheless, as a result of the First World War Estonia fell victim to first the Bolshevik and in the spring of 1918, German occupation. As soon as the Germans left, due to the end of the war and because of the internal crisis at home, the Russian Red Army invaded.
The Estonian War of Independence had begun. Though with severely limited resources, the active measures taken by the commander-in chief Johan Laidoner (1884-1953) improved the situation. The most effective help was given by Finland by sending 3,500 volunteers. The Estonian soldiers fought against their historical enemies: the Russian Red Army and the Baltic-German Landeswehr. Against all odds, all three Baltic states received peace proposals from Soviet Russia in September 1919. The peace treaty with Estonia was signed in Tartu in February 1920, the Soviets acknowledged the Republic of Estonia and all territorial claims. International recognition of the state followed rapidly.
Many Estonian musicians and artists were scattered all over Russia. During 1917-1920 they returned to their homeland.
At the beginning of the republican period Heino Eller, having graduated from the Conservatoire in St. Petersburg in 1920, rose to the fore among other composers. His first outstanding composition, still well known, is the tone poem Koit (Dawn, 1920). With this work Eller introduced several novel features into Estonian symphonism. The influences of Romanticism are felt (Grieg) and the epic tone reveals Nordic crispness.1
The main theme sounds fresh in its pastoral-elegiac mood:
Example 17.
In harmonisation the composer makes use of crisp diatonics in unison with seventh chords. The secondary theme exists only conventionally, being a phrase long image; a link in the transition process shaping no independent section:
Example 18.
The character of this Fl-Cl motion in thirds on a mild background of figurative strings is reminiscent of the middle section of Grieg’s Nocturne.2
There are several other images represented but as different aspects of the main theme. The second phrase of the main theme remains the basis for the process of development where its variants and sequential reflections dominate. The whole monothematic work seems to be written in one breath. The richness in harmony also results from an abundance of seventh chords. They are mostly secondary dominants, fewer subdominants. Eller has not strictly followed any harmonic style: colours are enriched by chromatics and instrumentation. From the colourful percussion instruments only Glockenspiel has been added. The music is homophonic in essence and the purity of timbres is not accentuated. This tone poem is almost a symbolic appearing on the threshold of the birth of free Estonia.
The foundations for Estonian symphonic music were laid by strong creative personalities. The development was shepherded towards an individualised national expression. Prominent professionals were engaged in many activities: being conductors, educationalists, publicists and organisers, thus contributing to the general rise of a national musical culture. Taking into account the harsh conditions under the Russian regime, their energy and activity deserve the highest praise.
From the very beginning a strong tendency toward a programmatic approach in Estonian symphonism may be observed : it is obvious in the stout dramatics (Tobias, Kapp), as well as in colourful landscape depictions (Lüdig, Eller). In retrospect, the music generally appears to be substantial; the composers cultivated mostly shorter forms. In several works a bias towards new horizons was obvious. Considering the style, most of the musical output was strongly influenced by a classical-romantic trend. The tsarist period had been the infancy of Estonian music: there were very few profound, philosophical reflections on the hard times and the destiny of Estonians.

THE INDEPENDENT REPUBLIC OF ESTONIA: THE INTRODUCTION OF INNOVATIONS FROM WESTERN ART AND THE EVOLUTION OF NATIONALLY ORIENTED MUSICAL TRENDS.

IV. THE TWENTIES. ARTUR KAPP: ROMANTICIST AND DRAMATIST.

The foundation of an independent state was the greatest turning point in Estonian history. Normal avenues for advancement in the European cultural arena opened with a greater range of opportunities available . The period of development brought about socio-economic hardships caused by specific local conditions, material circumstances were severe. Parliamentary democracy brought with it a multiparty system, though the fledging political culture would become unstable.
In December 1919, Tartu University became a national institution. The Estonian language became the language of instruction. During the following years it cooperated with foreign scientists and scholars, mostly from Finland and Sweden.
The year 1922 witnessed the foundation of both Eesti Kirjanike Liit (Estonian Writers’ Association ), its board of directors including Friedebert Tuglas, Mait Metsanurk and Jaan Lintrop (1885-1962), and Eesti Kujutavate Kunstnike Keskühing (Central Union of Estonian Artists), the chairman August Jansen (1881-1957). The monthly journal for writers Looming (Creation) was issued for the first time in 1923, becoming a prominent and well-appreciated forum. The poet Henrik Visnapuu outlined the mission of both intellectuals and the whole nation:
We can build and grow only in height and depth, not in width. Our measure has to be in quality, not quantity. Therefore our cultural policy, properly speaking the whole national policy must be aimed at precision and intensity; in such an atmosphere the artistic and scientific creation of all-human value can proven to be possible.1
In 1925 Eesti Kultuurkapital (Estonian Cultural Endowment) was established by governmental decree for the general advancement of all Estonian cultural life, distributing grants to six foundations that subsidised literature, journalism, music, fine arts, theatre, and sports. It helped them to share subsidies and prizes, to buy works of art, and arrange exhibitions (both home and abroad ). Several writers and artists used the state subsidies to study abroad. There was also a special fund for publishing Estonian music, but the subsidy was small and the publishers had to confine themselves to chamber music.
The Estonian novel strode along the path of progress. Anton Hansen Tammsaare would become a celebrated author with his pentalogy Tõde ja õigus ( Truth and Justice1) published between 1926-1933. The main characters, belonging to several generations of Estonians, would diversely reflect on the meaning of life. The opus is a cross -section of the evolution of Estonian society: the story of the struggle to develop an understanding of the land, community, themselves, God, and death.
International literary connections were mainly promoted by the Estonian branch of International PEN (founded in1928)2. Western innovations in literature, for example Expressionism , had limited influence, apart from some of the literary works of August Gailit and Friedebert Tuglas. In poetry it became evident in the works of Marie Under and Johannes Semper. However, certain trends lost their topicality and were replaced by numerous individual approaches synthesising the classical with the modern.
Graphic art was developing rapidly, thanks initially to the works of Eduard Wiiralt (1898-1954) whose mature, fantastic and sensual style developed during his Paris years, 1925-1939. His style would gain international reputation and a number of imitators. The stressed angular black -and-white contrast became obvious in drawings and even aquarelle of Ado Vabbe.
The Estonian Drama Theatre was renovated. In 1920 the temperamental, active and demanding Paul Sepp (1885-1943), actor , stage producer and educator ( trained in St. Petersburg), established an acting studio to cater for the demands of young and qualified actors. In search for contemporaneity of ideas and their artistic realisation influences came from the West. Most recognisable of these was German Expressionism (Hugo von Hofmannstahl, Georg Kaiser and others). The repertoire became more diverse comprising both classics (often getting expressionistic and impressionistic staging), and more realistic popular plays and representations of Estonian rural and urban life. The social-critical trend was stressed by the Töölisteater (Tallinn Workers ’ Theatre) led by Priit Põldroos (1902-1968). Among the local playwrights the humorist and satirist Hugo Raudsepp (1883-1952) stands out with his comedies. Among the serious plays Anton Hansen Tammsaare’s drama Judith (1921; based on the Old Testament), a profound psychological reflection about Man, humanity, ideal and real, passion and guilt, stands among the most important. It is a drama of ideas, full of strain and contradictions, depicting the main heroine as a woman with strong desires and feelings .
The formative period of the musical stage progressed smoothly. Singers perfected their skills at the Tallinn Conservatoire, at private studios and abroad, mainly in Italy. From 1918 onwards, opera would be a firm staple in the Estonia Theatre repertoire. Among the leading lights were the singers: Helmi Einer (1888-1968); Olga Mikk -Krull (1887-1980); Aleksander Arder (1894-1966); Benno Hansen (1891-1952); Karl Ots (1882-1961); and among the conductors, Raimund Kull and Juhan Aavik. The stage director Hanno Kompus (1890-1974) placed emphasis on a wide and varied classical repertoire: Bizet, Borodin, Rossini, Tchaikovsky, Verdi and Wagner.
Ringhääling (Estonian Broadcasting) was established in 1926 as a regular joint - stock company. Radio plays and public radio events were quickly introduced. Felix Moor (1904-1958) became a very popular radio actor.
Estonian cinema was very active in the years 1920-1932, producing newsreels, educational films and commercials and experimenting with feature films. The first full-length feature film Mineviku varjud (Shadows of the Past, 1924), directed by Konstanin Märska (1896-1951), is a historical melodrama about the ancient Estonians’ fight against invasion. The best theatre actors were engaged: Paul Pinna, Ants Lauter, Benno Hansen, among others. The first full-length documentary Filmikaameraga läbi Eesti (With Film Camera through Estonia, 1924) gained international recognition. Märska is considered one of the founders of the Estonian film industry, most of the production in the Twenties was due to his creative energy. Theodor Luts (1896-1980) was another pioneer of Estonian cinema, a versatile cinematographer, active as producer and director, his outstanding achievement is Noored kotkad 1 (Young Eagles, 1927).
On the initiative of August Topman (1882-1968) and Mihkel Lüdig, Kõrgem Muusikakool (Higher School of Music) was established in Tallinn in 1919 (in 1923 renamed Conservatoire). Lüdig became the first director of the institution. At the same time a similar school was opened in Tartu. In 1921 Lauljate Liit (The Singers’ League ) was organised, its first chairman was the choral composer and conductor Konstantin Türnpu (1865-1927). The activities of the League were wide-ranging: organisation of national and regional song festivals, choir and brass band concerts, competitions for developing new repertoire, and music publishing. The League issued Muusikaleht (Music Magazine ), reflecting musical life in Estonia and offering reviews of music events in the world. Eesti Akadeemiline Helikunstnike Selts (The Academic Society of Estonian Musicians) was established in 1924 as a central organisation to promote national music, to publish works of different genres of music, to commission musical competitions, and to award scholarships. Several smaller music societies were also founded.
Looking back at the creative output at the beginning of the new era, Lüdig states:
At present it is difficult to characterise in detail the work of our younger composers because many of them are still developing. Generally speaking, our music, in spite of several remarkable works, is still in its childhood and waiting for talents and doers, though it has greatly advanced during a relatively short time. We can state with satisfaction that the foundation for our music has been laid, a foundation that is original and popular.1
In symphonic music there was a growing interest in folk music by the end of the decade (works by Juhan Aavik and Eduard Tubin). However, at the beginning of the Twenties the influence of classical-romantic expression was still remarkable, as the composers of the older generation stood in the forefront. The mature First Symphony2 (1924) by Artur Kapp is one of the best examples of this trend.
The first movement is titled Quasi una fantasia and is dedicated to the 100th anniversary of Beethoven’s Ninth Symphony. The short main theme, appearing at the beginning, suggests (like that of Beethoven) hidden strength, its potential quickly becomes manifest in the exposition:
Example 19.
The subsidiary theme is characterised by a plaintive tone (Flute). Kapp likes to explore themes expansively; their variants may deviate from the original:
Example 20.
The closing theme (Corno solo) is consoling, drawing a deep breath, a mild and somewhat melancholic companion to its forerunners. In the developmental process the subsidiary theme has been fully transformed into a grave, massive and forceful brass sound. The main theme appears tumultuously.
The second monothematic movement is a quiet , wistful unison-monologue for bassoon and violoncellos. The composer’s free meditation, sounds like a compound of different interwoven, increasingly strenuous, motifs. The former loneliness and sadness has been replaced by inner tranquillity:
Example 21.
The Finale is based on a theme, an ancient melancholic Estonian tune, with variations:
Example 22.
The composer is attempting to rid himself of bleak thoughts. The sixth variation (the last) is transferred into the major key; so the joyous folk tune Once when I was still young entry is sustained in a dance -like form. A brilliant final chord has been reached.
The theme of the whole work is not homogeneous in style but rich in thought and feeling. The classical harmony applied draws in sequential repetitions, long organ points, pedals, and diminished seventh chords to emphasise the dramatic moment. Kapp is extraordinarily skilled in the use of counterpoint: it is difficult to recognise anyone to duplicate his achievements in the respective area in the whole of Estonian music.
The score is compact. His rhythms are very elastic, being an essential component of his free fantasy. Generally, Kapp prefers dark colours, it is determined by his way of thinking. The form schemes are followed freely, depending on the composers’ need for incessant changes. According to its concept the work exhibits the struggle with challenges in order to attain happiness. Obviously the intricate inner world of the composer is reflected in the music of the symphony. The First Symphony was Kapp’s first great work, and at the same time, the first genuine dramatic work in Estonian symphonic music. In the opinion of Eduard Tubin:
In his grandiose symphony in F minor Kapp reveals a true and deep master of counterpoint and form… with his symphony Kapp has added a great, valuable supplement to Estonian symphonic music; on account of the Finale, this work has a special value in its treatment of folk tunes in orchestral music.1
To the pen of Artur Kapp also belongs the oratorio Hiiob (Job), composed between 1926 and 1928, the score completed in 1929. This oratorio is not only the central work in the whole output of Kapp, but the most weighty in the choral-symphonic production during the pre-war Republic of Estonia. The text has been taken from the Old Testament Book of Job. The oratorio consists of 32 sections, with a two-part introductory section. The work was composed for four soloists, male and female choir, organ and symphony orchestra. Kapp relies on classical examples, firstly on Bach, (Fugue theme in E minor, later used in the cantata: Aus tiefer Not schrei’ ich auf Dir. BWV 38.) stems the leitmotif of the oratorio:
Example 23.
The work can be considered first as a masterfully written choral oratorio, but the orchestra is given a dominant role. The oratorio can be described as massive, with great inner dynamics, vigour, dramatics joined with lyricism and animation. Kapp reveals himself as a rebel, albeit a tender one at the same time. The music is like an improvisational stream. It could be said that the work is about the Creator and humanity, sacred and secular at the same time. As the fundamental axis of the work, the struggle between good and evil is recognisable, personified in the images of God and Satan: “Do not follow the wicked but the eternal godly laws .” The oratorio is filled with absorbing polyphony: all is connected through the leitmotif of Job reflecting his mental anguish. With this the idea is accentuated: only through suffering is the human being able to rise to the cognition of real happiness. With his oratorio Kapp followed the grand line of Tobias. The chosen theme expressed, to a certain extent, Kapp’s own suffering in Astrakhan, where he witnessed the communist deprecations. Having lost all he owned he was lucky to return to Estonia in 1920. His own hardships are reflected in the final chorus, based on the leitmotif, (a triple fugue): “Blessed is the man who is afraid of God.”
The first performance took place in Tallinn, on March 1st, 1931, in the Estonia Concert Hall. Besides the best Estonian soloists, the mixed choir of the Estonia Music Department , the Male Song Society Choir, and an enlarged Estonia Theatre orchestra conducted by Juhan Aavik took part. The very successful first performance was followed by a performance in Helsinki on June 17th, 1931. A performance on August 10th, 1997, in Tallinn conducted by Neeme Järvi, was extremely well received.
Apart from being a composer Artur Kapp acted for some years as the opera conductor of the Estonia Theatre, also conducting some symphony concerts. From 1920 onwards Kapp worked at the Tallinn Higher School of Music, in 1925 he became a professor taking the chair of composition. Both with his creative output and teaching he implanted the artistic principles of classical music in his students. He advised:
Do not seek, do not combine, do without twists and turns. Do not mechanise your music. Put down what you feel in yourself naturally, but only then when your heart needs it. First work it out in your fantasy.1
The main demands of the Maestro on his students were precision, clarity of form, and logic of ideas. Before the Second World War more than thirty future composers and musicologists studied under his guidance, notable among them were: Evald Aav, Gustav Ernesaks, Eugen Kapp (his son), Hugo Lepnurm, Riho Päts, Villem Reimann, Heimar Ilves, Edgar Arro and Evald Brauer. Artur Kapp and his school had a predilection towards academia. The classical forms were treated in a post-Romantic and monumental manner. The composition of cantatas and oratorios on biblical themes was seen as vitally important. On his sixtieth birthday, the music organisations and institutions designated the concert season 1937/1938 as the Artur Kapp Year.
The composer and musicologist Cyrillus Kreek (1889-1962) rose to prominence in the Twenties, and with Mart Saar is one of the founders of Estonian national vocal music. He can be regarded as the pioneer in Estonian spiritual folk song cultivation. His many achievements include a cappella song production, symphonic suites on folk tunes, a great number of folk song arrangements, and of course his Requiem (1927) that may be regarded as his crowning achievement. Kreek studied composition in 1912-16, under Professor Vasily Kalafati and others at the St. Petersburg Conservatoire, where he developed his own sturdy and intimate expression. He became acquainted with all kinds of folk music during his collecting of folk tunes that began in 1911. Starting his activities in the small town of Haapsalu, he was later (1944-1950) engaged at the Tallinn Conservatoire as Professor of Music Theory.
The Requiem in C minor is composed for tenor, mixed choir, organ and symphony orchestra. The text is taken from Mozart ’s Requiem translated into Estonian by Dr. Georg Julius Schultz-Bertram. In the Kreek redaction a Latin text was also used. There are 8 traditional movements beginning with Introitus and ending with Agnus Dei. This is a choral composition where balance , crispness, seriousness together with great warmth (especially in the Domine Jesu), simplicity, folk song inflections and polyphonic mastery are combined into a sterling whole. The Requiem differs greatly from Des Jona Sendung by Tobias and Job by Kapp. Kreek is neither a type of rebel nor fighter. The contrasts do not reach tragic proportions, no grave thoughts suppressing the spirit, no melancholy. This is in the first place lyrical, epic and meditative music open to everyone:1
Example 24.
Mart Saar reflecting on the whole output of the composer wrote:
A precious and abstract rational mood is characteristic of him, joined with national colouring. Together with this goes great aptitude in thematic development and skill to amalgamate different components subordinating them to the artistic whole. His virtues are individually exposed in a serious mood that may be followed by raptures of humour, colourful joy, parody and joke.1
The Requiem may be regarded as the third among the essential ecclesiastic choral-symphonic works, written in Estonia up to the Eighties, when Arvo Pärt rose to prominence as a follower of this trend, his expression being quite different both in means and style (relying first on Gregorian chant).

V. THE INFLUENCE OF NEW WESTERN MUSICAL TRENDS.

HEINO ELLER: A PROGRAMME PAINTER.

Estonian music was influenced by new trends from the West like Impressionism and new systems of tonality like atonality. Scores became more refined, displaying effects and contrasts in colour, the leading melody line was split into motifs, it even disappeared. Such features can be found in the works of Heino Eller (1887-1970), in the Twenties he was considered a Modernist.
Alongside the music of Kapp, the symphonism of Eller, his creative creed constitutes the second basic column of Estonian national symphonic music. In the Twenties and for the first half of the Thirties he was quite productive. Being a graduate from the St. Petersburg Conservatoire (1920) he was especially impressed by the music of Alexander Scriabin: later when visiting Paris, he took a serious interest in the modern currents of European music. The tone poem Viirastused (Ghosts) was an artistic reflection of his visit to the famous Paris underground cemetery. His period of renewal was introduced by the tone poem Öö hüüded (Night Calls, 1920), inspired by the impressions of a stormy night he spent in an empty seaside summer cottage.2
The restlessness of the main theme becomes menacing:
Example 25.
The contrasting second image exerts an almost epic influence:
Example 26.
Eller’s creative thinking is not confined within certain forms; there are no strict classical principles in the developmental process. With the nightly sensations like fear and the “complaining of phantoms”, epic and lyric moods are expressed. In the recapitulation section the dramatic centre of gravity has been reached before the achievement of the major key solution. The importance of themes has been diminished, thematic transformations lead neither to development nor a harmonic scheme. The novelty of Eller in this work can be seen in his individual point of view on content and form, the latter being very detailed, elastic and capricious, creating a wholly novel phenomenon in Estonian music. All is connected with the important colour aspect: adding characteristic features to all that is in progress. The thought may soar in free fanciful visions while tied to the firmly anchored theme. The work is, strictly speaking, multi -imaged, the scanty thematic material being in no sense decisive. Eller is striving for figurativeness and sensitivity . Not one of the musical lines in his score has a finished, completed shape : the yarn, once interrupted in one line, will proceed in another. The critics did not find the work satisfactory in all respects, reproaching it being over burdened details.
The next tone poem Viirastused (Ghosts, 1924), follows this fantastic line in a more refined manner. The work was the most novel in the whole symphonic output of the Twenties, including an expressionistic feeling not typical of Eller. It may be called “symphonic visions” since a vision has no clear-cut phenomenon. Thus the main attention has been devoted to joining improvisational images to the principle of contrast. Such an approach adds a variety of colours, slackened formal connections, and thematic material (though it exists) of no exact determination.
The introductory image with its muted trumpet and celesta expresses something mildly mysterious:
Example 27.
The image is not a monody but a complex of several bright colours like botanical variegation. Trumpets step through like an axis, drawing attention.
A harmonic mildness characterises the main theme:
Example 28.
The epic subsidiary theme creates no special contrast with the main theme:
Example 29.
In addition several other images fleetingly appear in the development, though, strictly speaking, they cannot be qualified as themes. Such development illustrates the individuality of Eller: all images are utilised, although reshaped to the point of being unrecognisable. The principle of variation is used in the widest sense of the term. Eller’s thought is displayed in refined details. Tonality is interwoven with atonality: such musical language was extremely bold at that time. Fourth is made the essential interval in the chord structure. At the same time the use of the mild harmonies of seventh chords is present.
Ghosts is a freely constructed chain -form with a miniature recapitulation. A purposeful advancing line does not connect contrasting sections: the novelty of the work becomes obvious in its structure, timbres and harmony. Impressionist and Expressionist influences can be perceived. The stylistic innovation that started with Dawn reaches its peak and at the same time Ghosts is the final destination. We may add that deeper philosophical issues , the place of Man in the world, quite characteristic of the works of Kapp, are only superficially touched here. The professional Estonian audience was at first critical of the work, however, opinion has changed with time.
Apart from being a prolific composer and successful conductor, in Tartu, he became an authoritative and appreciated teacher at the Higher School of Music. As a teacher he may be characterised as dutiful, demanding the highest standards from himself and his students. During the Tartu period (1920-1940), Eduard Tubin, Eduard Oja, Olav Roots and Karl Leichter among others studied under him. His successful teaching career continued in Tallinn from 1940 until his death in 1970.
Eller promoted the individuality of his students. Eduard Oja (1905-1950), though influenced by Eller, followed his own path. Oja’s best works may be characterised as poetic, vigorous, abundant in fancy and imagery. He was devoted to folk art, having taken part in folk music gathering expeditions. Oja was deeply interested in the philosophical aspects of art and life; his thoughts being expressed later in Ajatriloogia (Time Trilogy, 1936), consisting of three miniatures (Life, Eternity and Today) for orchestra. The most extensive and suggestive work from the early Thirties is Ilupoeem (Beauty Poem, 1930), his first composition for orchestra that stands out with its lushness of colours and forcibility.1 Oja explained his idea succinctly: “This is Beauty’s complaint to the world conquered by Satan.” The work consists of three sections, reminiscent of sonata-allegro form (two subjects , their development followed by recapitulation).
The beginning is pensive, the first theme presented by the flute:
Example 30.
The image is not dolorous. In the first section a mild and spiritual tone is prevalent: Beauty is dreaming, invoking and displaying itself. The musical metre is unusual : it enables a phrase to be housed in a bar. No strict tonality is fixed ; augmented fourths in harmony render effable desires.
The second section begins with a dancing and mischievous theme, conveying the image of Satan and his rough and obtrusive world:
Example 31.
An active pulsating movement begins: the world and its Master become all the more seductive. The theme is extended in the following developmental section and its transformation at the end of the recapitulation is barely recognisable due to its almost ascetic minor air. The transformations have been masterfully worked out, illustrating Oja’s refined and subtle way of thinking. Elements of the music are integrated into a whole by forcible will. The harmonic scheme is impulsive, the transitions variegated, changeful and incessant. The form takes shape as if being improvised. The atonal beginning of the poem proceeds to thoroughgoing chains of seventh chords being tonal only indirectly. It becomes obvious that nearly all the harmony has a colour function.
After graduating from the Higher School of Music, Oja taught theory there, being at the same time active as a choir conductor and music critic. His articles on musical life and the creative process are penetrating. His later large scale works are the opera Lunastatud vanne (Redeemed Oath, 1939/40) and his last, Symphony (1947), being an outstanding composition.
With his opera (libretto by Eino Uuli) the composer entered the competition arranged by Estonia Theatre in 1939 for generating new national repertoire. The work was awarded first prize in 1940. It was the first to depict the heroic and dramatic days of the War of Independence and an episode of the 1905 Revolution in Estonia. The main hero is involved with difficult psychological and ethical issues. It is a great misfortune that the intruding war years prevented its staging and the score was destroyed. The meteoric flight of Eduard Oja was short but his best works will live long.

VI. THE THIRTIES. THE WIDENING OF NATIONAL SYMPHONISM. THE RISE OF ATTENTION TO HISTORY AND FOLKLORE: JUHAN AAVIK, EDUARD TUBIN, EUGEN KAPP.

Economy and cultural life were paralysed by the global economic crisis of 1929-1933. In Estonia it was paralleled by a political crisis. The struggle between several political parties for power led to frequent changes in government, and to instability.
To avoid the possibility of Vabadussõjalaste Liit (Estonian Independence War Veterans’ League) seizing power, the Head of State Konstantin Päts enacted a state of national emergency in March 1934. The parliament was dissolved, all political parties disbanded, and to replace them Isamaaliit (Fatherland League) was founded. It was a relatively mild authoritarian regime, yet it cannot be considered a total dictatorship.1 The “official nationalism” with its corporative nature was criticised by intellectuals. The Estonian Writers’ Association, however, supported the steps taken by the government. Social life stabilized and the economic situation improved.
Eesti Raamatu Aasta (Year of the Estonian Book) in 1935 was a great national cultural event, commemorating the 400th anniversary of the publication of the first book in Estonian ( Simon Wanradt and Johann Koell: The Lutheran Catechism, printed in Wittenberg). Prizes were awarded to writers, scientists and book illustrators.
Since the beginning of the Thirties writers and artists concentrated on national themes, including history. This cannot just be explained by the new official cultural-political demands but surely the main reasons were the urge to solidify national consciousness and the complicated historical situation. Several outstanding novels and plays were written, among them Ümera jõel (At the River Ümera) by Mait Metsanurk, Karl August Hindrey’s Urmas ja Merike (Urmas and Merike; both concerning the wars waged in the Thirteenth century), and Artur Adson’s Neli kuningat (The Four Kings), about the St. George’s Night Uprising in 1343. Kristjan Raud used archaic rural charcoal drawing techniques for scenes of philosophical dimensions. His illustrations for the jubilee edition of Kalevipoeg are stark, to the point and stylish. The awakened consciousness in the past of the nation supports Juhan Liiv’s axiom: “One who does not know the past will live without the present.” The substance of psychological nationalism aroused concern about what features create a nation. The attention of creative artists was fixed on the character, attitude , views and desires of the Estonian people. Eduard Vilde wrote:
Being deeply disappointed with the development of our whole spiritual life in independent Estonia, I consider it an urgent need to start a fixed cultural political foreign orientation to get rid of German and Russian sterility… I hope that in the future there will be fruitful stimulation to our spiritual life (and that includes naturally political thinking), especially to our literature, from the rich and healthy spiritual world of England and France. 1
The theatre also attempted to widen national identity. Mare ja ta poeg (Mare and Her Son, 1935) by Aino Kallas, referring to events of the St. George’s Night Uprising; Lipud tormis (Flags in the Storm , 1937) by Hugo Raudsepp, Nimed marmortahvlil (Names in Marble, 1939) by Albert Kivikas2, both based on the War of Independence and its consequences . In a lighter vein, the witty allegorical play Kuningal on külm (The King Feels a Chill, 1936) by Anton Hansen Tammsaare satirised many ideas from the past and present and their contradictions, the King representing the decline of the Old World.
The film industry was centred in Tallinn around the studio Eesti Kultuurfilm (Estonian Cultural Film, 1931-1940, and sponsored by the Cultural Endowment). Theodor Luts’s Vahva sõdur Joosep Toots (The Brave Soldier Joosep Toots, 1930), the hero was a very popular figure from a series of juvenile books.
Estonia’s first internationally known film star coloratura soprano Miliza Korjus (1909-1980) achieved fame. Thanks to her extraordinary voice and talent she was selected for the role of Johann Strauss’s love interest in the US film The Great Waltz , directed by Julien Duvivier.
The government’s cultural policy was to emphasise the need for all layers of society to work together and thereby centralising the nation as a whole. Individual artists had to reflect the national spirit through the means of their respective discipline.1 The prominent folklorist and Academician Dr. Oskar Loorits wrote:
…not an individual is dominating, but the mass of people, bound together by a strong feeling of kinship and solidarity. Their powerful inner strength emerged in the silent but unshakeable love towards nature, their equal kinsmen and, above all, towards their own home. 2
Among the first composers to derive inspiration from native folk sources was Juhan Aavik. His Estonian Rhapsody (1930) is an orchestral fantasy, developed from three folk tunes. There are shortcomings lessening the favourable general impression: scant contrast between themes, use of variations rather than symphonic development, rather simple harmonic devices and loose form. Nevertheless, the Rhapsody is melodious, colourful and easily acceptable to a musically undemanding audience.
Aavik made use of folk tunes in all his symphonic works. He did not strive towards originality or invoking deep emotion. The composer is a born lyricist. His outstanding works, two symphonies and concertos for violin, cello , and double bass , belong to the post-war period and are considerably different. In pre-war Estonia Juhan Aavik was one of the most active musical personalities to whom the musical life of the Thirties owes very much. His activities as a much sought after choir leader, as a teacher at the Higher School of Music in Tartu, as a Professor and Director of the Tallinn Conservatoire, as the chairman of the Estonian Singers’ League and as editor of its Music Magazine are of special importance.
Among the younger composers Eduard Tubin wrote music marked by its national character. His first composition was Suite on Estonian Motif (1930), consisting of four movements: Prelude, Ostinato, Intermezzo and Finale.1
The whole Prelude grows from a simple horn tune, an appropriate opening signal:
Example 32.
It sounds like a cheerful “hello” varying only in different tones and shades of voice. It reflects the performing traditions of a folk musician. A certain development is found in the alternating angles on the theme. The crisp subdominant harmonic colouring is characteristic.
The second movement has two subjects, quite plain in their original shape. Varying features and rich counterpoint has been used, all based on an ostinato motif. The feeling of well-balanced form is clear: Tubin considers form as a dynamic manifestation of thought.
The third movement, Intermezzo, is a deeply lyrical narrative in a romantic vein, an intermediary before the Finale. Two themes appear simultaneously:
Example 33.
The following reshaping of the subjects in the development takes place as if in improvisation. Tubin is displaying his feelings and thoughts abundantly and these new thoughts are moving further from the previous ones. More than half the music is flowing con sordino. Great inner dynamism of form, calling intonations, constantly changing thoughts have taken precedence.
The Finale, Alla marcia, the most developed movement of the Suite, is based on two original themes by the composer. The trait so characteristic of Tubin of later years, the purposefulness of thought, makes itself felt. The methods for development are both in new variants and transformation. An individual system of harmony has not yet taken shape but anything commonplace is avoided. At once the harmonic structure of fourths catch the ear: this does not form a system, yet is enriching the texture. A striking polyphonic masterwork is at the beginning of the recapitulation where the subjects are joined and the theme from the Prelude is augmented. The rhythmic pattern creates a remarkable device , not yet used permanently but notably. The sonata form procures dynamics; hence the last movement is similar to a Finale of a symphony.
With this suite Tubin filled a relative gap in the orchestral production of that time, having depicted Estonian life: he touched its vivid, joyous, vigorous and deep nature.
In the Thirties Eugen Kapp’s first works were noticed. He graduated from the Tallinn Conservatoire as a student of his father, Artur Kapp, in composition. The tone poem Tasuja (The Avenger, 1931) was his graduation work, and concerns the historical events of the Fourteenth century. A suite for orchestra and smaller works followed. In the fantastic overture Kalevipoeg (1938)1, based on the national epic, the young composer has portrayed both the mythical hero and his opponent the evil Sorcerer. In the introduction appears the sneaking image of the latter becoming the main theme:
Example 34.
Solo instruments emphasise the mysterious and dark Sorcerer.
The theme of Linda, mother of the hero, follows: it is wistful, crisp and affectionate. It is regrettable that the composer has ignored this beautiful image in the development.
The theme of Kalevipoeg appears as a subsidiary subject of exposition, characterised by a romantic aura and softness:
Example 35.
The hero is portrayed as a sorrowful mild young man.2 The following short fight between good and evil has no essential dimension. There is neither a brave hero nor an exhibition of any of his vigorous deeds. On the contrary, the Sorcerer does not lose any of his power and capacity for conjuring, until he sinks into the darkness. The tone poem concludes with Kalevipoeg’s death, his forgotten magic sword cuts his legs off, and a funeral march follows. The idea for the overture served as preparation for the ballet Kalevipoeg which the composer would start two years later. To sum up, the treatment of this sublime subject has been miscarried in relation to characterisation and theatrical display . In the opinion of Artur Lemba:
The recent work Kalevipoeg of Eugen Kapp has been written in a modern fashion …with sturdy instrumentation. The second theme is clear and expressive in the decorative-hued content which does not, to my regret, exhibit the Estonian character that should be the main precondition for a composition where Kalevipoeg is to be depicted.1

VII. FURTHER MATURING OF SYMPHONIC MUSIC: HEINO ELLER, EVALD AAV, EDUARD TUBIN. THE FIRST ESTONIAN BALLET. SUMMARY OF THE REPUBLICAN PERIOD.

When the economic and political life had stabilised in Estonia, the Head of State Konstantin Päts proposed to form a National Assembly and draft a new Constitution. In 1938 it was realised and Päts was elected president. As the author of this renewed political system the President referred to it as a “moderate and balanced democracy”.
Between 1932 and 1937 the first Estonian Encyclopaedia was published in eight volumes. In 1938 the Tallinn Technical University, the Estonian Academy of Sciences and the State Higher School of Art were founded. Much attention was paid to developing cultural collaboration and co-operation with other countries, especially the Finno-Ugric nations.
In poetry the works of Marie Under can be considered to have lasting significance: they have been translated into many European languages. A group calling themselves Arbujad (Soothsayers) – among them were Betti Alver (1906-1989), Bernard Kangro (1910-1994) and Uku Masing (1909-1985) – researched and wrote on the presentations of existence, metaphysical and spiritual topics. The historical novel was still very popular and focal point in prose writing; among the new writers were August Mälk (1900-1987) and Enn Kippel (1901-1942).
The theatre of the Thirties turned to more realistic stage production and psychological realism; however, popular light drama was in vogue. Hugo Raudsepp was the most influential and prolific playwright in pre-war Estonia. Opposed to elitism, he willingly accepted and catered for the taste of the general public. His typical comedies Mikumärdi and Vedelvorst (Lazybones) belong to the Estonian dramatic heritage, due to their sharp humour and critical attention to social problems. Many actors and directors undertook extensive tours to the West and the East to keep pace with all the innovations in their field.
In the fine arts the artists concentrated on themes based on everyday life, though there was a tendency to consider art as a phenomenon standing high above all levels of society. In 1939 several exhibitions of Estonian art took place in foreign countries: 76 artists exhibited 212 works in Rome, Budapest, Warsaw, Krakow and Antwerp.
A major achievement in Estonian progressive symphonism is the First Symphony (in modo Mixolydio) in 1936 by Heino Eller. This mode is, in the opinion of Eller, akin to the mood of Estonian folk tunes and by using it the composer wished to create a large-scale work with national countenance.1 Eller is exhibiting his lyric-epic manner of expression, common to his shorter works, yet here it is able to attain magnificence.
As the central subject of this work, the main theme of the first movement radiates manliness. It progresses towards the grandiose:
Example 36.
The typical fourth-fifth relation comes to the fore also in harmony, becoming an essential “building block”. All harmonic aspects are fresh; Eller avoids the D function as much as possible. The T function has been emphasised as an organ point while the S function is basic. The subsidiary theme reveals its national flavour:
Example 37.
In the extensive and epic second movement the central narrative role belongs to the oboe :
Example 38.
Its timbre awakens in the listener the mood of a shepherd’s horn. In the third movement a quiet theme is superseded by one of a dance character.
Example 39.
The typical curves of village music are highlighted.
In the development sections we can notice the miniature principle. The interval of the fourth is influential together with the mixolydian seventh, it becomes the determinant of the whole musical language. As an enrichment of the crispness, the chorus of chromatic seventh and ninth chords stand out. The role of abundant harmonic and melodic figuration is outstanding. The ornamentation is a typical feature of the whole symphony. The individual manner of Eller is also expressed through contrasting polyphony, especially in the Finale.
The First Symphony may seem static, though, such a basic lyric-epic nature belongs to the character of Eller. His Second and Third Symphonies are quite different from the First, which is a now bright, now tranquil narration about homeland with its storms and thunder, its roar of waves and folk musicians playing pastoral and dance tunes. The First Symphony stands out as the pinnacle of all his works.
Eller himself remarked on the national music:
It has not become clear to ourselves what this Estonian music should be like, but we shall understand it one day. We just have to wait .1
Tubin has said about his teacher’s music:
Eller is a subjective symphonist in the full sense of the word, composing according to his own taste and feeling. At the same time, due to his individuality, his output is Nordic and crisp. His extraordinary subtlety and severe artistic discipline results in the succinctness of his music, because it can be observed and understood only by an experienced and highly developed listener.2
Several younger composers were moving in the same direction. One of the more original and evocative was Evald Aav (1900-1939). He had studied under Artur Kapp and graduated in 1926. The first time he attracted general attention was in connection with his opera Vikerlased (The Vikings, 1928), which was the first national opera in the full sense of the word.1 The libretto is based on events in the Twelfth century. The music of the opera is rich in dramatic and heroic episodes. The composer did not use folk tunes but he was able to convey the spirit of folk music through expressive melodies and picturesque harmony.
As a symphonist Aav made his debut in 1934 with the tone poem Elu (Life), which was an important step forward. The work consists of two movements and can be considered a miniature symphony seen as the intense musical diary of the composer.
The most valuable composition among Aav’s few works is undoubtedly his Symphony (1938); this work is programmatic in nature reflecting the life of primeval Estonians.
The first movement begins with an epic introductory theme. Aav was rich in ideas; not all of them have been formed as themes; sometimes they are mere “splinters” which appear and then disappear. The most typical is the towering Maestoso theme expressing the archaic mentality, though with a certain Oriental feel:
Example 40.
It has a pathetic nature. The subsidiary theme appears pentatonic but is purely in the major key.
The second movement: Andante , the first epic theme is wistful:
Example 41.
Three more thematic ideas are added.
The third movement is based on an old folk dance melody ( Labajalg ), used for the first time in Estonian symphonic music.
Example 42.
It is a joyous and lively, divertissement-like movement.
The Finale is restless (Allegro) as if something serious was pending: a crowd gathering, warriors preparing. The second thematic idea:
Example 43.
The Finale culminates in a resolute martial movement, a sublime rendering of a call to arms. Among these triumphant sounds one can detect the wailing cries of mothers and brides.
Listening to the development, an inner restlessness is palpable. Aav has no patience to linger on some themes in order to shape something aiming at a destination and thus his treatment of the whole remains fragmentary, yet the convincing beauty of utterance is gripping. Besides the beauty of the themes the individuality of salient harmonic texture creates a remarkable feature; the employment of pentatonic systems, different ways of using the minor key, though usually in its natural form. Chords are often used only in their fourth-fifth relationship . The rhythmic patterns proceed in several layers where Aav is fond of using triplets. The qualities of the work are in the use of an archaic national idiom and the originality of harmony and timbres.
Aav had no inclination to delve into the philosophy of music. In his music his heroes are men of action and he is there with them. His only symphony is among the notable ones composed in the Thirties, and its influence on the development of Estonian symphonism was immense. The epitaph: “It is a pity he died young” is usually used as a vulgar euphemism, here it is written with sincere regret.
According to the musicologist Ofelia Tuisk:
There has been no other Estonian symphonist in whose music the spontaneous, lush temperament, sincerity to the point of vulgarity, unforced free train of thought and exceptional instinct for inflection are joined. Sincerity and easy in use of melody are the charming features of his music. The Symphony is multicoloured in its sound quality. The composer has convincingly aimed at the Estonian national spirit.1
After the crisis years, cultural life in Estonia continued to progress. In the last years of what has been called “the period of silence” the move towards the restoration of democracy continued. Yet this process was too slow to be completed before 1940 when the whole situation was brutally changed. The Estonian political course was unavoidably influenced by the great powers in the West and East, but realising the importance of neutrality in the pre-war atmosphere, the government stuck to that policy.
Everything valuable for the national culture was supported. The creative work of the artists was manifold. Estonian literature reached its maturity. The works of prominent authors like Anton Hansen Tammsaare, Eduard Vilde, Friedebert Tuglas, Gustav Suits and Marie Under gained international appreciation. In 1937 Marie Under and Friedebert Tuglas became honorary members of the international PEN Club in London. The artists stressed their unconditional creative freedom. The reason for the noteworthy rise of all forms of art before the Soviet occupation was the influence of independence on the spiritual life of the nation.
Song Festivals were the greatest and deepest musical-cultural events that inspired the nation, the groundwork for which had been laid in Tartu in 1869. Through all hardships and tough times they had retained their national spiritual content. The Estonian Singers’ League arranged the song festivals with a five-year interval – in 1923, 1928, 1933 and 1938. These were enormous, unparallelled demonstrations of national unity. The programmes of song festivals included only Estonian music.
The number of singers ranged approximately between 15–20 thousand , the orchestras had over 1500 musicians playing in them, the audience numbers amounted to 90 thousand and more.
As remarkable conductors, Juhan Aavik, Juhan Simm, Evald Aav, Anton Kasemets, Raimund Kull and Tuudur Vettik deserve to be mentioned.
In 1933 the week of Estonian Music took place – the oratorio Job of Artur Kapp, Requiem of Cyrillus Kreek, operas of Adolf Vedro (Kaupo) and Artur Lemba (Maiden from the Grave) plus symphonies of Artur Kapp (First Symphony) and Artur Lemba (Second Symphony) were performed.
The groundwork for relations with expatriate Estonians was laid earlier in 1928, the first Congress was held and the Society established with the participation of eighty delegates.1
Estonia had ten permanent working theatres, three of which were semi-professional groups in smaller towns. Theatre audiences increased, clearly showing the popularity and their appreciation of the importance of the theatre. Western classics were staged with increasing frequency . Between 1934 and 1940 there were ten productions of the plays of William Shakespeare (Othello, Romeo and Juliet among them). The Scandinavian playwrights, by their character, seem to have been closer to the taste of the theatre-goers (Ibsen, Aleksis Kivi and Strindberg), the dramas of Friedrich Schiller (Marie Stuart , Wilhelm Tell), French and Russian classics (Molière, Beaumarchais, Gogol) production with its colourful types and social accents received a warm welcome. The Republic was a time for the establishment and rise of professionalism. Eesti Näitlejate Liit (The Estonian Actors’ League) was reconstituted in 1934, and began publishing the monthly Teater (Theatre), an up to date forum discussing cultural and specific professional problems, which became very popular. In 1938 the State Theatre School was opened. There were several strong theatre companies, and some of the actors and directors became celebrities: Paul Pinna (1884-1949), Ants Lauter (1894-1973), Ruut Tarmo (1896-1967), Erna Villmer (1889-1965), Liina Reiman (1891-1961), Mari Möldre (1890-1974), Arno Suurorg (1903-1960) and Ants Eskola (1908-1989).
In its essence Estonian arts remained close to the rural way of life and preserved a certain air of living with nature. There were influences from Impressionism (Paul Burman), Expressionism (the early works of Eduard Wiiralt and Ado Vabbe), Cubism and Constructivism ( Märt Laarman). In the Thirties we may observe a turn towards greater realistic expression, connected with Estonia and Estonians. Estonian Realism branched out into several areas: representation of town life (Andrus Johani), rural and coastal pictures (Eerik Haamer and Johannes Võerahansu) and psychological portraits (Johannes Greenberg).
Estonian symphonic music, the sustaining axis of musical production, had accepted less Western influence than the other arts, for example in literature, where French Impressionism, German Expressionism and Scandinavian Realism did “put in a word”. The modest achievements in the so-called great music were due to the fact that professional music began to develop much later; the circle of symphonists started to expand and “plough the soil” deeper only in the Thirties.
In the second half of the Thirties Eduard Tubin was developing into a strong and individual composer synthesising national with international trends. As his inspiring creative models he named his teacher Eller (under whose guidance he graduated in 1930), Stravinsky, Kodály, Bartók and Hindemith. With the music of the Second Viennese School and the works of Shostakovich he was acquainted to a lesser degree .
Individual features were vigorously appearing in the Second ( Legendary ) Symphony (1937). In it Tubin brought forth visions from the dreary and heroic remote past.1 The introduction sustains mystical and depressive moods:
Example 44.
The main chromatic theme reflects suffering:
Example 45.
Counterbalance is signalled in by the heroic subsidiary theme, as if depicting readiness for battle. It is quite different from an ordinary one:
Example 46.
Later this noble and sublime theme will become an essential element of the whole.
The thematic core of the second movement is a short double motif; it is mournful as if describing an ancient funeral scene, though without sentimentality.
The theme of the third movement grows out from the former. In fact it is only a motif but all that follows takes its cue from it. The clarinet in the low register creates an air of mystery :
Example 47.
On an alert and pulsating background an image of a belligerent force increasing in power is created.
In the Finale the ruthless incessant pulsation has won its rights: in the background a gloomy, terrible drama is taking place… Only after the last fight is the depressing tension lowered: the tragedy has reached its fatal end. The strings reproduce the mystical atmosphere of the beginning. The general mood become conciliatory with the final chord in soothing B major… Only legends will survive .2
It is obvious that all the themes of the symphony are derived from a common source. In their development the inner unity is expressed. There are repetitions of a theme with a simultaneous transportation to a higher level, the bare rhythm of a theme with different melodic figures; themes are announced in augmentation on extensive ostinato backgrounds. Extended tonality prevails in the harmony of the developing sections, though atonality is used occasionally . With this changeability functionality has lost its role, but the tonal centres are preserved mostly as organ points. As a rule the chords are based on thirds, while many of them are used in all functional spheres. Such complexity is in direct connection with the basic idea. Everything in the development is in a flux; only the introduction and epilogue are exceptions, forming a frame . As a peculiarity of the form the lack of recapitulation in the first movement may be noted, instead a step-by-step lowering of tension takes place. At the core of the work only the germ of an idea consisting of some motifs was used. The concentrated thought and its variants emphasise the leading idea. Thus the monothematic principle, a novel feature in the development of Estonian symphonism, has been expressed.
The musicologist Ofelia Tuisk notes on the music of Tubin:
His music combined shaded lyricism with powerful drama, elaboration with monumental grasp of large forms, national inflections with contemporaneity, brilliant counterpoint with bold vertical . Regrettably such synthesis has remained a unique phenomenon in Estonian music. The Legendary Symphony stands out as the highest achievement in the symphonic music of the Republican period not only with its extraordinary mastery and innovation but with the depth in interpreting the central theme of those days: Estonian history and legends.1
The work was recognised and appreciated, though there was some criticism that it was too gloomy and strenuous without light.
To Tubin’s pen belongs the first Estonian ballet-pantomime Kratt (Sparktail)2. There are many folk tales about the evil treasure-fetching demon Kratt and its deeds. For finding appropriate ancient folk melodies Tubin turned to the Estonian Folklore Archives in Tartu and chose some thirty instrumental tunes and vocal runes as the basic materials.
A ballerina from the Vanemuine Theatre, Elfriede Saarik, later to become Tubin’s wife, produced a libretto. A peasant creates a magical creature, Kratt, from wood , straw and other odds and ends, in order to gather wealth. To bring this monster to life the peasant has to give three drops of blood to the Devil, and thereby sells his soul. To enrich and brighten this gloomy story, a love affair between the peasant’s daughter and a farmhand was added. Eventually Kratt sets the farm on fire and strangles the peasant so that the Devil may take his soul.
Tubin began composing in 1938 and completed the work at the beginning of 1940. The music is very colourful, typical and varied in accordance with the events of the story. It is vividly nationalistic. The ancient tunes have been processed with appropriate novel means. His imagination is in places amazing , reminiscent of Bela Bartók’s use of Hungarian folk tunes. Intense rhythmic progression, coupled with the use of variety and drama, are typical features. His musical speech is rich in fourth harmonics expressing the ties with national music. The music reflects its intrinsic need to move, developing in inflection and polyphony. This flow illustrates the struggle between good and evil, indicative of the dramatic essence of the plot.
Due to the unfavourable wartime conditions the ballet was first performed on March 31st, 1943, at the Vanemuine Theatre with Tubin conducting. The performance was a great success. The following year Kratt was staged at the Estonia Theatre on February 24th, on the 25th anniversary of the Republic of Estonia (choreography by Rahel Olbrei, conductor Priit Veebel).
We see to a great extent the primordial demonic power, this is grasping at the depth of our soul and the subconscious… in the music this ghastliness, devilry and the primeval can be heard which we, in accordance with the libretto, have a right to expect and which does not disappoint.1
The English music critic, Robert Layton remarked: “…the ideas are very fresh. If it is not Tubin at his very finest, it is still very inventive and likable… Highly recommended.”2
Some criticism was made about the libretto lacking thorough dramatic development and about the inclusion of too many national dances, becoming excessive in the ballet.1 In 1961 a version of Kratt revised by the composer was performed at the Vanemuine Theatre (staged by Ida Urbel); it also marked the first visit to Estonia by Tubin after his flight from Estonia in 1944.
In the Thirties the best symphonic works of Estonian composers were increasingly performed abroad (in Finland, Hungary and Poland), gaining positive appreciation. The output was increasing rapidly: at the end of the Republican period (1940) ten symphonies and more than 180 orchestral compositions (overtures, tone poems, suites etc) were written. Nationality and contemporaneity became central issues. Every composer found his own individual approach. The expression of national spirit was not only the requirement of this period; it was a totally natural aspiration of all creative artists. The national music schools founded by Artur Kapp and Heino Eller were a prominent force in promoting this ethos in their educational work.
The Cultural Endowment gave large subsidies for the arts and sciences: the sums from the Music Foundation amounted to an average of 45,000 kroons per year. Between 4,000 and 8,000 kroons were used to purchase musical works. This way nearly 100 symphonic scores were obtained up to the end of this period. The radio company State Broadcasting commissioned and bought new works. In 1932, Autorikaitse Ühing, an organisation of collective management of authors’ rights, was established..
It has been estimated that the total number of prominent Estonian intellectuals in the arts was approximately 1,200: writers 70, journalists 100, architects 70, theatre personnel 300, musicians (composers, soloists, teachers) between 400 and 500. The musicians were engaged at the Tallinn Conservatoire, Tartu Higher Music School, district music schools, private studios, State Broadcasting, theatres, music societies, schools and churches.2
The Republic of Estonia began on a weak economic base and with an insufficient cultural heritage from the past. However, the will power and expectations of our musicians created the underlying force in further actions. During this period our symphonism took shape and the direction of its future development was determined. Several more mundane problems, however, like better organisation, flexible management, founding a philharmonic institution, etc remained unsolved. It is understandable that in 22 years it was not possible to solve the numerous problems because the material base was restricted due to economic and historical conditions. It is appropriate to quote a prominent contemporary composer:
Several of our musicians, deeply interested in developing our musical life, expressed their thoughts in a pessimistic matter. It was even alleged that the musical activities in the past years had been ”leaden like the autumn sky with only an occasional ray of the Sun”. This was naturally an exaggeration. We must take into consideration that the composers were still young beginners without experience … But everything was evolving, they worked strenuously and there was no cause to feel ashamed of our achievements…1
The pre-war crisis of democracy in Estonia was first a crisis of leadership; there was a lack of spiritual independence, the nation had been for a certain time already split by foreign political ideas both from the right and left wings . Maybe in those critical times too much emphasis was placed on personal freedom and the needs of society and the state were not stressed enough. So the urgent necessary solidarity of the nation, or in other words, the psychological integration of a national society was not attained.2
The small nation had secured unusual effects in elaborating its culture, reaching its own mode of delivery, rising to the level of a civilised country among the other European states.

HALF A CENTURY UNDER SOVIET OCCUPATION. IDEOLOGY OVER MUSIC. EXTENSIVE INFLUX OF CONTEMPORARY TRENDS.

VIII. THE FORTIES. TRANSFORMATION OF ESTONIAN LIFE.

THE WAR-TIME SYMPHONIC OUTPUT.

Just before the outbreak of World War II in a secret protocol of the non-aggression pact1 entered into by Nazi Germany and the USSR, the Baltic states had been placed in the sphere of influence of the Soviet Union. Almost immediately after the signing of the pact , the Soviet government forced upon Estonia a treaty of mutual assistance and the provision for Soviet military bases.2 In June 1940 the Soviet government accused the Estonian government of not adhering to the treaty and of hostile actions, and demanded the formation of a new government acceptable to them. The Estonian leaders, refraining from an armed struggle, assured their loyalty to the Tartu Peace Treaty (1920). Estonian communists (the whole group consisted of no more than 150 members), acted immediately, with the support of the occupying Soviet troops, power was transferred into the hands of the communists in the same month. After crudely falsified “elections” the new authorities declared Estonia a Soviet Republic and in August it was officially incorporated into the USSR.
Everything was to be reshaped according to the Soviet model; it included terror, imprisonment and deportation. The eminent statesmen General Johan Laidoner (Commander-in-Chief of the Estonian Army), President Konstantin Päts, Premier Kaarel Eenpalu, ex-Premier Jaan Tõnisson and many other prominent public figures were arrested and, with thousands of others, either died or disappeared without trace in the Soviet prison camps. The sweeping deportation action in June 1941 wiped out any illusions about the communist rule. During the first Soviet year, approximately 19,000 Estonian citizens were deported.
The reshaping of the national spirit and way of thinking into a Soviet mould was declared the essential goal . Cultural life was subordinated to the Communist Party leadership. All publishing houses were nationalised and censorship was established. The Central Board for Printed Materials (Goskomizdat) drew up a list of prohibited literature; with only a few exceptions the titles on the list had to be done away with: about five million books were destroyed.3
In Soviet Estonia the transformation of artistic life was directed by the Board of Arts at the Ministry of Culture (headed by Johannes Semper) and guided by Communist Party instructions. Socialist Realism was a compulsory orientation. The keystones of this method are explained in the Small Soviet Encyclopaedia (1960):
…the main principle is the representation of reality truthfully and historically in its revolutionary development. As a hero the working man comes to the fore. He regards his connection with society as the inevitable struggle for communist order… The socialist ideology of reality in the arts was scientifically propagated by Lenin .
It is apparent that “Socialist Realism” does not represent so much the method of art but a policy of art, meant to serve aims that were little connected with arts themselves.
Some literary figures had greeted the Soviet regime: Johannes Vares-Barbarus1 (1890-1946), the communist Premier of Estonia from June to August 1940, Johannes Semper, Juhan Sütise (1899-1945), Mart Raud (1903-1980) among others. The German invasion of Russia in June 1941 temporarily halted the Soviet assimilation .
During the German occupation (1941-1944) creativity was constricted within the frame forced upon the nation by the war conditions. All the power in cultural matters was in the hands of the General Commissioner Karl Sigismund Litzmann (1893-1945); all German officers and the Estonian Local Government, headed by Dr. Hjalmar Mäe (1901-1978) were subordinated to him. Literary life became quite discreet. The poetry collection Mureliku suuga (With Troubled Mouth, 1942) by Marie Under deeply reflects the hard times. In the arts, life proceeded relatively vivaciously: many exhibitions; German officers and Estonians were consumers of art production, which had retained republican traditions gaining both aesthetic and nostalgic meaning. The musical life in Tallinn was quite lively. During the 1943-1944 season ten symphony concerts, thirteen special concerts and some chamber music evenings took place. It lasted until the spring of 1944 when the Soviet Air Force bombed all the major towns of Estonia. The Estonia Theatre in Tallinn and Tartu’s Vanemuine Theatre were destroyed.
The outstanding achievements in music were the Third and Fourth Symphonies of Eduard Tubin.1 The Third (Heroic, 1942) is clearly connected with the spirit of folk music. The conductor Olav Roots wrote later:
In the Third Symphony despair, defiance and anger are concentrated in the music, these feelings have seized the nation having lost its independence, but longing for freedom. The music becomes a passionate hymn, a powerful expression of self-consciousness and inner strength, a heroic appeal for justice.2
The Fourth (Lyrical, 1943) is Tubin’s last major work completed in Estonia. His lyric and intimate virtues are revealed to a greater extent than ever before. Olav Roots commented :
Tubin has exchanged his masculine severity for mild pastel. Nordic night seems to spread soft light over homely nature; twilight removes the distinctiveness of its contours.3
A German critic fully acknowledged the works and the talent of the composer:
The Fourth Symphony is an ecstatic vision of the beautiful, an enrapturing fullness of sound, of joy in this world, of nature and nation. First of all one feels that the sublime breath of a powerful creative spirit is living in this work, of an artist who is creating by inner compulsion.4
In the autumn of 1944, Tubin and nearly 70,000 Estonians left their homeland and fled to the West, most of them compelled by the desire to be free from Soviet tyranny. This was the greatest emigration in the nation’s history. It not only weakened the vital forces of the nation, it undermined the foundations of intellectual society.
Here is but a short list of émigrés. Among the academics and scientists: Karl Schlossmann (1885-1969), microbiologist and President of the Estonian Academy of Sciences; Julius Mark (1890-1959), philologist and Vice-President of the Academy of Sciences; Gustav Ränk (1902-1998), ethnologist; Oskar Loorits (1900-1961) historian and folklorist, greatly appreciated for research into the ancient religions of the Estonians and Livonians; Ernst Öpik (1893-1985), astronomer, founder of the Estonian School of Astronomers, author of a theory concerning the evolution of comets; Edgar Kant (1902-1978), economist and geographer, the last war-time Rector of Tartu University; Jüri Uluots (1890-1945), lawyer and statesman, the last Premier of the Estonian Republic; Johan Kõpp (1874-1970), Bishop of the Estonian Lutheran Church; Arthur Võõbus (1909-1988), clergyman, church historian and Orientalist. Tartu University lost 190 of its lecturers and professors1
In literature, theatre and art: Gustav Suits; Marie Under; Henrik Visnapuu; Bernard Kangro (1910-1994); August Mälk, novelist; Albert Kivikas (1898-1978), writer, journalist and dramatist; Karl Ristikivi (1912-1977), writer, essayist and literary critic; Riina Reinik (1908-1989), actress and director; Liina Reiman (1891-1961), actress; Eduard Wiiralt, graphic artist; Jaan Grünberg and Eerik Haamer (1908-1994), painters.
Composers and musicians: Juhan Aavik; Olav Roots, composer, pianist and chief conductor of State Broadcasting Symphony Orchestra; Verner Nerep (1895-1959), composer and chief conductor of the Estonia Theatre; Theodor Lemba (1876-1962), Estonia’s first professional pianist; internationally recognised violinists Hubert Aumere (1913-1976), Zelia Aumere (1919-1998), and Carmen Prii (1917-1991); Ida Loo-Talvari (1901-1997), opera singer ; Milvi Laid (1906-1976), operetta prima donna; opera soloists Arne Viisimaa (1898-1989) and Eedo Karrisoo (1907-1982); Rahel Olbrei (1898-1984), ballet master of Estonia Theatre and its prima ballerina Klaudia Maldutis (1910-1995).
The establishment of the Soviet Estonian Composers’ Union happened in wartime Leningrad. The organising committee consisting of three composers – Eugen Kapp (1908-1996), Gustav Ernesaks (1908-1993) and Hugo Lepnurm (1914-1999), plus three others – had to prepare for the foundation of the union. In May 1944 the six musicians gathered in a Leningrad hotel and officially established this Soviet organisation. Eugen Kapp was elected chairman; such a procedure and election can be regarded as legally void. The statutes declared the obligation to implement the directives of the Communist Party and to fight for the principles of Soviet patriotism and internationalism, for Socialist Realism.
Considering the symphonic output behind Soviet lines during the war, one has to mention the First Symphony (Patriotic, 1942) by Eugen Kapp.1 The title indicates a connection with the homeland. The introduction, including several lyrical motifs, seems to depict images from Estonian nature.
The first movement (Allegro agitato) is extensive, the main theme being manly and “rough” in harmony:
Example 48.
The subsidiary theme has an epic sound: it is characteristic that sustained sounds always belong to the subdominant:
Example 49.
The strenuous, march-like development arises out of the main theme. The subsidiary theme, fully transformed into a brave character, shines intensely and suggests hope at the end.
The second movement is based on two melodies: Kus on kurva kodu (Where Sorrow Lies ) and on a dance tune Pikk ingliska (Long English Dance). The music is reminiscent of national dance scenes.
Example 50.
The Finale does not satisfy the listener. Both themes are of no remarkable quality and their treatment is rather formal. The scheme is prolonged, the musical ideas move in a closed circle. The work, responding to needs of the time, was welcomed.
The First Symphony has its place both in Estonian musical history as a memorial of war time and as the first Soviet-time orchestral composition. Eugen Kapp wrote numerous symphonic pieces in the following years: the Second Symphony (The Estonian, 1954),2 the Third Symphony (Spring, 1964),3 plus several overtures, suites, and concertos. In his programmatic orchestral works he would proceed quite traditionally. The composer usually expressed himself in a lyrical manner; strenuous development, dramatic collisions in their deeper sense and weighty philosophic conclusions are not typical of him.
After World War II Eugen Kapp was appointed Rector of the Tallinn State Conservatoire and held the post of Professor of Composition. Eino Tamberg, Hillar Kareva and Heino Lemmik were among his outstanding students. Being one of the first supporters of Soviet culture in 1940, Kapp became a prominent social and political figure. He kept his position as chairman of the Soviet Estonian Composers’ Union for 23 years. In spite of all this, he remained a modest, mild, self-effacing person having quite an impartial opinion about the value of his output. His benevolence to colleagues has to be stressed. As the musician Harri Kiisk, speaking figuratively, remarked:
Eugen Kapp gave support to those who had fallen under criticism and were persecuted; he saved several colleagues from deportation to Siberia. He was a “lightning rod” who received the evil bolts and directed them to the soil.1
With an overview of his numerous symphonic and stage works it becomes obvious that Kapp’s most important works retaining their critical appreciation belong to the stage and were written after the war: the opera Tasuleegid (The Flames of Revenge, 1945, librettist Paul Rummo, stage director Eino Uuli, conductor Priit Nigula)2 and the ballet Kalevipoeg (1947, librettist Andres Särev, stage director Helmi Tohvelmann, conductor Kirill Raudsepp).3
The opera written to mark the 600th anniversary of the Estonian St. George’s Night uprising, vigorously demonstrates the nation’s desire for freedom. The uprising had no positive outcome , but the music is captivating with its warmth, melodious tone and sincerity. The Moscow musicologist Dr. Nazary Raisky commented after the performance:
Summing up, this is a thrilling and fascinating work, having all the pre-requistites for winning a secure place not only in Estonian theatre repertoire but in all the best opera theatres in the Soviet Union.1
The ballet Kalevipoeg, the second Estonian ballet, is based on several episodes from the national epic. The composer mentioned that a more suitable title would have been “choreographic pictures” since the work is a series of several complete individual scenes. Estonian folk music tunes form the firm foundation for the creative thinking of Eugen Kapp:
Eugen Kapp has been able to offer an artistic representation where the difference between folk tune and the author’s thought has been eliminated, where everything has been transformed into national music.2
Here the protagonist is the Estonian nation, with all their joy, grief and struggle. Kalevipoeg (the son of Kalev, legendary ruler of the Estonians) shines as an exemplary icon of national traits . The composer Alexei Sevastianov commented:
The value of the work stands in retaining the unique national fragrance which belongs to the epic. The nation is immortal, it is unconquerable: this is the idea behind the literary poem.3
It could be said that the Symphony, written by Eduard Oja (1945-47), is subjective, a document that relates an Estonian notion of the world.4 The national form of articulation, in the first two movements: dark attitudes, devout meditation and spiritual warmth are joined in the third movement by the distress of the times of war and the melancholy of the aftermath. The themes are not homogeneous in quality. It would appear that Oja has the ability to blend all the elements together, though a certain creative fatigue of material can be felt. Considering that this is his last work (his “swan song”), we can response to the second movement as something profound: the richness of colour serves as an utterance of intrinsic truths. The colour of thought communicating Oja’s manifold reflections on existence: a lonely and lucid mind is conjured, peacefully going to meet its destiny. The beginning of the movement:
Example 51.
Much of the lushness of Beauty Poem has been retained here, the use of subsidiary dominants and ninth chords. Again , Oja is free to create form. If the first and the third movements had the same essence as the second, the Symphony would transcend the ordinary.
Impressions of the war years are profoundly and evocatively expressed in the Second Symphony (1945) and Third Symphony (1947) by Artur Kapp. The Second is like a wide panorama of the Estonian land and its people in the background of gloomy times.1
The first movement begins with troubled and dolorous emotion:
Example 52.
The subsidiary theme casts a warm and pacifying glance over the shattered homeland:
Example 53.
At the beginning of the Allegro the introductory theme is altered. Now it is a call to arms.
The second movement (Scherzo) is based on two themes; the first is strenuous and chromatic:
Example 54.
The third movement represents a theme with variations on a simple and cordial folk melody: Oh me, the little man. The Fugue is one of the variations:
Example 55.
The Finale develops from the folk tune Üles, üles, hellad vennad (Get up, Sweet Brothers), subjected to remarkable transformations. Throughout the piece the old master exhibits his extraordinary skill. The symphony forms an inseparable whole. Not only are the functional relations determining; the music in its essence is founded on contrasts. Therefore this major work is full of restless emotions, incessant tensions being expressed through not too sharp harmony and counterpoint. The music demonstrates that anything can be expressed profoundly and experienced in the tonal language. Artur Kapp’s counterpoint is a means proper for creating a continual field of tension. Naturally, such a manner of thinking is deeply rooted in his character.
Looking back at the whole of the symphonic output of Artur Kapp, one can assert that the Second Symphony is his highest achievement. His onetime disciple Hugo Lepnurm states:
With his new grand work the old Maestro has enriched our music. It is monumental, personally experienced and youthfully fresh. The music of Artur Kapp is dynamic in its essence. The counterpoint is used as the means of expressing inner dynamism inevitably and naturally. As for the contents, the individuality of the author leans towards the philosophic and religious. The symphony is an excellent example of how popular and contemporary content can be expressed through classical forms. At all events, the work remains a composition par excellence in our symphonic music and its performance always fascinating.1
Juhan Aavik emigrated to Sweden in 1944. His First Symphony (completed in 1946) is another reflection of the war years, revealed through his thoughts, feelings, losses and hopes.2 The work was preceded by the Piano Concerto and Festive Overture (1944), the last works written in the homeland. In Sweden Aastaajad (Seasons), as well as concertos for the violin, cello and the double bass were added. The Second Symphony was completed in 1948.
Like many other Estonian composers, Aavik became deeper, more sensitive in his thinking after the tragedies of war.
The First Symphony consists of four movements. The first movement starts with a gloomy introduction; we are taken back into the atmosphere, the thoughts and feelings, of that fatal period:
Example 56.
The main theme displays energy and will to struggle on:
Example 57.
The subsidiary theme is reminiscent of a popular melody:
Example 58.
The third, concluding theme expresses hopefulness. The main theme of the second movement ( Moderato ) is the most profound of all the other themes; a hymn to the homeland, a dedication and confession from the innermost depths of the spirit.
Example 59.
At the end a folk song, Millal meie pulmad teeme? (When is our wedding to be?), makes its appearance. It is coloured by both major and minor tones and it is soon “dissolved” by other up and coming thoughts.
The third movement (Scherzo) appears to be quite traditional in comparison to the previous one. The themes, musical language and style are considerably different, the music remains on the level of academic Romanticism.
The Finale’s (Allegro moderato) task is to synthesise all the previous material. The main theme in this rondo resembles a folk dance; it is joyous and snappy (C1). The episodic materials are also close to folk tunes. In the synthesis the introductory theme and the main theme of the second movement participate. The former is transformed, sounding victorious and bright in augmentation, exhibiting the triumph of fulfilling all expectations.
In the development of the first movement several thematic elements collide. The direct struggle takes place between the chromatics accompanying the introductory theme and the brightness of the subsidiary theme. Growing depression is surmounted by the new theme that gains its strength from the folk song extending into a powerful and broad melody. Aavik remains a melodist, the fullness and sonority of tune are the typical features of this work.
Everything is based on classical form and a romantic way of thing. This is quite natural because Aavik belongs to the first generation of Estonian symphonists. Rhythmic inquietude and “floundering” is alien to Aavik. The vivid feeling for the timbre colours must be felt. The whole work is simple in its architecture, the themes and their developed, qualitatively renewed repetitions stand out as building blocks . Aavik is not very strong as a dramatist, his natural element is in different forms of lyricism. His conception needs dramatic and tragic expression, and he wants to offer it, but the tensions in his music do not grow from the antagonism of opposites. They are introduced with new themes (Finale). Even with the large amount of Estonian symphonic music this work catches our attention, just with is sincerity and openness of emotion. In its best movements, the composer is uniquely individual. The First Symphony belongs to the treasury of Estonian classical symphonic music.
Paying homage to Aavik, Mrs. Juta Kurman stated at the festive concert meeting in the New York Estonian House in January, 1979:
Aavik’s music has its own profile, it is clear and elegiac, trying to offer a harmonious language among the restless extremes of the present time, consoling the soul but, first of all, giving aesthetic enjoyment. The silently idealistic mentality of Aavik does not need to be in originality, offering neither great drama, innovating dissonant revolution nor discovering novel idioms.
The eloquence of his music is obtained from our homeland’s nature and people, from the heritage of our forefathers, from prayers and dreams. This is the musical speech of the composer called the Senior Bard.1
Another émigré in 1944 was Kaljo Raid (1921-2005), who had just graduated from the Tallinn Conservatoire in composition under Professor Heino Eller. During his conservatoire years he also studied violoncello (class of August Karjus) and conducting (class of Olav Roots). Having settled in Stockholm he continued at the University studying philosophy and theology. At the same time he made use of the library of the Swedish Music Academy penetrating deeper into contemporary music (Schoenberg and Stravinsky) and medieval music. He began a regular correspondence with Eduard Tubin that would continue for many years.
Raid moved to the USA to continue his theological studies at the Andover Newton Theological School (1946-49); he graduated with the Bachelor’s degree. In the early Fifties he improved his skill in composition during the summer master classes with Jacques Ibert (Tanglewood) and Darius Milhaud (Aspen). From 1954 until his retirement in 1990, Raid was a Baptist minister in the Estonian Church in Toronto and for the Estonian-speaking radio station Freedom Proclamation as the spokesman on religious topics. His first authorial concert, after returning to Estonia, took place in Tallinn on March 20th, 1990, a year before Estonia regained national independence.
Kaljo Raid first came to the public’s attention in his student years with his chamber compositions and his graduation work, the First Symphony (1944). The First Symphony has retained the position as his peak achievement in the whole of his symphonic output. The reflection of those fateful times in the First Symphony is evocative, his approach is vigorous, youthfully active and with a dominating optimism . The character and mode of expression is similar to that of Tubin.
The first movement begins with a gloomy and ponderous introduction; after this the main tonality A minor is fixed. The main theme suggesting an irritable struggle is efficient, creating a certain feeling of depression and agitation:
Example 60.
A conceptual connection with the Legendary Symphony of Tubin (first movement, main theme) arises. The subsidiary theme ( Meno mosso) with the singing oboe almost represents, by its inflections, a folk tune. The same might be said about the short accompanying violin motifs; they widen the theme into a streaming song:
Example 61.
The following treatment (Piu mosso) sounds variable and improvisational; the themes are not juxtaposed but reshaped. Quite an essential role belongs to the rhythmic ostinato. Recapitulation follows the classical rule. In the short sublime Coda clarity of thought joined with unshakeable faith rise over the tones of hopelessness.
The second movement proceeds, against the classical scheme, lively and in a sunny , excited, romantic mood:
Example 62.
Inflectional connections with Estonian folk melodies (Violin) are also felt here. The following is based on the widening of the characteristic motifs; accentuated powerful phrases by woodwind and brass. The second image develops from the previous (Quasi moderato), preserving the principal triole movement and brightness.
The Finale follows a course, not typical to the genre that has a gloomy and grave mood (Andante poco maestoso), depression and despair return.
Example 63.
The theme sounds like a cry of pain but the subsidiary theme brings hope and consolation. Included in the elements of the main theme, a passionate yearning and dreamy vision is appearing. With fatal inevitability a positive major solution cannot be reached (Tempo I). The listener is brought back to the initial gloomy thought in an enlarged sound (Tutti, ff). The epoch is an iron chain and it is seemingly impossible to break out… Perhaps it is accented silently but firmly by the tapping brass (pp). The drama reaches its conclusion with a hopeless fade out. There is no struggle in this movement, only the opposite pair of thought and emotion has been brought forth. The composer doe not synthesise anything.1
The prominent Estonian musician Tuudur Vettik (1898-1982) remarked:
The Symphony is characterised by the successful construction of form and thematics; a dominating melodic line and inventive harmony express the creative process of the composer. All this takes shape in fine and skilful orchestration which sounds fresh and captivating.2
The Second Symphony (Stockholm, 1946) shows Raid’s interest in modern trends of contemporary music. The symphony was not performed and Raid turned his attention to chamber music.3 The composer did not, however, follow the 12-tone system. Reflecting the oppressive spirit of the age, grief for homeland, and dimness of the future the work is atonal with dominating dissonant harmony. The common mood is somewhat dusky with a troubled retrospective insight into the past. The previous optimism, heroism and vigour seem to have disappeared; the work appears as a subjective echo of reality. The symphony consists of five movements, each bearing an individual form of thought and feeling.
The introductory theme of the first movement:
Example 64.
In the angular inflections the influence of Prokofiev can be felt. The following images appear as the different fabric of the same theme by several instruments, they may rely only upon some motifs not bringing essential changes to the general picture. As an arc to this introspection a miniature recapitulation is given
The second movement (Adagio) reflects loneliness and distress:
Example 65.
Without any warning this “vicious circle” of thought is cut off by a serene passage , first by horns(pp) and then the same phrase by woodwind and strings. Contentment and bliss is finally achieved, so long searched and waited for.
The third movement (Allegro giocoso), is Scherzo-like, a theme for violins consisting of 15 bars . As a fugato theme it seems somewhat stretched out. The fourth and fifth intervals become essential in the further melodic and harmonic texture. A section from the beginning:
Example 66.
No synthesising results, the starting materials determine the inner possibilities.
The fourth movement (Larghetto), a weighty contrast, Raid is looking inward. The succinctness is increased and expressed by several base points. In the final bars, pure D7 of A minor sounds like a hopeful question. The beginning:
Example 67.
From the two components of the initial theme, both the chords which constitute harmony and from the curves of harmony, Raid is further shaping variants in different tonalities. The final bars with expiring contemplation create a certain connection with the initial theme of the Finale in Raid’s First Symphony.
The fifth and last movement (Allegro moderato e risoluto) does not sound very resolute or eager. In the march-like theme and in its further treatment one can detect stylistic influences from Tubin (Fifth Symphony, first movement). In the last bars it seems as if an attempt is being made to direct all the previous ruminations, hardships and despair towards a positive solution (C sharp major), but the final chord does not confirm this. Raid does not make use of the ‘classical’ principles of treatment in this symphony, but all the form schemes are balanced.
Both his symphonies are the sound chronicle of the time but the circumstances have been seen and interpreted from different viewpoints. In the pamphlet added to the recording of the First Symphony, an anonymous critic wrote:
The war and the foreign repressive occupiers of Estonia had left their mark. One may detect it in the serious and sober moods. However, the First Symphony ends on quite an optimistic and vigorous note. It almost appears that the last movement with its brisk and brassy sound is grasping at victory and is heading for better times.
The creative Canadian period seems less complicated, as a synthesis between the Estonian and Swedish periods. Though the composer wrote some chamber music he turned his attention more to folk song. The composer speaking in an interview remarked:
Really , I have made use of several styles… Also medieval music has attracted me. I have tried dodecaphony, pointillism, but mostly polytonality. Folk song is one source of inspiration. The second is naturally the Bible, religious topics… The most beautiful works of art in the world have been created on religious themes, whether in music or in painting. God is the primeval source for all that is beautiful and music is a graceful godly donation.1

IX. THE PLANTING OF NEW CREATIVE PRINCIPLES DURING THE POST-WAR YEARS.

The decade after the war may be seen as ruthless struggle against the national spirit, word and deed with whatever means the new rulers had at their disposal. In spite of this the Estonians retained their national convictions, ideals and hopes.
The reconstruction of economic and cultural life was directed according to the interests of the Communist Party of the USSR. Since all the economy suffered and continued to suffer heavily, more and more colonists were arriving from Russia and other Soviet republics as labour to fulfil the overstrained plans of production. This was creating a new demographic situation rich in inner tensions. In 1949 Estonian agriculture was collectivised, according to Soviet models. As the Estonian farmers were much richer and more independent than those in Russia, they saw the process as an act of violence. The Soviets in 1949 deported more than 20,000 people to Siberia to fulfil their plans.1 This number has been disputed; Swedish sources have suggested 80,000 persons based on the asserted data from Soviet Estonia.2
Many prominent writers, artists, composers and other intellectuals were accused of bourgeois nationalism and formalism, a counterpart of the Nazi-German “entartete Kunst ” (Degenerate Art). The re-evaluation of the whole body of Estonian literature, arts and culture of the Twentieth century had to be carried through. This repressive Soviet policy reached its peak in 1949-1950. As a result, the most noted authors and artists were either outlawed or expelled from the Soviet Estonian Writers’ Association and the Soviet Estonian Artists’ Union (Friedebert Tuglas, Betti Alver, Johannes Semper3, Mait Metsanurk, Anton Starkopf, Ado Vabbe, Adamson- Eric among others). As for musicians Tuudur Vettik, Riho Päts (1899-1977) and Alfred Karindi (1901-1960), a prominent choral composers and merited educationalist, were arrested and sent as bourgeois nationalists to a Siberian prison in March 1950.
The Estonian Church was the only legal institution not directly subordinate to the Soviet regime. Through all hardships the Church remained a counterbalance to the communist ideology. The eminent theologian and linguist Uku Masing continued working, even though the Faculty of Theology of Tartu University was closed during Soviet times, translating the Old Testament from the original Hebrew into Estonian.
Masing wrote a large number of religious poems, however, what the Soviet authorities wanted was poetry that displayed the heroism of the Soviet people in the past war, and the building of a new life. This life would illustrate the friendship of all Soviet nations and their fight for peace. Novelists seeing the treatment of independent Estonia as dangerous turned to historical circumstantial subjects, for example, Aadu Hint’s (1910-1989) Tuuline rand (The Windy Shores), a tetralogy written between 1951 and 1966, was a historical panoramic novel about Estonian coastal dwellers.
New themes appeared in the fine arts at the same time. The views on art were seen as a political matter. The image of the ordinary man was seen as vital; initially the image was somewhat mechanical , common and lifeless. The thematic compositions were cultivated, inclining towards the illustrative. Estonian painters seemed to travel in two diverging directions: one partly following the Tartu Pallas school tradition with joyous picturesque expression, for example, August Jansen and Roman Nyman (1881-1951); the other direction tried to follow the high new ideological demands (Evald Okas, Adamson-Eric), often resulting in dry propagandist naturalism .
In the same way the theatre had to be an instrument in the hands of the Soviets for educating the nation in the new spirit. New young professionals, graduates from the Estonian State Theatre Institute founded in 1946, led by Ants Lauter and Priit Põldroos, and from the Moscow State Institute of Dramatic Art, injected new blood into the theatre. The repertoire was widening (stage versions of the novels by Tammsaare and Vilde), attention was paid to the inner problems of a human being as well as mutual relations. August Jakobson became a prominent and prolific dramatist; his plays included topics on the class struggle in pre-war Estonia, the period of collectivisation and the problems of Soviet intellectuals. In his dramas the “negative” characters appear more vigorous than the “positive” ones: Elu tsitadellis (Life in the Citadel, 1946), this work seems to be an alloy of an Ibsen family drama and communist ideology.
The first Soviet Estonian films were produced in Leningrad since the Tallinn film industry had been destroyed. Elu tsitadellis (Life in the Citadel, 1947), and Valgus Koordis (Light in the Village of Koordi, 1951) based on a novel by Hans Leberecht were the first ones. Even at this time both films were criticised as exhibiting the new life in a glossed and simplified manner.1
The Estonia Theatre was converted into a music theatre and housed the talents of the prominent singers of the period: Veera Nelus, Elsa Maasik, Tiit Kuusik, Martin Taras, Georg Taleš and Aaro Pärn. The first operas written in Soviet times were staged: Tasuleegid (The Flames of Revenge, 1945) by Eugen Kapp; Tormide rand (The Stormy Coast, 1949) by Gustav Ernesaks, libretto by Juhan Smuul, a historical tale of nineteenth century life in Estonia; Vabaduse laulik (The Bard of Freedom, 1950) again by Eugen Kapp about the pivotal times in the newly established Soviet Estonia.
The professional and creative life of composers in this period was difficult. Party officials took a dogmatic attitude towards the new developments in Soviet music, which were tied to the Communist Party resolutions of 1948 that clearly expressed complete ignorance in professional matters. The leaders in Moscow condemned outstanding Soviet composers, among them Dmitri Shostakovich, Aram Khachaturian and Nikolai Miaskovsky, accusing them of being formalist and in some cases public enemies. The symphonic music was compelled to utilise well-known revolutionary songs and simplify the idiom to cater for the “common man”. There is no need to label all the works of this period as valueless; many had artistic qualities due to the composers’ inner creative impulses in defiance of a too often alien ideology.
The older masters Artur Kapp and Heino Eller had developed their own simplicity in the Thirties and would continue to write programme music in their final creative period. The Fourth Symphony (Youth Symphony) by Artur Kapp was completed in 1948 and formally dedicated to the 30th anniversary of the Young Communist League. Kapp wanted it to be accessible to all young people.1
The main theme is stout-hearted:
Example 68.
The subsidiary theme appears as a fragment from a nursery rhyme:
Example 69.
The second movement is a series of variations, probably among his best. The first variation:
Example 70.
The theme of the third movement has an epic quality: it is soft and mild in colour.
The Finale includes several themes, among them a Russian dance tune, all simple and short.
Other intrinsic changes in the writing of Artur Kapp include “vertical” thinking, figuration rather than counterpoint, “common” movement and “ thin ” instrumentation. The thoughts of Artur Kapp rotate in a closed circle, being near to the nature of divertissement. The lack of challenges allows the core of real symphonism to be felt.
The primary incentive for symphonic creation, philosophical mode of thought, belonged to the nature of Artur Kapp. It was combined with a strong bias to the dramatic. Kapp developed his thoughts through the breadth of vision, not paying too much attention to refined details. His ideological aim was to advance the struggle and development of despair and hardship towards the light.
The building materials for him were rocks. He did not like the finishing touches… A great philosophic seriousness, honesty in work, evocativeness, profound love of classical music, escape from the ravishing Bohemian spirit, cordiality, a peculiar humour, which could occur as satire, the grotesque or sarcasm; all this was combined in him.1
Heino Eller’s music was mostly inspired by nature; turning to nature’s infinite resources he evoked the sense of spaciousness and largess in several of his works. This feature is inherent in Eller’s earlier tone poems like Dawn and Calls of the Night. One of the best works of Eller in his last creative period is undoubtedly the tone poem Laulvad põllud (Singing Fields, 1951)2. As the composer himself said, he wanted to reflect the peaceful labour of the people making their homeland richer and more beautiful.
There are three themes; the first is grave like the serious and worried speech of a countryman, and at the same time a reflection, expressing warmth and attachment to his earth. The main theme, being quite dramatic seems to reflect hardship:
Example 71.
A broad singing subsidiary theme displays the growing passionate mood. Festive and delightful feelings arise for his land. Such a broad melody in such a quality was not used in Eller’s previous work:
Example 72.
The principle of development is generally in variation: new short images are created from the original themes. Remembrance of the ancient past occurs when severe storms rolled over the land, causing anxiety and distress for the country. All this seems to have been surmounted when the subsidiary theme appears in recapitulation: the love for one’s homeland can conquer all hardships. The tone poem has been composed with great inner smouldering heat ; it is an anthem to Estonia and its nature.
In his earlier period Eller was influenced by Scriabin, Debussy, Grieg and Sibelius . He is a composer of lyric and epic character. The orchestral timbres and harmony in his compositions are colourful. All means of expression are combined into a whole by the elaboration of form. The balance of emotion and thought form the basis for clarity in the music. The national element is expressed through diatonic gamuts, incidental themes and in varying rhythms. While nature can be regarded as the main source of inspiration, grave philosophical mediation is not in the realm of Eller’s music, though with some exceptions in his last works.
The symphonism of Eller exhibited a trend towards greater dramatic expression in the Second Symphony, 1947 (unfinished) and Third Symphony, 1961. The moods of unsteady dejection, minor uneasiness and elegiac wistfulness are clearly felt, especially in the latter.1 Eller is focusing his concentrated attention on his inner world, reflecting other realities at the same time. Such a deepened psychological angle of vision is new to him. Thought the last bars of the Third Symphony are leading to some clarification, it is too short and does carry enough optimistic weight . The refreshing and vitalising forces of nature have been abandoned.
Eller had been teaching for six years at the Tallinn Conservatoire when he became Professor of Composition in 1946. There are many outstanding composers of the second and third generation who studied with him, among them Villem Kapp, Boris Kõrver, Jaan Koha, Jaan Rääts, Arvo Pärt and Heino Jürisalu.
Eller’s modesty was known to all his friends , colleagues and student. This quality is reflected also in his music: there are no outward effects… his know-how helped to avoid all that had been already said and to express himself in a new and inventive way.2
Let us add some thoughts from his creed:
Through all time one general demand is valid in art: this is strict inner discipline. Be it Palestrina, Bach or Beethoven, we can feel in their works this great organising power we admire and are delighted with. When considering discipline and concentration , we have much to learn from the elders. The present day cannot be imagined without knowing yesterday.3
Eller wrote the first Estonian Violin Concerto (1933-1964) in B minor, a one movement work in sonata form with an introduction and coda. In its first version the Concerto was completed in 1940, but Eller did not release it for performance wishing to revise it further. The following hard times did not offer the possibility to complete the new redaction until the sixties .1 Eller was a violinist and had full command and understanding for composing for the instrument, generally speaking, the work impresses with its improvisational quality and virtuosity. The introduction as a cadenza has both dramatic and epic elements, the main theme is dramatic but the subsidiary theme is a warm song rising from the heart. The concluding theme is dance-like and facile. The virtuosity is expressed in the treatment of both the dramatic and lyrical moods. The final part is brilliant, effective, pithy and convincing. As with all other post-war works by Eller the sound is fully “Estonian”, reflecting national character, song and spirit.
An original composition in this decade was the Setu Symphony (1953) by Cyrillus Kreek. Its peculiarity first becomes evident in the basic primary materials; Kreek is using, without exception, old folk dance and song tunes mainly from the Setu region in South East Estonia. There is an abundance of tunes (thirty in all) and this provides the main shortcoming of the symphony. The primary materials are used almost exclusively in repetitive sections, bringing in tonal changes and other tunes to varying degrees. In treatment phrases taken from several original tunes are built up, but an inner static persists. The work lacks the principle of symphonism: there is neither inner tension nor an aim for development. In harmony the composer confines himself to the basics, the texture can be clearly divided into melody and accompaniment, much like a choral song arrangement. There is much duplication and thus the timbres are neutralised. Orchestration lacks dramatic ideas. The richness of the material buries the possibilities for revelation and development. Yet, the Setu Symphony is very informative, offering a glimpse into Setu folk music and can be considered as the first attempt to compose a thoroughly Estonian symphony.2
Cyrillus Kreek, being a great national composer, confined himself in his few orchestral works to the reproduction of folk tunes. During the Nazi occupation Cyrillus Kreek arranged many folk tunes into suites (1943-1944): Four Folk Songs, Five Folk Songs, Six Folk Songs, Musica Sacra (sacred folk melodies) and Vanad jõulud (Old-Time Christmas). This was done at the request of Olav Roots, the chief conductor of the State Broadcasting Symphony Orchestra. Roots performed the music in Holland (Hilversum) and Germany (Breslau, modern Wroclaw, Poland) in 1944.
Kreek prefers to use melodies in their “pure” form, and his orchestration is variable; rich in colours, variegated in polyphonic texture, diverse in tonal relations and in figurative accompanying lines. The music, full of national spirit and beauty, can be referred to as a genuine visiting card from Kreek as an orchestral composer.
Among the works written in the middle of the Fifties the Second Symphony (1955) by Villem Kapp1 is of interest. In Kapp’s works the romantic attitude of mind and individual national expression converge. In the Forties his chamber music and choral songs were well appreciated, though many consider that the Second Symphony his best extended work.
In the first movement a grave shadowy mood prevails. The main theme is harsh and anxious, but there is also strength of mind native to the people living and fighting under the stormy Northern skies.
Example 73.
The subsidiary theme introduces some lyrical softness without losing the general Nordic atmosphere.
In the second movement a domestic intimate state of mind dominates:
Example 74.
The third movement develops from the rhythm of an Estonian waltz. The Finale begins with the appearance of the introductory theme. After a heavy struggle in development, including an innovative threatening brass theme, the final victory is expressed by glorifying the homeland and nation.
The merits of this popular symphony lie in its broad use of melody, lucid simplicity and well-balanced form. Villem Kapp repaired to a notable extent the flaw in Estonian symphonism: the nervous spirit, restless pulsation and condensed form of many contemporary works where foreign to him.
Until his untimely death at the age of 50, Villem Kapp was engaged as an Assistant Professor in composition at the Tallinn State Conservatoire. His outstanding students were Helmut Rosenvald and Lembit Veevo.
Anatoli Garshnek (1918-1998) began composing in the Fifties. After finishing his studies with Eller in 1950, though he willingly left his post-graduate studies at the Moscow Conservatoire, he began a career teaching composition and theory of music at the Tallinn State Conservatoire. Among his best students were Anti Marguste, Mati Kuulberg and René Eespere.
The output of Garshnek is connected with Setu folk music, influencing his symphonic works (First Symphony, 1953) and the vocal-symphonic composition Five Setu Songs (1953). Garshnek was also influenced by the times and their ideological demands. His Sinfonietta (1957) is easy listening music: there is the joy of life, the sun is always shining, and all proceeds in a straight line. The Second Symphony (Youth, 1963) as its name suggests has a programmatic nature with lots of youthful momentum, elements of the grotesque and humour. It could almost be staged. Serious considerations occur later in the Third Symphony (1976), the ideas are fundamental, the composer is introspective, and connections with the music of Prokofiev pronounced. There is diversity in the use of colours in dancing formation, qualities quite native to Garshnek. His oratorio works are based on social and historical subjects: the friendship between Estonian and the Soviet republics and the impact of the revolution.

X. THE SECOND HALF OF THE FIFTIES. TOWARDS A MODERN IDIOM: EINO TAMBERG AND VELJO TORMIS.

Nikita Khruschev in February 1956, at the 20th Congress of the Communist Party condemned Stalin ’s personality cult for suffocating the people’s initiative and expression, for political careerism, economic mismanagement and mass executions. The new era was named “the thaw of Khruschev”. Intellectuals felt relief and hoped for a better future. Khruschev allowed Alexander Solzhenitsyn’s story One Day in the Life of Ivan Denisovich to be published in the literary magazine Novyi Mir in 1962.
Estonian writers and artists obtained some freedom of expression, but certainly not the freedom in the Western sense. In literature satire and comedy were revived and international relationships began to develop again. A new generation of writers rose to prominence (Lehte Hainsalu, Uno Laht and Jaan Kross). Jaan Kross (1920-2008), renowned today for his historical novels1, was originally noted for his poetry, his collection Söerikastaja (The Coal Enrichment Facility Worker, 1957) though primarily satirical, critical of the times and intellectual, promoted not only poetry but also helped refresh the literary climate. The socio-psychological dramas Atlandi ookean ( Atlantic Ocean, 1956) by Juhan Smuul (1922-1971), Kadunud poeg (The Prodigal Son, 1958) by Egon Rannet (1911-1983) were widely discussed in Estonia.
As the world outlook and contacts widened, the fine arts attained a new level in their development. The first post-war exhibition of Estonian art abroad was held in Helsinki in 1957. The Soviet dogma on artist values was abandoned step by step. Artists from the elder and middle generation felt a fresh impulse to be creative again, among them were the sculptors Anton Starkopf and Enn Roos, painter and applied artist Adamson-Eric, graphic artists Günther Reindorff and Richard Kaljo, and from the younger generation of artists, Viive Tolli (b. 1928). Of the same generation, Kaljo Põllu (b. 1934), Herald Eelma (b. 1934) and Heldur Laretei (b. 1933) are to be mentioned.
The musical theatre was enriched by new talented singers: Paula Padrik (b. 1926) and Aino Külvand (b. 1920) at the Estonia Theatre and Lehte Mark (b. 1924) and Evald Tordik (1923-1989) at the Vanemuine Theatre. Composers were preoccupied with opera, Lembitu (1961), reflecting the fight against German crusaders by Villem Kapp should be noted not only as a historical opera, following classical and romantic fashions, but also as a psychological drama.
In 1957 a new drama department opened at the Tallinn State Conservatoire under the famous Estonian stage director and actor Voldemar Panso (1920-1977). Previously Estonian actors were either trained at the Estonian Studio of the Moscow State Institute of Dramatic Art and the State Theatre Institute (1946-1950).
A new film industry started tentatively, as an Estonian film critic described production in the late Fifties
…besides growing pains some success was encountered: there were more or less interesting roles, expressive musical arrangements… and in some cases, acceptable creative ambitions of film directors. But most of the films of the time were failures. Soviet Estonia was exhibited like a fashion show… sharp social problems were touched, but the authors confined themselves to just registering them.1
The same difficulties were likewise present in symphonic music, as Ofelia Tuisk observed:
Why are the powerful dreams, passionate yearning, profound sorrow, seething joy and nature-intoxicated lyrics absent from our symphonic music? Is it not paradoxical that just in our sharp and conflicting times and even more, in the Soviet state, a composer is preferring the Glazunov-like smooth and non-contradictory symphonism instead of the struggling, conflicting symphonism of Beethoven and Tchaikovsky.2
Ten years after the decision of the Central Committee of the Communist Party (1948) that had hindered the free and natural development of all the arts, the policy was abolished, since it reflected a Stalinist approach, as subjective and erroneous. This allowed a renewal in symphonic music. The breakthrough towards a modern spirit of contemporary symphonism was led by a younger generation of composers, the first was Eino Tamberg (b. 1930) with his Concerto Grosso (1956), Symphonic Dances (1957) and the Ballet-Symphony (1959).
The genre of concerto grosso was then quite unknown in the whole of the Soviet music. Tamberg’s Concerto Grosso3 is an extensive composition in three movements, with chamber-like orchestration, its solo group (concertino) consisting of flute, clarinet, trombone, alto saxophone, bassoon and piano. The main theme of the first movement can be described as vigorous and reminiscent of an oratorio:
Example 75.
The subsidiary theme with violin and violoncello is somewhat wistful but graceful. The music is influenced by the idiom of Prokofiev. The development expresses a joyful bustling spirit. In the second movement there is a mood of loneliness and pressing meditation:
Example 76.
During the poetic waltz the sadness dissolves.
The energetic main theme of the third movement (Finale) forges ahead like an etude:
Example 77.
The themes obtain weight and fullness of sound in development.
The second work, Symphonic Dances, is poetic.1 The first theme is reminiscent of a slow polka; there is no swing but a good dose of humour and rollicking:
Example 78.
The second theme is a lyrical waltz forming the centre of the dance. The variants of the first theme progress in unexpected harmonic transitions and varying metrics (2/4, 3/8, 3/4, 2/4, 5/8, 3/8). The alterations are evoking an archaic spirit (the lowered II and VII, the heightened IV degrees). All of this music is enchanting with its metrical plasticity. In the fifties it was a fresh phenomenon in Estonian music.
The third dance is vigorous, the somewhat gloomy first theme pulsates:
Example 79.
The second, subsidiary theme sounds like a vivid and plastic Estonian waltz. In the development section a new theme is introduced. It sounds like restless questioning; yet it makes a central axis for further treatment. The recapitulation is oppressive.
An essential feature of the young Tamberg is the incessant renovation of metrics and rhythm; all this variety and waltzing creates his individual style. Thorough modulation of rhythm and inflection are recognisable in all modifications, indicating a true symphonic treatment. In the third dance, though there are some dance-like episodes, one can hardly perceive the dancing essence; the music is symphonic. As new features are introduced by Tamberg, the intensity and suggestiveness of his language, a peculiar treatment of folk tunes, surpassing genre limitations by real symphonism, enhancing the colouring of the texture must be mentioned. Contemporary critics found the music to be full-blooded, possessing gallant humour, sharp wit and whirling swing.
The Ballet-Symphony is not only a symphonic poem but also the first Estonian ballet music depicting a contemporary maiden’s internal world.1 The composer said about his ideas:
Lately I have often observed the trend towards technicality in the ballets… Considering the reflection of deep human emotions both in script and music extremely essential, I decided to act vice versa: to reduce the outer action to a minimum, yet to show clearly the wide scale of human emotions.2
The work describes a beautiful day, full of sensations: awakening, activity and awareness. The primary but transformable thematic material interconnects all the movements. The music is full of poetry, impulsive and passionate. There is no division into different ballet scenes. The movements are named Prelude, Scherzo and Nocturne.
The main thematic image of the Ballet-Symphony (Awakening – Prelude):
Example 80.
The two- facet functionality indicates that something obscure and unknown is waiting ahead: this reflects the searching and curious moods of the Girl. The whole movement clearly shows her changing thoughts in the morning; the themes are transparent, dancing and almost vocal.
In the second movement the leading thematic image creates a cementing figure yet transforms into a restless and excited character. This is underlined by harmonic conflict (bitonality):
Example 81.
The first additional thematic image follows. The Girl is moving and observes people in action. Her gracious dance sounds wistful.
In the third movement the bi-tonal leading image appears anew in a slower tempo. The Girl feels dissatisfied and resigned, her anxiety and displeasure are increasing:
Example 82.
Her yearning and passion are softened by flute music in the culmination: how many beautiful days are still to come ?
Obviously the outstanding feature is the plasticity of Tamberg’s thinking. The functionality has lost its role, instead the tone C is the tonal centre for the whole work, sounding as “pure” harmony at the end. The tonality is extended. Contrasting counterpoint has been used as well as various metrics and changing rhythms. The weight of the emotional aspect demands a corresponding form scheme. The Prelude is in a free form with two themes and a leading image where the developing element remains “exterior” according to the scenario. The Scherzo has a sonata form with two themes. The Nocturne has a sonata form with a Coda (consolation). The communication of a complicated psychological world would attract Tamberg time and again. He has enriched Estonian symphonic music with a novel synthetic genre. Tamberg has not followed some national pattern but one can highlight his crisp colouring evident in chords-in-fourths, in diatonic usage and functional subdominants.
During the following decade his language becomes more refined, psychology more profound, leading to the use of dodecaphony in his ballet Joanna tentata (1970). Looking back at the path trodden by the composer, musicologist Priit Kuusk remarks:
I am not trying to absolutise the priority of Tamberg in several genres both in Estonian and Soviet music, but nevertheless it may be said that from the very beginning of his creative work his aim has been to fill some gaps in Estonian music with his output.1
Tamberg as a composer has always paid attention to contemporary society and its problems; it is reflected in his film music, in oratorios, for example, Kuupaisteoratoorium (Moonlight Oratorio), Amores and incidental music. He has widened the scope of Estonian music both in content and genres. His characteristic features are vitality, lyrical animation, psychological refinement, extensive symphonic fantasy and impulsiveness in building form.
The symphonism of Eduard Tubin has exerted profound and lasting influence upon many young composers of the third generation, among them Veljo Tormis (b. 1930). The first possibility to get acquainted with Tubin’s work occurred in the autumn of 1956 when his Fifth Symphony was performed in Tallinn for the first time with great success ( ERSO was conducted by Sergey Prokhorov). Estonian composers were deeply impressed by its inner might, captivating pulsation, incessant thrust and an aura of national tragedy emanating from the sound canvas of the first movement.
Veljo Tormis, graduate of the Moscow State Conservatoire with Professor Vissarion Shebalin in 1956, had just started his path becoming a disciple of the Estonian choral music masters Mart Saar and Cyrillus Kreek. In the following decades Tormis immersed himself totally into ancient runic song, its inner beauty and magic, and offering this to an international audience. His vivid individual choral style has won international appreciation and Tormis is considered one of the leading exponents of the folk music tradition in the contemporary Western world. All his choral work bears a strong affinity for Estonian traditional music; he is using runes in their purity, adding only what is necessary for expression. He comments:
It is not I who make use of folk music, it is folk music that makes use of me… I feel the necessity to express the essence of it, its spirit, meaning and form. I believe that runic song is one of the highest and typical expressions of Estonian culture.1
Tormis can be seen as a radical, using contemporary devices; heterophony, polytonality, poly-rhythms and clusters, however, their application is conditioned by the need to reflect the national psyche. Tormis is an innovator and restorer simultaneously. Acknowledging his merits Tormis was elected Honorary Doctor of the Estonian Academy of Music (1992) and Professor of Liberal Arts of Tartu University (1997).
The Overture No. 2 in C minor2, though not a programme piece, the images are vivid, energetic and create visions of a battle under leaden skies. It is considered as the best of Tormis’s scant orchestral output. The Overture is in sonata allegro form. The first bars indicate a kinship with Tubin’s Fifth Symphony. The main theme (Violin) proceeding in narrow and oppressing second-thirds, spinning around an axis, sounds like a cry for help:
Example 83.
A common atmosphere binds all that follows. The theme, quite short in essence, remains open, the composer widening by changing colours and shape. The performance principle of the runic song (usually pure repetition with only tiny deviations) becomes, to a certain extent, obvious. The middle section (development) is based on the subsidiary theme, the composer is offering several of its variants in delicate colours and harmonies. The initial rhythmical “drumming” (as with Tubin) is met almost through all the work creating high tension (an exception is a wide singing episode in the development). The recapitulation is hard and massive summing up all into a tragic end.
The ancient Estonian folk song has been considered as rather static and monotonous, there is one sign of this in the Overture, this “theatrical” work demonstrates remarkable temperament and fantasy. This work was the first Estonian symphonic piece performed abroad after the war, in Warsaw in the autumn of 1961. The score was published in the same year and the music found its way to many concert halls.
The importance of Veljo Tormis does not just lie in his music. In Estonian culture he is an iconic artistic phenomenon, preserving and distributing ancient Estonian heritage everywhere and so perpetuating the national spirit.

XI. THE NEOCLASSICISM AND CONSTRUCTIVE THINKING OF JAAN RÄÄTS.

At the end of the Fifties the young Jaan Rääts (b. 1932) was developing as an individual composer. As a student he showed special interest in the music of Shostakovich and Prokofiev. As a recording manager at the Estonian Radio he had ample opportunity to get acquainted with modern music from the West and the East, and was influenced by the music of Tubin, Stravinsky and J. S. Bach.
The first compositions that received recognition were the Third and Fourth Symphonies, both written in 1959. The Third Symphony of only 16 minutes duration consists of five short movements.1 The chromatic themes of this and following works are wide in diapason and move in sharp turns. One may differentiate between the thematic cores and backgrounds, often comprised of big leaps. Separate contrasting movements have been juxtaposed. The slow movements sound Neo-Classicist.
At first a joyous clarinet theme is exposed; an everyday bustle and a figurative grotesque are displayed. In the second movement the manner of Neo-Classicism, close to that of Stravinsky, is obvious. In the meditative theme something of a cantus firmus becomes audible:
Example 84.
The third movement resembles the first: the quick-changing “ street scenes” achieve a dramatic character.
In its turn the fourth movement is connected to the second. There are no themes but a series of epic images. The fifth and the last movement has a mechanical robotic feel. Two themes are introduced corresponding to the main and subsidiary subjects. However, the first differs from the typical, being very laconic. It stands out as a totally enclosed “iron frame”: its ascending transportations are not transformed:
Example 85.
The subsidiary theme is bi-tonal and characterised by an objective lyricism. The thinking of Rääts is constructive in the lively movements. A motif is the basis for reshaping. The whole seems to be of less interest to him. Perhaps the process of reshaping and transforming the whole is a much more complicated process. His treatment of details is in miniature, lacking extension in thought and breadth. Joining several smaller phrases has shaped the matter-of-fact pace.
The Third Symphony sounds atonal in a specific way, there are quite a number of tonal moments, also “pure” chords, mostly shadowed by dissonance, yet Rääts is avoiding tonal centres. Harmony is directed as if by intuition, some gestures from Prokofiev’s idiom may be detected. Polyphony is used mostly in the shape of the linear and contrasting subsidiary lines. In the score oboes are left out, the alto saxophone is added. The basic group is made up of strings, playing nearly all the time.
The ground pillars are quarter and eight notes. Complicated rhythmic patterns are absent; they simply are not adjustable to the style. So the entire metric picture is somewhat stiff . Such a hard rhythmic frame inevitably leads to inner impoverishment of the music. Rääts appreciates classical form schemes, but in his hands their contents and development are unaccountable. As a result, these miniatures do not make a real major form. The inner energy of the music is connected with a heightened dynamic level; the composer prefers to speak in a loud voice. His aim has been to portray in an individual manner the modern town dwellers and their environment.
The Fourth Symphony stands out as something different.1 Manifold, even kaleidoscopic materials and jazz elements are used. The pulse in the fast movements is an axis on which all incessant modifications are based. A Trombone motif constitutes the foundation for the first movement that resembles a block built up of motifs:
Example 86.
The themes could be more extensive. The author seems not to be fastidious enough. The second movement (Fl solo) sounds calm and epic.
The following two movements contain neither outstanding thematic materials nor the character of fixed subjects. A row of single contemplating motifs appears in the fourth movement. An example:
Example 87.
The Finale includes one theme with a core consisting of only one bar. The general feeling is one of lamentation and nervousness. A sequence of chords stands for the second theme and is repeated in recapitulation:

Example 88.

The constructive thinking has obtained a sharp expressiveness: the rhythmic-motivic ”block” in the Allegro movements excludes coherent symphonic development. In principle one cannot have anything against constructions, as they can be met everywhere in music but the question always arises: which creative thought has been expressed through them? As the worn-out images are thrown off, an impression of tacking-together arises. It is possible to create a placard-like expression in this way. These sections do not lead to a synthesising outcome. The paradoxical result is that the creative thinking of the composer seems to be unlimited but, nevertheless, this freedom does not release his frame of mind from being insular.
Harmony is by no means a regulator or directing factor . Having invented some satisfying sound-complexes, Rääts would use them extensively. Thus a block-system emerges. Polyphony appears in its linear shape; a novel feature comes into being, often an ostinato-figure has replaced the freer coursing line. The composer is inclined towards a chamber-like sound.
The rhythmic patterns have become more diverse, but at the same time the ostinato has gained ground. It is obvious that Rääts wants to get rid of his traditional frame of thinking, but his creative character is “protesting” against it.
Later the music of Rääts will become increasingly fragmentary, reaching the boundaries of Eclecticism. Collage and juxtaposition of the different styles are much in use.
Obviously his outstanding and serene music in this decade is the First Concerto for Chamber Orchestra (1961). His personality is expressed in a more mature and widely acceptable way. 1
The first period of the first movement expressing determination and vivid action stands as the main theme of the whole work:
Example 89.
The subsidiary subject emerges in the main tonality (F major) without any modification in motion.
The basic movement rests upon a single theme, with the tonal basis being steadily recognisable. It is “objectively” wistful and instrumentally “singing”:
Example 90.
The third movement is Scherzo-like, the fourth movement awakens only in one period the serious mood. The Finale (the fifth movement) is based on a polka-like theme; as the cementing material the themes from the beginning have been brought in. The sections of development present new variants of themes. Rääts has housed everything in a clear functional frame and so both an inner and outer unity has been created. A developed polyphonic texture is lacking, the vertical seems to be a hindrance for the horizontal. The formal schemes are simple: the first movement is a sonata form, the second and third in ternary forms (ABA), the fourth is only a period and the fifth has a rondo-like scheme.
The author has no interest in philosophical cognition, this is music written by a young man and offered to the young.
With his next symphonic works Rääts is proceeding along his own way. Later an increasing splintering into details and the use of a collage principle make themselves manifest.
The Sixth Symphony (1967) stands out as a typical model reflecting a sharp creative crisis of the composer. 2 There are many flashes of tiny images but it is not possible (and not planned by the author) to synthesise anything from them. A four-bar theme in the Finale is sounded in strings and repeated at the end:
Example 91.
Rääts does not make anything out of it; it would be against his principle of variegation, abruptness and instability. This “cinematic” principle penetrates into the orchestration and disrupts its unity. About “good” or ”bad” sound one cannot speak, everything is possible. The aesthetic value of the composition has been diminished.
The Latvian musicologist Dr. Arnolds Klotinsh said:
This is an attempt towards variegation of musical dramaturgy... As a result we recognise a certain turn towards philosophical dramatic symphonism, though it is confined in the frame of a generalising objective mood of expression. The main shortcoming of the work is the inadequacy between the principle of free contrasting of structures and an attempt to create an extensive dramaturgic line... A broader question arises: must the wish to deepen the musical figurativeness be expressed in an application of a specific kind of symphonism? The final answer to the question will be given by the inner conviction of the author himself. 1
The Festive Poem is a transitory work reflecting the search for a more clear and simple expression: as if compromise has been achieved between the “new” and the “old”. As new features there are a greater vocal style, pure chords and avoidance of “mechanical” movements.
The Seventh Symphony (1972) expresses essential changes in his style. At first this is applied to the thematic sphere. The composer is searching for new expressive images. The introduction appears as a pastoral, several phrases are interwoven, joined in a leading tone:
Example 92.
The second movement proceeds in a folk music spirit. Several images are exposed; they are not yet themes but cementing elements. The main theme is vocal in character and Neo-Classical:
Example 93.
The third movement (Finale) is relatively short. The single theme given to the trumpet is a lively march repeated no less than fourteen times without any change is a scheme close to ostinato variations. In comparison with the previous themes it remains somewhat dry.
The Seventh Symphony is a sound picture of town life, but at the same time thoughts about countryside and its nature are present. The composer has said:
Every author inevitably shapes his individual handwriting and it is impossible to break away from himself. Sure , during a longer period changes are possible. Due to my inability to change myself sufficiently, I have perhaps been too one-sided both in the means of expression and emotions. 1
In comparison with Tamberg Rääts possesses less psychological refinement and profound emotion. At the same time he is speaking intensely. The national elements, firmly rooted in Tamberg’s music are scarcely met in his works. In his film-music Rääts has applied electronic and “concrete” sound. In the symphonism of Rääts the optimistic main tonality has taken the upper hand. Estonian musicologist Priit Kuusk stated:
The music of Jaan Rääts from one work to another taught us thoroughly and consistently the novel understanding of the importance of music. It trained us to understand music not only as an epic-romantic noble ornament. His works emphasise in a good sense the organic possessions of music to our way of living. 2

XII. THE FIRST HALF OF THE SIXTIES. DODECAPHONY OF ARVO PÄRT.

Changes and renovation took place both in economic life and in all fields of culture. Both the quantitative and qualitative growth in Estonian literature is obvious. Such prominent authors as Friedebert Tuglas and Betti Alver, who had withdrawn from literary life, started to publish their works again. The latter stands out as one of Estonia’s profound writers, her poetry conveys understanding of the sense of all human existence. In prose much attention was paid to psychological and ethical problems, especially in the works of Erni Krusten (1900-1984) and Paul Kuusberg (1916-2003).
In literature we observe the slackening of ideological pressure. The concept of ”boundless Realism” by the Marxist Roger Garaudy (b. 1913) spreading in the Soviet art circles obviously played a certain role. As the first authors to turn away from the Soviet paradigm Mati Unt (1944-2005) with the story Võlg (Debt, 1962) and Enn Vetemaa (b. 1936) with the novel Monument (1965) should be mentioned.
Thematic possibilities were expanding, inner qualities and the mental outlook of the artist himself became essential. The new generation of artists had started to lead the changes in the Sixties: painters and graphic artists Jüri Arrak (b. 1936), Malle Leis (b. 1941), painters Henn Roode (1924-1974), Enn Põldroos (b. 1933), and others. In painting the boundaries become flexible, the pure landscape with other images included (Olev Subbi, b. 1930).
The first foreign exhibition of Estonian applied art in Soviet times was held in Helsinki 1960. Later international exhibitions in Poland, Yugoslavia, Italy and other countries won recognition and appreciation.
The search for novel forms, free conception and an independent status of colours was far reaching. Deviation from the prototype became meaningful. Abstract experiments and Cubist deformation of form became just as important as other Western models. This was the time of rising activity in all the arts. A pure aesthetic approach was looked on with suspicion by the young. At the same time a counter-attack against the modern (especially abstract) art, as well as against rock and even jazz music was launched by the Soviet officials.
Unfortunately there were various types of imitation at the beginning but copying never offers anything valuable. A modern label or technique does not necessarily signify anything. No doubt, the changes taking place in the Estonian cultural climate at the time were necessary, being a counterbalance to external pressure. At the same time some novelties (happenings, performances, instrumental theatre, for example) had hardly anything to do with art in its genuine sense.
Drawing some parallels with the symphonic output, in this field the novelties were introduced in the whole musical language: ideas, thematic, rhythm, colour, form shaping; techniques like aleatory elements, dodecaphony, collage, sonority; overcoming the genre limitations. The obtaining of sound colour became very important, lit by harmonic or timbre use (firstly Kuldar Sink , 1942-1995) and free play with it. Direction towards colour application instead of thematic may be considered as characteristic of the last symphonies of Lepo Sumera (1950-2000).
In connection with all the previous expressed here, a typical statement of the old Maestro Artur Kapp comes to mind:
Bach was the greatest Modernist. Around him they all are spinning and rolling even at present, but none of them has been able to rise higher. 1
Noorsooteater (The Youth Theatre) was established in Tallinn in 1965. In Estonian theatre, as in other fields of art, more attention was paid to the inner world of the human being and attempts were made to offer significant generalisations. The dramas of Juhan Smuul with their true-to-life characters, witty humour and bold satire of high Soviet dignitaries – Kihnu Jõnn ehk metskapten (Kihnu Jõnn, or The Rogue Captain, 1964), Polkovniku lesk (The Colonel’s Widow) – deserve to be mentioned. Bertolt Brecht became a favourite dramatist: The Life of Galileo and Mother Courage and Her Children having successful runs.
The music theatre acquired more individual features; more works of Twentieth century composers (Maurice Ravel, George Gershwin, Richard Strauss) were staged. Young talented conductors Neeme Järvi (b. 1937) and Eri Klas (b. 1939) started to carve their way. Young singers Hendrik Krumm (1934-1989), Urve Tauts (b. 1935), Anu Kaal (b. 1940) and Teo Maiste (b. 1933) made their successful debuts.
Estonian documentary films also attempted to tackle the problems of the period. Mature achievements were shown by several new film directors; Jüri Müür (1929-1984) and Kaljo Kiisk (1925-2007). Among the feature films Põrgupõhja uus Vanapagan (The New Devil of Põrgupõhja,1965, from the novel of Anton Hansen Tammsaare, directors Grigori Kromanov, 1926-1984, and Jüri Müür, 1929-1984) is of particular importance. It seems that puppet films both for children and adults were the most popular element in Estonian cinema production.
At the turn of the decade a young generation of composers vigorously appeared in the domain of symphonic music. They proceeded in different directions. These young musicians ponder upon world problems: the horrors of war; the future of mankind; the place of Man in the universe; submerging into their own inner world and into the modern and humdrum city life. They are in search of inner peace and equilibrium in the bosom of nature, attempting to mark contemporary music with its natural origins. There are also echoes of the painful and seemingly hopeless near past. The common denominator in this search and discovering is the growing importance of the philosophical idea, expressed vividly, colourfully and dramatically by Eduard Tubin, Arvo Pärt, Heimar Ilves, Eino Tamberg, Helmut Rosenvald among others.
The philosophical and ethical aspects of life rose in all their sharpness in the whole of artistic production. The artist concealed neither his personality nor his own conception of the world. All Estonian art was evolving in the process of expanding its subject matter, in substantial deepening and intellectualisation of creative thought.
An unprecedented activity in the Estonian symphonic music came into being. Young composers were eagerly making use of new Western techniques of composition regarded as out of place in the Fifties.
An essential ingredient in this fermenting process was the output of Arvo Pärt. Pärt first achieved wider recognition thanks to his cantata Our Garden (1959) for children’s choir and orchestra. In the Soviet Union music competition for young composers this work won first prize in its genre. The childish world, full of good aspirations and feelings is seen as an ideal.
Pärt confined himself to instrumental music and sought an adequate expression, and turned to use of dodecaphony. Later it became quite a novel technique in Estonian music. His work was a milestone, demonstrating the possibilities but also the boundaries of this technique. In 1960 Nekrolog (Obituary), a short one-movement symphonic work was the transition to dodecaphonic technique, the first in Soviet music. As Pärt told me he started to compose Nekrolog in the summer of 1960 and so this work was quite an independent undertaking. For preparation he had got two books through his Professor Heino Eller: Ernst Křenek’s Zwölfton-Kontrapunkt Studien (Mainz, Schott 1952), and Herbert Eimert’s Lehrbuch der Zwölftontechnik (Wiesbaden, Breitkopf und Härtel, 1958). At the beginning of the Sixties much was spoken and written about the crimes German Nazis had committed in Estonia. The occurrences of brutality set the composer pondering over violence and he lost faith in contemporary society. His Nekrolog was the conclusion on his relationship with that world. As the composer marked: “Nekrolog is an evaluation of the realities of our time as they are thought, it has nothing to do with pessimism.” 1
It is quite interesting to mention that the first performance did not take place in Tallinn but in Moscow: it was performed by the All-Union Radio Symphony Orchestra conducted by Roman Matsov, the chief conductor of the Estonian Radio Symphony Orchestra, in March 1961. 2
Nekrolog begins with a serious and grave introduction on brass; the group, moving compactly in the low diapason, sounds especially rough:
Example 94.
The first section is proceeding in a vivid tempo. This movement acquires the character of a threatening dance. In the background of short, panting motifs of strings the grave pressing tones of brass rise.
The second section is elegiac; the oboe is developing its solo combined with the recurrent syncopation of strings:
Example 95.
Grief and sorrow are growing. The elegiac “subsidiary theme” is relatively short. Struggle begins, the mood is undefined, every line has to say something separately, confusion remains. The last section is purposefully taking shape, between brass instruments a canon is rising.
The next short Pesante marcato is a consequence and summary of the former section. The grave rhythm that first appeared in the introduction, returns. In the elegiac epilogue the lyrical core (subsidiary theme) is likewise repeated. The struggle that demanded millions of victims has come to its end.
Pärt has put into his prime symphonic work a profound and searing reflection of our contemporary world. From the standpoint of a young talented student trying to find his own way, he has managed to write it with outstanding strength and conviction.
The most important thematic images of Nekrolog are the leitmotif; it may be called the main theme, and the elegiac image, conventionally the subsidiary theme. Starting from the dodecaphonic technique, one cannot speak either of their traditional development or transformation. But, as in a traditional composition, the conception is realised by the purposeful imagery. Actually the row is but a group of different “building blocks” making possible the necessary density, flexibility, compactness, intonational sharpness and charge of emotion. Quite characteristic is the use of “leit rhythms”: at the end of the introduction, later in the subsidiary theme, at the beginning of the third section, at the end of the fourth section and in the epilogue. The general structure has some features of sonata allegro form, though the repetitions of thematic images are given freely. A clearly formed recapitulation is lacking.
Nekrolog is tragic music, there is neither real lyricism nor sunny temperament. The suffering and emotions of dying people are expressed: at the end we also feel protest. Musicologist Yuri Korev from Moscow noted:
It must be admitted that the composer has realized his aim in full. We feel that in Nekrolog the composer has expressed spiritual restlessness and tragic weakness. But can a Soviet artist confine himself only to the most reflexive recognition of terror and horror? If Pärt were a mature artist, he most likely would not have striven for illustrating his sensations instead finding in this exciting theme something worthier… This is the spiritual strength, endurance and noble faith in the coming triumph of progress and humanity.1
Estonian musicologist Karl Leichter stated:
Nekrolog is more a description of fascist death camps with their monstrous ghastliness than a customary obituary. As an artistic documentation of stunning inhumanity the influence of the work cannot be disregarded. A certain technique cannot be harmful to a work of art when its use is inevitably conditioned by the need to disclose the idea and the experienced reality in the work. 1
In Nekrolog Pärt has deliberately avoided noble ideas and emotions. There are no allusions to faith or hope. But his creative idea of illustrating one of the most tragic events of our time has been realised.
With his next short symphonic work Perpetuum mobile (1963) Pärt continued his search of the novel and individual. There are neither conventional themes nor musical images in the ordinary sense. His attention was focused on dynamics, texture and rhythm. Pärt proved that such an experiment may work and it is possible to create a musical whole outside established practice. 2
The subheading Interference may be understood here as an effect of several interwoven sound lines in movement. A strict creative scheme, considerate to the smallest details, is dominate. The leading idea is to demonstrate the emerging of sound texture out of the single line, further intertwining it with more “yarn”, bringing forth an extensive and multi-coloured fabric. The outrunning ends with a one-voice sound- thread .
As an inherent quality of Perpetuum mobile, the pulse is kept uniform (60 quarter notes per minute ). At the same time different rhythmic patterns appear:
Example 96.
Further movement changes towards even shorter and quicker rhythmic units. Such animation is a counterbalance to the static of pitches: every group of instruments plays one tone in the frame of one section.
The instruments having reached a forte level, proceed towards fortissimo. The fifth section is the centre of Perpetuum, here all the accumulating energy culminates.
The fifth section begins with the mirror -schemes of rhythm (from short duration to longer). At the end a rhythmic circle has been accomplished: the beginning and the end are rhythmically coinciding and thus the last section reflects the first: in the end the retrograde of the same sounds from the beginning appears. Thus the impression of a mirror recapitulation (though the instruments are different) underlines the structural unity of the work. In this “abstract” work it is impossible to talk about a high aesthetic aspect in the traditional sense, Pärt’s intention was different. For the first time a method afterwards so characteristic to him becomes obvious: great upswings and culminations are growing from a very small germ (one voice).
The work has been performed frequently in Western countries. The first performance was in 1964 at the International Festival of Contemporary Music in Venice. Italian critic Giacomo Manzoni remarked that Perpetuum was the first official sound document that reached Western audiences.1 West German musicologist Fred K. Prieberg stated that Perpetuum gave evidence of being an obvious bestseller in Western concert halls.2
In the same year, 1963, Pärt’s First Symphony was completed and dedicated to his teacher, Heino Eller.3 The work marked a deeper submerging into the spirit of the time and a further move towards succinct and technical maturity. Polyphonic technique is noticeable as he until the present work had not given much attention to it.
The First Symphony starts with a leitmotif (the first three sounds of the original dodecaphonic row); it sounds like a loud, ominous laugh:
Example 97.
Quietly, but firmly the violoncellos are stepping in; this laconic image substitutes the “main theme”, it is restless and complaining. Its sequences, ever rising, become ever more strenuous:
Example 98.
The hazy, wistful, subsidiary theme is introduced by the French horns. In building the form, Pärt used the same method as in Perpetuum; the texture becomes denser step by step. The developing section contains both canons and contrasting counterpoint. From one-voice in the beginning the recapitulation has attained a fifty-voiced active and demanding texture.
The second movement is based on a dramatic Prelude and Fugue. The listener is seized by the elegiac mood (violin solo). Thought is rushing forward and a stately march movement begins. In the background the next theme is exposed; frivolous, somewhat grotesque and inflated:
Example 99.
With the developing Fugue the composer does not pay attention to classical principles, offering it as an expanding dynamic wave. Recapitulation, quite different in texture, is extremely dynamic. The theme itself is transformed into a dramatic shout, like a serious warning:
Example 100.
From the exposition nothing is left. The stress is extremely onerous, its influence is lasting: everything is menacing. It is remarkable that the drumming figure is the highly activated leitmotif that has obtained a deeper inner meaning. The forms of polyphony are manifold. As a novel device Pärt uses heterophony.
Acknowledging the merit of the work, Estonian musicologist Karl Leichter said:
In spite of everything I would like to point out that Pärt, thanks to his lively and natural fantasy and normal, good intuition of form has remained up to now in the boundaries of music worthy of acknowledgement.1
The inner point of gravity is laid in the Fugue. Pärt’s method of development is quite original though it does not depart from the exposition. As the latter is displayed in the classical manner, all that follows had to proceed in the same way. No doubt that it would have given more variegated and logical possibilities for development. With his First Symphony Pärt took part in the contest of musical compositions in Paris (Composers’ Rostrum), organised by UNESCO in 1968, and achieved 11th place.
In the middle of the Sixties intense experimentation and the search for novel ways of expression was rampant. Is it really the task of music to present ever more novel phenomena from the outer world? Incessantly renewing and modernising the corresponding means of expression, the music of this kind may tarry on quite extraneous territory. Estonian listeners became accustomed to it.
In the Second Symphony (1966) Pärt followed the line of the contemporary world. He brought several novel elements in characterisation of images, orchestration and form shaping.2 Comparing his work to the former, we meet a different atmosphere. We recognise childish simplicity, humour, the mundane everyday struggle, but contrary to the First Symphony, optimism at the end. The final conclusions are different and pointing to a certain shift in Pärt’s conceptions.
In the first movement violins create a silent background in clusters; a whistle is blowing, papers rustle. Perplexity grows into bewilderment:
Example 101.
The evolving thought is expressed in two opposite ways: clarity (tonality) and dimness (clusters). The increasing conflict is transformed into a sparkling and joyful Klangefarbenmelodie, the dimness replaced by clarity. On the second movement Pärt remarks on the eight-note-play: “A limp arrangement, exact play not allowed.”
Example 102.
Such an interpretation, together with special structure and orchestral timbres depicts a grotesque picture. Bustle and rustling everywhere, the composer looks on with a humorous smirk. Thereafter he lets in rough and menacing force (trombone).
Example 103.
At the beginning of the third movement a heavy stamping of timpani starts and it generates a feeling of fatality.
Example 104.
An atmosphere of mourning: strings begin with tapping followed by a desperate crackle. Trumpets and trombones are protesting. All of it is but grey haziness, pressure and pain. A clear, melodious thought unexpectedly permeates through the chaos. In the following Poco meno, a piano piece for children, The Sweet Dream by Tchaikovsky is heard. The childish serene thought stands as an ideal and counterbalance to the previous bellicose gloom. The former wins.
The lack of fixed themes, brutality, harshness and anxiety as rendered by several images realise Pärt’s conception. There is an abundance of so-called background music though the general architecture, the clue and its conclusions are suggestive and logical. There is greater differentiation in finer schemes, but the accentuated dissonant movement (much used in the previous symphony) is not important any more. The use of polyrhythms is extensive, while aleatory rhythms are often used as backgrounds.
The Second Symphony is built up in a free form based on freely connected sections. In the first two movements the lineaments of rondo become obvious. The third movement consists of two sections plus a conclusion. In the sense of polyphonic texture the work is needy. Arnolds Klotinsh writes:
Obviously a certain law of stylistic development and change is functioning here: reaching a certain limit , the psychological and aesthetical fitness relinquishes its place to another mood of expression. At first it may seem more primitive when it promises again to diminish the eternally renewing distance between real phenomena and their reflections in art.1
The rational in Pärt’s symphony is interwoven with the emotional and the latter is brought to effect through the former. In carrying it out his individuality is evident. As a novel feature, for the first time in his symphonic output, a genuinely enriching idea has become the basis of the work. The Second Symphony was successfully staged in the Estonia Theatre as a short ballet, titled Labyrinth in 1973 (stage choreographer Mai Murdmaa, director Mari-Liis Küla) and proved a success. Modern Man with his thinking, searching, suffering and loving became more understandable to a wide audience.

XIII. THE DRAMATIC PHILOSOPHICAL OUTPUT OF HELMUT ROSENVALD.

Among the young composers Helmut Rosenvald (b. 1929) became notable for his remarkable creative fertility and a dramatic as well as philosophical way of thinking.
It is not usual that a student accomplishes two good symphonies before graduation. He names Brahms, Sibelius and Mahler as his paragons, their influence can be felt to a certain extent in both symphonies, where seriousness, concentration and sincere cordial lyricism governs.
The First Symphony1 (1963) is the more dramatic. The tonality of the strenuous main theme is not fixed:
Example 105.
The subsidiary theme is close to the spirit of folk music:
Example 106.
The development process, based on the main theme is very imaginative. In the second movement lyrical meditation is overwhelming; the spirit of the previous movement is still penetrating here, bringing passionate restlessness.
In the third movement (Rondo) a heroic trumpet solo conjures an image of a battle scene. Colourful episodes are gripping. The composer is avoiding a clear tonal functionality plane . It is extended tonality with a tonal centre on F. Tempos and rhythms are shifting , creating a singular plasticity. Rosenvald pays attention to classical form schemes: sonata allegro, ABA, rondo, filling them with original moulded themes.
In the Second Symphony, written a year later, his individual style has ripened.2 His philosophical thinking is more mature, becoming obvious in strenuous thoughts and opposing them with meditative, often dolorous lyricism.
The work starts with a series of darkened thoughts, restlessness, thronging and striving to catch the listener’s ear. The main theme sounds nervous and bustling:
Example 107.
The somewhat melancholic subsidiary theme seems to come from afar: hidden grief bursts forth.
The first theme in the second movement is, according to his own words, the musical self- portrait of the composer:
Example 108.
The music is serious and concentrated, although a little dolorous.
Characteristic timbres are weighty and create candid “visual portraits”. The main impression of the whole Second Symphony is somewhat gloomy, the spirit of trouble is predominant.
The Third Symphony, written in 1966, seems to be the best of his symphonic output. The work constitutes a whole, with vivid and concentrated ideas finding an adequate form.1
The first movement starts with a stately, piercing theme:
Example 109.
A slight subsidiary theme is exposed in a waltz tempo:
Example 110.
The moods in the development section are changeable and episodic. The reprise comes from a new perspective.
In the second movement (Andante), an epic theme is sounding:
Example 111.
The composer does not offer expanded themes. The main accent is laid on timbre colours and short images with a contemplative and sad undertone. The problems of the outer world are put aside for a while. The music is reminiscent of a wistful lullaby. This movement has been considered one of the greatest achievements of its kind during the 1960s.
The Finale (Presto) sounds like a busy workday: bustle, efficiency and intended assertiveness interlinked with some moderate meditations. Rosenvald lines up contrasting themes in order to reshape them. The work is compact with the typical feature being the composer's vivid way of thinking in timbres.
In 1969 the Fifth Symphony was completed. The composer considers it to be one of his most integral works. It is rich in contrasts and due to its undertones may be referred to as “satirical”. The work consists of five short movements, all of which are subject to a principal mood. Thus, a suite of symphonic miniatures is formed. Single thoughts are expressed by variable simple phrases, characterised usually by rhythmic, harmonic and timbre aspects. This symphony is rich in sound effects and in sharply painful flashes and noise effects.1
Example 112.
The title (Quasi allegro) could indicate that the music is an imitation of a symphonic allegro, but here only splinters remain.
The second movement (Quasi pastorale) is where a sad and wistful meditation becomes tense : a cloudy autumn day for a shepherd.
The third movement (Quasi scherzo) has dissonant movement and ideas are presented in extremely short flashes, forming grotesque and satirical little pictures.
Example 113.
The fourth movement (Finale) again resembles a workday but with a lot of hardship. The end seems to be a reflection of weariness.
The fifth movement (Coda) is a mournful and pensive monologue.
Example 114.
A folk tune Tule koju (Come home darling) appears but the dissonant mood pushes it aside. The final endeavour to clear the musical picture is not a success.
The whole work, both in major and minor dimensions, has been shaped by the use of contrast. The quotation of folk music has been distorted into a grimace. It is possible that Rosenvald has paid too much attention to means of expression but, on the other hand, this is connected to the “satirical” side of his talent. The work is a suggestive reflection of our everyday nervousness, ugliness and shallowness, but also a yearning for the beauty in life.
The Sixth Symphony (1970) consists of two movements: 1. Lyrical Preludes and Intermezzos; 2. Fuga quasi Toccata.2 It is quite different to the previous symphony and a much milder tone makes itself felt. In the Preludes, gentle summer moods are dominant with shining impressionistic colours. The nature-inspired composer renders his emotions and feelings, the second prelude:
Example 115.
The preludes and intermezzos of the first movement resemble short contrasting pictures. There are four of both.
In the theme of the Fugue, the thematic influence of the main theme of Tubin's Fifth Symphony is evident, but Rosenvald's theme is of a different weight:
Example 116.
The Eighth Symphony (1974) has a series of sound pictures: the composer calls the work a ballet-symphony. Its idea is connected to Sophocles’ tragedy Antigone. Although there are no ballet dances in the symphony, the division into scenes is perceivable and the author has been deft in creating impressive and characteristic musical backgrounds. Having no clear-cut plot, the work has certain features of a Divertissement.
The mature works of Rosenvald may be characterised as being laconic and displaying active images, expressing tensions, satire, grotesque and grief but there is also tranquillity and grave meditation with warmth and tenderness. His attention is concentrated on the thoughts themselves and the relations between them. The appliance of timbres helps bring forth the essence of his ideas.
The composer finds that the technique of composition has made headway though the development in the form schemes seems to be slower. He has tried to demonstrate that it is possible to offer substantial progression along novel lines. Rosenvald is fond of Estonian folk music but it does not serve as a source of ideas for composition. From the contemporary technical basis he has opted for several principles, which have been important for his dramatic and philosophical form of thinking. It seems that, when composing, he is concentrating on the present moment and not the final point he is striving for. Rosenvald is an artist of a contemplative and narrative nature. Not being antagonistic, he prefers to contrast dramatic material with a straightforward, determined line of reasoning. Evaluating the output of the composer, musicologist Priit Kuusk states:
In his music, technique and formal constructive aspects are quite discernible, but they do not overshadow the inner precision, characterised by profound rumination, meditation and a serious undertone achieving the tragic... psychic instability and contradiction do not prevail in his music.1

XIV. THE ELEMENTS OF JAZZ, FOLK MUSIC AND DODECAPHONY IN THE SYMPHONISM OF ANTI MARGUSTE.

In the music of the Sixties, the works of Anti Marguste (b. 1931) draw attention to themselves with the application of folk tunes, elements of “light music” as well as with dodecaphonic technique. He developed into a national Neo-Primitivist, treating folk music melodies fragmentarily, mostly without development, dissolving the scanty images into thick chords. The texture and form of his music are constructed, following a strict scheme. His style produced a lively discussion.
In 1963, he wrote his Second Symphony (Jazz).2 In addition to serious music, Marguste wrote light music and tried to establish a connection between the two. As he put it:
The question arose: why are our composers relying only on old dances? I decided to try the new ones in order to compose a work comprehensible to everybody, but a serious one, including jazz for my own purpose.3
The Jazz Symphony consists of three movements. The traditional string section is enlarged with a male vocal ensemble. The instrumental score contains a xylophone, a vibraphone, an electrical guitar, jazz drums, a clarinet, a saxophone and an electrical keyboard. The clarinet plays an introduction, which is used afterwards as counterpoint. The same instrument introduces a boogie-theme:
Example 117.
Six “improvisations”, different from those usually used in jazz, as they are written down, follow. There is scant use of strings.
The second movement (Slow) has a saxophone solo:
Example 118.
The following solos by the vibraphone and guitar also represent improvisations (they are also written by the composer).
At the beginning of the third movement, the bass instruments expose a new theme; the saxophone in unison with male voices is added.
Example 119.
No new ideas grow out from the theme but a refreshing effect is provided by the counterpoint of strings. At the end of the work, the first theme of the symphony reaches its culmination.
By their character, the slight themes are jazz-like. As themes for a symphonic work, they do not seem to be proper; for such purpose they lack character, potential of energy and contrast, but in the given genre of the Jazz Symphony they are sufficient. There are some inflectional changes that do not raise the inner tension considerably. Repetition is often used, bringing about certain monotony.
In the mode, two opposing aspects are combined: on the one hand, a certain tonal base for solo parts in the expositions, and on the other, complex chords for the orchestra. The chords of the third and fourth structures are assigned an important role. The rhythmical aspect is quite stable because of the modern dance rhythms. Such a constant flow is not typical to a symphony.
The possibilities of orchestration are determined by the composer’s choice of instruments. Here it is poorer than usual: the solo line stands in focus all the time, with a background of either rhythm or counterpoint. The group of male voices in unison with the saxophone is a rather good discovery . The form grows out from the repetitions of the basic material and from modifications typical of jazz. Some rondo-like effects can be detected. The Jazz Symphony is a brisk and cheery work, written for a young audience.
The novel approach to composition made itself manifest in the Third One-movement Symphony (1966), written for an unconventional ensemble: a string quartet, four woodwinds (a flute, an oboe, a clarinet, a bassoon), strings, jazz drums, a gong, two pianos and a male choir. The work consists of eight sections.1
According to the composer’s statement, he engaged in the work the motifs of an ancient wedding song in order to come closer to folk music. Two contrasting images are used as the basic material: the dodecaphonic row, first exposed by one of the pianists, and the wedding song phrase, exposed by the strings. The rest of the scheme is fully rational: cumulating sound massif (quartet plus wind instruments) opposed to recurrent phrases from the strings. The male choir sounds static, the sounds of a dodecaphonic row are added one after the other (text: For ages we waited). The texture is layered and this kind of heterophonic thickening by constantly adding new layers will become characteristic of Marguste’s works.
Greater systematic logic is evident in his Fourth Symphony (1967).2 It consists of four movements that are not based on classical schemes. The work is based on the opposition of static and lively material. Two folk-dance melodies: Targa rehealune (The Barn of the Sage) and Pikk ingliska (Long English Dance) are used as basic themes. The former of the two tunes is very slow and the latter very lively. The long notes of the first tune are hidden among several string instruments.
The beginning of the third movement:
Example 120.
The second motif is also hidden; it is played simultaneously by several instruments:
Example 121.
Necessary variety is introduced at the beginning of the second movement. This material is episodic and represents variations of the basic theme. This episodic material will also terminate the work in the wide orchestral arrangement of the third movement.
There is not much to be said about the development, which is built up logically. There are clusters in the harmony and, in connection with additional images, it can be seen as modal. The texture has been divided into five zones , and each of them proceeds in its own tonality. Thus, A major, F sharp major, E flat major and C major are sounded simultaneously. Imitation and counterpoint used are “spinning” round in a similar scheme.
The timbres are just means of construction. Marguste has the orchestra operating in groups; single solo instruments have little chance to emerge . This kind of method deprives the music of several possibilities for flexible colouring and fine nuances. Consequently, the main elements are combinations of unified timbre fields but rarely of the same value. The basic principle in shaping the form of the work is the use of the cumulative power of simple reiteration and the variation of the motifs. An individual combination of rondo and variation principles emerges.
Estonian musicologist Helju Tauk stated:
The creative aim of Marguste is the juxtaposition of scanty musical materials, selected carefully, organised and developed by several principles. Using folk tunes, he exhibits a bold self-will, without searching for national harmony, not being underpinned by rhythms of folk dances. He enjoys the intertwining of ancient runic melodies with contemporary means of expression.1
Musicologist Jaan Sarv added:
By his laconic and the ostinato character of images, Marguste approaches Carl Orff. In his music, the single sections of form are joined together like great blocks of limestone, forming rational constructions reminiscent of ancient megalithic buildings.2

XV. HEIMAR ILVES AND HIS MUSIC – DEEP IN THOUGHT AND FEELING.

Without doubt, Heimar Ilves (1914-2002) can be considered one of the best Estonian symphonists. From the very beginning of his career, he showed himself as a thoughtful philosopher in sound, penetrating into the depths of life with mature mastery. However, his symphonic and chamber music is not widely known in Estonia or abroad.
At first, Ilves studied piano at the Tallinn Conservatoire with Prof . Theodor Lemba. Unfortunately he overstrained his hands and was unable to graduate and had to abandon the idea of becoming a pianist. In 1937, he was enrolled in the composition class of Prof. Artur Kapp but the outbreak of World War II and his family’s deportation to Siberia after the war hindered his studies. Ilves did not get his composer’s diploma until 1949. After graduation he had little time for composing, as he was at once offered the post of lecturer in History of Music and Special Harmony at the Conservatoire.
His First Symphony was completed as late as in 19591, at the time of the period of a new Sturm und Drang, during which the young generation of Estonian composers were making innovations, casting aside everything that seemed old-fashioned. In the light of their experimentations and searches, this weighty, fully individual work remained in the shadow . While attention of the young was on what it means to express oneself, Ilves emphasised the importance of what to express.
The whole of the First Symphony consists of one movement in Sonata Allegro form. The composer calls it a novel in sounds. The main and subsidiary themes do not seem to be very contrasting, but they are coloured with different hues. The improvisational main theme is like a sad song, in free form:
Example 122.
Although melodic curves of Estonian folk music can be recognised, the composer does not introduce them deliberately. He treats the themes, form and harmony freely. The bridge sounds improvisational, the tonality is precarious and variable, light and shadows are created by chromatics.
Example 123.
This is the only theme in a major key, bright and shining at the beginning but later fading away wistfully. The subsidiary theme (french horns) sounds like a soft call; more importance has been given to the final part. The melody of the violins is in a minor key, but the accompanying trumpets are not always connected to this tonality.
Example 124.
The materials of exposition are close to the central mood, which is both lyric and epic and is coloured by an elegiac hue. It is characteristic that melody follows incessantly after melody with a profound sincerity as if in an unbroken vocalisation.
At the beginning of the development section a new theme is exposed:
Example 125.
Further it branches off into several different images simultaneously. Ilves proves that he is a refined and sensitive master of inflection. This music is introspective: the human being is casting a glance over the path he has trodden. The recapitulation is characterised by a funeral mood. It is not resignation but a great and silent sorrow.
The whole work (as well as the following symphonies) indicates elaborated refinement; polished for a long time in the imagination of the composer before it was put down. The work is polycentric, mostly in a minor key, offering a lot of possibilities for colourful transitions, even in smaller details of the form. The composer prefers manifest counterpoint and applies it abundantly.
Instrumentation, in spite of the full orchestral body, is economical. The role of wind instruments seems to be brought to the fore. As an individual feature we add the characteristic dynamics. The piano sphere has been elaborated especially finely. Ilves does not search for either novelty or originality in rhythmical patterns. His music flows quite steadily even in the longer sections.
The notable flexibility of thinking should be mentioned as the main feature of all the dimensions. There are no qualitatively novel conclusions, but the delivery has been exposed with versatility.
The First Symphony belongs to absolute music and there is no need for any concrete programme. Extreme tempers that can be met in the works of the young are avoided here. By exposing the development of his thoughts Ilves presents himself as a refined dramatist of timbres. The work is densely connected to the inner world of the composer; there are troubled contemplations and stress, lonely monologues and unanswered questions. The epic Ilves is even metaphorical: in the recapitulation a panorama has been created. Thus he attains philosophic generalisations rising above everyday life, summarising all he has experienced without needing “modern” means of expression. The composer proves convincingly that these are not inevitably necessary for submerging into depths of thought.
The Latvian critic Viya Mushke wrote after the performance in Riga (March 1967):
...the expansive wide breath is overwhelming. The sincere and profound, crisply mournful expression is captivating. The modest, not creamy sounds of music associate with the modest colours of Northern nature, where there are no flashy contrasts. Five shades predominate. You can discover their beauty only after continual and absorbed observation .1
The Second Symphony (1964) consists of two movements and the music is more complicated and strenuous.2 In the main theme one can perceive kinship with the tunes of a shepherd’s horn (Possibile leggiero. Pastorale.)
Example 126.
The character of this theme becomes mild and lyrical. The subsidiary theme is dramatic and energetic, very different from the ordinary:
Example 127.
In the developing process the song-like main theme is fully transformed and changed into a dramatic marching movement. In the stormy drama the visions branch off into polytonality. Cumulating tension turns into chaos. The recapitulation is massive.
The second movement ( Largo ) is an extensive and original piece of funeral music. Tragic and sorrowful feelings are profound yet calm. The main theme is played by four trumpets (con sordino), the subsidiary theme (flutes I-III) is reminiscent of a dolorous and fading expressive complaint. The developing process is replaced by a new theme, an extensive narrative in the strings. Here is a fragment from the culmination:
Example 128.
The second movement consists of several “scenes” and the thinking remains peaceful. The composer is no passive bystander; his thoughts and feelings are colourful, drawing the listener in silently but suggestively.
To bring forth the developing conflict, Ilves applies bitonality and polytonality, joining minor keys in the realisation of second, third and fourth intervals. In this work, the composer expresses himself in a minor key, avoiding themes in major keys.
Although the full orchestra has been used, the texture is not overloaded and remains delicate. In comparison with the First Symphony, the whole work seems to be rather impulsive, as if mirroring the anxious spirit of the time. The Estonian musicologist Avo Hirvesoo said:
This is boundless, honest music and, let us add, also sincere. Ilves has expressed his way of thinking very explicitly, using adequately straightforward means. It would be difficult to connect the Second Symphony to the philosophical views of the composer. It is a great personal drama, both old and at the same time contemporary. Here are unsatisfied desires, problems of love and psychic balance. During the creative process, the soul passes through purgatory, bringing along single episodes as clearly as is possible to the means of music. The composer has not remained in subjective loneliness; he is sharing his emotions with a wide auditorium.1
The Third Symphony (1967) was still being remodelled at the time of the composer’s death and thus cannot be commented on.
The Fourth Symphony (1969) may be called epic-elegiac by its general tone.2 As the author remarks, he wished to approach the present age. Of course he had to choose the means of expression diligently as the content is always presented in a personal manner. The full quadruple orchestral body has been used. The work makes use of an extensive Sonata Allegro form with an Introduction and a Coda. As a new feature, more chromatics in the thematics may be observed. The inner connection of themes is due to their inflectional kinship. The introductory theme sounds sorrowful, drawn back dynamically:
Example 129.
The main theme in a minor key is massive, yet alert. It proceeds in the initial tempo.
Example 130.
The core of the second theme consists of triads confined to the woodwind group. In their uniform movement they do not stay in the same key:
Example 131.
The method of development opens up in varying motifs and phrases, yet the metre remains stable. Fresh material, reminiscent of funeral music, is added (Tempo moderato). In the recapitulation (Allegro), the dynamics have been fully reduced. In an elegiac mood, the texture expires in the Coda.
Regarding contents and form, the Fourth Symphony stands out as a very homogeneous one: everything is directly interconnected. The harmonies are constantly shifting from tonality to atonality, according to the ideas. There are extensive counterpoints, but homophony is the principal vehicle. Greater mixed timbres occur in the orchestration, the brass groups are widely used (French horns and trumpets). The latter are sometimes playing in piano and pianissimo in the low registers, giving a specific softness of sound. In spite of the massive instrumental body, the whole texture is airy.
The unique feature of the Fourth Symphony in that the leading part is manifest mostly in unisons. That way the sound obtains colour and strength and progressing octaves adds depth. The themes and their developments are close to vocal expression, which is restrained, very suggestive speech. The Fourth Symphony is not synthesising in its conclusions but exploring the thoughts from all perspectives.
The last symphony is the Fifth (1970)1. This work is in the Sonata form, its subdivisions following each other “attacca” (Largo-Allegretto-Moderato).
In comparison with the Fourth Symphony, chromatics have been reduced, the character of the themes is more determined. The initial idea in its essence is concentrated on one phrase and is constantly searching. The progression of the chords belongs to different connected keys, it seems to be striving for a goal, and conjunct motion is preferred to disjunct. A depressive mood appears, the main theme is whispered by the violins:
Example 132.
In the second division (Allegretto), the theme is once more waltz-like, but with composure:
Example 133.
In the development, a new mournful theme is introduced on the background of counterpoint. The Largo at the end of the subdivision has the function of concentrated recapitulation in its dramatic mood.
The third division (Moderato) contains three themes (trumpets), all of which express pensive melancholy without the will to develop. With the last of them the epilogue begins:
Example 134:
All the themes of the Fifth Symphony are related to one another by their spirit and inflections, they are song-like and plastic. No new conclusions are reached in the final bars. The music is reminiscent of contemplation on a summer evening ; already the clouds cover the Sun. The use of the marimba catches attention as a peculiarity, both in the Fourth and Fifth Symphony, the instrument is rarely used by Estonian composers. Its timbre creates a mysterious and oriental feeling. The final chord of the Fifth Symphony, a B flat minor tonic with a diminished fifth, expresses discontent and grieving at hopelessness.
In the symphonic music of Heimar Ilves there is no rhetoric, no brilliant wit, no humour. The composer is pondering over the principal challenges of life and considers them in a gripping way. His music has been much more widely performed abroad that in Estonia. His symphonies have been received well in Berlin, Moscow, St. Petersburg, Minsk, Baku, etc. The main performer of his works has been Prof. Roman Matsov, a well-known Estonian conductor.
The composer did not deny modern techniques of composition but nevertheless found that, for example, dodecaphony in its essence was quite limited, depriving music of the calm and beauty of modulations. He appreciated polytonality as a means of expression and the finding of lovely hidden possibilities. The primary and principal value of music lies in the weight of thematic material, principal images, he believed that this gave 80-90 per cent of the total value to a work of music. The thematic development was also extremely important as the essential attribute of symphonism. Ilves used recitative expression to make his music perceptible.
Speaking about artistic values, he emphasised that they depend on the ideal. The ideal is the Absolute, the Creator. If we do not feel Him in the music, it remains vague . The starting point of evaluation is therefore detecting the presence of the Divine in the work. The same perspective has been shared principally by all great composers, from Palestrina to Bach, from the Viennese classics to Sibelius and others.
Religion is the source of wisdom for the composer. In connection with this he appreciated Medieval and Renaissance art and architecture. Ilves was not very interested in modern music, declaring that it offered him nothing. The present day life contributes altogether very little to one’s spiritual development, he asserted.
The work of Heimar Ilves can be considered philosophic symphonism. The same can be said about the works of some other Estonian contemporary composers, especially about those written (mostly in Germany) by Arvo Pärt.
The long-standing and noteworthy pedagogical work of Ilves at the Tallinn State Conservatoire has to be stressed. All of the students who had the possibility to listen to his lectures on the History of Music or to attend his Special Harmony classes, were deeply impressed by his erudition, manner of presentation and his absolute musical memory. Thanks to his memory, there was never any need for records or tapes, all the music was played by the Maestro on the piano. Knowing profoundly both old and new music, Ilves was never in a hurry to write down his new ideas. The pen would only be taken out when there was something really individual to express. Only the best was good enough. The work ripened in his memory up to the last sound and when this process was completed, the music would have been written down at once. The composer had been silent for a very long time, planning several new major works, before his death.

XVI. THE POST-WAR SYMPHONIES OF EDUARD TUBIN. DEEPENING ACCENT ON PSYCHOLOGIC-DRAMATIC EXPRESSION.

In September 1944, Tubin settled in Stockholm, continuing his fruitful creative activity. As time goes by, it is impossible to ignore the weighty work he did in Sweden and his importance to the whole cultural picture of Estonia.
Due to his free, independent development in the West and stimulating new opportunities, Eduard Tubin became the greatest Estonian symphonist. His achievements have gained worldwide acknowledgment. Step by step, his new works were performed in Estonia, first his Fifth Symphony in September 1956. Five years later, in 1961, he paid his first visit to Estonia since leaving in 1944. His music was appreciated again and his ties with his homeland remained quite stable until his death in 1982. His 60th birthday was celebrated in Tallinn on June 17, 1965. His two operas, Barbara von Tisenhusen (1968) and Reigi õpetaja (The Parson of Reigi, 1971), both based on short stories by Aino Kallas, were specially commissioned by the Estonia Theatre.
The great struggle of World War II had been portrayed in music by several Estonian composers before him (Artur Kapp, Eugen Kapp, Juhan Aavik, Kaljo Raid), but Tubin’s Fifth Symphony is the most concentrated and strenuous work, expressing the painful past with extraordinary evocation. It is his best-known work, finding a wide audience in the Western world1
The nervous and powerful main theme appears at the beginning. It is based on the Estonian folk tune Meil aiaäärne tänavas (In our country lane), but it is exposed in a pulsating manner, essentially reshaped in its character. So it remains hardly recognisable even for those who know the tune:
Example 135.
The whole theme in its original shape will grow from the first expanded phrase.
The subsidiary theme is mournful. It elicits the other side of the same idea and emotion:
Example 136.
The first theme in the second movement (cellos, pizzicato) is a contemplative modification of the same folk tune. The second accompanying theme is reminiscent of a lullaby, being a variation of an old choral melody The night will come to an end, in this work, it obtains a symbolic meaning. The melodies, one of them being darker and the other lucid, are exposed simultaneously, creating bitonality:
Example 137.
The third movement is also based on two themes. The main theme is concentrated and vigorous, stimulated by the background of violins:
Example 138.
As with the treatment of the previous theme, a vivid episodic image has been exposed, preparing the following subsidiary theme. The latter is given in a slightly slower tempo though its character fully agrees with the previous theme.
The main theme of the first movement creates unity for the whole work. In the Finale it appears in the development section, preparing the culmination.
Tubin shows himself as a great master in developing and varying his motifs. Developments and transitions take the field everywhere while the primary rhythmic frame is pure triads, polytonal sections (the beginning of the second movement) and parallel seventh chords are essential. The quartal harmony is also very typical. The music reveals abundantly contrasting counterpoint, appearing in several different layers and enhancing the feeling of depth. Orchestration is fully engaged in bringing out the dramatic conception: to give a clear form for the overwhelming tragedy.
The string instruments form the basic group, all the main themes are presented by them. All recapitulations are of intensified dynamics in sound and texture. In the continuous stream, the rhythmic formula based on the ostinato theme serves as an axis. As peculiar devices, ffff (fortissimo fortissimo) at the beginning of the recapitulation (first movement) and pppp (pianissimo pianissimo) in the recapitulations of second and third movement (before the Coda), should be mentioned. The form takes perfect shape in all its impulsiveness and freedom. New synthetic conclusions emerge as the results of the development. The whole of the Fifth Symphony is summed up by its Coda. In a way, it is similar to the coda of the Second Symphony: a retrospect of the past. The thoughts and emotions of Tubin, his hopes and resignation have been revealed:
Example 139.
The last bars in B major point out a clearing reached through strong exertion. The form schemes used here are Sonata Allegro (first and third movement) and ABC as a compound form.
After the first performance in Stockholm, the Swedish critic Ingemar Liljefors said:
The talent of Tubin to present his sensations in such artistically illuminated expression is worthy of admiration. The Fifth Symphony is built up with a mastery which displays a sovereign command of all means and the absolute ability of musical expressiveness. 1
It seems surprising that the score was published in Moscow in 1966. In its foreword, the musicologist Yuri Fortunatov states:
Looking at the score for the first time, at least two characteristic features catch the eye: clearly expressed contemporaneity in deeply individual musical language, and, at the same time, a broad democracy coming to the fore from the clarity of thematic conceptions, maximal sincerity and sharpness of ideas and emotions. The orchestration is also one of the brilliant aspects of Tubin's works. Besides the colour and remarkable nervous impulsiveness, its unique power can be seen in the extremely exact production of the musical dramaturgy. Exceptionally individual intonational style, convincing clarity of form and vivid dramatic use of content are originally fused with the immense strength of Humanism, with all-human ideas.
In the following works, optimism is diminishing, joy of life and warmth are lessening remarkably, giving way to depression. In the Sixth Symphony (1954)2, besides all personal and subjective matters, Tubin felt the necessity to modernise his musical language. The work as a whole is reflecting antagonism and the collisions between Man and the world.
As a novelty, the tenor saxophone is included in the score, and elements of jazz, along with rhythms of bolero, rumba and habanera. There is a contrast between the two epic themes of the first movement. The main theme lacks heroism and national expression:
Example 140.
The accompanying rhythm is reminiscent of a bolero. The subsidiary chromatic theme is alert but melancholic:
Example 141.
The core of the main theme of the second movement is declamatory, even menacing, in the background of spontaneous rhythms:
Example 142.
The main theme of the third movement creates a base for variations, its gravity leads to eventual depression. The character of the themes has been changed.
In the development section, Tubin follows the principle of motivic development. In the first movement, it is improvisational, importance is given to different sophisticated rhythmic schemes. The themes seem to drown in this ocean of rhythms. In the second movement, Tubin has brought in a frivolous episode (a pub scene) with someone stupidly shouting , followed by trombones. Here, the setting of the tone takes place.
The initial firmness and strength of the Finale theme is soon replaced by “weaker” transformations turning finally into elegiac sensitivity.
The harmony of the Sixth Symphony is more complicated, with dodecaphonic elements in themes. There are also clusters in use, they do not dominate the sound but function as additions of colour. Polyphony is linear in all movements.
The use of rhythms is the most decisive element: it is changeable, flexible, powerful and gracious. Even the role of themes seems less important. Neither before nor after this symphony has Tubin written a work with such complicated rhythmic patterns.
The form schemes are classical but individual at the same time. Sonata Allegro (the first movement) proceeds with culminating mirror recapitulation. The Rondo Sonata (the second movement) has no secondary theme in the recapitulation; in the Finale (Variations), the principles of Ciacona and Variation are combined.
The Swedish composer Kurt Atterberg noted after the first performance:
...this sounds as bold as dodecaphonic works, but what music! What was it that captivated us already in the first movement? I believe it was the fact that Tubin is an expert in music, he is drawing long lines towards a certain object . The Sixth Symphony in an experienced and sincere piece of music. Great success.1
As the composer admitted, at the beginning, he was quite critical towards the work, but afterwards considered it to be a swerve from the usual.
The Seventh Symphony (1958) continues the same trend of thought and feeling2. From the one side, there appears to be a greater lyrical tone (the second movement), but from the other, a dramatic tone is on the increase (the Finale).
The main theme of the first movement is sustained in a longing plaintive mood:
Example 143.
The subsidiary theme seems to pacify, it is melodic and somewhat romantic. The second movement (Larghetto) is full of beautiful homely breath. The first theme is exposed almost like a lullaby, quiet and affectionate. Tubin returns to it repeatedly:
Example 144.
The main theme of the third movement, lively in motion, is close to a dodecaphonic row, expressing soullessness. The developing section in Larghetto is fully original. It is an echo of serious struggle, which does not reach the listener in all its impetuosity, but can be sensed. The recapitulation is a synthesis: dim shadows of the past mingling with lovely memories of childhood.
There is a trend towards simplicity in texture: much lively pulsation, but in all of this, one can sense signs of weariness and resignation. The musical material is of a different value, but always in accordance with the composer’s intentions. Optimism, hindered worry and trouble, does not take the upper hand any more.
The Eighth Symphony (1966)3 is not very different in its general conception. It is another drama of time and man, conveying depression and even despair. There are almost no serene moments and no themes of national colouring in its precise sense. It is characteristic that the author fights no more, does not resist. He is an onlooker, observing from aside the suffering. His generalisations are expressionistic. Considering Tubin’s past and present, this was wholly understandable.
What had happened? Tubin commented himself:
I thought a lot about my trip to Estonia in 1961, which was not approved of by certain émigré circles in Sweden. I suppose that my indignation was caused by many injurious writings and this was released in the Finale of the Eighth Symphony; its strenuous chord reiteration had an effect of a hymn to myself. When a man is growing old, he has the courage to show his emotions: he is not afraid to laugh or weep.1
The main theme of the first movement (Andante quasi adagio) is melancholic, full of yearning and like a free recitation. The subsidiary theme is reminiscent of a sorrowful soliloquy. The inner concentration is accented by static, persistently accompanying chords. All the movement seems to be a book of musical, mostly distressing, memoirs.
The main theme of the second movement (Rondo form) is vexing, like an idée fixe, pressing on again and again and awakening nervousness and resignation:
Example 145.
The author wants to be rid of it, this is tramping around in an enclosed circle.
The form of the third movement is a chaconne. The theme also moves freely in another diapason. It is quite a laconic phrase, a deliverance of a rough force in its essence:
Example 146.
The primary thought remains obsessive with its inner power ever increasing; this is like an aggressive march of brutality, finally trampling everything to death. The smallest good intentions are drowned in, or choked by, this wild spontaneity. A human being seems to be the toy of demonic forces.
The Finale of the Eighth Symphony (Lento tenuto e maestoso; a three-part compound form) is like funeral music. A lamenting, crumpled theme from the brass has no strength to stand up. The thought remains open both in its content and form like an unanswered question. Unexpectedly, there is a passionate gust of emotions (the subsidiary theme of the first movement) and after a sublime epic rise the lamentations expire. The truth of life has become an artistic truth.
The style of Eduard Tubin that began developing with his Second Symphony, has reached a certain high point in this work. The typical features of these symphonies are the tendency towards grief and depression shown in the diminishing of contrast between the themes. The laconic themes are followed by further images resembling fugitive short phrases. The developing process is conducted by logical constructive thinking, though the atonal harmony is no regulating factor. The sections of development, based on the elements of themes, are dense and terse. The vivid pulsation is like an unshakable frame and its incessant application creates tension. The mood of development is determined by the creative intention; according to it there may reign some “static of situation” (the second movement of the Eighth Symphony), and the temper could be transformed into a rebellious quick-acting movement, an avalanche of emotions (the third movement).
The Eighth Symphony of Tubin is the most subjective, the last of his monumental symphonies and one of the most expressionistic works in the whole of Estonian symphonic music. “This symphony seems to be quite dear to me,” the author has said.
The Eighth Symphony is the final point in a creative period of Tubin. A positive attitude towards life, warmth and sunny colours appear in his Ninth Symphony which marked liberation from a deadlock of thoughts as well as a new rise of inner balance and hope.

XVII. THE SECOND HALF OF THE SIXTIES. THE NATIONAL AND INTERNATIONAL IN THE ESTONIAN SYMPHONIC MUSIC. JAAN KOHA. ESTER MÄGI. KULDAR SINK.

Leonid Brezhnev became the new leader of the Soviet Union in 1964 when Khrushchev was removed as Secretary General of the Communist Party. The new leaders of the Soviet Union declared plans for the enforcement of a more effective and realistic economic policy; they promised not to intervene with the affairs of culture. However, at the end of the decade it became obvious that the reforms had not been effective. At that time, one could observe a new aggravation of the internal political situation.
The new leaders, after a short period of liberalisation, took a turn towards conservatism and from there to regression . Political persecution started again, as did the Russification in other Soviet republics. During those years, the so-called Brezhnev’s doctrine was molded: the despotic supremacy of the Soviet Union to control all of its East-European members, both economically and militarily. The end of the “thaw” became evident in August 1968 when the Soviet military forces brutally suppressed the new liberal communist tide in Czechoslovakia.
The population of Estonia was incessantly growing on the account of immigrants from the East, on average 9,000 people per year1.
The suppression of critical opposition, revived political trials, created a democratic movement for human and civil rights. One of the most prominent leaders of it was the Soviet Academician Andrey Sakharov.
New movements started in the Baltic states, demanding the right to have a different opinion: people’s control over the actions of the government, establishment of a multi-party system, discharge of political prisoners and real independence were among the demands.
To what extent is a human being free and able to direct his own destiny in the nightmare-like horrible and tormenting conditions of being between two great hostile powers? These themes became essential to the young poets: Paul-Eerik Rummo (b. 1942), Jaan Kaplinski (b. 1941), along with satire and irony on the decaying political and social system, for example, Avalikud laulud (Public Songs) by Hando Runnel (b. 1938). The short story became the leading genre in prose. Arvo Valton (b. 1935) portrayed an ordinary “small man” with his grief and shortcomings as well as the disappearance of spiritual interests in Rataste vahel (Between the Wheels). Valton displayed himself as a refined satirist and keen-sighted psychologist.
In prose, there is a remarkable variety of themes, genres and ways of presentation. Sometimes the works are built up in a cinematic manner. Influences from Western psychoanalysts, absurd theatre and surrealism became obvious together with radicalisation in expression (Mati Unt, Jüri Üdi). The war theme still persisted. Raimond Kaugver (1926-1992) exposed the complicated path of his hero through occupations, deportation to Siberia and the less than sincere wellbeing of Soviet times in Nelikümmend küünalt (Forty Candles). Reflections on the future of Estonia, and nonsensical episodes from collective farm life without adornments were described by Heino Kiik (b. 1927) in Tondiöömaja (Ghosts’ Lodging).
In Estonian drama, reaching a break from the past and heading to modernisation can be observed, first of all in Theatre Vanemuine in Tartu where Jaan Tooming (b. 1946) and Evald Hermaküla (1941-2000) were active. Play, myth and ritual were interpreted as turning back to the primary vital sources. As a milestone on this path, Tuhkatriinumäng (Cinderella Game , 1969) by Paul-Eerik Rummo is outstanding. The Prince has become a seeker of the truth in this indefinable world reaching finally reconciliation with it.
The art scene had become quite active and a new generation was rising to the fore. The painter Malle Leis (b. 1940) depicted the world and people as a decorative integrity in effective bright colouring. Jüri Arrak (b. 1936) often tends towards humour and the unexpected grotesque in his vision of the world. Peeter Ulas (b. 1934), an expressive and vigorous illustrator and graphic artist was searching for free composition and formal realisation. Artists turned also to the avant-garde, proclaiming the aesthetic value of the work to be the decisive one: Jüri Arrak, Malle Leis, Tõnis Vint (b. 1942), and others.
Contacts with Western countries widened, at first with the nearest neighbours. The shipping route between Tallinn and Helsinki was reopened in 1964, enabling mutual visits and contacts with Western intellectuals and artists. At the beginning of the Sixties, Finnish television programmes became available in Tallinn, and subsequently in Northern Estonia.
In 1967, new buildings were opened by the theatre companies of Tartu and Pärnu. The actors started with small-hall and chamber-theatre. The Estonian opera was enriched by some achievements: Barbara von Tisenhusen by Eduard Tubin, and Luigelend (Swan’s Flight) by Veljo Tormis.
In the Estonian film, a real breakthrough had not as yet taken place. As a film critic put it:
The shallowness, illustrative postures, a certain inertial normative mediocrity is becoming even more evident... The present day and future of our film raises many questions and inquiries. It seems that one of the main questions that should be discussed is the principle of filmmaking based on original literary sources. The selection of those originals and their quite illustrative translation into the cinematic language are worrying.1
In addition, cinema artists had to find indirect allegorical ways for achieving their intentions. The feature film Hullumeelsus (Insanity, 1968, directed by Kaljo Kiisk), unveils a drama in a mental institution during World War II. The same principle of allegory has been applied to the adventure film Viimne reliikvia (The Last Relic, 1969, directed by Grigori Kromanov, 1926-1984). This film is the most popular work among Estonian films, and has been shown in 60 countries.
During the second half of the Sixties, the sharp-eyed psychological view of the world was deepening. Such a way of observation, thinking and reflection penetrate the whole decade, like a red thread that connects the decade with the present time. The abundance of fantasy and playfulness in the poetry of young Estonian authors (Jaan Kaplinski and Paul-Eerik Rummo, for example) can to a certain extent be compared to the playful richness of colour in the chamber music of Kuldar Sink (1942-1995). Novel techniques of composition had become a part of Estonian symphonism.
In the middle of the decade, the first manifestations of collage technique became noticeable. An example of this is Arvo Pärt’s Collage on B-A-C-H for string orchestra, oboe, harpsichord and piano (1964), which has quotations from a Saraband by Bach (The English Suite in D minor); also, in his Cello Concerto Pro et Contra (1966) with Baroque cadenzas, and in Credo (1968) for mixed choir and symphony orchestra, the basic material being the C major Prelude by Bach (from The Well-Tempered Clavier I).
At the end of the Sixties, the symphonism of Jaan Koha (1929-1993) reached maturity. The thematic material of the First Symphony (1960)2 is thoroughly national, though there are some influences from the Concerto for Orchestra by Bartók. Here, we hear masculinity, vigour (the first movement) along with beautiful, softly coloured lyrics and reflecting on the past (an ancient Setu folk tune, the third movement), a fighting spirit erupts in the Finale.
The work consists of four movements; in the instrumental score there are two saxophones added and the body of percussion instruments is large: there is a xylophone, bells, wood blocks, bongos, a tam-tam and a tom-tom.
The first movement is a Sonata Allegro with an Introduction. The introductory oratorio theme from the trombones has a kinship with the main theme in Dorian mode:
Example 147.
After a short development, the subsidiary theme appears, first in the recapitulation as a distant echo:
Example 148.
The second movement appears like a dark-spirited dancing scene, the theme is given to two bassoons. The thought is changeable and capricious, including colourful juxtapositions.
The third movement has the greatest potency; it is like observing an ancient picture abandoned in the darkness. The concept is underscored by the building scheme: passacaglia is combined with a three-part form. Oboes create a funeral hymn that develops into profound mournful music:
Example 149.
In the fourth movement (Rondo), the vigorous theme is characterised by decisive fourths:
Example 150.
In the march-like final section (in 3/4 measure) the introductory theme appears once again, emphasising the whole. The train of thought may be characterised by the “fourth principle” and the structural repetition principle.
All movements are rounded by recapitulations with repeated rest of key. The composer is a dramatist and a lyricist: both sides are strong and balanced. His feeling is sober, there is no empty pathos.
The Second Symphony (1968)1 stands closer to the spirit of renovation in Estonian music. This can be sensed in all the means of expression. The work is atonal and polytonal with elements of dodecaphony.
The first movement is mono -thematic, the subsidiary theme grows from the main theme:
Example 151.
The subsidiary theme is built up on twelve unrepeated sounds but the national character is not lost:
Example 152.
The motif as well as the rhythmical transformation and repetition are applied as a method of development. There is a flexible texture: soft and lyrical, lamenting and elegiac, attacking and marching, shouting and dramatic.
The weakening “wicked powers” disappear at the end. The harmony grows from the intertwining of several lines; the clusters have an important role. Polyphonic linear thinking has been expanded. Ostinato is the significant principle in rhythm. Some sound novelties like clusters and technique of strings have been taken from the Second Viennese School.
The second movement (Largo) is an insight into the past. The polytonal trio of trumpets creates a lullaby-like atmosphere with its narrative, peaceful flow:
Example 153.
The music emanates a flavour of the countryside, the warmth of home but also hidden grief. An animated wave of feeling is growing out of this meditation. Recollections seem to fill the soul of the composer. This Largo is one of the best achievements of the whole output of Koha. The third movement (Finale) remains quite modest and external. This seems to be the echo of a workday. In the themes and rhythms, some connections with the symphonism of Rääts can be detected.
Avo Hirvesoo (b. 1935) has said, annotating the composer’s record :
Koha’s output does not tend towards extremes and is little touched by modern trends. As in his previous mature compositions he has retained national expression in themes and colouring. The emotional concentrations are gripping, often creating solemn temperament and thus awakening noble emotions in the listener.
The composer himself says that he tries to get support first from the character of Estonians. The national colouring is derived mostly from the treatment of idiom, worked out by the composer. Outlining the creative portrait of the composer, musicologist Helga Tõnson states:
In the course of time, a hero’s image has been taking shape in Jaan Koha’s music. This hero is identical to his own character: with a contemporary view of life, optimistic and moderate though sometimes somewhat protesting, courageous and with a wide range of ideas and emotions, a personality who has sense for the serious, as well as the pleasing and poetic.1
At the end of the sixties, the output of Ester Mägi (b.1922), widely considered as the First Lady of Estonian Music, was revitalised. Ester Mägi studied composition (1946-1951) with Mart Saar, who had notably influenced all of his few students, drawing their aspirations from national expression. The earlier works are marked by a common national-romantic musical language and classical manner of thinking. Her Piano Concerto (1953) is based on classical form and folklore materials. It is a promising post-graduate work, where a lyrical mood stands beside cheerfulness. The developing element is vigorous and brilliant, without dramatic tension or bitter gnawing thoughts.
The Symphony (1968) stands out as Mägi’s best symphonic achievement.2 The leading idea is impetuously and lively dramatic. At the very beginning, the strings expose the main theme that is the essential subject in the whole work, bearing and characterising the following motion:
Example 154.
Abundant chromatics, short intervals and changing metre create inner tension, adding a somewhat sullen mood. The subsidiary theme:
Example 155.
The first movement resembles an exposition of basic materials. Everything proceeds as if in one breath. The wholly modern mood of emotion is sober.
The music of the second movement is self-absorbed. A wistful motif from the oboe bears the following:
Example 156.
In the recapitulation this calm and clarified motif has been exposed, the “lulling” rhythm and silent static strings create an impression of a lullaby. In the Finale, the main dramatic content of the work will be revealed, the thoughts fully developed. The third movement is actually the recapitulation of the first movement being exposed in an introduction and epilogue. The work is concluded with elucidating meditation.
The development principles of the work are reminiscent of Tubin’s symphonism. The essential building blocks represent shorter or longer ostinato phrases, but the music does not sound dry. We meet abundant quartal harmony. Orchestration is transparent, even flimsy comprising many “empty” octaves through which the yarn of thought obtains greater relief.
The composer does not set up deep philosophical challenges. She seems to be acting and describing, and meditating lyrically. Her thematics is manifold, fragmentary; its elements are combined within the principle of polarisation. The axis of development may seem to be hidden, but it is recognisable. The composer is binding together her inner and outer worlds.
From the Eighties, Bucolics (1983) must be mentioned. This quite short orchestra piece is like a summer musical picture from the homeland, with birdsong, shepherd horns and shouts. A lyric-epic mood like a tranquil observation and cognition of nature prevails. Composer Hugo Lepnurm said:
As a whole, the art of Ester Mägi seems to be sincere to the highest degree. It is not trying to be something, neither making itself conspicuous nor trying to be showy. Her music is a personal experience, lyrical but not narrowly subjective; modest but expressive, sensible but restrained with wild contrasts; joyful but not unbridled playfulness; often sad but not descending to the tragic and despair; epic in places, but not epically mighty: but certainly always tasteful.1
At the end of the Sixties, the creative aspirations and style of Kuldar Sink (1942-1995) were solidifying. He was increasingly interested in sound colours, searching for and finding inspiration from the most novel trends of Western music. His works bear witness to this with his predilection for chamber music. By his nature, he does not strive for large symphonic concepts.
Sink composed his first mature works when studying at the Tallinn Music School: Three Pieces for Strings and Flute Concertino (1960). In the Concertino, he turned towards Neo-Classicism, but all of the movements are not connected with it in the sense of style.
The First Chamber Symphony (1963) in two movements is not integral in its style. Its material is mostly relying on Neo-Classicism and Baroque music. The symphonic treatment is limited and expressed by the juxtapositions of contrasting images. Lively episodes are composed in dodecaphonic technique. It can be said that the work forms a collage. Step by step, the composer turned towards the dodecaphonic technique and grasping modern elements of composition. Laying the stress on refined sound construction, Sink puts aside wide melodic lines, differentiated harmony and sonata principles, thus reaching sonority.
Timbres, texture and dynamics have an essential role in his Second Chamber Symphony (1967); rhythm has been maximally refined. Tempos are not given; at the performance, it is more important to follow the flow of music by seconds .
The first movement is Conglomerations. This indicates the combining of sound lines and as a result all of the “sounding space ” is filled. Aleatory forms and indefinable sound heights have been used:
Example 157.
The second movement is Groups. Juxtapositions and the adding of several groups of instruments are dominant. The music starts with “stereophonic” sound effects:
Example 158.
There is no obvious line of development. The groupings remain without any inner connection. This method is reminiscent of the chamber works of Boulez and Stockhausen: many aleatory and moving clusters.
The third movement, Expressions, is based on Pointillistic technique and moving sound-images:
Example 159.
The Second Chamber Symphony is an example of sonority. Sink is interested in pure sound and in playing with it. He displays everything he has absorbed from modern techniques. Too many details make the performance complicated, both for the conductor and the orchestra. The work is not a chamber symphony in the direct sense of the word, as the demands of the latter are more limited. The chosen title is quite frivolous and the criteria for the symphony are quite out of place here. In a way the music is rational: it seems to be a sound background, suitable to a film about nature in the summer, sea and birds . Sink has written successful film music of this kind.
The Latvian critic Arnolds Klotinsh said:
In the symphony both quite refined pictures of nature and the peculiar embodiment of irrational cognition may be heard clearly. The sharpness of poetic sensitivity is reviving some features of romanticism in a novel quality... associative sound figuration demands quite empirical perception of reality here, it is willingly elementary .1
Sink’s increasing interest in “pure” sound led him in 1969 to experiments in instrumental theatre. With different chamber ensembles he reached the purely phonetic , unconnected syllables in the manner of John Cage. This was a sign of arriving at a certain creative vacuum.
We may draw some parallels between the music of Sink and Pärt in that period. Both began in the neoclassical manner and reached novel methods of composition, but at the end of the Sixties, a sharp branching took place. Sink continued with his dodecaphonic works for some time. Pärt, composing his Third Symphony, reached again for simplicity, sincerity and depth of expression but in a qualitatively novel level. Even when using different novel means Pärt showed himself as an artist with the strong backbone of a symphonist.
With his Concerto for Strings (1975)1, Sink turned to a new path. Actually, the Concerto is a renovation of his diploma work at the Tallinn Music School (where he was a pupil of Veljo Tormis). It may be assumed that the reason for such a creative turn was the change in Pärt’s style some years before, which made several younger composers revise their creative platforms.
With his Concerto, Sink did not return to Neo-Classicism. This work is a fully individual and mature creative achievement. By its spirit, the Concerto is close to the music of the Baroque masters and to Brahms. From serious and profound sincerity, deep emotion is re-echoing in the passionate movements but refusing sentimentality, attaining a great power of expression. From the very beginning in the first movement of the Concerto (Andantino), we feel Sink is immersing himself in “philosophical” symphonism.
This is concentrated introversion: the music is serene, crisp and doleful. Two themes are applied as a base: the first remains without essential changes, as if forming a frame. The second does not bring in any contrast, though it is dolorous and colourful:
Example 160.
The thought development is variable; sequences have an essential role. Sink does not use expansive singing lines that would progress broadly, so the feeling of the tragic does not occur. Here, too, two themes, having an inner connection, are used as a base. The second of the two, the Fugue theme (Pesante) is decisive, even severe:
Example 161.
There is no classical recapitulation. With outstanding mastery, Sink joins this theme and its counterpoints. The broader form offers possibilities to synthesise but the composer prefers to stay with details and to “polish” them.
The third movement (Andante tranquillo) advances three images, two of them bearing the whole development. The phrases of the first one are lamenting:
Example 162.
The second is vocal in character, hurrying but epic, its further expositions sound polytonal.
The symphonism of Sink is chamber-like: variability and use of sequences are the principles of development. A wide melodious line has been promoted, although his melodies are instrumental. The individuality of the themes, their depth and seriousness, not to speak of the mastery of the composer to create a suggestive, multidimensional whole, may be considered the greatest value of the Concerto. Sink’s intuition at form creation seems to be sharp.
Naturally, the soft timbres of the strings soothe the sound; this atonality points to good intuition, there are no “ false ” notes. All the movements are well-balanced, every one of ABA compound form schemes has its individual line. A clear conception of content can be mentioned as another intrinsic feature. The work reflects the inner world of the composer: epic rather than dramatic, meditative rather than active. Without doubt, the Concertino is an outstanding work of its kind in Estonian music. Composer Hugo Lepnurm stated:
At first, the great talent and extraordinary musical erudition in such young age, combined with the technical skill is more than fascinating. In this work, shaded with tragic undertones, we can hear much melodious strains and cordiality in single voices, dense refined harmony and skilled application of strings. This Concerto was appreciated by several colleagues at the discussion in the Composers’ Union as a profoundly human music.1
During the same decade, Sink was quite fruitful in chamber music that may be considered his true field of action. He brought in influences from Central Asian music (inflectional connections with Kazakh and Kirghiz folk tunes), denying the Western musical dramaturgy and settling in Oriental peace (the three piano sonatas Mountains and Men, 1977).

XVIII. THE SEVENTIES. THE NINTH SYMPHONY OF EDUARD TUBIN. THE CREATIVE EVOLUTION OF ARVO PÄRT.

In the Eighth Symphony of Tubin, the increasing tragic tone that was driving out optimism, noble feelings and lyrics was clearly observable. But the composer overcame his inner crisis and after some time began to see bright colours in reality. A clear example of this is his Ninth Symphony (1969)1. Tubin himself entitled it Sinfonia Semplice, arguing:
…why should I not be able to write a light and simple symphony as well as Shostakovitch? But in reality this two-movement work is very concentrated and complicated; its simplicity is only seeming.
The characteristic features are broadly epic, lyric with an elegiac tinge and lacking in the tragic. The dramatic episodes do not take the upper hand. The work, standing in close relation to life, bears at the same time a stamp of introspection. The music is tonal and functional connections between separate sections are obvious.
The main theme of the first movement is snappy, strong-willed, in fighting trim:
Example 163.
The subsidiary theme is silently pensive and hopeful:
Example 164.
The first theme of the second movement is exposed as yearning and mild, similar to a folk melody. The second epic theme is confined to oboe:
Example 166.
The Fugue has been built up in conformity with classical principles. The five-voiced texture has been shaped in the exposition. Several sound pictures are added to the theme. Tubin’s fantasy and ability of creating ever new images from the same ground is worthy of admiration. In the end, this chain of evoked pictures fades out and the first theme returns. The themes of the work are simple and close to folk music.
The music is flowing as a broad texture with several layers. Yet painful thoughts reach a peak in peaceful magnificence. This is something steady and lasting, free of anxiety in the soul of the composer and in the music. Affectionate love and peace are shining. It is like a glowing sunrise from which a new day will come.
In Tubin’s extended tonality, the quartal harmony has an important place. The tonal centre A frames the whole work. The whole sphere of harmony is mild. The Ninth Symphony is connected more with homeland than the former. Due to the beauty of thoughts and balance of form the work can be considered among the best achievements of Tubin. Arnolds Klotinsh commented:
...I can sense the originality of the composer in the fruitful unity of two polarized germs: from one side an incessant flow of ideas and images that are dramatic and extrinsic to the music, from the other side abundance of such intrinsic elements which may be called specifically musical, the pulsation of gripping and somewhat playful sound forms and inexhaustible inventiveness. The dramatic-substantial saturation of Tubin’s symphonism reveals understandably impulses received from expressionism...1
All the symphonies of Tubin bear the mark of unique individuality. Juxtaposing his symphonism with that of Gustav Mahler, Richard Strauss or Dmitri Shostakovitch, we can see that Tubin has avoided a programmatic approach.
Looking back at Tubin’s long-lasting and fruitful path, which came to an end in November 1982, it becomes obvious that his style has gone through remarkable changes. Starting from the ground of national folk music (A Suite on Estonian Motifs, 1930), he next turned to Estonia’s ancient past (Legendary Second Symphony, 1937) and further his connection with Estonian people and their spirit have persevered in spite of hardships, though artistic search and political conditions deflected him at times.
The musicologist Merike Jõulma (Vaitmaa) has described Tubin’s style as follows:
melody based on creative approach to Estonian folk tune;
rich, very free contrasting counterpoint;
lack of functional harmony;
abundant polytonality;
active rhythm;
refined orchestration serving dramatising purposes ;
free shaping of classical forms, issuing from the logic of development.1
Without doubt, Tubin is one of the greatest symphonists of our time. In the letter of congratulation on the composer’s 75th birthday, musicologist Vardo Rumessen said:
In your music, the individual is always connected with the national, which, thanks to thoroughly recognised musical materials and their musical dramaturgically clear development, lifts one work after another to such height where boundaries between national and international disappear. Thanks to that, your music has risen to epitomise all great human problems, with its inner strength and philosophical substance.
In music you have combined the dramatic form of Rudolf Tobias, noble and tragic air, philosophising and striving towards light, the keen taste and colourful orchestration of Heino Eller, the interest of Mart Saar and Cyrillus Kreek in ancient folk tune with their aspiration to nationality, and the massive expression of Artur Kapp with its straightforwardness. Thanks to all that you have become, in my opinion, for Estonians the same as Jean Sibelius for the Finns and Béla Bartók for the Hungarians.2
Eduard Tubin and his work form a fundamental part of Estonian culture. His art is inseparable from the life and history, the emotions and endeavours of the Estonians.
At the beginning of the Seventies, the output of Arvo Pärt went through a cardinal change predicted by Credo (1968). The firm transition to a new artistic and aesthetic platform was reached in the Third Symphony, completed in 1971.
In this decade the most characteristic features of Pärt’s idiom took shape. He found suitable examples from the Gregorian chant and medieval music, having reached a completely novel philosophic-religious and artistic stage. In this transformation process he had guidance from the erudite composer Heimar Ilves. Pärt has always been a searching artist. The artistic truth achieved by him had always seemed limiting and it forced him to proceed towards higher and more sublime aims.
His Third Symphony1 is a logical continuation of the previous works. It stands on a firm tonal basis (G flat minor). The main theme is exposed at the beginning played in unison by clarinet and bassoon. This is also the leading idea for the whole work: all the other forthcoming images are rooted in it. It is dynamically suppressed, simple and vocal. Though a kinship with medieval religious melodies can be felt, this is an original theme. It expresses prayer, pure thought and silent sorrow:
Example 167.
An additional musical sentence follows, derived from the basic material. In it both phrases are important for the following development. Pärt is applying them according to their different characters to draw conclusions:
Example 168.
Thus the symphony is monothematic; everything that follows grows from the transformed images of the main theme and from their interwoven polyphonic texture.
The silent meditation at the beginning of the second movement is created by the bass string instruments. Its grieving seriousness grows into an animated confession: Example 169.
The main theme in augmentation emerges with the celesta: it sounds like serene memory. The composer resumes the second movement with the main theme, emphasising the dark thought, lonely kettledrum plays. In the given context , it is a gloomy premonition, like a fatal shadow on the bright strivings of a human being.
The third movement is based on two contrasting images likewise derived from the main theme. The first is a short phrase uttered calmly by the strings:
Example 170.
The next phrase from the woodwinds may be characterised as restless and contrasting. It complements the previous and shapes an image Pärt will use later:
Example 171.
Pärt is displaying different facets of the same idea. The musical sentences , contrasting in their air and texture, are juxtaposed. A dialogue is taking place between them and becomes very strenuous. As materials for the stout main culmination the first bars of the main theme appear.
The Symphony is concluded by a lonely trombone; once again the main theme in augmentation, with a background of a small group of strings: the initial idea with which the work started returns with no qualitatively new results occurring. The idea remains on the same level, everything was just the exhibition of the hidden inner richness. Meticulous care has been provided for giving shape to the thematics; Pärt has built a unified, profound and soulful work.
The second new feature is that of sensibility, to meditative concentrated attitude of mind, to elegiac moods and gusty sections, a leading position has been given. The rationality and certain dryness have disappeared. A novel treatment of harmony may be considered the third new feature in Pärt’s style. This music is tonal and Pärt is not juxtaposing the tonalities. The clear and quite stable harmonic base cannot be underestimated; it emphasises the clarity and simplicity of its style. The pedal point and abundant holds are stressed. The minor key dominates; Pärt prefers its melodic shape and uses the natural minor. There is so much polyphony that we may speak of the polyphonic essence of the work. Application of classical free counterpoint is the fourth new feature. The fifth novel feature in Pärt’s style is the increasing importance of solo instruments. There are no special effects and anything superfluous has been avoided. The orchestration, in spite of a large performing body, may be even called ascetic.
The Third Symphony is clear in form: the music does not allow for a certain classical scheme, though the recapitulations are obvious, being underscored both by the material and tonality. The contrasting and developing sections are connected by a united thematic base, and so the form scheme of the first movement would be ABCA1, where A1 features in the last section. The recapitulation appears clearly at the end of the symphony where the last section is started by a single trombone solo, augmenting the main theme four times.
With the Third Symphony, Pärt has widened the limits of Estonian contemporary symphonism. The problems of Estonia’s restless world have been shifted to an insignificant plane. With this music, the composer reminds us of the higher aims of art and at the same time this is the expression of his ideas. Estonian musicologist Aurora Semper wrote:
The music of this symphony is... Pärt, but I would say on a different level. I think that we have been enriched with a very valuable work.1
Just the opposite was uttered by Ofelia Tuisk:
Such historical sound stratification is as metaphysical as the serial system and it is without perspective, like Latin as a means of communication.2
The more a work of art administers to our spiritual development, to harmonious perfection compromising the problems of mankind, the more we appreciate it. The large audience who welcomed the work warmly offered the best acknowledgement for the music. Strictly speaking, the Third Symphony is the first profoundly spiritual Estonian symphony and thus a unique one.
Prominent Estonian conductor Neeme Järvi has often been the first interpreter of Pärt’s works, both in Estonia and abroad. His evaluation:
Arvo Pärt is thinking in depth, he is a very pithy composer, deliberate but through-going, a man with great abilities, always contemporary and searching.3
To conclude it is appropriate to quote the composer:
It is said that several works of art from the past seem to us to be more modern than those written in our time (the combination of art and contemporaneity is absurd in itself). I think that, for example, the so-called contemporaneity of Bach’s music will not fade during the next 200 years... because, observing from an absolute viewpoint, it simply maybe of higher quality, more precious in comparison with the modern output. Art must deal with eternal problems and not be engaged in everyday business.4
The stylistic development of Pärt proceeded on the original platform of his world view and artistic credo. It was expressed in his next works, which the composer started at the end of 1975, under the common title Tintinnabuli (Little Bells). Works for different chamber ensembles, but also Cantus In Memory of Benjamin Britten (for strings, harp and campana, 1977), double concerto for two violins, strings and prepared piano Tabula Rasa (1977), Italian Concerto for Violin, Cello and Strings (1978).
The music is based in many aspects on a new composition method, where the rational and the emotional have been combined in a laconic germ; all is “pressed together”. At the same time, the form is very plastic and not in traditional schemes. In treatment two typical traits can be observed:

1. The motion of voices is proceeding according to a certain system, it may be in steps, in leaps but “the logic of building” is clear.

2. Harmonic notes in the vertical supplement counterpoint lines intertwining in the horizontal: one or several voices, constituting simple harmonies are based on the degrees of tonality.
Strict diatonic melody with leaping motion on the sound of triads constitutes the basic schematic material. The horizontal and vertical together create a peculiar tension, which, in its essence, is not based on classical functionality. Constructive simplicity, strictness and concentration express the inner calmness, balance and beauty.
The works mentioned above do not belong to this book by their genre. On the whole, Arvo Pärt is an Estonian composer of the greatest contrasts: Pärt’s style has been influenced by the Second Viennese School; early Renaissance and Baroque masters. There are also influences from Eduard Tubin, whose symphonism has been a paragon to several Estonian young composers.
After graduating from the Tallinn State Conservatoire, Pärt was notably influenced by Heimar Ilves, under whose guidance he polished his technique. But the decisive factor is how the sublime, noble thought directed towards God has been laid into the work. For Pärt, real art must be a spiritual purification. The creative output of Pärt includes greater philosophic-spiritual aspects than that of other composers of his generation. He has only a few points of contact with the national trend in a strict sense; the more indirect, psychic connection can be heard in his serious manner of expression, anxious undertone, in the dramatic tension and in satirical moments.
In his homeland Pärt met both ardent admiration and violent opponents. His spiritual world view fell under severe criticism. Officially it was not allowed to perform works based on sacred texts. For fourteen years, taking part in the performances of his own works in the West was denied to him. Only in 1978 did he get a chance to pay a visit to Italy for the first time.
Arvo Pärt, one of the eminent architects of the edifice of post-war Estonian music, left his homeland with his family in January 1980, at first settling in Vienna and later moving to West Berlin. Not until 1987 was his music performed in Estonia again. A year later he visited Estonia for the first time after emigration for an author concert of his works that was a great success. In 1989, the Council of the Tallinn Conservatoire bestowed an honorary doctoral degree upon Arvo Pärt.
During his creative years in Germany, Pärt entered a different cultural and musical atmosphere. He devoted his attention first and foremost to sacred vocal compositions. In Berlin, the second redaction of St. John’s Passion was completed (1982), followed, by several, in my opinion profound, compositions: Te Deum (1984-1985), Miserere (1989) and Berliner Messe (1990-1992). From these high-level compositions, Te Deum became especially appreciated. As it obviously stands among the best achievements in Estonian sacred-symphonic output, let us make a short review. Pärt remarked:
Te Deum was a search for something that was lost long ago, not found yet. A search for something that is believed not to exist but that is so real, genuine, that exists not only inside of us but also outside our existence.1
In all, the work written for mixed choir, prepared piano, string orchestra and tape-recorder consists of 17 movements. Deep tranquility and meditation are typical features, leading, in accordance with the text, to a culmination in the 15th movement (Misere nostri). It is typical that all beginnings of the movements start with choir sections resembling cantus firmus, a Gregorian chant.1
The first movement starts with the words “Te Deum laudamus”. Here, the whole thematic core of the work is expressed:
Example 172.
The tintinnabuli technique both for choir and orchestra has found freer application.
The American concert organisation New World Classic claims that the Te Deum is possibly the most sold classical CD in the last decade (1993-2003).2
I cannot think of any other liturgical composition of recent years which could be compared to Te Deum, as its standard of performance served Pärt in all respects... with equal devotion as Pärt is serving the Divine Source.3

XIX. THE SEVENTIES. STYLISTIC DIVERSIFICATION. THE MATURE STYLES OF HEINO JÜRISALU, ANTI MARGUSTE AND EINO TAMBERG.

This was also the time for the ripening of youth culture, including the hippie movement, Pop art, adoration of the Beatles, the “sexual revolution”, spread of the Oriental doctrines. In the inner political situation of Estonia, there was no change towards liberalisation. The new leader of the Estonian Communist Party in 1978, Karl Vaino, followed a stiff line.
In literature, the social-phychological approach was deepening. The common man remained the central figure: several authors submerged into his psyche. There was sharply felt anxiety for the life and situation of the Estonians, the repressive communist mentality and speaking against it. In 1980 a public letter by 40 intellectuals about the abnormal political and social situation in Estonia, was addressed to the leading newspapers .
The historic-cultural agenda had risen to a prominent place; Mats Traat (b. 1936) observed the destiny of Estonians stressing the value of work, of man’s ties with the land and his fellow man in Tants aurukatla ümber (Dance around the Steam Boiler). Poetry may be characterised as considerably philosophic and intellectual in darkened tones: estrangement, loneliness, urbanisation, criticism of society. Hando Runnel (b. 1938) worked out his style of writing between the lines and stands out as a half-legal dissident. As for prose, Arvo Valton’s fantastic world vision had matured, denying causality and logic, often moving on the subconscious levels: Õukondlik mäng (Court Party, 1972). Jaan Kross became the outstanding prosaic historian with Chronicler of Mary ’s Land, depicting the paths of Estonia and its people. His topics are connected with national-political problems. The tetralogy Kolme katku vahel (Between Three Plagues, 1970-1980) depicts the life of Balthasar Russow, pastor and chronicler in Tallinn in the Sixteenth century. Lennart Meri (1929-2006) discussed the role and place of Estonians, a small nation of coast dwellers, in world history, surprising with his erudition in the memories of the past enjoining them with the problems of today: Hõbevalge (Silver White).
Looking at the statistics for the year 1974, translations from 72 languages into Estonian had been made (literature of 90 nations); the greatest number from Russian. The works of Estonian authors had been published in 46 languages (usually translations into the languages of Soviet nationalities). The most numerous orders for Estonian books had come from Sweden, Finland, Germany and the USA.1 The international Finno-Ugric Congress played an essential role in establishing literary contacts.
The Chairman of the board of the Estonian Artists’ Union, Ilmar Torn (1921-1999) stated, that Estonian art has become a considerable phenomenon not only in the USSR but it was a worthy representative of Soviet art abroad. The younger generation of artists matured surprisingly quickly and had obtained a leading position.2 The young Estonian avant-garde introduced minimalism and collage, photorealism and geometric art. According to their paradigm, artists were ideologists, designers and creators of the new human type in the era of machinery. At the same time, the human being as an individual was disappearing from the modern canvases. A group of young artists – Ando Keskküla (1950-2008), Leonhard Lapin (b. 1947), Andres Tolts (b. 1949) and others – calling themselves SOUP 69 had emerged, declaring that they were anti-traditionalists. Such unbound individualism, not being decisive in any way, was willy-nilly directed against Estonian art heritage.
Due to the sharpening political situation, a turn to symbolic and realistic style with growing interest towards the Far East cultures can be seen: Kaljo Põllu’s (b. 1934) graphic series Kodalased (Ancient Dwellers, 1973-1976) illustrated the primitive life of the Finno-Ugric tribes, back to their dwelling place in the ancient past. As for the experiments of Estonian avant-garde, their homage and adoration for the Western buffoonery may seem childish play without any real relevance. The “traditional” art aesthetics remained firmly in their place and was expressed diversely in painting (portrait, nude, landscape, interior ) by Olev Subbi, Leili Muuga (b. 1922), Enn Põldroos (b. 1933) and several elder masters.
Estonian theatre of this decade may be characterised as casting light on the whole complexity of the relations between Man and society. Western dramatists had an important role: Arthur Miller , Friedrich Dürrenmatt , John Osborne and others. As for other foreign classics, plays by Ibsen, Strindberg and Chekhov remained popular. Young directors showed promise: Jaan Tooming (b. 1946), Mikk Mikiver (1937-2006), Evald Hermaküla (1941-2000). As a common denominator for the work of the young, activity of search and strengthening of form are remarkable. Tooming catches our attention with his evocative amplification of human inner tensions, many-faceted actions and vivid plasticity. In the best drama we meet refined human relations, pondering the basic values in life: Enne kukke ja koitu (Before the Cock Crows, 1969) by August Kitzberg.
The accent on the psychological can be felt in the operas of this decade. The use of Western literary romantic sources is the characteristic feature: Eugen Kapp’s Rembrandt and Eino Tamberg’s Cyrano de Bergerac.
One of the prolific Estonian composers of the third generation, Heino Jürisalu (1930-1991) composed his First Symphony in 1970. Jürisalu was a versatile composer, he has also written oratorios, film and light music. During his years of study with Eller (1949-1954), he created dance music: he had been a pianist in dance orchestras. In a certain way that period has been transferred into his symphonic works. After graduation, the composer was engaged as a recording manager at the Estonian Radio for several years. It was a useful education for a young artist. From autumn 1970 until his death, Jürisalu remained at his post as Assistant Professor of composition and orchestration at the Tallinn State Conservatoire.
Jürisalu achieved acknowledgement with Three Estonian Dances (1956) for the symphony orchestra, which was awarded the silver medal at the World Festival of Students and Youth in Vienna two years later. Concerto for Orchestra (1960)1 is one of his prominent works, strikingly individual, summoning up the features of his previous development.
The instruments of a jazz unit have enriched the basic body of a symphony orchestra: three saxophones replace bassoons; there are bongos, a cowbell, a vibraphone, and a guitar.
The first movement is Allegro moderato e festante. It is in Sonata Allegro form, the main theme sounding airy, active and brilliant:
Example 173.
This was just adequate to the intentions of Jürisalu for creating a compromise between “serious” and the “light” music. The main theme is varied and re-coloured; an essential transformation has not been the aim of the composer.
The Finale in Rondo Sonata form stands out. The main theme is peppery, frisky, in good swing:
Example 174.
The application of quartal harmony and the rows of seventh chords are broad. As a considerable counterpoint section, the Fugato in the first movement is notable. The Finale sounds fresh with its changing time values: 5/8 and 2/8.
Jürisalu's keen perception of genre is expressed in his Three Serenades for Orchestra (1961). These sound pictures are full of humour and colour. The themes rely on incidental music. The beginning of the First Serenade:
Example 175.
A new step in development was made with the First Symphony (1970)1. The composer named it Northern and emphasised that he wrote such a work as an expression of gratitude for his teacher. The subtitle Pastorals indicates the ties with folk music. The work was a summary of all the previous work and may be claimed as the top achievement of Jürisalu as a symphonist. By its essence the work is lyric-epic.
The first movement is a narrative about the land: the main theme is stout and peaceful, somewhat oblique:
Example 176.
The subsidiary theme is reminiscent of a shepherd song: it is harmonically crisp:
Example 177.
In the following the dramatic transformation of the materials has been left aside. Calmness and balance have been retained in the development; we can feel only growing power.
The second movement: Molto Sostenuto. A Sunday atmosphere. A simple holiday-melody is used as a base; it may be a concentrated introspection, perhaps it is a recollection from childhood.
Example 178.
It is a sound picture of a village with the church bell chiming. The solemn and sublime mood is predominant. The memories and thoughts become over-strenuous and then fade into the previous sensitive state of mind.
The finale is impetuous and sprightly (Animato); there are several images, among some melodic curves from a well-know folk song Get up,Sweet Brothers. The work is summarised by the solid , rustic main theme. By its material and realisation, the work is clear and creates an organic unity. Themes are closely akin in spirit to folk music though there are almost no direct quotations: the music stands on an extended tonal basis. Jürisalu never uses the sharp devices typical of some other composers of his generation (Rääts, Pärt), he simply has no need. His “actors” are ordinary countrymen, free from stress and anxiety. Jürisalu’s counterpoint is linear and appears quite strongly in the Finale. The symphony was commented by Avo Hirvesoo:
I guess that through this work, several problems under discussion find their explanation. Firstly, it is obviously quite complicated to compose in a simple manner; this symphony is really surprisingly simple in its nature. Secondly, there is no sense in trying to join up the work of modern foreign schools and follow other brilliant persons. Thirdly, the national characteristics do not have to be a display of fanatic Estonian grit but to present an altogether unprecedented richness and charm.1
The composer commented:
This is a symphony in the spirit of Bartók's Concerto for Orchestra but based naturally on Estonian music material. Yet I do not apply here... any theme from folk music. For me the national expression lies in the peculiarities of musical material born in the frame of mind. In compulsion, I am striving towards simplicity of form and the laconic.2
Jürisalu’s Second Symphony3 was written five years later, the previous features have been retained, though changes are obvious which have had an effect on the general quality. The themes do not seem so diverse, vivid and full of substance. In the first movement the technical aspect seems to prevail. The second movement contains abundant coloured paintings of a dusky and fantastic mood. An example:
Example 179.
The third movement is energetic and lively, somewhat joyous music, obviously the best in this work:
Example 180.
The rhythmic texture has been simplified and ostinato rhythms have been ushered. The music is as cheerful as the previous symphony; the composer marks that the spring mood is echoed here without setting any dramatic or philosophical problem.
During this period the symphonism of Anti Marguste went through an essential qualitative transformation. Earlier, he could be reproached for “splintered” thematics, incompleteness of symphonic treatment and dry constructivism, but his Symphonic Runes (1973-1974) indicate a clear new approach.
In these Runes the national mood has been expressed authentically than earlier, simply and suggestively. The Runes are dramatic pictures from the remote past.
The First Rune1 awakens the primeval mood to all that follows. A grave and pensive introduction (Lento) is based on a Southern Estonian (Setu) folk song Mõrsja ärasaatmine (The Bride’s Send -off); it opens a panorama of the remote past. The lively next movement (Allegro, this theme belongs to the composer) is quite bellicose:
Example 181.
The strings create two new images simultaneously (in D major and D minor) which will serve as a base for development:
Example 182.
The third theme is complementary to the previous ones by its rhythm and connected to the others by its character. The harmonic peculiarity lies in its bitonality. Repetitions of themes create an unbroken chain that creates the form. The symphonic treatment is based on the theme: its rhythmic forms a “ skeleton ” for the whole texture. Images have been added polyphonically and their intertwining creates a picture of a battlefield. We can also hear the fading lamentation of those who have stayed at home.
Looking at the harmony, we can observe the Dorian mode. Chord-dissonances emerge by the intertwining of several lines; a dissonant chord is not used as an independent unit.
Starting from folk tunes, the composer is more interested in unified lively and active movement as the carrier of “events”, the inner growth takes place step by step.
Since the composer is using duplication, the importance of an individual timbre is lessening. Playing tutti, every group has its own material, which is connected with the common primary image but expresses a different moment in the progression. Marguste wishes to see the unity clearly and emphasises it.
The First Rune is an ABA compound form scheme; the B section is not wholly new, its material is similar to A but fresh rhythms and variations of the theme have appeared. With his First Rune, Marguste has offered a captivating, archaic-tinged dramatic sounding panorama. Such an approach has been used earlier by Aav and Tubin in their symphonies. In comparison with Marguste’s previous symphonies, the essential difference lies in thematic character and in the manner of usage.
The theme of land and people continues in the next Runes. Nearly half of the Second Rune belongs to the South Estonian folk melody by Sangaste: Päike ohje päästma (The Sun Comes to Release from Reins).
Example 183.
With the timbre, a serene picture of a child ’s playground has been created, nevertheless, step by step, dramatic notes start to invade. The second section starts with a folk tune from the island Muhu (West Estonia) Naised lähevad ära (The Maidens Are Leaving). The rising tension culminates with the third theme Kuri perenaine (The Wicked Mistress) from Southern Estonia:
Example 184.
Thus the initial mood has been fully transformed, the childish happiness has turned into despair.The treatment of themes is in variation. An essentially clear harmony follows the previous patterns; the development takes place around the note G creating one centre. The motion in fourths and intertwining of lines create polytonality.
Moreover, the Second Rune displays a wholly individual treatment of the form scheme ABC; at the end no synthesis of the themes is rendered.
The Third Rune starts with a lively and strenuous introduction. The first theme Ketramine (Spinning, from Southern Estonia, Setu) will appear later in stout basses.
Example 185.
Here, the shaping form is based on varied, developing repetition of the theme. The dramatic germ seems to emphasise the hardship that had lasted for centuries, all the darkness has eclipsed the happiness of the Estonian people. The second theme, grand and festive, Uhke sõit (Driving in Style, from Viljandi county) stands as a counterbalance to the original one.
Example 186.
Harmonically, this theme is spinning around the dominant note, adding a certain bearing and significance. The third theme, a song of pranksters and “beggars” on the eve of St.Catherine’s Day (Setu), sounds static and deliberately retarded. All themes are close to one another; shaped in order to build up a logical form. Transformation leads to the reappearing of the grave and restless introductory theme, yet the second theme, serene and grand, rises above it.
The orchestra appears compact as the result of the doubling of different groups of instruments. The third theme is an individual compound form ABA. There is no “stuffing” material, the whole subjective texture serves as a binding. Such a solution seems to be peculiar because it is different from all that has been written earlier on folk tunes for orchestra.
The inner meaning of the Third Rune becomes obvious as the movement progresses from darkness towards light. The music is reflecting the vitality of the nation, which has endured through all ages in spite of hardships and obstacles, conquerors and combats. The Estonian nation has existed, exists and will last: such a conviction is expressed by the powerful hail at the end of the Rune.
The essential difference between Marguste and other symphonists who have also drawn materials from folk music is that he takes the runic melody in its pure shape, not only picking some characteristic inflections or sections from it. No other Estonian symphonist has taken this way and no other orchestral composition on Estonian folk tunes written after the war is comparable to these Runes that exhibit such primeval and exciting emotion of homogeneity with the national spirit. There has always been a need for such Runes. With them the composer realises his creative potential. As the Three Runes form a united whole, both by their material and by its treatment, they do sound like a National Symphony in a genuine sense. With his music, Marguste makes the listener think and feel: who is he, where he lives , where does he belong. Marguste wanted to demonstrate that all folk tunes make up a whole, stemming from one root cluster . It is the same with our nation itself.
We remember Eino Tamberg from the late Fifties as a pioneer. In spite of very painful times for the whole Estonian nation, after all the great defeats, Tamberg started to sing with a new voice and a smiling face, leaving aside the ordeals of the past. The cornerstone he laid for the next floor of the Estonian building of symphonic music was his Concerto Grosso (1956), which brought him international recognition.
By nature, Tamberg was active in his music, dancing, theatrical, gracious, melodious and psychologically pondering, immersing into the characters he created. As a symphonist, he promoted opposites, demonstrating the struggle between juxtaposed forces offering positive solutions .
Starting his symphonies quite late (the First 1978, the Second 1986, the Third 1989, the Fourth 19981), a remarkable change seems to have taken place. The dark sides of life, certain weariness are forcing their way in, in an expressionistic manner. Existence is not very poetic any more, but connected with bitterness and tensions at every step. All his symphonies are echoes of disturbing collisions between the attempts of a sensitive personality and the rough, even brutal outer forces.
His First Symphony is dedicated to the memory of Voldemar Panso (1920-1977), an outstanding figure in Estonian cultural life, a theatre and film actor and director, long-standing educationalist and playwright. The work consists of three movements: Moderato, Allegro, Lento and Allegro molto e marcato.
The First Symphony starts with a leitmotif from a trumpet solo:
Example 187.
For the subsidiary theme, an even movement for the piano is given:
Example 188.
Before the treatment process in this sonata form we hear tri-tonality in places. Tamberg makes use of all thematic materials, reshaping them both rhythmically and inflectionally up to the rushing and crying second-intervals by the strings (fff). In recapitulation, the tonal scheme has been changed and the first theme sounds mild.
The beginning of the second movement:
Example 189.
The fully clear tonal sections express some folk song quotations. Tamberg makes, as a rule, little out of them, not applying them as a basis for large multifarious buildings. Nevertheless, in all of his symphonies, the composer is creating a national air, through them a homely feeling is given to his expression.
The Finale seems to be a free formulation of the different creative ideas. It starts with clarinets, a musical idea with force, thronging upwards and resembling a dodecaphonic row. As we hear, Tamberg has been continuously applying dissonant backgrounds, letting them be more tonal or fully atonal, depending on the given situation. As a counterbalance, a folk melody Suure tamme laul (The Song of the Great Oak) appears:
Example 190.
The previous themes are vigorously promoted again.1 In the short Coda (Largo) The Song of the Great Oak (F sharp minor), the subsidiary theme from the first movement (in D minor) and basses (E major) are simultaneously summarised. However, the end remains open.
This is a symphony of eternal themes, a story about the search of basic values… As a philosophic dramatic symphony it belongs to this sub-genre which has been quite rare in Estonian music.2
Several Estonian composers belong, more or less, to this philosophic trend; Artur Kapp, Eduard Tubin, Heimar Ilves, Arvo Pärt and Helmut Rosenvald.
The Second Symphony stands near to the First in its conception: observing, somewhat melancholic, like a meditation in the present about the moment and the past with expressionistic outbursts. The work consists of two movements: Andante non troppo, Allegro; Largo, Allegro, Largo. As the visiting card the leitmotif is sounded by flutes and harp displaying hidden grief and anxiety. It resembles the first theme (second movement) of the previous symphony:
Example 191.
Doppio meno mosso brings forth a phrase by harp, dark-coloured, becoming influential in augmentations (vibraphone).
As all subdivisions begin with the leitmotif, it seems justified to speak of a three-part form. Repetitions are abundant, transformations and new materials are scant. So we may speak of a certain proximity to the minimalist principle.
The second movement brings along much material from the former. The minimalist ostinato has been applied broadly; let it be either in the dissonant characterising secondary plane or with the thematics, harmonious background.
Several folk music quotations may be found, but they are not exact and do not extend into a different quality.
The first theme of the second movement:
Example 192.
A folk melody exists for Tamberg as a symbolic meaning: it is pure, beautiful, an ideal. Between the framing Largos stands the contrasting Allegro subdivision, just towards its end a tremendous power has been concentrated, finding its expression first in the screaming (or appealing?) wind instruments and piano small section drumming repetitions. The end of the Second Symphony has a calming mood. The tonal plane of its subdivisions can be marked as E minor – Ges – C major. However, the leitmotif (flutes) remains as an open question for the future.
Tamberg’s further symphonies do not make detours from the path he has chosen. An ever-deepening expressionistic spirit may be recognised; mourning, depressive moods, sharp contrasts, unexpected exclamations of distress, long-lasting tensions. As a firm anchor in his Third Symphony a popular choir-melody from the Estonian National Awakening appears: Sind surmani (I Hold You Dear, My Homeland, music by Aleksander Kunileid, based on a poem by Lydia Koidula).
From the music of Tamberg, a certain greater and unavoidable need to poeticise life, the joy of being a man and also the dark sides of that, glow forth… a yearning to take wings, anxiety and grief about the possibility that the power of imagination may be lost, human feeling may grow weary and dull. This music is like a hymn to the beauty of simple things and hope that neither bitterness nor tension remain in the end.1
The common denominator in these works (First and Second Symphonies) is a preference for ostinato and figures of miniature size , which evidently possess a considerable force of their own to coagulate as if by natural growth into larger surfaces and serve as platforms of further melodic structures which in fact are extremely intense… The reach for absolute unconditional originality at the price of comprehensibility was the ultimate cause of a crisis that is only gradually approaching its end in the immediate present.1
We have to keep in mind the long-lasting and fruitful activities of Tamberg in cultural, musical and educational fields, especially in the Estonian Composers’ Union as Secretary of the Board of Administration and as Professor of composition at the Estonian Music Academy. Up to the year 1998, twenty young composers graduated in their composition studies under his guidance, among them Raimo Kangro, Peeter Vähi (b. 1959) Alo Mattiisen (1961-1996), Mari Vihmand (b. 1967).
In the first half of the Seventies, talented composers graduated from the Tallinn State Conservatoire; in the following years they have become increasingly active: Alo Põldmäe (b. 1945), Mati Kuulberg (1947-2001), Raimo Kangro (1949-2001) and Lepo Sumera (1950-2000). These composers constitute the germ of the fourth generation of Estonian symphonists.2
That was a period in Estonian music when the third generation was not yet ready with their search for new means of expression, especially in form, but nevertheless the novel means as offered by the contemporary Western trends have been principally put to use. The third generation had risen to an influential position, setting the fashion in Estonian symphonism. This generation was an example for all younger composers and called into being an atmosphere in which the others were enveloped.
There were enough novel means (constructivism, dodecaphony, aleatoric elements, cluster-harmony, Klangfarbenmelodie, thematic heterophony and orchestral sonorities). The younger generation were in a hurry to use them; many of them had studied at the Conservatoire under the representatives of the third generation (Tamberg, Rääts). The classical heritage (Western European, Russian and Estonian) seemed too “academic” and made little sense for them.
The fourth generation adopted the governing creative atmosphere and all that it comprised, especially the spirit for search and experimentation, sagacious ear of sound, freedom in form shaping, striving towards a national idiom in more abstract forms of expression.

XX. ALO PÕLDMÄE: FULLNESS OF COLOURS AND MULTITUDE OF DETAILS.

Alo Põldmäe was the last student of Heino Eller to graduate from the Tallinn State Conservatoire in 1970. He worked as a music editor in the studio Tallinnfilm. In 1971 he became a member of the Estonian Composers’ Union, becoming its Secretary in charge of management in 1980 and Vice-chairman1985-1993. In 1993 he became the head of the Music Department of the Theatre and Music Museum.
Alo Põldmäe has a free and total command of the technology of composition. He has very good sense of orchestra and his scores sound colourful, clear and logical. All this is proven in his tone poem Atmospheres, one of his most remarkable works to date. In his character Põldmäe is a lyric and his most successful works are skilfully connected with refined shades of colour and diverse usage of detail.1
Põldmäe has paid much attention to chamber and incidental music. Engaged in incessant searching, he has composed music for unconventional ensembles, trying to reach the maximal effect of colour play (Prelude, Fughetta and Postlude, 1978). All his works indicate a sensitive perception of sound colour and, perhaps one might refer to him as the Estonian Debussy.
The programme title Atmospheres gives quite a free hand to the composer.1 To “reflect” atmosphere is to attempt to “portray” something invisible, elusive and unattainable, containing in itself stillness and softness, power and light. Such a choice is a serious touchstone to any artist attempting to catch the essence of the theme. One can feel the individual traits of Põldmäe’s creative nature in this tone poem. Some important colour instruments are unfortunately missing (harp, Glockenspiel, bells). Taking into account the programme of the poem, it is neither possible to speak of a certain theme nor of a well-known method of development. One can speak of combined contrasting images. Orchestration is flexible; the composer aims to evoke the phenomena of nature: sunshine, breeze, strong winds, lightning and storm. The freely shaped form indicates a tidal motion from the static to the dynamic. Speaking of Atmospheres as a symphonic opus, there could have been a more monolithic form scheme. With this his diploma work Põldmäe started to “plough the newly cleared soil”. As an aside, the first almost Impressionistic sound pictures in Estonian symphonism had been offered by his teacher Heino Eller in the twenties.
Without doubt Põldmäe’s ballet Merineitsi2 (The Mermaid, staged at the Vanemuine Theatre in 1974) is one of his best and mature works. Later, a suite would be arranged from this music.3
It is picturesque and Põldmäe is in his beloved “element”, the score being rich in colours. The music is well suited to the fantastic plot. The timeless action takes place on a nameless island. The ruler Kaspar is an unrestrained despot celebrating his upcoming wedding. The islanders go to the seashore to fish with a seine in order to pay homage to the bride. They are astonished to find a Mermaid in their nets trying in vain to escape back to sea. Kaspar announces that he will spend his wedding night with the Mermaid after the feast. This does not happen because the Mermaid has fled.
An example of the use of colour from the beginning of the ballet suite; it is a sound canvas, the flow of time, a lonely island and stillness:
Example 193.
There is no thematic image; the colours of the orchestra are in the forefront. The ruler of the island, Kaspar, has his own theme, commanding and vigorous:
Example 194.
The Mermaid is a fantastic figure, unearthly, frail and pure:
Example 195.
At the end of the ballet there is a scene of metamorphosis as all the nobles on the island are transformed into frogs and perish:
Example 196.
The characterisation of the main heroes is well realized, as are the sound pictures of the calm sea. As for the other characters they seem less well formed. Compared to the ballet music by Tamberg, the lack of polished solo numbers is felt. The orchestration exhibits a strong sense of colour and detail, all the woodwinds are used and the electronic and ‘colour’ instruments. Merineitsi is among the most colourful Estonian ballets. Form though is a weak aspect, in the shaping of details Põldmäe does not apply quite finished dance episodes, his images are flowing in time. The opinion of the Lithuanian composer Antanas Rekašius:
I liked the ballet very much, especially the work of the ballet master with his intentions, novel and original approach to choreography, to the solution of different lines of the plot. I regard the exact dovetailing music drift plot as a great achievement. The judgement on the evil force is given clearly, excitingly and convincingly.1
Recognising the specific possibilities and potential of his talent, Põldmäe gave little attention to symphonic music in his later creative works. The most extensive work during the period under observation is the Concerto-Symphony for percussion instruments and symphony orchestra (1981).2
A saxophone plus a rich choice from the percussion section including bongo, chimes, bells, xylophone, marimba, vibraphone, crotales and slapstick are added to create many possibilities. The work is mainly based on a single theme, it is first exposed at the very beginning (Adagio, vibraphone) as an epitaph. A more precise image of the leading theme is offered at mark I (Violin solo). It will remain virtually unchanged:
Example 197.
The development of the idea variable, more like “lace-making” than a vivid, purposeful process. The rondo-like principle applied to the whole is diluting the possibilities for a grand culmination, which always needs time and space.
The primary feeling of sorrow ends as a large plaintive song. The leading theme restrains the composer and in an inserted episode he attempts to step it aside. Yet the theme rises inevitably again. A section from the middle of the work:
Example 198.
The initial idea with its spirit and taste seems to be exceptional in Estonian symphonic music. The creative thinking of Põldmäe is specifically instrumental and there is a lack of extensive breath, of a wide singing line that should be found. All appears fragile, an example from the end section:
Example 199.
The composer is rather a “sculptor” than a dramatist of a major form. Surely, such a long opus (18 minutes) should have been split into movements, for what we have resembles a Divertissement. The musicologist Priit Kuusk does not, however, share this opinion:
The Concerto for percussion instruments is the first of its kind in Estonian music, it has won attention and received appreciation outside the Republic of Estonia. In this composition the listener may be directly carried away by the relative familiarity of the musical material… by the effect of the whole performing body, the romantic flow of emotion and at last the situation itself. The first performance in Tallinn, November 1982, was ardently accepted by the audience.1
Another critical remark :
First of all, Põldmäe seems to be a fantasist in music, inventor of novel musical materials, but much less a skilful developer and cultivator of them. Therefore his works have the features of kaleidoscopic unity.1
It seems that the best achievements of the composer belong to chamber music. A suite for two pianos The Castles of Loire (1979), a work composed tastefully may be added to this category. The three movements are like scenes in the castles during the Renaissance and have a fundamental lyrical tone. The vitality of the music is heightened by the use of three original French folk songs.
It is really convenient to write after well-known patterns, but… In the given situation the danger of self satisfaction is lurking for several reasons. Several elder colleagues have found that the years of search have passed and now it is necessary to submerge into the depths of their discoveries. In my opinion the search for the new and even experimentation should never come to an end. And maybe, we have remained in the frame of “respectability”, which is, in most cases an expression of creative lethargy.2
Without any doubt Alo Põldmäe’s best achievements belong to the area of chamber music, where his lyrical and poetic vision of the world has been disclosed, his culture of taste and polish of detail are displayed. But I would like to advise the composer to specify strictly the central idea of the work… Otherwise that picturesque path without a determined end in itself, may lead the wrong way…3
Presenting some stylistic features of Alo Põldmäe’s output Priit Kuusk mentions instrumentality, use of timbre, hidden polyphony, technical complexity side by side with open emotions, intimacy, closeness to nature and rural life. Also playfulness, and submerging into the Estonian character and attention to global issues.4

XXI. MATI KUULBERG: SPECTACLE, BRILLIANCE, LIGHTNESS.

Mati Kuulberg studied composition at the Tallinn State Conservatoire with Anatoli Garshnek, who in a recommendation letter for the Composers’ Union in 1971, wrote of his student:
Kuulberg is very diligent and he has gained a firm composition technique. His fantasy is considerable and his taste of style is good. The reach for his output is wide: he is able to work in any genre, but his real sphere of action is instrumental music for symphony orchestra and instrumental ensembles.
The young composer was accepted the year after. From 1975 he was active as a teacher at the Tallinn Secondary Music School in chamber ensemble and theory classes.
His Chamber Symphony (1973)1 is cheerful and has gushing swing and sincere lyricism. The music reflects a young man’s view of the world and his sunny disposition.
The main thematic image of the first movement is joyous and dancing:
Example 200.
This yearning and calling image has been extended by the horns. The subsidiary image is dreamlike on a quiet and soft background of clarinet and bassoon:
Example 201.
The second movement has no leading image. The spirited muted trumpet is like an epitaph, broad and pensive. In the third movement the Fugato theme is remarkable, there is willpower and bearing:
Example 202.
In the sonata form of the first movement the development is almost a picture of nature, one can hear “singing birds”; feel the gust of wind; the joy of the artist relishing the power of Spring, life and the sun. The music is impressionistic and elemental. The final movement is unpretentious in content and form shaping; obviously the composer has not found a clear conception for himself.
The harmony in the Chamber Symphony is based on extended tonality and polytonality. It is very mild in the second movement, calling to mind late romanticism in its unbound, functionally unrelated flow. The colourful transitions create some resemblance to the idiom of Liszt. In the final movement the independent juicy seventh chords are freely combined. Besides several ingenious images there appears to be a certain variegation of material, impatient in its rendering.
The symphonic poem The Legend of the Liberator (1975)1, naturally a Soviet soldier is meant here, has a serious and grave introduction followed by the simple and rigorous image of the soldier:
Example 203.
The middle section depicts a battle scene; it is chequered in colours, registers and clusters. The struggle becomes dramatic, proceeding along a long “ front line”. The fallen ones are remembered, the music is subdued and epic. Kuulberg is thinking and shaping everything with colouring, register, harmony and texture, the intertwining is essential. Such a complexion supports the musical ideas and emotions. All is generalised, “democratic” and understandable to a simple listener, be they a combatant or non-combatant.
The Second Symphony (1977) follows a programme. According to Kuulberg the first movement reflects the final anxious days of Tsarist Russia, the second movement the revolutionary movement and the third the victory and the start of a new life. The shade of images chosen to emphasise the motion of darkness to light, a classical concept, a special path has been chosen for reaching this aim: the juxtaposition of images rather than their full treatment.
There is no theme depicting oppressed Russia in the first movement, only general contours and atmosphere:
Example 204.
Although expressing something quite characteristic, the impression is rather lax.
In the second movement there is no dominating image that should carry the whole movement. The base is formed by the anxious bustling of strings expressing the troubles and drive to freedom:
Example 205.
The third movement has neither a concentrated nor potential thematic image. An image from the Finale:
Example 206.
From the start the Cor anglais has a long narrative line, it is indolent mood music probably meant to reflect the noble peace in the new society.
As for form and colour the programme has no convincing realisation. Kuulberg has reflected on the situations in a general scheme. His long “brush strokes” are convincing but cannot be said to be pithy. In the slow movement the strokes seem to be neutral, the result of an observation from a distance. A grand grasping general theme that should infuse the work is missing. The Russian musicologist Dina Daragan commented:
The sound images of the symphony are very concrete, almost visible and involuntarily leading to a chain of pictures… This adds the features of a poem to the work. At the same time the development of the Finale is very loose, in our opinion. It becomes dull and dawdling. The lyricism of the third movement naturally replaces the dramatic tension of the former but it lacks perfection.1
The Third Symphony (April), completed a year later, definitely illustrates the disposition of Kuulberg. The work has the high spirits of a carnival. A multifarious series of actors and scenes appear, none of them dealt with at any great length. There is swing, humour and fireworks, however, Kuulberg cannot get a hold of this merry bustle. The Third Symphony is a Divertissement, but not in the classical sense.
In retrospect the earlier works of Kuulberg’s bulky symphonic output deserves greater attention. As do his ballets Mont Valérien (1971) and Pöördlava (Rotating Stage, 1973). As a novel phenomenon and common denominator in his ballet music one should consider his deep sensitive psychology. The short but varied life of an Estonian student Boris Vilde (Mont Valérien), later a fighter in the Resistance who meets a tragic end reflects Kuulberg’s ability to almost momentarily change his expressions to musically echo the libretto.1 Between 1967 and 1977 he composed 36 works mostly extensive forms and cyclic works.
Kuulberg does not cause problems for himself about such canonical concepts as form, structure, laws of development, clarity in harmony and melody… In spite of this he is lightly and painlessly successful in effecting results, in colourful sound combinations, in any surprising artifice.2
In the composer’s own words:
My musical language draws on an imaginative blend of pronounced rhythm and Estonian folk melodies and it ranges from medieval polyphony to aleatory techniques. I have a particular inclination towards impressionistic harmony. A strong feeling for forms and the use of polyphonic material give my works a compact profile. Complicated technical elements give my music its effect, offering many different possibilities to the performer.3

XXII. RAIMO KANGRO: ROCK, POP AND NEO-CLASSICISM.

Raimo Kangro studied composition at the Tallinn State Conservatoire with Jaan Rääts and Eino Tamberg, graduating as a student of the latter in 1973. In the same year he was accepted as a member of the Estonian Composers’ Union. In their letter of recommendation Jaan Rääts and Jaan Koha wrote:
In the music of Kangro his special kind of expression has been well joined with a remarkable fantasy, a well dramatises perfection, form discernment and pithiness. Social and political themes, description of the way of thinking of Soviet citizens have a prominent place in his output. His music is extensive in its genres.4
In the following years Kangro was very prolific in writing symphonic and chamber music. From 1979 Kangro was one of the main organisers of Estonian Music Days. He was accepted as a lecturer of composition at the Tallinn Conservatoire in 1990, in 1995 he became Assistant Professor. At the same time he was holding the post of Director of the Estonian Music Foundation (1993).
His diploma work, Flute Concerto (1973), reveals strong influences from Rääts and early Pärt, both in character, rhythm and in dissonant movements. At the same time the influences of American jazz ( basso ostinato in the first movement) with the ‘whistle’ of a happy -go-lucky street urchin leaves its mark on the music. The second movement consists of a row of melodious phrases that proceed separately without directed development. The Finale has a dissonant pulsation with short broken images in the neoclassical style.
The Divertissement completed a year later, exhibits greater pithiness and clarity in sound. Neo-Classical influences can be felt in the lively movements. The dissonant elements used by Kangro are “mild” and do not overburden the music. Thematics is not extensive and could have been more informative, suggestive and developed. In the first movement there are two images, the first only a sentence:
Example 207.
The second sentence again consisting of repeated phrases. Both may be said to be “cool” and have an “objective” spirit. In the second movement a two-bar motif is used as a theme:
Example 208.
It is pleasant. A lamenting non-quadratic period creates the base for the third movement:
Example 209.
Kangro avoids purposeful, expansive and transitory development. In this early work Kangro has followed his teacher Jaan Rääts in several ways, bringing in his typical devices, mode of thinking and shaping. A small “form-block” is intrinsic and this generates repetitions; it displays Kangro’s way of thinking. All movements are built on the compound ABA form schemes. The question here and several of the following works is the quality of the leading images, which sound simple and “democratic” but may not have been calculated with sufficient care.
The First Piano Concerto (1976) exhibits some of the former patterns. A clear main theme, upon which all that follows should be based, which ought to be the solid visiting card for an extensive work, is absent. Development takes place as pulsation with jazz rhythms dominant. The orchestra which should be the force carrying the development is almost passive. In shaping the form the composer has used juxtapositions of a series of independent images.
By its content the First Piano Concerto displays a row of contrasting pictures of the outer world. The risky synthesis between the rhythms and elements of pop and rock and of the means of symphonic music has been successful. The Concerto is impressive by its impulsive rhythm and interesting, quite individual, melodies which do not form a thematic line. 1
The First Piano Concerto has been written over several years. Maybe this is the partial reason… for the diffusion of the form. At the same time the Concerto is impressive with its vividness in many of the fragments.2
Kangro paid great attention to the concerto genre (altogether nine works: two for violin, one each for bassoon and flute, two for piano and three for two pianos). They reflected the ripening of Kangro’s style: from dynamic, vigorous pulsation, splintered and often polarised thoughts without real firm direction, towards clarification in all, wider melodious curves, national inflection, greater warmth and fixed shaping.
These features are quite obvious in his Second Concerto for Two Pianos (1988), which has retained the previous common cheerfulness and vigour.
The Simple Symphony (1976)3 for chamber orchestra is quite short, only 11 minutes, a characteristic theme has been found for every movement.
The first movement, Raiudes (Hewing), in spite of the 3/4 measure connections with village music is felt, reminiscent of a village polka:
Example 210.
The second movement, Venides (Dragging), also has an affinity to simple village music:
Example 211.
More village music in the third movement, Hooga (With a Swing):
Example 212.
The material could have been more extensive, the impression resembles a Suite, the materials are extended by adding gamut -like movements and exact repetitions. A mixed style is obvious in harmony; the main images are tonal, but the sections between them tend towards atonality and clusters. One of the main principles of development is the connection between the tonal solo line and the atonal cluster movement; in this way an ever-changing texture has been achieved. All the repetitions are simple and the form emphasizes the Suite resemblance. The merry music is almost a Divertissement.
Sinfonia sincera (1986) is one of Kangro’s last important works, and could be seen as a “self-portrait”1
The first movement ( Persona sincera) contains several images, the first is characterized by fourth-fifth-seventh relations:
Example 213.
The quite vivid Allegro-theme presents a contrast:
Example 214.
Due to its abbreviated form there is only one image in the second movement. At the beginning, its mood is somewhat “objective”:
Example 215.
In the third movement (Sincera gioia della vita), there is only one image similar to an Estonian folk dance, perhaps the best in the work:
Example 216.
The last, fourth movement (Alla sincerona) is based on one Dorian theme in vocal style.
The Sinfonia sincera is chamber-like, the form is, in general terms, fragmentary. Kangro is a builder placing one “block” beside the other but not upon it, there are no counterpoint lines in his music. The finale remains undeveloped: the ideas are episodic. The first movement is the most presentable. Developments are planned and exhibited as a rule through polar juxtapositions. Slow sections are quite clearly tonal, often replaced by atonal clusters brought in at his pleasure. We see here an invariant of symphony.
Kangro composed a number of large vocal works: two operas, two operas for children, a rock opera and an oratorio. Kangro’s inclination towards opera may seem contradictory when reading his statement:
I have said earlier and obviously remain to reiterate that opera and operatic expression both in the music and in the presentation of the singers are unpleasant for me. Quite strange indeed but just this has compelled me to compose opera.1
Kangro follows what may be referred to as the Twentieth century opera style, the spiritual atmosphere is close to Expressionism. We can perceive visionary shadows of Pierrot Lunaire, Wozzeck, Katerina Izmailova… The central work is Ohver (Sacrifice, after a story by Alexei Nikolaevich Tolstoy, staged in the Estonia Theatre in 1981), showing the strenuous atmosphere, distress, shallowness, rudeness, open amorality together with the stupid pretentiousness of diverse personages in the new Russian communist society.
The composer was firmly rooted in popular music, be it an Estonian village tune or something from the pop charts. He wanted to be accepted by everyman. Kangro’s individuality points to a certain incongruity between his endeavours to create extensive forms and their execution.
The first and particularly outstanding feature is the democratic trend of Kangro’s work. It becomes obvious in his marked preference for the most popular genres in serious music like opera, incidental music and the concerto, but also in the choice of means of expression… Secondly, his music sounds Estonian. It is expressed through ties with Estonian folk tunes. These ties are not seen on the surface, but in a general mood, the means of development, in melody and in harmony… From an aesthetic standpoint Kangro has proclaimed: “…the main task is to depict our contemporary man, to express the emotions and thoughts of my generation.”2
Kangro’s compositions are extraordinarily lively and impulsive without in any way denying the musical character of his homeland. Openness to popular styles is an element of the composer’s self-awareness that plays an aesthetic role going far beyond the crossover philosophy.1

XXIII. LEPO SUMERA: DEEP NATIONAL SPIRIT, EVOCATIVE AND PHILOSOPHICAL THINKING.

Lepo Sumera was the last student of Heino Eller, as his maestro died in 1970. He completed his studies in 1973 with Heino Jürisalu. From 1978 he was a lecturer at the Tallinn State Conservatoire (renamed the Estonian Music Academy in 1993), taking a post-graduate course at the Moscow Conservatoire between 1979 and 1982. In 1987 he was elected Chair of Composition and Musicology at the Tallinn State Conservatoire. From 1988 to 1992 he served as Minister of Culture in the Estonian government. Chairman of the Board of the Estonian Composers’ Union (1993-2000) and Director of the Studio of Electronic Music at the Estonian Academy of Music (1995-1999).
In the letter of recommendation to join the Estonian Composers’ Union, Eino Tamberg wrote in 1973:
Sumera is characterised by a serious and wise approach to every task. He does not compose superficially and aimlessly. He has never considered the technical aspect as an end in itself and we do not encounter dalliance with modern devices in his works. He is using them in accordance with his inner needs and at the same time he is not ashamed to use the simplest classical devices if needed. Sumera has paid much attention to elements of folk music in many of his instrumental works, though we meet them in the most vivid manner in his vocal compositions.
Sumera’s diploma work In Memoriam2 (dedicated to Heino Eller) is simple music, serious and vital. Suggestive themes characterise the work. The first thematic image is like a reverie from a mournful folk song that establishes the tone of the whole exposition:
Example 217.
The second image is somewhat bellicose and energetic: a trumpet call reflecting antagonistic power, like the force of destiny…
Example 218.
The third image is serene yet plain: childlike purity and joy emanates from it. The core consists of a simple phrase and built on by repetition:
Example 219.
The images are subjugated to transformation, which Sumera has already used in the exposition of the second image. The exposition is held and formed by the main thematic image that also initialises the development. The culmination settles into a silent and sunny reminiscence (horns), almost singing. The recapitulation returns vigorously to the previous sad mood with the full orchestra.
Functionality is only a tonal support, not a decisive factor. Clear harmony is used according to the demands of the core idea. Imitational polyphony plays an important role in the part written mourning song. One has to emphasise the quality of the thematic images, which include potency for development, as well as, Sumera’s ability to direct his thoughts.
In Sumera’s work we can speak of full-value symphonic language, re-creation of complicated life situations, opening the riches of psychological content and perpetuation of challenges in real life. The maturity of thinking and artist imagination of this composer are expressed in the bold opposition of images, in epic solution where the principles of film dramaturgy, close-up and distance angles, as well as space and time in free interpretation have been intriguingly applied. And naturally the purely musical values: vivid, uncommonly full and expressive inflection, free command of orchestral devices, live flow of music from beginning to end. 1
Music for Chamber Orchestra (1977)2 was commissioned by the Chamber Orchestra of the Estonia Theatre. The musical language of this work in two movements is more complicated. The national spirit is clearly recognisable in the leading images. It seems as if there are two different works: in the first the string instruments have a leading part, in the second (it could quite fittingly be called “night music”) the leading role belongs to the flute, in places it sounds like birdsong.
In the first movement the humorous images for the strings is offered as an impression of the whole work:
Example 220.
An episodic theme is confined to the horn solo at the beginning and after the impression is completed. It appears like a stylised ancient tune, moving somewhat con moto, but, unfortunately, soon vanishing.
In the second movement, there is an elastic flute solo:
Example 221.
The flute has an essential role and the whole movement was rightly called the flute concertino. A yearning and elegiac mood dominates the theme. There are visionary images for the flute and other instruments. The thematic transformation is vital.
Sumera liked “peppered” harmony; though the tonal centres are recognisable. The fourth has an essential element. The second movement is built on the motion of subordinated voices, though the beautiful theme could have offered possibilities for a vivid polyphonic treatment. The first movement has a miniature rondo with three episodes; the form of the second movement is uneven (ABA plus Coda).
The First Symphony (1981) marks the quick ripening of Sumera’s talent.1 The first movement is monothematic, the images sprout from one germ, the descending scale of the Phrygian mode (e-c-h-a-g-f). The intertwining of two trumpets forms a minor triad that is an intrinsic thematic element. The broadening celesta solo is also based on the same Phrygian mode. In their full shape all three thematic elements are heard at mark 65.
Example 222.
In essence this is a mournful image, being varied, it spreads a shadow over the movement. The second movement is more manifold in its thematics. At the beginning there is no theme, only the faint chromatic undulations of the violins create an impression of whistling wind. Thereafter the brilliant sunny Allegro image shines:
Example 223.
The contrasting second image appears like “primitive” folk music, vigorous though dark-hued. The peculiarities of Estonian folk tunes, the shifting of major and minor thirds, are introduced, though the image sounds atonal:
Example 224.
The third image has the trappings of some common street song: the melodic connections with the popular songs of Dunayevsky1 are obvious.
Example 225.
The treatment, especially in the first movement is displayed in the repetition of phrases with minor alterations, a device reminiscent of the delivery of Estonian rune song. The static first movement has been planned to show a certain spiritual state. However, as a single movement in a symphony, it creates an overspun impression.
To realise the idea, the composer connects and confronts different images. The sunny Allegro theme is pleasing but the banal street music intervenes and dominates until the folk theme, as a counter-balance, enters with vigour. Such a co-existence leads to a conflict and finally only the fading convulsive beats of the common song linger. Every image retains its complexion to carry the image of development. Sumera applies flexible thematic connections: alternations in texture and dynamics. The heterophonic texture is worthy of notice; it dominates the first movement, the unified thematics are exposed in different rhythmic patterns creating an imitational polyphony. By his nature Sumera was homophonic and also in this case a minimalist.
The central conflict in this work (the second movement) is between the national spirit and the “international pavement”. Sumera approaches it wisely, expanding and strengthening the national theme. To complete the whole work the composer ushers in the Coda where the main elements of the first theme are carried through once more. Starting as a loud “funeral procession”, the music drops into silence in an elegiac reminiscence. The “hearse” has arrived (wooden block), the “funeral bell” (tubular bells) is heard and the “deceased” will be buried; with a few characteristic devices the composer creates a vivid visual picture.
The musicologist Lyubov Berger wrote:
The First Symphony is beautiful, sinking into one’s mind like a dense series of thoughts and feelings. The flexible flow of concentrated musical material creates an insight into human consciousness, recognising the tremendous panorama of nature as a whole… the glance observing the eternal brilliance and imperishable beauty of the world is a lonely one. 1
Lepo Sumera shows himself as a philosopher in music, submerging into the issues of human existence: … from one side the outer aspect of life, which at times assumes the shape of a carnival, from the other side the hidden life aspect, the inner tranquillity and firmness of a human being, which gives worth to living life amidst trivial factitious gaiety. 2
Sumera’s Second Symphony was written three years later and dedicated to Peeter Lilje, chief conductor of the Estonian National Symphony Orchestra at that time.3 Considering the thematics, one finds it very homogeneous. Sumera noted:
The three movements are based on a couple of simple motifs. The most important of them is introduced at the beginning by two harps. Directly speaking, the whole musical scheme of the symphony may be expressed through this theme meaning the development of a short melody, consisting of 2-3-4 notes (the first movement) into extensive, “endless” melodies, passing through all minor gamuts (the third movement). Thus the third movement is the aim of this symphony. And the reason to compose it. It was not so much the possibility for musical development that enchanted me to write, but jut the possibility to attain liberated string melodies, aspiring after eternity. 4
Sumera has abandoned the principle of introducing several contrasting themes, their treatment, opposition or any other rule. As a thematic germ he takes a short gamut section, movement of the F minor and expands it. In such a manner a thematic line is shaped from one germ. It acquires several rhythmic shades and thus compensates for certain static hidden in the gamut. In some way it recalls the tintinnabuli technique of Arvo Pärt:
Example 226.
So the “theme” as such is displayed but not yet completed. The melodic line is sensitive and flexible, bearing its own distinct mood and feeling of a minor shade. The music echoes grief, depression and yearning.
Harmony as a means of expression has its modest place; the functional tensions are missing. The inner development of the music becomes manifest in the change of texture, timbres and rhythm; naturally the modified melodic line remains as the lead, essentially a gamut movement, especially in the third movement. An example:
Example 227.
How Sumera is firmly proceeding with his form principle may be heard near the focal point of the Finale:
Example 228.
Such developments culminate in the final sections of the first and third movements. The main tonality for the work is B flat minor. The tonality is emphasised both at the beginning and end. For the purpose of variety the composer has planned the realisation of the ‘theme’ in all the minor keys.
The treatment of “thematics” secures freedom of form in a broader sense. In the first movement there are three melodic and rhythmic sections starting analogously, the form scheme is also a similar one: A1A2A3. In the second movement there are two different but distinguishable sections; the form is AB. The third movement stands out because of its variants (though not in variation). The length of each variant in the common chain is quite different. The formal aspect as a whole seems logical and well balanced. The first image is a silent, dolorous and tender one (Harp). It appears in a transformed guise at the end of the symphony, as a vigorous and firm shout (Trumpet).
In the Second Symphony there are no episodes of broad singing. Knowing the nature of the composer one would have expected it. The given gamut movements may become music but maybe too much depends on this image. In such an extensive work (duration 18 minutes) the composer should have thought (for the so much needed variety) of adding some tranquil, concentrated and really singing movement. Summing up, the emotional sincerity of the constructive technique is high, but the Finale should have offered alternatives.
A general evaluation by Prof. Roland Weber from Karlsruhe University:
It seems that Estonian music has remained unharmed by the crisis of tonal music which started at the turn of the century and is gaining strength from the sources of folk music even today. Sumera’s world of sound seems to be directly bound with it and bearing the seal of the nature of his homeland.
The composer has a strong suggestive power and his sound atmosphere is very intense. The proximity of his style to the elements of minimalist music is remarkable and here Sumera hints at the tradition of the narrative Estonian folk song (sung by women). Such songs, their form shaping rotating in a stable circle, are pointing at a very old culture. In fact, the composer has relied on the ancient, pre-Christian shamanistic era of music in his works. 1
What I like about it is its often long-arched melodies, its very original and personal sound combinations and its drive and urgency. Much of his music has a craggy quality, but Sumera is also capable of expressing himself in serene, gossamer sound patterns. 2
The first two symphonies together with the previous works constitute the first stage in the development of Sumera’s symphonic handwriting. This may be called the modal approach. Tending to be a “minimalist” he likes “situation expression”. The music is less constructive and mathematical than that of Reich or Glass but more essential than that of Pärt or Górecki.3
In the two symphonies one can recognise a yearning after something elusive, a melancholic undertone, disquietude and a spirit of renunciation. The composer is wide open to the listener. The composer was not a grave national tragedian; we can hear much poetry, reverie and humour in his music, all through the prism of self-experience.
The more we know, the more possibilities we have. The fact is none of the variations is either only good or only bad… obviously all artists must be somewhat naïve, otherwise it would not be possible at all to make art. There is a hope that in the end the trick-making will be abandoned and everybody remembers that in spite of everything we are composing for the people… 1

XXIV. ERKKI-SVEN TÜÜR: LYRICIST SEARCHING FOR HIS PATH THROUGH SYNTHESIS.

Erkki-Sven Tüür (b. 1959) is among the last representatives of the fourth generation of Estonian composers. During his youth (1976-1982) he was actively involved in rock music, organising and leading the group In Spe. He studied at the Tallinn Music School, where he specialised in percussion and flute and later harmony and composition with Anti Marguste. In 1980 he entered the Tallinn State Conservatoire, specialising in composition with Jaan Rääts. Earlier a friendly relationship had been established with Lepo Sumera, who helped Tüür prepare his diploma work, the First Symphony (1984). Thanks to Tüür’s talent and the value of his symphony, the board of the Composers’ Union accepted him as a member the following year.
In his letter of recommendation Raimo Kangro stated:
The creative handwriting of Tüür has been developing very rapidly being excellently exposed in his First Symphony. I think that this work is one of the most interesting written in this genre during the last years.
No doubt, it is possible to detect some shortcomings in the work but surely the First Symphony bears witness to a very strong creative character now rising in Estonian music. 2
Lepo Sumera added:
We are dealing with a composer actively searching and finding his own style: his handwriting may be typified by the application of rigorously systematised techniques of composition, peculiar instrumentation (acoustic combined with electric instruments) and poly-stylistics. 3
In the Eighties he was obviously influenced by Sumera, Pärt and Sink with their world of thinking and sound landscapes. Especially Sumera, with whom Tüür was personally connected and received creative advice, those influences begin with the national style and reach the principles of form shaping (minimalism, etc). The influence of Pärt is felt in the appreciation of pure triads as a linear element in texture, in poly-rhythms and cluster technique. Sink seems to have caught Tüür’s attention with his use of sonorities (moving sound layers) and with his stern , individual and serious atonal expression. In his deepest essence Tüür seems to be a lyric composer adding novel features to his basic character but not altering it.
The First Symphony (1984) was his diploma work.1 Tüür later said that he considers it quite an ordinary “school work”. A rather modest point of view.
At the very beginning a loud mourning theme is advanced (strings); it is directly connected with the main theme of Sumera’s First Symphony, even the key is the same (E minor). The leading image, as a fragment for the whole texture, appears for the first time as a keynote:
Example 229.
In the following Allegro movement two essential images appear, the first a broadening phrase for cello:
Example 230.
The second one (trombone at first) creating tension as a counterbalance and connected with the basic image through its rhythm, texture and dramatic role:
Example 231.
In the growing strain this image, being a dramatic dominant, remains stable for quite a long time. The culmination is attained through repetition rather than by any specific transformation.
The second movement, Largo, has solo harp and a melancholic violin. The basic image can be recognised in the part of the harp, in the first three bars. It is remarkable that Tüür has been following the minimalist principle of Sumera and presented it in an individual manner.
During the lasting colourful vibraphone line that seems like “lace-making” but without development a harsh theme (woodwinds) appears, prepared earlier, it paces heavily:
Example 232.
Tüür is building to a culmination by expanding and deepening the texture and dynamics quite homogeneously; there is no transformation but rather the accumulation of power through “heaping up” different minimalist “threads” (a certain resemblance to the first symphonies of Sumera and Pärt) in quite a different rhythmic formula.
In the third movement, Con moto, violins enter with the basic theme in a modified movement. In comparison to the previous movement it is short and does not display any new image.
As a whole the symphony is a success, being lyrical and elegiac in its basic mood, the dramatic outbreaks complement the basic nature. Tüür also relies on Estonian folk music but without citing it. The thematic images are not finished, once exposed; the composer starts to expand them. The leading creative principle of Tüür is monothematic.
Musicologist Urve Lippus:
Quite a lot of geometry may be found in these melodic lines: mirrors, uniform growth and decrease both in length and width, but also simple irregularities, which… cannot afford the emergence of completed and memorable melodies. As to form, the classical principles are observable in a very generalised manner… in the sphere of melodic thinking it is very difficult to keep balance between stylisation, quotation, plagiarism and banality.
In this symphony there is much beauty. First I am glad to recognize a composer with a vigorous and extensive way of thinking… Will he have sufficient strength to guard himself and to develop? 1
The Second Symphony was written three years later (1987)2, for symphony and magnetic tape, consisting of two unequal movements: 1. Vision (6 minutes) and 2. Process (20 minutes). Tüür noted:
As the co-ordinator of the musical material an abstract graphic vision appeared… being delighted in minimalism the experience with sonorities and limited aleatorics became essential for me and obviously this synthesising attitude will become recognisable.1
The first movement really begins as a vision: bell-ringing and dark thuds without any musical image. There is simple a lot of noise, gliding sound fields (strings) and aleatorics in woodwinds.
The title Process hints that something is taking shape, changing and developing. There are some qualitative new results. The beginning is clearly tonal, next the woodwinds expose an image that will be applied further:
Example 233.
All the following is divided into several sections, which proceed in a more and more strenuous order. The sections are lined up, based on the same melodic curves, though colour and dynamics are different. An example from the middle of the second movement:
Example 234.
The image does not develop in the symphonic sense. Between its repetitions Tüür inserted different sections. A certain rondo scheme becomes obvious. In principle it is a disjointed movement that could end at anytime. All the retrospective means of expression (very novel in the sixties) are in use but their influence is not the same. One may say that the basis for the problems in Tüür’s symphonic music lies in the lack of clear individual themes: this is not a symphony, but rather a sound picture. The message offered to the listener is modest because the necessary utterance has not been given.
The composer has often been interested in timbres, general sound and in movement but less in individual melodic shaping. This can be seen in the figurative nature of the musical material that seems improvisational and in the dispensing with melody (extensive repetitions and pure rhythmic counterpoint), freedom for the instrumentalist to determine the number of notes in a motif. The interest towards “pure” sound would seem cognizant and symptomatic. The attributes of genre are lacking.1
Erkki-Sven Tüür, being an intellectually strong personality, is proceeding quite quickly along his chosen path. No doubt, he feels what he should attain, and naturally, all ideals and means crystallise only in the course of years.
…all that is important and essential in the Twentieth century has already been done. And so, at times, a slightly nasty feeling arises. But we may ask: is it worthy and what to exist for? In the end it is all the same, it does not matter when you are writing your music… or whether you believe it is important (for yourself at least). All depends on your inner charge and talent. If your self-recurrence has been presented convincingly and aptly, varying from one work to another, arousing interest, then this is germane to your style. 2
Tüür’s situation at the beginning of the Nineties is expressed in his strong growing preference for the sound image, by the agency of operations with its manifold characteristics. The rational and mathematical approach became obvious and his sonorities prevailed over all other means of expression. In accordance with his preferences the field of chamber (ensemble) music was best suited for him.
Tüür describes his music as works of architecture, sound buildings. In front of some representative façade you take a respectful step backwards, in many rooms you feel yourself comfortable… But both in the great and small houses built by Tüür, there are also dark cellars. 3
The Baltic minor inflection, the typical preference for Estonian pure beauty of sound and close improvisation jazz-like expression in many sections are as typical of him as quasi-minimalist play with rhythms and patterns of melodies… The music of Tüür is, in one sense very accessible, but then he also juxtaposes elements, whose interconnections are not that simple to understand. 4
The poly-stylistics so abundantly (often superficial and trivial) practised at that time makes me think about its aims and goals. A genuine work of art must justify itself, without reservations, by being based on a firm substantial creative idea. When we observe the symphonic and stage work of some composers of the fourth generation: Põldmäe, Kuulberg, Kangro, Sumera and Tüür, the positive feature is that the artists were not prejudiced. They are continually searching and have a strong will and energy to work, and from this viewpoint the question of talent remains secondary because everyone is composing according to their abilities. Shortcomings in the musical output if they occur are rooted in content and form.
Ideas are sometimes lean and lightly considered, their potential for development limited. Images and themes are at times displayed in abundance and because of that the weight and role of every new image lessens and narrows the space for imaginative development. The point of importance has on occasion been left aside from the challenges and carried over to timbre play, rhythms and form shaping. It seems that musical dramaturgy (the basic idea and its realisation) is not thought of as important. This concept includes the principle of development, the mutual connections of contrasting planes, elaboration of counterpoint and the contrast of “light” and “shadow”. All of them are points of gravity. The foundation for all valuable art is a profound global art philosophy. There seems to be a certain lack of interest in basic philosophical issues.

XXV. THE EIGHTIES. SUMMARY OF THE OUTPUT OF THE SOVIET PERIOD. RIPENING OF THE PRESUMPTIONS FOR A NEW HISTORICAL TURN.

Due to the poor leadership the economical hardships were growing in the whole of the USSR. In 1982, the 60th anniversary of the foundation of the Soviet Union was festively celebrated under the direction of Leonid Brezhnev.
In 1985 Mikhail Gorbachev, a man of younger generation, of a wider horizon, more intelligent and active, was elected to the highest post of the Secretary General of the Communist Party of the USSR. The so-called perestroika (rearrangement) programme was adopted to speed up the reorganisation of economy and social life. In the foreign policy the dynamic course for preventing nuclear war and maintenance of world peace was declared. Due to the old-spirited, life-long Communist Party politicians this well-intended process was hindered and soon bogged. As the official referendum in Estonia in the summer of 1989 indicated, only 7 % of the Estonians were still supporting the communist course.1
Many intellectuals and artists of Russia preferred emigration, among them the worldwide known cellist Mstislav Rostropovich, viola artist Rudolf Barshai, orchestra conductors Kirill Kondrashin and Maxim Shostakovich, Nobel Prize winner Alexander Solzhenitsyn.
Two younger artists of the highest class left Estonia – Neeme Järvi in December 1979 and Arvo Pärt in January 1980.
In the middle of the Eighties we observe a broadening of subject matter, lessening of “taboos” and an appearance of a bold individual expression in all fields of art and Estonian culture life in general. This was the time for a new ascent and diversification.
The VIII Congress of Estonian writers (1981) stated that the creative activity was rising. Realistic pastime literature rises to the forefront reflecting everyday life, the topics being juvenile delinquency, interrelations between generations and in family – Vana mees tahab koju (Old Man Wants to Go Home) by Raimond Kaugver, 1983. Prose may depict oppressing closed world from where is no way out.
Publication of the novel Seitsmes rahukevad (The Seventh Peace Spring, 1985) by Viivi Luik (b.1946) turned out as an exceptional event, becoming soon available also to the Western reader. It is a realistic description of the post-war Fifties in an Estonian village: disintegration, farmers deported, patriotic partisans fighting against communists.
Even bolder breaking of taboos took place later – the attention was focused on the destiny of Estonians in the deportation camps: Maria Siberimaal (Maria in Siberia, 1988) by Heino Kiik.
In drama the opposition to the foreign suppression power was obvious. History became the main topic for treatment bringing forth crucial questions about being Estonian in the past and in the present.
Three dramas must be mentioned which were met by the strongest feedback from the theatregoers: Pilvede värvid (The Colours of Clouds) and Vaikuse vallamaja (The Vaikuse Community Centre) by Jaan Kruusvall (b. 1940), and Minek (Departure) by Rein Saluri (b. 1939). All portraying the lugubrious Fifties – escape of the coast dwellers to the West, collisions and conflicts between national-minded rural residents and communists, ruthless deportation by the new rulers.
In May 1983 an exhibition of Estonian books was opened in Helsinki (with more than 300 titles on display), in the same year in Moscow at the international Book Fair , the Estonian exhibition had 700 titles on display. Foreign publishers obtained copyright for 28 Estonian books. During the period 1525-1985 more than 108,000 titles were published in Estonia; from that amount 66,564 titles were printed under the Soviet regime (1940-1985).1
The congress of the Estonian Artists’ Union took place in 1982. It was found that interest in national tradition was again rising. The artistic level of graphic art was considered high, though the increase of young talent was unsatisfactory. During the following years exhibitions of Estonian art took place more frequently and in several countries: Finland in 1983; Sweden and Norway in 1984; exhibition of ceramics in Italy and France in the same year.
The painter Jüri Palm (b. 1937) expresses the loneliness of man, its tragedy and the striving after perfection. He was the leading artist in the group DARA 89; the members declared their confidence in inner spontaneous insight. In the mid-Eighties one can recognise some manifestations of national Romanticism again: Raul Meel with his serigraphic series Aknad ja maastikud (Windows and Landscapes).
For young artists performance, happening and installation became important. A ritualistic essence was emphasised. They seemed to be more interested in human relations, turning to a close intimate circle like Epp-Maria Kokamägi (b. 1959), who explored the world of the young. The last public art exhibition of the young under the Soviet regime took place in 1988, displaying Expressionist, post-Modernist, mythical and pop art samples.
A new theatre company, The Old Town Studio, was founded in 1980. It started productions in 1981, under Eino Baskin (manager, director and actor), the 200 performances were attended by 81,000 visitors. However, in general there was a crisis of insecurity as a number of prominent directors – Mikk Mikiver, Kaarel Ird and Jaan Tooming – resigning from their posts.
…by now, when suddenly all possible concepts and theories have become permissible (and the lack of them as well), none of them is really effective. Sincerity is no longer of special value. Obviously the trouble is not with the crisis of theatre but rather with some common cessation: Interregnum. There is no popular theory any more, no concept. Only an ethical category may serve as the basis of rebirth… 1
According to the data of the Soviet Union Copyright Agency (VAAP) in September 1985 more than 50 works by Estonian authors were being performed on stage, radio and television in the Soviet republics and in foreign countries.
The Academic Estonia Theatre celebrated its 75th anniversary in 1981. During the jubilee year 19 operas and operettas were staged. The Estonia Theatre was enriched by several talented performers: conductors Peeter Lilje (1950-1993), Paul Mägi (b. 1953) and Vello Pähn (b. 1958); singers Marika Eensalu (b. 1947), Sirje Puura (b. 1949), Helvi Raamat (b. 1947) and Tarmo Sild (b. 1953). The theatre company made a number of important tours, beside Soviet cities, to Halle, Savonlinna, Stockholm and Paris. With his dynamic and figurative settings the choreographer and stage manager Ago-Endrik Kerge (b. 1939) gained a well-deserved reputation.
Estonia’s central film studio Tallinnfilm produced 85 full-length feature films and 13 short films. The documentaries obviously made a valuable contribution. The general artistic quality of the feature films and their scenarios could have been much better, however.2
Leida Laius, the Grand Old Lady of Estonian film directors, together with Arvo Iho shot a painful and sharp social drama about children abandoned by their parents , Naerata ometi ( Smile For All That, 1985), it achieved attention in the West.
In the second half of the Eighties many intellectuals taking advantage of perestroika, started to prepare for a democratic re-establishment of national independence. The first national organisation to be founded was the Estonian Heritage Protection Society (1987). Great attention was paid to the commemoration of historical, state and public holidays of the Estonian Republic. In April 1988 the united Plenum of the Estonian Creative Unions took place in Tallinn, where the general situation and national cultural problems were discussed. Aivo Lõhmus wrote:
What kind of situation exists at this moment? Is it really a permanent state of war? It is a civil war during which the rulers have never chosen the means, but the nation had no possibilities to choose anything. 1
Lennart Meri, author and scriptwriter added:
As the result of World War II Estonia lost 24 per cent of its population. Compared with other European countries the Estonians suffered relatively the heaviest bereavements.
The young Estonian family is our painful problem. In the year 1986 Soviet migrants occupied 67 per cent of all the new apartments with modern conveniences. This is nothing other than the discrimination of the native people. 2
In the summer of 1988 Rahvarinne (People’s Front)3 was formed and became the first popular national movement. At the end of 1988 the Estonian Supreme Soviet passed the Declaration of Sovereignty of the ESSR. In the spring of 1990 the designation “The Republic of Estonia” was restored and Soviet state symbols were abolished.
The number of active composers did not increase at the beginning of the Eighties, while the output of symphonic music had fallen remarkably.
In the Seventies a novel means of expression, the electronic sound, found its place in symphonic music and its importance continued to rise. At first it was used in the ensembles of light music.
In the Eighties Sven Grünberg (b. 1956) became one of the first pioneers in combining acoustic instruments with electronic sound. The first and most characteristic feature of Grünberg’s music is its poetry. His cognition of the world is serene and full of colours: there is no place for grief and tragedy. The composer calls his synthetic works “poems”, for example Breaths (1979-1980). These are sound canvases, reflecting nature and the Universe without any direct and planned development, where thought often proceeds through variants. Grünberg feels, like several other contemporary Estonian composers (Peeter Vähi, b. 1955), profound respect for Oriental philosophy and has tried to express it in sound in his poem OM (1987). That sacred Indian and Tibetan syllable expresses the all-embracing oneness with all living or lifeless, with the past, present and future all included. OM may exist as physically very real but extremely abstract at the same time. In Grünberg’s poems the elements of pop and rock music with the standard means of expression may be heard. Due to this the music cannot be considered something totally novel that presents some sublime quality. But, no doubt, Grünberg has enriched the Estonian musical landscape.
In the Eighties the electronic sound was utilised by several other composers: Peeter Vähi, Erkki-Sven Tüür, Eino Tamberg among them. One can see that the musical realities of the Eighties had simultaneously brought along not only the clarification of the musical language with continuing aspirations towards national expression on qualitatively very different levels, but also retrospective tendencies: dodecaphony, aleatorics, tone clusters among them.
By the end of the decade, in connection with the general spiritual decline, growing resignation and passivity in creative circles had appeared. In the last works of well-known composers from this period one seldom finds evocative, fascinating or vigorous themes that could stand out as a visiting card. One may meet vague, dim and gloomy separated drifts, grey moods, and powerlessness as in the Fifth Symphony, May Day (1986) by Mati Kuulberg, to a certain extent in the Third Symphony (1988) by Lepo Sumera, and in the Second and Third Symphonies (1986, 1989) of Eino Tamberg.

THE RE-ESTABLISHED REPUBLIC OF ESTONIA.

XXVI. THE NINETIES AND THE FIFTH GENERATION OF COMPOSERS.

The years 1988-1991 were a period of struggle for the restoration of independence. In August 1988, the first national political party, Estonian National Independence Party was founded, the historian and politician Tunne Kelam (b. 1936) being its main ideologist.
In the spring 1990 the elections for the Estonian Congress (the representative body of Estonian citizens) took place, in August the Congress declared the beginning of the restoration process towards national independence. In March 1991 a referendum in connection with a deep political crisis in the Baltic states was held. To the question: “Do you want the restoration of the independent Republic of Estonia?” 77.8 per cent of the respondents answered in the affirmative.
In August 1991, the power in the USSR went into the hands of the State of Emergency Committee making an attempt to save the disintegrating Soviet Empire. In connection with this the Estonian Supreme Council passed the proclamation for an independent Republic of Estonia, on the 20th of August de jure and de facto . Next day it became clear that the attempt to seize power in Moscow had failed.
The favourable opportunity had come to gain international recognition to the restored Republic of Estonia. Among the first to grant it was the Russian Federation with its President Boris Yeltsin. The Republic of Estonia was admitted to the United Nations’ Organisation in September.
The 101-member Riigikogu (Parliament) was elected in September 1992. Lennart Meri, a writer, historian, diplomat and a prominent figure in Estonian culture, was elected President. The year 2004 was politically significant, on March 29th Estonia joined NATO , and on May 1st it became a member of the European Union.
Issuing from the fundamentally changed situation for further developments and opened possibilities, the whole Estonian cultural and artistic climate was undergoing transformation.
The Estonian Composers’ Union continued its activity as the direct successor of the Estonian Academic Society of Composers (founded in 1924), protecting the economic interests and creative freedom of its members. The Estonian Cultural Endowment (re-established in 1994) became the most essential and effective institution supporting both professional art life and folk culture through special funds. The Estonian Music Council was founded in 1992 for international co-operation and propagation of Estonian music abroad, and to promote and protect the interests of national music.
The Estonian Academy of Music was founded on the basis of the former Tallinn State Conservatoire in 1993. The establishment of advanced postgraduate courses for the master and doctor degrees would have a deep significance.
The Estonian Music Information Centre was established as an institution at the Estonian Composers’ Union in 1995. Several novel music festivals emerged (their number increasing) among them NYYD (literally, “now”) festival, dedicated both to contemporary Estonian music and to Western compositions. It was launched in 1991 as an international event, and is now held every other year. As one of the most important venues for Estonian music, the Estonian Composers’ Union continued to organise Estonian Music Days.
As for composers, there is no state purchase of their creative production as a rule. Instead of stipends, grants, scholarships and single subsidies for first performances are implemented to a limited extent. The newly organised Estonian Authors’ Society (1991) plays an essential role.
Regarding literature, a lot of essays and philosophical books are being published including the series Eesti mõttelugu (History of Estonian Thought). The Estonian Book Year was announced in April 2000. In the same year, the Estonian Writers’ Associations operating home and abroad, united.
The subject matter of the elder generation of writers was often the historical past: Jaan Kross, the novel Tabamatus (Unapprehendability, 1993, about the foundation of the Estonian Republic). Young prose writers emerged, the best known of them is Emil Tode (actually Tõnu Õnnepalu, b. 1962) with his debut novel Piiririik (The Border State, 1993). In 1994 Tode was awarded the Baltic Assembly Prize.
The relations between Estonia and Europe, the question of borders and the path of inner search for freedom are depicted in the literature of the Nineties. In poetry we meet freedom of form, exuberance of free verse, fragmentation and the mixing of several genres. Hasso Krull (b.1964), poet, translator, essayist and critic, rises to prominence. His poetry is symbolic, focused on the semantics of language. Doris Kareva (b. 1958) has in her poetry turned towards the eternal side of existence, spiritual search, love – collection of poems, Armuaeg (Days of Grace, 1991). Doris Kareva is currently holding the post of General Secretary of the Estonian National Committee of UNESCO. Krull summarises the literary Nineties: “The time of a great literature is out. The young writer stands before a choice: originality or nothing.”1
In the art of the Nineties, the influence of Neo-Expressionism is noticeable in the paintings and performances of Raoul Kurvitz (b. 1961) and Urmas Muru (b. 1961) as well as in the graphic art of Ly Lestberg (b. 1965) and Eve Kask (b. 1958). The widening stylistic pluralisation and the influences of novel media (video installation) is an ever-developing process. Artists Jaan Toomik (b. 1961), Ando Keskküla, Leonhard Lapin (b. 1947), Raul Meel (b. 1941) and Jüri Ojaver (b. 1955) won attention in international art events in the Nineties. From the other new directions, electronic art has to be noted in connection with the establishment of the E Medium Centre at the Art Academy in 1995 on the initiative of Professor Ando Keskküla.
The most painful aspect in the Estonian theatre of the period was finances. Novel developments had reached a natural polarisation: theatre of commerce and theatre of idea and thought, reflecting eternal problems.2
As a remarkable stream in the Estonian theatre of the Nineties, psychological realism continued, but even before the middle of the decade, an interest in absurd theatre was witnessed. Mati Unt (1944-2005) stood out as one of the best directors during the last two decades, reflecting theatre life and thought, he was also fruitful as a writer, playwright and screenwriter. Of the newcomers, playwright (and novelist) Andrus Kivirähk (b. 1970) is noted for his ambivalent world, time and reality shifts, and play with comedy and burlesque: Vanamehed seitsmendalt korruselt (Old Men from the Seventh Floor, 1994).
As an outstanding event in music theatre, the extensive tour of the Estonia Theatre to Denmark, Sweden, Norway and Finland with Khovanshchina by Mussorgsky and Barbara von Tisenhusen by Tubin took place in spring 1991.
It became inevitable to arrange competitions to find young opera singers: Nadia Kurem (b. 1960), Pille Lill (b. 1962), Pirjo Levandi (b. 1968) and Vello Jürna (b. 1959) soon rose forth. Of foreign producers, Georg Malvius (Sweden), Joachim Hertz (Germany) and Monika Wiesler (Austria) have to be mentioned.
In the Baltic states, film production has always been supported by the state. As Estonia entered a new era, co-operation with European producers seemed to be the only way out of the financial crisis. Seventeen film and video studios in addition to the State Television existed in Estonia in 1991. The film Rahu tänav (Peace Street, 1991), screenplay by Toomas Kall, directed by Roman Baskin, demonstrated the occupation process of the Red Army in 1940. This is a drama about helplessness before foreign brutal forces. As a grotesque “revolutionary” comedy, Minu Leninid (All My Lenins, 1997) of director Hardi Volmer (b.1957) laughs with black humour at the falsity and fallacious ideas of past times.
At the international festivals, the existentialist-symbolist drama Georgica (1998), director Sulev Keedus (b. 1957), a search for humanity and eternal values, won wide attention.
The documentaries cast light on topics unthinkable during Soviet times (the lives and fate of President Konstantin Päts, statesman and Head of State Jaan Tõnisson, Estonian partisan movement against the communists etc.). Some social problems never touched upon before made an appearance: the gypsies, criminals, political terrorism, clergymen, accusations from East and West about alleged discrimination of Russians in Estonia.
The Tallinnfilm Studio produced more than 100 feature films in addition to 20 short films between 1955 and 1993. The studio was reorganised into the Estonian Film Foundation in 1997.1 “Guarantee for survival of national cinematography stands in drawing in international money .” (Hardi Volmer) “…the main demand [for the mediocre public, U.S.]: the picture should be beautiful in colours, with loud beating, athletic bodies, rivers of blood and sexy babes.” (Peeter Urbla)2
In 1990, to replace the previous Soviet Estonian Television and Radio Committee, Estonian Broadcasting was founded.
As for music of the Nineties in general, accent on rhythm and musical dramaturgy was still remarkable. At the same time, multicoloured eclecticism had taken root.3
Stepping out from the darkened hothouse into the winds of the bare open has brought along… clinging to a few successful authors, remarkable commissions in the confusion of personal relations around the commissions. And at the same time there is more talented novel output, concerts of new music in Estonia than ever before.4
Let us make a brief survey about the following symphonies of Lepo Sumera. His Third (1988), Fourth (1992) and Fifth (1995) differ in several ways (imagery, development, form development) from the previous ones. The Third might be called a lyric-elegiac, picturesque narrative, all four movements juxtaposed without any essential contrast inside each movement. Simple colour-play joined with flowing texture creates several mental visions for the listener. Movements are knitted together by contrast. The rich colouring seems not to be directed to a decisive peak.
The Fourth Symphony (Serena Borealis, 1992) follows the same principles.5 The work was commissioned by the State of Baden-Württemberg on the occasion of the Estonian Culture Days in Karlsruhe. It is a work with attention to sonority and “state-of-mind” expression.
Sumera is thinking in wide chord chains. An example from the first movement:
Example 235.
The minor essential tone and background, like a Northern wind blowing, has sonority and vigour, with a picturesque rush. Lontano e sonore, the second and third movements, are somewhat elegiac musical canvases, at places quite clearly tonal. The following Feroce is like chaos; an aleatory all-possibility where nothing is growing out of anything. In the Finale, Dolce, Sumera’s work is reminiscent of his late teacher Heino Eller (the poem Dawn) in a resembling texture, as he did in the previous symphony.
Example 236.
The timbres are treated as dramatic factors.
A German critic notes:
This [the Fourth Symphony] exposed its passionate swing in primordial strength with dynamic extremes in orchestration. Sumera puts the orchestra in the state of incessant excitement . With the subtitle Serena Borealis, the composer hints at the odour of nocturne. The music illustrates the Northern wind and sirens, it is casting a spell on natural powers.1
With his last symphonies, Sumera turned into an epic-elegiac-dramatic poly-colourist. Such a style is flexible but the colours cannot replace fixed schematic images. The composer impresses the listener more through the general presentation of the whole. His music is less informative, more cognitive.
The Fifth Symphony (1995), commissioned by the Malmö Symphony Orchestra and its chief conductor Paavo Järvi (b. 1962), proceeds with dominating static. A certain sorrow, elegy and mourning mood is prominent. Just at the beginning a question by the heavy brass (F-E-D-E-F-E) is shouted. As an unanswered question, it appears, but vanishes soon without remarkable results. The work is rich in aleatory technique.
The three last works of Sumera are introvert and sensitive contemplations and might be called tone poems, sound canvases, musical landscapes. What has been retained from symphony genre principles are the polarities: activity and meditation.2 In some sense it seems that Sumera as a real symphonist (think, for example, of the second movement of his First Symphony) directed his abilities towards sound imagery.
Is not the condition of our world the reason why pure-conceptual compositions are so rare? The Fifth Symphony of Sumera is a full-measured conceptual work, having exceptional charm and originality… for me the relation between man and world is expressed here very clearly… The main principle of musical development is not in logical constructing but… Impressionistic. The process of symphonic development does not lead to synonymous results.1
The device of sound (colour) field instead of clear-cut musical thematics is not novel, being firstly introduced in Estonian symphonism by Arvo Pärt in 1963 with his First Symphony. But their significance and role have changed since that time. Sumera has introduced more colours, diversified their application, creating several “events” and tinges in the foreground with the general tone remaining the same in the same movement.
Such a colouring, let it be mild or sharp depending on authors, leaves sometimes a feeling of incompleteness, it may be really needed following a dramaturgical intention, but in some other case this device remains questionable (as it was with Pärt in the Sixties): there is a lack of “optical” fixing, replaced by a general “description”.
Though Sumera’s music sounds purely Estonian, it is understandable as an all-human language. It sounds poetic and slightly ironic, philosophical and tragic at the same time. This is an original blend from musical phrases being born in different times in different countries.2
In June 1997 on the International Music Rostrum in Paris, organised by UNESCO, the Fifth Symphony was nominated as second best.
In the Nineties, Erkki-Sven Tüür was following the path he had chosen earlier, mostly composing chamber music for various ensembles (Architectonics I-VII, 1984-1992). Here and in the later works he has put together several antagonistic languages, devices and techniques from atonality to sonority. All components of expression are equalised.
Searching for Roots (Hommage a Sibelius, 1990)1 for orchestra is quite a short piece, composed on the commission of the Helsinki City Orchestra.
Example 237.
The opus is principally atonal and dodecaphonic, linear in counterpoint, rich in moving sound fields, clusters and limited aleatorics.
The Finnish musicologist Seppo Heikinheimo wrote:
In this short piece (less than five minutes) we meet aphoristic punctuality and precision more than in the Zarathustra of Richard Strauss. The composition of Tüür should be performed in Finland regularly.2
In 1991, Tüür undertook studies at the Zentrum für Kunst and Medien in Karlsruhe. After that, he has continued as a free- lance composer, as a teacher of composition in the Tallinn State Conservatoire (up to 1993). In some works composed in 1993 (Action, Passion, Illusion for strings), there is a greater tonal base, creating an acceptable joyful and spirited atmosphere.
The momentous work the Requiem (1994) in memory of Peeter Lilje should be mentioned. Tüür has shortened the original Latin text. As the basic material for the beginning (also partly extension and conclusion) he applies an original theme standing close to Gregorian chant:
Example 238.
Its further expositions rise and become excitable. Tüür does not pay attention to the purity and sanctity of the spiritual text on the following pages of this score in his musical expression. The composer has remained faithful to his meta -language. Already from the first movement we hear gliding fields of violins, tone clusters and dodecaphonic rows of the piano. All the parts of this work have not found equal musical expression. The pithy and naturally flowing movement, Requiem aeternam, stands out as the best of the whole work. With Requiem Tüür took part in the International Composers’ Rostrum in Paris 1995, and came second.
With his two-part Third Symphony (1997)1, Tüür followed the chosen path.
In his Violin Concerto (1999), a shift towards extensive cantabile can be heard in the second and third movements. Tüür customarily cuts such lines short, inserting something different. Shadows of Pärt (Tabula rasa, first movement) and Rääts (Concerto No.1 for Chamber Orchestra, first movement) are quite noticeable in the outer movements of the Violin Concerto.
Taking a broader look at Tüür’s creative output, the Estonian musicologist Evi Arujärv asserts:
Inwardness, some closeness is characteristic to the works of Tüür. Nothing of sensuous playfulness, the relishing of loveliness. And then intellectual play only, creation of “organised structures”. Perhaps, aiming at rationality… And the place of action, quite metaphysical space…2
The music of Tüür is on the one hand quite understandable, but there are also elements confronting each other and their interrelation cannot be understood without further exploration.3
Tüür has declared his creative pursuit:
“With full consciousness I employ in one and the same composition series very complicated rhythms, then I pass over to tonal or modal melodic material, attempting to create an unitary meta-language, where for example series and triad would have equal substantial meaning, though they should not be confronted in the qualitative sense.4
I feel this is something that has not been worked with very deeply, the idea of combining these different ways of thinking.”5
This illogical and unnatural comprehension has had, in my opinion, no positive outcome because there stand unsuitable polarised divergent means of expression and tremendous disparities of spiritual worlds behind them.
Tüür has been called Estonia’s top composer by P. Kuusk in Eesti Päevaleht , December 1, 1997. Tüür replied:
Bah, humbug! Such tales of whom to regard a genius in his lifetime and whom not to, bring along more harm than good. This is so much swampy ground that I would not fall into such a slough.1
The fifth generation of composers has produced some notable authors.
Mari Vihmand (b. 1967) graduated from the Tallinn State Conservatoire in 1990 as a student of Professor Tamberg and completed her Master’s studies with Professor Sumera in 1997. She took advanced courses at the Lyon Conservatoire in 1996/1997 with Professors Philippe Manoury and Gilbert Amy. In 1996, her orchestral piece Floreo was nominated as the best at the UNESCO Rostrum for young composers in Paris. Floreo exhibits individuality as a programmatic opus. In principle, Floreo is a colourful work, music flowing as if without measure.
The composer has concentrated on chamber music being both lyrically intimate with an impressionistic undertone and driving dramatics. It is obvious that French music has served for her as an example. It is suitable to present her views on contemporary Estonian music as much to the point:
It seems that the composing of music has become already a bit too simple, such “tossing” from heart. There is much mediocrity. It is disturbing that the young are too little in search and “find” themselves too quickly. All this is naturally favoured by our present post-Modernist situation. There is nothing to be scorned at. All is possible, all is permissible and all is good. We have no reason to be of a very high opinion about ourselves but we also have no reason for shame.2
In the two-movement Music for Symphony Orchestra (1997), the colour aspect is prominent. Images and possible development is put aside, but there is an inflectional flow. A vivid and joyous beginning as a bright morning: the violins and woodwinds are trilling and bustling. This pleasurable mood calms down in motion without further development. The second movement rises appears as a “state-of-mind” music.
Helena Tulve (b. 1972) studied composition at the Tallinn State Conservatoire with E.-S. Tüür (1989-1992), completing her studies at the Regional Conservatoire in Paris in 1994 (with Professor Jacques Charpentier). She took an advanced course at the Higher Conservatoire of Music and Dance in Paris (1993-1996). Since autumn 2000, Tulve is a lecturer of composition at the Estonian Academy of Music.
Tulve’s Á travers for chamber ensemble was nominated second at the Paris Rostrum for young composers in 1998.
Sound, its colours, timbres, layers and connections are the focal point for the composer. In the sound picture Sula (Thaw, 1999), the programmatic title enables sound play and so the composer stands amidst her favoured elements: colour plus freedom. Timbres, special methods of sound production (glissandi, repetitions, colour-pointillism, trills etc.) dominate. In 2004, Sula won the First Prize at the international Rostrum of Composers in Paris. In July 2006 Tulve was awarded the only prize for the same composition at the World New Music festival.
She explains her views:
Sound is really the form I build my music with. I am attempting to make the music sound somehow different. In addition, the formal aspect, movements and all that belongs there.1
Tõnu Kõrvits (b. 1969) graduated from the Estonian Academy of Music in 1994, as composer (the class of R. Kangro) and continued with his Master’s studies with Professor J. Rääts (1994-1998). He is a free-lance composer and arranger. In 2001 he received the Heino Eller Music Prize.
The graduation work of Kõrvits was a Symphony, but the main parameters of his musical language became evident earlier. His Symphony has a tonal basis, hiding inflections from folk music. Its plainness, sincerity and openness are pleasant, really something of a fresh breeze in Estonian music.
Pleasant sounding music when written by a contemporary composer, conceals in itself several dangers. But it seems that the composer has natural taste, not to fall into primitivism – in his good consonances, and he obviously has a command of the thought power for filling the large form.1
The Concerto Semplice (1992) for the guitar and symphony orchestra may be regarded as simple, popular and melodious, influenced, according to the author, by Vivaldi’s concertos.
Urmas Sisask as a symphonist won attention in the mid-Eighties with his diploma work, First Symphony (1985). At the beginning of the Nineties, he started with larger vocal-symphonic compositions (masses, oratorios).
His First Symphony catches the ear with its wholeness, characteristic thematics, elaborated development, colourful orchestration and convincing shaping. No doubt, for all the good qualities and polishing, the young author owes much to his instructor, Assistant Professor René Eespere. The work has not been publicly performed (a recording was made for the Estonian Radio archives in 1985 by ERSO, conducted by Vello Pähn).
The first movement is based on a mysterious theme on the Japanese pentatonic gamut hon-kumoi-yöshi in modifications. Lively energetic development, under manifold colouring, reaches far beyond the original. The movement may be considered monothematic, containing genuine symphonic elaboration.
In the second movement, a beautiful theme from the strings sounds as a remembrance of the Baroque era masterpieces (Händel). We also hear inflections of Estonian folk tune in a generalised manner.
The Finale starts with the main theme from the first movement. Variants of it can be heard everywhere. These novelties sound fresh, rendering proof of a vivid symphonic imagination. A weighty Coda in marching mood concludes with dignity this substantial composition.
Two more symphonies followed in the Nineties (1992, 1997). Generally, the inner charge seems to be lessening, creative thought becoming uneven. The Second Symphony (The Northern Star)1 is a simple work in one movement, based on a single folk song-like theme like a village swing tone. The colourful repetitions are reminiscent of minimalism and at the same time folk song performance tradition. The variant-variation process leads towards a culmination in texture and sound. This is conditionally a symphony as there are no opposites, so an essential struggle and synthesis are left aside.
René Eespere, who is appreciated as one of Estonia’s leading vocal-symphonists since the mid-Eighties, continued with the concerto genre in the Nineties: Flute Concerto (1995/98) and Viola Concerto (1996/98). The former is the more outstanding. The musical language of Eespere is characterised by substantial thematics, national inflection, purposeful thinking, refined orchestration framed by logical form and balanced spirit. His thematic development relies first on the variant principle, with lyric and epic tones dominating. There is no sharp struggle and cutting inner tensions. The expressionistic “screams” and “groans” are not familiar to him. Eespere demonstrates convincingly the possibility of presenting attractive profound music without uproar.
In the Nineties, we observe polarised handwritings, some of them drastically combining “traditional” and modern means of expression (Tüür), others setting up colour play as the essential means (Sumera’s last symphonies and Tulve), and yet others recognising and searching for ties with national folk heritage in a different degree and on diverse creeds (Eespere, Sisask, T. Kõrvits). There are inclinations towards impressionistic colouring (Vihmand, Tulve).
We notice that the number of symphonies introduced in this decade was considerably smaller: only ten. In principle it is a hard struggle to won a “battle” with this intricate great genre. And, it seems to me, none of the composers had won a full victory in this battle during the nineties. What are the reasons?
It has been affirmed by musicologists that the genre of symphony has changed. Let us suppose, for a moment, that it is so indeed. You may replace the vigorous attractive themes-images with something quite opposite but there must be quality. It must be gripping your heart, enrapturing and carrying you away.
The composer will do his best to show his potential. It may be the case that he simply has no basic principles, and naturally the character for a spacious , wide and large drama or narrative. We have witnessed a mass of multifarious works… Practice proves that even one remarkable image with accordingly remarkable elaboration is enough to offer satisfaction to the listener. In this genre, we can draw a parallel between stylistically outstanding compositions, as the Legendary Symphony of Tubin (1937), the Ballet Symphony of Tamberg (1959), and the Third Symphony of Pärt (1971). All of these are based on inflectional mastery.
Naturally, thematic organisation may be replaced by some anti-thematic substitutes as a kaleidoscopic succession (Rääts), symmetry and minimalist repetition (Sumera, Sisask), simply a process remains (Tulve). But to find a pregnant meaty idea, to polish it in all aspects is the most difficult toil, obviously in the powers of but a few. Other topics for presentation (a programmatic picture from nature, scenes from folk life, musical portraits etc.) have found greater weight. The situation is reminiscent of an essential statement of Sibelius entirely acceptable today: “This is admirable what the young know today. A giant dock is built: but where is the ship ?”1
The Finnish composer Kalevi Aho, possessing quite an extensive experience of Estonian music, provides the following stylistic classification of modern Estonian composers:
1. Traditionalism and tonic: Ester Mägi, Urmas Sisask
2. Folklorists and exotics: Veljo Tormis, Kuldar Sink, Sven Grünberg
3. Neo-Classicists and vitalists: Jaan Rääts, Raimo Kangro
4. Pluralists and successors: Eino Tamberg, Lepo Sumera, Erkki-Sven Tüür, Peeter Vähi
5. Neo-Impressionists: Alo Põldmäe
6. Neo-Expressionists: Mati Kuulberg, Toivo Tulev, Mari Vihmand.2
Concluding with brief remarks about the disposition of some younger composers, I should like to add my view.
The difficult process of self-advancement leads towards a superb spiritual creative level. I see it as a natural way of things for a genuine artist: as our assignment and His Divine Plan.

XXVII. THE SPECIFIC FEATURES AND TRENDS OF ESTONIAN NATIONAL SYMPHONISM.

The specific nationality of a musical language is usually revealed in the inflectional sphere, the progressing logic of musical ideas and in the peculiarity in the relations between the means of expression.
Themes are usually well balanced (especially in slow movements). As a theme an authentic folk tune or an original one is exposed. Diatonic moods dominate, but they may stand quite apart from the complicated harmonic base. The characteristic interval is the fourth. Symphonic development is often based on repetition (either variation or variants) but it may also fully transform the characters of the themes. The modes are often Mixolydian and Dorian: also display of pentatonic scales, harmonic major key, natural minor and their peculiar modes. Themes and images may be exposed as polytonal. The same theme is displayed in a hetero -phonic manner or different themes combine even in different keys to accentuate the intensity of development.
In harmony the subdominant sphere is accentuated, cadences (if they occur) are overwhelmingly plagal; the fourth connections are widely met both in tonal and atonal harmony. This adds crispness and sobriety to the sound. Rhythms and metrics are often taken from folk music; as a result, in connection with all means of expression, a genre aspect: a festival, an entertainment, a play or pastoral scene, a funeral procession may be displayed.
The characteristics given above naturally refer to the intrinsic features of Estonian national symphonism. No doubt, one may meet some resemblance in the symphonism of other nationalities.
Let us add some specific individual features of several Estonian composers, though many of them are common to all.
HEINO ELLER:
Inflectional connections with folk music;
abundance of detail and filigree work in development;
Mixolydian mood;
low leading tones;
Fourth as a characteristic interval in melody and harmony;
atonality in some sections of the early poems;
rhythms of folk melody;
classical form schemes but also free forms in symphonic poems.
EVALD AAV:
Inflectional connections with folk music;
certain looseness of development (from the formal aspect);
pentatonic scales;
both low and high leading tones;
Fourth as a characteristic interval in melody and harmony;
Dorian mood;
rhythms of folk dance;
classical form schemes applied individually.
EDUARD TUBIN:
Inflectional connections with folk music;
extensive symphonic (sometimes monothematic) development of original theme or folk melody;
quartal harmony, extended tonality and atonality;
low leading tones;
rhythms of folk melody and intense, extensive rhythmic ostinato backgrounds;
abundant polytonality;
classical form schemes applied individually.
EINO TAMBERG:
Inflectional touches with folk music;
extensive symphonic development of original theme or images close to folk sources;
low leading tones;
metrics of folk dance (very variegated) and intense individual patterns;
harmony independent from functionality;
extended tonality leading to and including dodecaphony;
JAAN KOHA:
Elements from folk music and own themes comparable to them;
Fourth as a characteristic element in melody and harmony;
low leading tones;
polytonality;
classical form schemes applied individually.
ANTI MARGUSTE:
Folk music (usually ancient tunes) as the base;
extensive symphonic development of the folk melody;
stable metrics;
hetero-phonic polytonality;
classical form schemes applied individually and recurrent form of folk song.
LEPO SUMERA:
Inflectional touches of folk music in the first creative period;
development, initially through several repetitive techniques, later replaced by expanding melodic lines and juxtaposed timbre-dynamic processes;
modal harmony initially, later replaced by colour clusters and simple tonal chords;
free formal aspect, minimalist approach;
classical form if used is generalised;
ostinato rhythmic motion usually applied in fast movements;
colour aspect is vigorously displayed, replacing strict thematics.
The national musical language has been enriched by many other composers. Eugen Kapp’s ballets Kalevipoeg and The Gold-spinners are his best examples in this respect, but at the same time the other symphonic output of Kapp remains, in comparison with the ballets, quite unpretentious.
Juxtaposing all that has been mentioned above with the characteristic features of Sibelius and Bartók as the great national representatives of Finnish and Hungarian music respectively, we find with the former severity, primeval feeling for nature, wide breath, poetry and classical harmony, while Bartók charms us with his alert and contrasting themes, juicy harmonic colouring, activated changes in rhythmic pulsation and linear polyphony. As a common feature of all Finno-Ugric composers we mark their individual starting point from national origins.
Under national music I comprehend such works that express the temperament of the nation; its singular rhythms, ancient rituals, sagas, and also patriotism and the self-consciousness of the nation… Is folk melody needed as such a way of expression? I guess not; it is enough when in this music these characteristic features can be found which are hidden in the folk tunes. 1
National expression is an essential system of several characteristic features of that nation. Higher than that stands all-human expression reflecting the best ideas and desires of mankind engendered by the greatest artists of several nations. Higher than all-human expression stands the Divine: in us an eternally existing Spark , our supreme creative potential expressing itself in sublime paragons of the arts directed towards its Source. Spiritual power, hidden in music, is the foundation for its influence. Thus national expression as an exponent of value in music is not decisive. The music of the Baroque masters, medieval music and ancient sacred hymns captivates without us thinking about the composer. Nationalism in music cannot be prescribed or demanded; its features appear naturally and fruitfully.
Estonian symphonic music has been performed on several continents gaining acknowledgement, first thanks to the Estonian born conductor Neeme Järvi. Young composers have won prizes in Soviet Union musical composition contests, the artist level of which was always high. Tamberg and Jürisalu rose to prominence as the laureates of the international composition contests of the World Festival of Youth and Students in Moscow 1957 and Vienna 1959: the symphonies of Pärt, Sumera and Tüür’s Requiem won recognition at the UNESCO International Rostrum for Composers in Paris in 1968, 1995 and 1997 respectively.
As a positive phenomenon the common rise of professionalism must be emphasised. Before the war only a few composers tried their hand in composing symphonies, during the observed Soviet period 39 new composers have written works in that genre. With them novel and synthetic genres of symphonic music have appeared: concerto grosso, ballet-symphony, symphonic ode; jazz symphony; cantata-symphony and symphonic rune. The diversity of individual handwriting is gladdening. In the best examples the synthesis of national features with novel means of expression has been convincing.
The output of composers during the Soviet period was purchased through the state budget (on average 70,000 roubles per year, music for stage and film was separate).1 According to the available opportunities specially commissioned music was also purchased by theatres, Estonian Radio, Estonian Television, Tallinnfilm and the State Philharmonic Society.
Estonian symphonism has reached remarkable heights in the best works of the most talented composers. Depending on very diverse basic materials, their treatment has been manifold and miscellaneous, and from here the shortcomings and deficiencies of Estonian symphonism arise. Many works called symphonies by their authors are actually not symphonies due to their initial idea, images and form shaping. Obviously they should bear different titles since they are quite variegated, without real development and quite laconic. By its very essence the symphony genre demands the setting of a meaty, substantial challenge, its exposition and unravelling in depth, but naturally the means and treatment can be different. It can be painfully felt that there is a shortage of substantial thoughts. Estonian symphonic music may be characterised as a very variegated, qualitatively different, incessantly developing musical whole. In this whole we can observe attempts to proceed in several different trends and individual ways.
It seems justified to take the connection of the creative output of composers having specific starting ideas, world outlook and artistic creed as the basis for such a trend, the connecting link being the scope of ideas (ideology) and thematics. As the creative ideology is expressed quite abstractly in symphonic music, we have to pay attention to the means of expression demanded by ideology and ideas at the same time. Even in the frame of a single symphony, with one axis idea and scheme, several stylistic moods are possible. Let it be emphasised that the ideology is the yardstick of the classification. Even in the frame of one trend quite different artistic and stylistic expressions are conceivable and it is not possible, even in the frame of one symphony, to determine where it belongs. Therefore an artistic trend in symphonic creation is not something rigid and inflexible but a disputable and elastic common denominator.
The First Trend.
The early Estonian symphonic music, where the influence of the great masters (Beethoven) and Romantics (Schumann, Tchaikovsky etc) are obvious both in ideas and style, where Estonian folk music and national ideology play either a secondary role or are lacking. For example, Tobias’s overture Julius Caesar and his Piano Concerto (Konzertstück); the dramatic overture of Artur Kapp Don Carlos; the Overture-Fantasy No.1 of Lüdig; Läte’s overture Kalevala; the First Symphony and First Piano Concerto of Lemba belong here. In these early works we can observe the manifold use of thematics, substantial content, charming romantic animation (Kapp and Lemba), classically clear form in functional connections, richness in detail (Lüdig and Kapp) and powerful, dynamic charge of thought and emotion (Kapp). The heroes of these works are not connected with Estonia and the plot is opened through a general, international musical language.
The Second Trend.
As the result of development, national ideology and national thematics (based on folk music or used as an example) has taken the leading position. Echoes of the national past, the life of Estonians, their destiny and current situation are in a prominent place. The manner of treatment and stylistic approach are individual, though connected by an ideological base.
This trend is rich in works. There might belong the Second, Third and Fourth Symphony of Artur Kapp, the three symphonies of Heino Eller, the Symphony of Evald Aav, the First and Second Symphony of Juhan Aavik, the First and Second Symphony of Villem Kapp; the Suite on Estonian Folk Motifs of Eduard Tubin as well as his Second, Third, Fifth, Seventh, Ninth and Tenth Symphony; the symphonies of Jaan Koha and Heino Jürisalu; the Symphonic Runes of Anti Marguste.
Artur Kapp, Juhan Aavik and Villem Kapp remain connected with the classical mode of expression, while the first is a profound dramatic writer, the second an animated national melodist (for him the dramatic element in the general conception is quite essential) and the third shapes willingly crisp and expressive images that arise from nature. Severity and nobility, power and serenity combined with scenes from the life of ancient Estonians are echoed in the Symphony of Aav. The same features are met in the symphonies of Tubin but more vividly, treated and directed with a greater purpose, since he is a very strong dramatic writer. Tubin reflects his times, and with ideological orientation and a tremendous inner dynamic places his faith in an independent Estonia. Tubin, Koha and Mägi are also connected by the “fourth principle”; both in thematics as in texture. The same we can meet, more modestly, with several others.
The Third Trend.
This includes symphonic works that give impressions of the life of the people and sound pictures of Estonian nature. Such works may or may not have a programme and they belong here because of their genre features. It must be added that the parameters of this trend are flexible, especially in the larger form. Here we meet the works of Heino Eller, reflecting nature and humanity: Twlight, Dawn, The Calls of the Night, In Shadow and Sunshine, Singing Fields, the Suite Light Nights and others. Eller is a filigree carver and he felt most at ease using free forms. The Symphonic Dances of Tamberg also belong here, amazing with their board symphonic development, variants joined with transformations, rich discoveries in timbre with flexible metrics, individual evocative non-functional harmony, which all together transcend the genre limitations. The Three Estonian Dances by Jürisalu belong to this trend, though less developed by its contents but a refined piece of music. Other examples include: Suite on Estonian Runes by Artur Kapp; Estonian Rhapsody by Juhan Aavik; the five suites by Cyrillus Kreek based on Estonian folk tunes, and the tone poem Midsummer Night by Mihkel Lüdig.
The Fourth Trend.
The music reflects contemporary Man and modern society, not expressing directly the national air, being more abstract, turning initially to the inner world of man and the relationship with society. The composer subjects himself and all society to “musical psychoanalysis”, penetrating into the secret corners of the human soul with the means of contemporary music and portraying the common man. Man is exhibited at different angles, in very different connections with the environment. By his very nature he is a common man, not a special hero. Society and the environment may be in sharp opposition with him; both the conflict of an inner life and clashes are displayed.
From the early works the tone poem Tombs (1917) by Artur Kapp, dedicated to the memory of the victims of the Bolshevik terror in Russia is the first worthy of mention. Here belong the neoclassical symphonies of Rääts (beginning with the Third); Pärt’s works of the Sixties, the Nekrolog, the First and Second Symphony and Pro et Contra; the Sixth and Eighth Symphony of Tubin, introspective reflections; the symphonies of Rosenvald, especially the Second, Third, Fifth and Seventh Symphony; and finally the majority of the symphonies by Heimar Ilves.
The Fifth Trend.
Though connected with the previous trend its essential feature is qualitatively higher, more philosophical with a sublimely spiritual view of life, Man and the universe.
The works of this trend are characterised by epic, dramatic, serious, partly non-programmatic music, where great artistic generalising power is used to express eternal themes: Creator and Man, joy and suffering, pure love, the struggle with fate. Evocative thematic development, crisp and complicated harmonic coverage, multi-dimensional thinking and depth of thought are the characteristics of this trend. Sublime spirituality has been expressed through diverse prisms, recognised and shaped by different creative personalities. The number of such highly spiritual musical works in Estonian is quite small.
The typical representative of this trend is Avro Pärt and his works from the third creative period, beginning with the Third Symphony which carries profound religious emotion; the cantata-symphony Song to the Beloved (1972, words by Shotha Rusthaveli), where both divine and worldly love, thoughts about life, death and eternity are expressed. From his later works Te Deum (1984) rises as one of his most significant works.
Some prominent oratorio works must be mentioned that have risen above their times due to their profound content. Des Jona Sendung (The Mission of Jonah, 1909) by Rudolf Tobias, a powerful and masterly oratorio, massive and weighty, close to the spirit of Bach, and the oratorio Job (1929) by Artur Kapp, a spontaneous and stalwart work rising from the foundation of personal suffering and reaching the expression of the distress of all humanity. The Requiem (1927) by Cyrillus Kreek belongs here, more traditional in comparison to the above but filled with great inner warmth and adoration.
From the younger generation Urmas Sisask with his abundant spiritual music production draws attention: there are oratorios, masses and hymns mean to be used by practicing Christians. The Christmas Oratorio (1992) in spite of its stylistic unevenness and eclecticism and the Magnificat (1993) flexible in melody, rhythm and harmony seem to be his best achievements.
The Sixth Trend.
The patriotic Soviet programmatic orchestral music has the greatest number of works that are the weakest by their spirit. Such weakness naturally varies from one composer to the next. There was a great and eager demand for musical production of this trend and the Soviet regime sponsored this output openhandedly. Such programmes could be clearly expressed in oratorio works with texts understandable to the masses and directly orientated for them.
The Patriotic Symphony by Eugen Kapp (1942) may be considered the ideological cornerstone for this trend in symphonic music. In this work a clear Soviet worldview and aspirations are not yet observable.
In the following decades, under Soviet pressure, such works were appearing in abundance, especially for any kind of state anniversaries and Estonian composers produced them mainly due to economic calculations. The Youth Symphony (the Fourth Symphony) of Artur Kapp (dedicated to the Young Communists League on its 30th anniversary), the poem The Eagle Flight of Heino Eller (dedicated to Stalin on his 70th birthday), the Symphonic Poem of Lemba (dedicated to the 40th anniversary of the October Revolution), the Festive Poem of Rääts (dedicated to the 30th anniversary of Soviet Estonia) etc. belong to this category.
Looking closely into the music we can find some common features. First, there are almost no profound challenges in the music itself, as incomprehensible as it may seem. We have only a few exceptions. One such work is the Fourth Symphony of Artur Kapp that towers above the mediocrity.
The Seventh Trend.
“Light” symphonic music in all its variety. The specific “lightness” is obvious through thoughts and emotions, the avoidance of serious challenges in the approach to the genre (the pursuit of dance music) which naturally bring along the corresponding treatment; mostly repetitions, limited varied development and alertness.
Departing from the essence of idea, the flow of music is quite stable in metrics, not typical to a real symphonic work. The quite formal shaping with its clear-cut solo line and accompaniment is apart from symphonism. The improvisational element used has likewise a specific character not used in symphonism. Those works differ from ‘pure light’ music by the application of symphony orchestra and by an extensive formal frame which may constitute a chain of variations, a set of variations or a rondo form.
Such light symphonic music was composed by Heino Jürisalu (Concerto for Orchestra, Three Serenades), Valter Ojakäär (Concerto for Saxophone, Suite for Saxophone and Chamber Orchestra), Anti Marguste (Jazz Symphony).
Naturally, all this division into several trends is conditional, at places disputable and it does not classify the whole symphonic output and it was not meant for such a purpose. The author of this book considers it interesting to observe how different creative ideas lead the works into different directions.
The genuine fundamental principle of symphonism, the ancient and, at the same time, modern: the struggle between opposites will never grow old because it is rooted in Nature and in Man. As a whole, Estonian symphonism is standing on firm ground. Its strong roots are the heritage of Estonian classics whose best works have gained international renown. In connection with this, the national language of music has been worked out in all its diverse expression. All the composers have taken part in forming it, directly or indirectly. The national expression is not inertial, its development moves together with the progress of the nation. Its base is the national psyche, the characteristic features of which were already strikingly expressed by Rudolf Tobias and by Dr. Oskar Loorits. Poise, seriousness, humour, satire and love for home and nature were stressed as typical traits of an Estonian. Here it would be appropriate to add some comments from the article The Estonian Nation in the Light of History by Karl Ast- Rumor :1
During all the centuries between our days and the first battles for freedom the Estonian nation has retained its basic national character: self-reliance, strong sense of reality, positive life-attitude, love of freedom, appreciation of personality and holding it in high esteem, urge for independence and substantiality and finally, readiness to stand up for its rights in any case and under any circumstances.
When to the foreigners’ mind the Estonians seem to be modest, reserved and distrustful it may be explained as an expression of an instinct to be cautious caused by repeated defeats and the wish not to be influenced by any happenings on their surface, but to estimate the world, its people and appearances by their real core. 1

XXVIII. THE PERFORMANCES OF SYMPHONIC MUSIC: THE ORCHESTRAS OF TARTU AND TALLINN.

In order to acquire real value, the symphonic music must be performed and there must be an audience enjoying and appreciating it.
There is no need to observe in every detail the development and growth of the two symphony orchestras mentioned.
1900. The first amateur symphony orchestra was organised on the initiative of Aleksander Läte and its first performance took place in the same year.
1907. The Estonia Theatre orchestra conducted by Otto Hermann started to give regular symphony concerts in Tallinn.
1911. The orchestra of Tartu’s Vanemuine Theatre became a real symphony orchestra when Juhan Aavik settled down in the university town and took the post of the chief conductor.
1912. The young musician Raimund Kull was invited to become the chief conductor of the Estonia Theatre orchestra. The music life of the capital city became more active. After the opening of the new theatre building and concert hall (1913), regular concert life started. A decline period, caused mainly by economic reasons, followed.
First performances of of Estonian symphonic music abroad took place during the pre-World War One republic of Estonia:, in 1924 the first concert featuring Estonian symphonic pieces took place in Finland.
The concert fulfilled well our expectations, such a performance has been rarely listened to with so remarkable interest. It was notable both by musical content and maturity of form. The Second Symphony of Artur Lemba leaves as a whole pleasant recollection. The Scherzo of Heino Eller is a beautiful example of refined instrumentation and mastery of form shaping. The Prelude Granas of Artur Kapp is dignified in its gloomy colouring, lovely sounding and unconstrained melodious development.1
The biggest contribution to the popularisation of Estonian symphonic works abroad in the Twenties and Thirties was made by Raimund Kull. His Western concert tours will be briefly summarised in the following survey about him.
The year 1934 was a remarkable one. The State Broadcasting founded the second symphony orchestra in Tallinn; Raimund Kull was appointed chief conductor. The second conductor was Priit Nigula. The orchestra grew out of a small chamber ensemble under the leadership of violinist Hugo Schütz that started to perform at the newly organised State Broadcasting corporation in December 1926. This enabled the performance of more demanding orchestral compositions. This small collective would be the kernel of the National Symphony Orchestra of today.
In the year 1939 Olav Roots was appointed chief conductor; thanks to his thorough and diligent work, the quality of the orchestra was rising. In the summer of 1939, the symphony orchestra, the best choirs and soloists took part in preparing a large number of test gramophone records of Estonian music. This was financed by the State Broadcasting, with the assistance of British specialists from the company His Master's Voice. Those records were systematically used in radio programmes; however, mass production was interrupted by the war.
By the end of the independence period, the State Broadcasting orchestra had won a good reputation and during those years several prominent conductors of that time, among them Emil Cooper, Rhené Baton, Albert Coates, Eugen Jochum and Hermann Abendroth, visited Tallinn .
In spite of several obstacles, the orchestra and its conductors carried out great work, laying a firm foundation for the orchestra performance.
In the year 1940 the Soviet Estonian Radio was organised.
During the war years, musical activities were limited, but concerts and recitals were given quite regularly under the German occupation regime until March 1944, when Tallinn and other bigger Estonian towns were bombed by the Soviet air forces and a large part of the capital was destroyed. In the autumn of 1944 many Esotnian musicians fled to the West, Olav Roots among them.
During the Soviet period a separate symphony orchestra was founded in 1942; the conductors were Roman Matsov and Eugen Kapp. In 1946 the Estonian Radio Symphony Orchestra consisted of nearly 90 instrumentalists, growing both in quality and quantity. The great work of conductors Sergey Prokhorov and Paul Karp (the chief conductor in the years 1944-1950) must be specially mentioned.
The concert tours throughout the Soviet Union started in 1946. This musical collective owes special thanks to its chief conductor (1950-1963), Roman Matsov who planned numerous concert tours to many music centres in several Soviet republics. He always took along also Estonian music, both from the older and younger composers, propagating it more widely than any other of his colleagues.
In 1963 the young Neeme Järvi took the post of the chief conductor. After the war several conductors of international name worked here: Kurt Masur, Carlo Zecchi, Paavo Berglund, Kurt Sanderling and Leif Segerstam.
At the end of 1975, the orchestra was reorganised and renamed the State Symphony Orchestra, having 99 instrumentalists. Some statistics from the concert season of 1975/1976: nearly 200 symphonic works were performed, from this total, 34 were written by Estonian composers, and played under the baton of 11 conductors. 12 recordings were made for TV. The total number of concerts was 50, of these Neeme Järvi conducted 28.1
The first post-war tour to the West for the whole orchestra staff took place in 1972 (Romania and Bulgaria, for one month). The chief conductor Neeme Järvi resigned from his post in 1979 and left Estonia soon afterwards, settling in the USA.
The new chief conductor Peeter Lilje declared in an interview that the official plans for the orchestra were too strenuous (11 concerts per month); the rooms being unsuitable for working. There was a growing need for new and high-class instruments, but the funds were lacking; all planning of the concert tours had to be revised and tours abroad included.2
In December 1986, the Ministry of Culture of the USSR announced that the Estonian orchestra had been included among the representative orchestras of the Soviet Union. The State Symphony Orchestra celebrated its 60th anniversary with a concert on April 9th, 1987; the programme consisted of Estonian symphonic works.
In July 1990 a tour to Sweden took place; the programme consisted of Swedish, Estonian, German and Italian music. The orchestra was received well. Sture Carlsson, the director of Gothenburg Symphony Orchestra, said:
This orchestra is magnificent, especially the strings. The programme was difficult both for the orchestra and the audience (Wagner, Verdi, Pärt, Lidholm) but the reception was very warm.1
As the chief conductor Lilje resigned from his post and settled in Finland (September 1990), the vacant post was offered to Leo Krämer, a well-known and appreciated German musician, organist and conductor. Krämer refused because of the economic conditions, but agreed to become the first visiting conductor. In September 1990 ERSO together with Leo Krämer visited Speyer (Germany); the town was celebrating its 2000th anniversary. On this five days three concerts were given (music of Berlioz and Bruckner). His first concert with ERSO took place in Tallinn in December of 1990. The opinion of Leo Krämer:
...as for ERSO, it was love at first sight, if I can say that. From the first moment our collaboration turned out to be ideal, both in the sense of music and in personal relations. The orchestra is very disciplined and has an absolute professional level. The instrumentalists have good technical and musical qualities, but this is the most important thing.
There is a strong basis and it is possible to build something on it.2
On the decision of the Art Council of ERSO, the post of the chief conductor was given to Arvo Volmer in 1993. In October 1993 ERSO accomplished under the baton of its chief conductor ArvoVolmer a successful tour in Germany, which lasted for a month. The final concert was given in Münich. The orchestra took part in the international festival for symphony orchestras, Europa Musicale.
The organisers of the festival expressed their thanks for the successful performance. The programmes included Dawn by Eller, Violin Concerto No. 2 by Tubin, Zeitraum by Tüür and the Third Symphony by Pärt. Radio Free Europe declared:
I should like to place the final concerto into the category of the successful by the German standards. The choice of music was suitable and interesting, not too strenuous but also not too primitive. The programme demonstrated that Estonian music may be performed in the world.1
In November 1996 ERSO gave concerts in five German towns (Düsseldorf, Essen , Munich, Mannheim , Frankfurt am Main). The programme included Bucolics by Ester Mägi.
The mostly young musicians put everything into their play, their pianissimo was splendid and they rushed with inspiration into the waves of dynamism.2
The Estonian National Symphony Orchestra is 80 years old and reshaping itself in an admirable way, consisting mostly of young musicians.
The strings are the best performers. They are technically on the level and their sound is homogeneous. The woodwinds lack remarkably in their quality of tone and the brass are sometimes guilty of improper intonation.
The evening started with Bucolics by the Estonian female composer Ester Mägi. A sorrowful sound landscape with bird-calls, sounds of nature and flute singing unperturbed with dissonant sharpness... As a modern work one has no need to consider it just seriously. Bucolics was an amiable anachronism.3
The chief conductor Arvo Volmer found that several hopes have been realised: the growth of stability, the foreign tours stood on an appreciable level, but there were not enough possibilities for recording and it was felt necessary to work more at home.4
With two concerts ERSO participated in the international Menukhin Festival in Switzerland, Gstaad 1997, by the invitation of its leader Gidon Kremer. The ERSO performances were accepted with rapturous applause and the orchestra played a number of encores.1
JUHAN AAVIK (1884-1982)
He was one of the most prominent, versatile and merited musicians during the first independence period, whose activities were tightly connected with the development of Estonian music for more than three decades (1911-1944), his activities as a conductor formed just a part of it. Aavik as a symphonist was not very active in the last years of the Republic due to the many tasks in the cultural field of Estonia. Much more frequently he turned to the symphonic forms after World War II, having emigrated to Sweden.
Aavik graduated from the St. Petersburg Conservatoire, specialising in trumpet (1907) and in composition (1911 with Professors Nikolay Solovyov and Alexander Glazunov). His manifold activities started in Tartu as the musical manager of the Vanemuine Theatre and the conductor of its symphony orchestra (1911-1923). For the remarkable artistic growth during that period the orchestra is indebted to him and also to the conductor Juhan Simm.
Settling in Tallinn, Aavik was engaged as the music director of Estonia Theatre and its symphony orchestra (1925-1933). Later he withdrew from conducting as there was a need to be active in several other fields: Director and Professor of the Tallinn Conservatoire (1933-1940 and 1941-1944); Chairman of the Estonian Singers’ League; member of the management of the Academic Society of Estonian Musicians, and several other occupations.
His repertoire as a conductor included symphonies of Haydn, Mozart, Beethoven, Tchaikovsky, Scriabin and Glazunov, works by Richard Strauss, Wagner, Grieg, Rimsky-Korsakov and others. Vocal-symphonic works: the Requiems of Mozart and Cherubini; The Creation by Haydn, St. Paul by Mendelssohn and several others. As an opera conductor he conducted Tannhäuser by Wagner, Othello by Verdi, Prince Igor by Borodin, etc.
Aavik as a conductor was appreciated due to his quiet character, politeness to all with whom he had to work with and his attention to details. At the same time he was also criticised by Gerhard Krause, the reporter of the Berlin weekly Signale. Staying in Tallinn, he noticed the profound musical talent of Aavik, but found the technical side of his conducting to be imperfect.1
During the emigration period in Sweden, in his mature and elder years, the best symphonic works of Aavik were composed: the Violin Concerto (1945), the Violoncello Concerto (1945), the First and Second Symphony (1946, 1948), the Double Bass Concerto (1950) and others.
The activities of Aavik started a fresh period in Estonian music life. His merits in popularising European, Russian and Estonian symphonic production have permanent value in Estonian cultural history. His activities as a publicist and music historian are of essential importance. In Sweden he completed the two-volume History of Estonian Music (1966-1969). He has written several volumes of memoirs, the first of them: From the Paths of Music has been published in Canada .
RAIMUND KULL (1882-1942)
One of the most prominent and merited leaders of Estonian music life during the first independence period.
He graduated from the St. Petersburg Conservatoire as a specialist in trombone and was engaged as a trombonist in St. Petersburg and in several other places. Kull as a conductor was a talented autodidact and his further great success was based on his natural talent and hard work. During the years 1912-1920 he was the chief conductor of the Estonia Theatre, and later its musical director. During the years 1918-1927 Kull conducted the Estonian Navy Orchestra. From 1929 he belonged to the staff of the Tallinn Conservatoire as the trombone specialist; he was promoted to professorship in 1937. During the years 1934-1939 Kull was the chief conductor of the Estonian Broadcasting Symphony Orchestra. He also acted as chief conductor at the National Song Festivals (IX, I and XI). Theatre work was the main line of his activities. A man of great talent, a tireless individual, he departed this life untimely, mainly due to the Herculean tasks he had to bear for years.
By his character, Kull was joyous, vital, merry but also discussing more serious and psychological problems. In the theatre, he was a popular figure, always bringing good humour with him. Maybe it was due to his character that he was less submerged in the finer details, but he always had a firm vision of his work as a whole.
From his theatre repertoire we can mention operas of Verdi (The Masked Ball, La Traviata, Rigoletto, Aida), Tchaikovsky, Bizet, Puccini (Tosca, Madame Butterfly ), Wagner (The Flying Dutchman, Tristan and Isolde, Lohengrin), Gounod, Mozart (Don Giovanni), Mussorgsky (Boris Godunov), and several Estonian operas.
In the orchestral music his repertoire was versatile and varied: Messiah by Händel, symphonies of Haydn, Schumann, Franck and Tchaikovsky, works of Berlioz, Rimsky-Korsakov, Estonian symphonic music (Tubin, Lemba, Eller, A. Kapp, Aav and others).
Kull was an amateur-composer himself. His orchestral works do not exhibit special artistic depth or individuality, but they have been composed in a simple manner, in good humour and colour, which are the reasons for their continued popularity.
According to the recollections of other musicians (Karl Leichter, Eino Uuli and others), Kull had a phenomenal musical memory and great faculty of observation. Magnificent technique of his fingers, especially his left hand, remained in the memory of all those who had seen him conducting.
Kull was the first conductor making wide international concert tours: to Sweden, Poland, Finland, Hungary and France (a longer tour in 1934), popularising Estonian orchestral music.
OLAV ROOTS (1910-1974)
An artist with high musical culture, manifold brilliant talent and refined taste.
He graduated from the Higher Music School in Tartu as a pianist and composer, his teachers were Lemba and Eller. In 1931, he passed his final examinations as a non- resident student at the Tallinn Conservatoire, on the same specialities, and obtained both diplomas cum laude.
As a conductor Roots made his debut in summer 1929 with the Tartu Vanemuine orchestra. In 1933 and 1935 he took advanced training courses in piano in Paris, studying with Alfred Cortot. In 1937 he took a refresher course in Vienna as a conductor at the Viennese Academy of Music with the Austrian conductor Felix Weingartner. In the same year his studies brought him to Salzburg, where one of his teachers was Nikolay Malko.
In 1939, Roots took the post of the chief conductor of the State Broadcasting Symphony Orchestra. His last refresher course took him to Salzburg again (1943), where he participated in the summer courses, organised by the German Music Institute, polishing his abilities as a conductor with Clemens Krauss.
According to the recollections of several musicians of those days, Roots started a new era in the development of Estonian orchestration. Roots was a conductor with the finest nerve for music Estonia has ever had. As a conductor he stood much higher than his predecessors, namely because of his ability of symphonic thinking and shaping and also as a master of detail, feeling the proportions between a detail and the whole very sharply and joining all sound and timbre possibilities in convincing proportion.
In comparison with Kull, Roots seemed to be more modest in his temperament, but his interpretation was more animated, deserving unanimous satisfaction of critics and audience.
His repertoire included classics (Händel, Mozart, Beethoven, Brahms, Sibelius, Tchaikovsky) but also modern authors (Shostakovich, Ravel, Orff, Stravinsky, Hindemith, Schönberg, Berg, Webern and others). Of Estonian composers, he preferred his teacher Eller, Tubin, Kapp and Kreek. During the last years of independence, Roots also conducted in Germany, Austria and Finland. During the German occupation years (1941-1944) in spite of war conditions and restrictions, Olav Roots performed Estonian music in Holland and Germany (1944).
He left for Sweden in 1944. Besides the archive work he was engaged there as a pianist and conductor of the Estonian Youth Choir. After the war, Roots performed in Germany again (Munich, Hamburg), in Switzerland (Zurich) and in London. In 1952, the Colombian government invited him to organise and conduct the State Symphony Orchestra, besides this principal engagement he was also active as the conductor of the Bach Choir and a lecturer on conducting and orchestration at the Bogotá National Conservatoire. Several famous pianists worked and performed with the orchestra: Arthur Rubinstein, Claudio Arrau, Paul Badura-Skoda.
His 21 years in Bogotá were called “the epoch of Olav Roots” in the Colombian music circles. The appreciation from the state officials was most clearly expressed by the nomination of honorary citizenship of Colombia by the President in 1967, with the conferment of a special medal.
Authoritative musicologist Francisco Alexandre noted:
Conductor Olav Roots is a perfect musician, competent in all spheres of his art with artistic erudition. Really, I do not know, what makes me admire him more: his sensitive artistic nerve, picturesque musical cognition, plasticity of interpretation, refined ability to find perfect harmony between musical dynamics and statistics; or a quality which is quite natural to the conductors of his rank: thorough and very detailed knowledge of the music performed, as he is conducting the main classical repertoire by heart.1
Thanks to Roots, Estonian music became known in Latin America: in 1955, the Fifth Symphony of Tubin was performed there for the first time; in 1957, his Double Bass Concerto.
SIIT ON PUUDU ÜLEVAATED ROMAN MATSOVI, NEEME JÄRVI, ERI KLASI JA PEETER LILJE LOOMINGUST!!!!!

XXIX. ESTONIAN SYMPHONISTS ABOUT CREATIVITY.

I have drawn up a short survey on the characteristic viewpoints of several composers about the sense and purposes of creativity. I hope that something essential and typical of the Estonian world view will rise to the surface. More creeds of other composers can be found in the text. It is up to the readers to draw their own conclusions.
NB! SUUR OSA ALLJÄRGNEVATEST TSITAATIDEST TULEKS UUESTI TÕLKIDA
RUDOLF TOBIAS
On the other side of the classical and the modern, German and Romanic character the azure of the common beauty ideal is expanding…
Progress itself stands in further organic development. A reformer is not a revolutionary, yet a sacred task falls upon him to direct the course of art evolution…
Race music, of national colour! When something at all is leading to the formal hollow materialism or standardisation, then it is imitation of the foreign mood. Why put an alien mask on with full seriousness, this may lead you to the deprivation of style only.1
ARTUR KAPP
Youngsters, keep much of Bach always. Counterpoint as it is characteristic of Bach is the ground of all music. Do not show off with effects, do not compose like dilettantes who are trying to please a wide audience with easy trickery.
I am not contriving but composing.2
Except God I am not afraid of anybody.
Let art be as profound as demanded by faith.3
HEINO ELLER
Let us not be in a hurry, let us think it over more! It is more difficult to find a right and suitable note than to put them on paper in abundance.
Inspiration arrives when you have been working very hard… either having fun or not, I must sit at my work for hours . So the same I advise to everybody.1
Fine words about music may be uttered endlessly but the beauty and profundity of music can be recognised only by a human being able to hear it in oneself.2
EVALD AAV
…I am sorry that I have had so limited possibility for composing for the people. But in what I have composed I have been trying to express myself in the Estonian Northern spirit. I have beaten the trail, others will follow in my footsteps.3
First of all: to feel, to feel profoundly and enraptured and only after that to render.4
It is easy to compose intricately and ponderously. But let us try to do it as simply as possible: only then will one see how difficult and how right it is.5
EDUARD OJA
It is a matter of fact that for creative work an intense psychic experience is necessary. Purely theoretical compositions leave the listener frigid and will never become popular.6
In my creative work I do not start from the objective but from the purely spiritual, the psychological standpoint.7
Creative work in the arts is nothing of handicraft you do when you have a spare hour ; composition is a grand and problematic philosophy.8
EDUARD TUBIN
My music is based on a classical heritage and many elements of Estonian folk music can be found in it. I cannot comprehend the twelve-tone music up to now; it is so constructed, as cold as ice. I have pondered much upon atonality and found that there can be nothing atonal. All around us is tonal, nature is tonal; let us think of birds, they also sing tonally.
There is no need to feel oneself old-fashioned composing in the traditional style. Music is always the same. If you have something to express with your music, the style does not play, strictly speaking, any role. It is, perhaps somewhat old fashioned; to hold oneself always a bit back, to control oneself, not wholly culminating; to keep a tight rein on. This tension is important for me in composing all my music.
Of course, at times I have changed my style and composed freely (Concerto for Balalaika, 1964).1
HEIMAR ILVES
Quality is the most important point, we must start from it.
Neither in Estonia nor in the whole Western world there is not a single great composer at the moment.
Crisis is dominating in the arts and music; there is much foolishness and trickery. All means of expression have become weak, but praised in excess.
Great freedom in the music creation is good for a grand talent, the smaller ones will be spoiled by it.
A symphony must express the fundamental questions of life.
Thematics is essential here: concrete instrument with characteristic sound.
Sound colour serves the main idea, it is an auxiliary means.
Spiritual power hidden in thematics stands for effectiveness and worth of music. The value of music is concealed in the inflection of thematics.
The aspect of being up-to-date is immaterial.
The primordial beauty of music is constant, unchangeable.
The absolute value of music may be recognised, but it is not possible to prove it. Who tries to demonstrate it has understood the problem primitively.
The matter becomes clearer if we estimate it from the absolute standpoint. The yardstick is spiritual beauty, religion, sublime beauty.2
EINO TAMBERG
May be God really exists but He has not come to me. If He comes and if I recognise Him then I shall believe. Simply a hand- touch of another person, this is an individual God for me.
To be joyous is an appreciable action in society. In us, there is really too much seriousness and angry struggle. Too little smiling. 1
In this mode of music I am composing the human being or his psyche is the essential thing. This is revealed in my symphonic music.2
VELJO TORMIS
Runic folksong: this is our most ancient, peculiar, formed during the centuries, whole creation, expression of the national spirit. 3
Truly, my aim has never been simply music making. For me music means trouble and pain of existence. And the words in music have the first importance for me. 4
Estonian folk music is not needed any more today. Estonian people do not feel any necessity to be an Estonian nation any longer; they want to be Europeans at present.5
JAAN RÄÄTS
Inspiration is a part of professionalism. It must appear when a work is needed. And if I am not to do that I am not a composer but a dilettante.
All music composed in the world serves as a source for my inspiration and there is no shortage of it. Miscarried works are those that no one had wanted to perform for decades. There are many but I have also many compositions.6
The subject is not important, but the result, how did it turn out with the music. The most important thing for me is the applause of the audience. My principle is to compose relatively simply and not creating too high demands for performance.1
ARVO PÄRT
I should like to compare my music with a white light including all colours. These colours can be discriminated by means of a prism alone . As a prism the soul of the listener should serve.2
Genuine cultural values are eternal but every time is not able to appreciate all that is valuable.3
My music is meant neither for reproach nor for challenge to the present culture. I created it only for myself, for making something quite clear to me.4
I am interested in simplicity because I recognise its strength. The more we are thrown into the power of chaos, the more we should hold on to order. This is only leading us just a little towards equilibrium and enables a review, distance, being aware of the values of things. The greater the order, the farther-reaching the wing -stroke. The more powerful is the artistic influence.
There is no need to invent the most essential nourishment for our spirit and body, it exists already for quite a long time. Only the right access is needed to the source, where all this has been already told.5
LEPO SUMERA
Who lets art near to his soul is vulnerable. The animated understanding as impelling force rises forth in art: I must do it!
Culture means memory and tradition who has no knowledge of the previous, has nothing to do with culture.
The brakes stand forth as a hindrance to the creative process. But the tearing loose of the brakes means the widening of tradition.
In my last symphonies hope and hopelessness are interwoven.
Happiness and renunciation of it stand very near to each other, being like one and the same thing.
Maybe I am approaching music too seriously. In any, it should be audible.1

About spirituality in music.

Every kind of art production is reflecting the ethic-aesthetic level of its author, their field of vision, their ability to see in width and depth, the height or nadir of their creative thought. Here we stand face to face with the problem of the highest ideal.
The spiritual ideal – Absolute – and striving towards it has been nourishing classical music for many centuries, starting its development in the Orient , lifting it higher for the changing demands of different epochs.
Spirituality in its gnosiological aspect means the cognition of the inseparability of a creative artist and the Creator, with the resulting notions about the highest aims of life and art. The spiritualization of a human being is the highest aim of art. The ability for spiritual cognition, as demonstrated by history, does not depend on the church. The spiritual clairvoyance and spiritual clear ability to perceive were vested to the human being long before. So it is not any established religion but our way towards the Highest that widen and deepen our vision: minimize the ego, optimize desires, promote an expanded level of consciousness. Through Insight alone proper spiritual progress is possible to a significant extent.2
Such spirituality is opened to us in the verses of Bhagavadgitā, in the Proverbs of Gautama Buddha, Lao Zi and Jesus Christ, in the philosophy of Plato, on the canvas and sculptures of Leonardo and Michelangelo , it sounds in the Messiah of Händel and in the Passions of Bach…
Genuinely great artists have spirituality and that makes them great.
Michelangelo prayed: Oh, The Most High, let me proceed to where the Eternal Light is shining.3 J.S. Bach was composing:…’only for honouring the Highest God and according to His Will.’1 Beethoven found that: ‘there is nothing higher than getting nearer to the Godhead than other people and spreading His rays of Light among mankind.2
One of the greatest musicians of past century, Sibelius, confessed that: ‘Logos, the Divine in the work of art give life to it. It is impossible to explain it in words but still this is the only thing having meaning.’3
As the ancient Indians have put it:
…the Creator (Brahman) is the Utmost Reality, being indefinable and inconceivable by the limited and conditioned human mind. Only the means for reaching spiritual value may be applied as subjects for our analysis, but the Highest Value itself cannot be subjugated to analysis.4
The creative intellect, a part of the human ‘Higher I’ is the real creator of artistic spiritual values, being an inseparable part of the transcendental inspiring Source.
I Myself am dwelling in the hearts of all beings; I am the beginning, present and end of them. And whosoever would be mighty, genuine, majestic, great: know that a part of My effulgence has appeared in it.5
The intellectual sphere is full of ideas and forms that descend into Matter. The Power in the higher realm has Existence and Beauty. This Beauty exists in ourselves if we remain faithful to our real nature... Beauty originates from God and comes from Him only.6
For understanding sublime spiritual art creation, the listener must be close to its Creator spiritually only then do they get satisfaction, only then the demand for high art may take root in them. And that means, you need an accord: a highly elevated consciousness. And this can be of your own making only.
Paramahamsa Yogananda, Indian master Yogi and philosopher, has put down remarkable thoughts about the connections between music and the human spirit:
Nature is nothing other than the primordial sound OM, becoming form and shape, the sacred vibration, being the basis for the whole of creation. As the human being himself is the expression of the Divine Word, all sounds have a strong and immediate effect on him. Every kind of good ecclesiastic music, both in the Orient and Occident, releases a feeling of joy in man because such music, through its vibrations, is awakening the Kundalini power in the spinal column.1
The ethical and spiritual value of music is not an arbitrary attribution but its very foundation. If this value has sometimes ceased to be perceived by us, it is because our musical art has been removed from its basis, has betrayed its role, has ceased to be what music has always been for the great civilisations of Asia: the first among the sciences and the first among the arts.2
In India, it is believed that music aids the spiritual progress of man. This music is essentially impersonal for it reflects emotions and experience that are deeper, wider and older than either emotion or wisdom of any single individual.
Teachings of Indian contemporary Avatar (Pure Incarnation of God) poetry are, in my opinion, valid to the same extent in music.
A poet should not follow the whims of the masses in search of cheap fame … He must fertilize and direct godly strivings in man. Poems treating the main problems of life and death, freedom and destiny, truth and error , value and temptation, rise and decline, aspiration and attainment will persist for ages, bringing forth something deep in man deeper than senses, reason or passion. I am against mean boasting poetry, against blazing, intoxicating verses, against senseless stamping and muddle. Do not contaminate others with your misguided beliefs and distortions.3
Valuable art should have an effect on all strata of human psyche. It is not bad when a composition has a captivating structure. But even more important is its ability to touch us emotionally… something universally genuine with which the listeners of foreign countries may identify themselves and what they can comprehend.1
Every kind of genuine music is sacred. It turns endless eternal existence into the perceivable. A Christian thinks that music can express God leading to Him at the same time, as He is the highest condition for all spirituality in every day life. The purifying effect of music is the more successful the more it expresses the inexpressible.2
Every kind of music is just the reflection of its author, his inner Being. Looking back historically we see that all spiritual masterworks in music have been built up homogenously as one spiritual homogenous expression, pure means and genuine emotion.
Estonian masters Rudolf Tobias, Artur Kapp and Cyrillus Kreek have their individual approach. Tobias brought forth all-human ideas and goals in his monumental sound-architecture Jonah, declaring that spiritual music is a powerful means, the unseen threads connecting music and spiritual world; the modern composer is but lacking interest towards the transcendental.3 Kapp expresses his multidimensional weighty thoughts praying for the Lord’s mercy and direction in Job, emphasising the equality of high art and religion (Art is religion4), defying the pettiness of the environment, regarding seriousness and dignity as the first demands in art.5
An artist has ample opportunities for directing people towards the Divine or, in the opposite case, towards bestiality. The question about responsibility is not a compulsion but an echo of Higher Wisdom in our heart.
Treating the creative process from the spiritual, fine-material level it becomes obvious that all ideas and thoughts have a fine-material basis, they are ‘things’, existing as energy charges.1 They may be positive or negative; the last having possibly a detrimental influence, not only to the author creating and promoting them, but also polluting the environment. From this follows a logical conclusion: every kind of poor music and art does not promote our development higher but hinders it.
The complex of modern means has widely been introduced also into our sacred music. But sacred composition is not an ordinary one! It needs the highest inspiration. Pure aims demand pure means.
If we want to evaluate correctly, we have to know it absolutely, not only its appearance (sounds in our case) and the essence of it. The essence is hidden in the material but it is not material. Sound in its essence is power, thought, emotion and idea. We create and build only inside and with the materials that cannot be invented. These can be only obtained from above. Sound images gave equivalents in the fine-material sphere.
Both experiments and practice (singing of holy names and hymns) demonstrate that sounds produce shape and particular notes give rise to particular forms.2
I should like to add some statements by Swani Sivananda, an Indian philosopher and Master Yogi pertaining to music:
In his creative moods, the artist should soar high, high into the skies of luminous Imagination and of glorious Existence, wholly oblivious of all mundane madness.
An art that panders to the lower appetites of man, that does not aim at discovering the meaning of life, which does not awaken the spiritual consciousness in the human heart is soulless and therefore insalutary in its effects and malefic in its influence.
Music is not an instrument for titillation of the nerves or satisfaction of the senses. It is a Yoga Sadhana (spiritual practice) which enables you to attain Atma-Sakshatkara (your spiritual Being).3
This is the position of a high spiritual person adoptable by others standing near to his level. No one can deny other effective aspects of good music; for entertainment, for uplifting one’s spirits and cheerfulness. But even an ordinary man delighting in worldly joys should take these thoughts into consideration.
Do we know the essence of a composition? We suppose it. Do we know ourselves? As a general rule, we do not. How can we then, not knowing ourselves, assert anything firmly about an invisible and untouchable phenomenon?
The estimation of value takes shape in comparison with the best that has been offered in Estonian music, yet clearly the quality becomes obvious in comparison with the very best ever created. The sublime spirituality is the highest criterion of value in art, an objective gnosiological criterion, as our existence is objective.
Some musicians may argue that the spiritual value of music stressed and rendered prominent here does not contain anything for them. However, the things and their qualities either exist or do not, without dependence on us
We see that both in music and society a fully natural hierarchy reign, a hierarchy of spiritual values in the arts and men with the ability of recognising them. That division has, in the analysis, been created by the human beings themselves and not by the author of this book.

CONCLUSION

The new historical situation beginning with the re-establishment of the Republic of Estonia in 1991 has created many problems. Estonian society is living through a fundamental crisis in values and world view. Our social and political life has been faced with many faux pas, misdirection and infamy caused by new liberal politics serving first economic ambitions of foreign financial circles. Exceptionally acute is the problem of our survival as a nation under the hard regional conditions that emerged and took a menacing shape after the Second World War.
The greatest danger to the endurance of the Estonian nation starts from the gradual and sneaking languishment of population. The reasons? Shortage of livelihood, unemployment , insecurity about tomorrow and stress situations. Estimations of values have degenerated…1
Russia refuses to acknowledge the Tartu Peace Treaty (1920), being afraid to admit officially the illegality of the Soviet occupation, immigration of Russians and that the deportations and executions were crimes.2
History demonstrates that Estonians have been forced to defend their land against greedy invaders from all sides (except Finland). As Academician Prof. Jüri Uluots, our last Premier, remarked in the year 1942: the attack launched by Russia in 1939 was the fortieth in order against Estonia since 1030 AD. Several promises given out by new national government have not found fulfilment, illegals, enormous crowds of colonists, retired Russian servicemen, a hard burden to the natives pressurised continuously.3
Observing from the world level, we have been able to add some firm building blocks into the large edifice of musical creation of mankind and to promote the moving process towards the Ideal. For a very long time, there has existed hunger for genuine beauty and animation in music able to feed human souls in this mundane world full of meanness, decay and crises. This should be expressed by pure, simple, balanced mediums, in more cheerful tomes, under the leaden sky.
The highest mission of all the arts is the elevation of human being through beauty concealed in the Self. There is a great need of Light! This has been implanted in the heart of everyone and can be made visible and active.
Symphonic music is an essential demonstrator of spirituality in Western cultures. The question does not stand what has been found, but what stands behind it. And yet – is not our ancient folk music a natural source and support for our future music production? It has lived though all hard times and will last. This is not “old”, this is not “new”. I stress that in my position these terms have lost any essential meaning in music. We have to hold and protect our own. Imitation, borrowing and adoption in the arts may demean and overshadow our national capabilities.
A sober look at the whole condition, disavowing stagnant fashionable viewpoints was offered by conductor Andres Mustonen:
Painful processes have taken place in the 20th century. It is consoling, though, that all what has arisen of considered valuable during our long music history, endured, being impossible to destroy . The 20th century turned away from the primary sources, the changes have rather taken place on the surface. The century has been expanding for the new, all the time disclaiming the former at the same time. But… the genuine values are supported by eternal ideas that do not need changes.
The 20th century has demolished much of the primary nature of things. It is positive that in recent times we see a turning back to the ancient values. The most important fact is that the door towards tonality and purity has been re-opened.1
I consider it favourable that the majority of our composers are not engaged in modern “-isms” but rather in the search of their personal path outside of the ever-changing fashion. I consider this as a mark of natural inner equilibrium, a feature of national character. I consider it positive that no grouping of artists and critics, let them be taken from the “left” or “right” wings have no decisive role in the natural course of the Estonian arts.
All the arts are but in motion around one permanent axis. The Axis for creation has been planted in You. This is our Conscience, our genuine Guide . I opine that it is enough for a professional to listen to the inner Voice. There is Your starting point. There is the end of all search. All great artists have drawn inspiration from this inmost Source. All fashionable “-isms” have no weight, no meaning there.
The Estonian professional culture is less than a hundred and fifty years of age. We have to admit our “childhood” still. The mission of Estonian nation as the mediator in the propagation of national achievements of culture is still waiting for much more extensive and thorough opportunities for realisation in the favourable and safe conditions of the future under formation today. All our national arts have to co-operate to reach the supernal purpose: unity in spirit and thought in all the imperative and essential affairs.
The grave lessons of history have demonstrated the urgency of attainment of this goal, resisting breakdown and collapse both from inside and outside. Our nation must proceed vigorously and persistently: this is undoubtedly our highest mission and utmost engagement.
Through great hardships and trials, we hope in future years for greater spiritual and sublime creation.
APPENDIXES
APPENDIX A. SELECTED PUBLICATIONS ON ESTONIAN HISTORY AND CULTURE IN GENERAL.
History

Eesti Vabariik 1918 – 1940. Ajalooline ülevaade sõnas ja pildis (The Republic of Estonia in 1918 – 1940. The historical survey in word and picture). Compiled by E. Uustalu. Lund, Eesti Kirjanike Kooperatiiv, 1968 (in Estonian).

Tõnu Parming, Elmar Järvesoo. A Case Study of a Soviet Republic: The Estonian SSR. Westward Press, Boulder, Colorado 1978.

Arvo Mägi. Eesti rahva ajaraamat (The Chronicle of Estonian People). Stockholm, Eesti Päevaleht Förlag AB 1979 (in Estonian).

Soviet Estonia. Land. People. Culture. Tallinn, Valgus Publishers, 1980

Toivo Ü. Raun. Estonia and the Estonians. Hoover Institution Press, Stanford University 1987.

Eesti Entsüklopeedia, XI kd. Eesti üldosa (The Estonian Encyclopaedia, volume XI. Estonia in general): Tallinn, Estonian Encyclopaedia Publishers, 2002 (in Estonian).

Mart Laar, Urmas Ott, Sirje Endre. Teine Eesti: Eesti iseseisvuse taassünd 1986 – 1991. Tallinn, SE & IS, 1996 (kokkuvõte inglise keeles) The different Estonia; rebirth of Estonian independence 1986 – 1991. Tallinn, SE & IS Publishers, 1996 (summary in English).

Toomas Karjahärm, Helle-Mai Luts. Kultuurigenotsiid Eestis. Kunstnikud . Kirjastus Argo (Publishing House Argo), Tallinn, 2005
Culture

Almanahh „Eesti Kultura I” (Almanac „Estonian Culture”). Compiled by V.Reiman. „Postimehe” kirjakogu, Tartu, 1911 (in Estonian).

Almanahh „Eesti Kultura II” (Almanac „Estonian Culture”). Compiled by V.Reiman. „Postimehe” kirjakogu, Tartu, 1913 (in Estonian).

EESTI. Maa. Rahvas. Kultuur. Haridusministeeriumi Kirjastus. ESTONIA. Country. People. Culture. Tallinn, Ministry of Education Publishers, 1928 (in Estonian).

Aspects of Estonian Culture. Editor E. Uustalu. Boreas Publishing Company, London, 1961

Eestlane ja tema kultuur. Artiklid (Estonian and his culture. Articles). Tallinn, Perioodika Publishers, 1976 (in Estonian).

Lauri Vahtre. Lühike eesti kultuuri ajalugu (A Short Survey of Estonian Cultural History). Tallinn, Jaan Tõnissoni Instituut, 1993 (in Estonian).
Literature

Arvo Mägi. Estonian Literature. An Outline. The Baltic Humanitarian Association, Stockholm, 1968
ÜLEJÄÄNU PUUDUB
APPENDIX B. BIBLIOGRAPHY OF ESTONIAN SYMPHONIC MUSIC
APPENDIX C. RECORDINGS OF SYMPHONIC MUSIC.
APPENDIX D. SCORES OF SYMPHONIC MUSIC PUBLISHED.
APPENDIX E. CHRONOLOGY OF ESTONIAN SYMPHONIES.
The compiling of this register was a complicated task because in the creative consciousness of Estonian composers the notion “symphony” has changed into a somewhat misty idea. Works have been written that may only conditionally be called symphonies, mixed with other genres, sometimes turned into divertissements, light entertainment, into collage etc. However, this register includes compositions that Estonians have a right to be proud of and due to the industrious and meritorious work of the conductor Neeme Järvi, have been popularised all over the world and has a firm place in the musical production of the Twentieth century.
The symphony is not a worn out genre, it still synthesises many facets of human nature, eternal polarised elements, the struggle between them and the differing results. To deny a symphonic way of thinking and expression is to deny human feeling and thought.
Several of the works named have proven their worth: “We have music in such abundance that even if three fourths are not especially captivating, the remaining fourth offers sufficient support to the soul. And that is a lot.”1
19082 Artur Lemba. First Symphony
1923 Artur Lemba. Second Symphony (On The Life Path)
1924 Artur Kapp. First Symphony
Otto Herman. Spring Symphony
1928 Jakob Rennik. Symphony
1930 Herman Känd. Symphony
1934 Eduard Tubin. First Symphony
1936 Heino Eller. First Symphony (Mixolydian)
1937 Eduard Tubin. Second Symphony (Legendary)
1938 Evald Aav. Symphony
1942 Eduard Tubin. Third Symphony
Eugen Kapp. First Symphony (Patriotic)
1943 Eduard Tubin. Fourth Symphony (Lyrical)
1944 Kaljo Raid. First Symphony
1945 Artur Kapp. Second Symphony
1946 Eduard Tubin. Fifth Symphony
Juhan Aavik. First Symphony
Villem Kapp. First Symphony
Kaljo Raid. Second Symphony (Stockholm)
1947 Artur Kapp. Third Symphony
Heino Eller. Second Symphony (unfinished)
Eduard Oja. Symphony

Artur Kapp. Fourth Symphony (Youth)
Juhan Aavik. Second Symphony

Artur Kapp. Fifth Symphony (Peace)

Roman Toi. First Symphony

Cyrillus Kreek. Setu Symphony
Vladimir Kreek. Symphony
Anatoli Garshnek. First Symphony

Eduard Tubin. Sixth Symphony
Eugen Kapp. Second Symphony (Estonian)

Villem Kapp. Second Symphony

Sergei Prokhorov.1 Symphony

Jaan Rääts. First Symphony

Eduard Tubin. Seventh Symphony
Alfred Karindi. Symphony
Jaan Rääts. Second Symphony

Heimar Ilves. First Symphony
Eino Tamberg. Ballet Symphony
Jaan Rääts. Third Symphony
Jaan Rääts. Fourth Symphony (Cosmic)
Edmund Uus. Symphony

Jaan Koha. First Symphony
Anti Marguste. First Symphony
John Aswelt.1 Esoteric Symphony

Els Aarne. First Symphony
Johannes Tall . Symphony
Heino Eller. Third Symphony
1963 Anatoli Garshnek. Second Symphony (Youth)
Kuldar Sink. First Chamber Symphony
Anti Marguste. Second Symphony (Jazz)

Heimar Ilves. Second Symphony
Eugen Kapp. Third Symphony (Spring)
Arvo Pärt. First Symphony (Polyphonic)
Helmut Rosenvald. First Symphony

Villem Reimann. Symphony
Helmut Rosenvald. Second Symphony
Hillar Kareva. Symphony (Awakening)

Eduard Tubin. Eighth Symphony
Arvo Pärt. Second Symphony
Jaan Rääts. Fifth Symphony
Helmut Rosenvald. Third Symphony
Anti Marguste. Third Symphony (with male choir)
Els Aarne. Second Symphony

Heimar Ilves. Third Symphony
Olav Roots. Symphony
Jaan Rääts. Sixth Symphony
Anti Marguste. Fourth Symphony
Kuldar Sink. Second Chamber Symphony

Jaan Koha. Second Symphony
Helmut Rosenvald. Fourth Symphony
Ester Mägi. Symphony

Eduard Tubin. Ninth Symphony (Sinfonia Semplice)
Heimar Ilves. Fourth Symphony
Helmut Rosenvald. Fifth Symphony

Heino Jürisalu. First Symphony (Pastoral)
Helmut Rosenvald. Sixth Symphony
Anti Marguste. Fifth Symphony (School)

Arvo Pärt. Third Symphony
Heimar Ilves. Fifth Symphony
Helmut Rosenvald. Seventh Symphony
Ants Sõber. First Symphony
Mati Kuulberg. First Symphony

Helmut Rosenberg. First Chamber Symphony

Eduard Tubin. Tenth Symphony
Jaan Rääts. Seventh Symphony
Rein Laul. Symphony
Aarne Männik. Symphony
Mati Kuulberg. Chamber Symphony

Helmut Rosenvald. Eighth Symphony (Ballet)
Anatoli Garshnek. Third Symphony
Roman Toi. Second Symphony (Sinfonia Concertante)

Heino Jürisalu. Second Symphony
Roman Toi. Second Symphony (Ballad)
Taavo Virkhaus. First Symphony
1977 Helmut Rosenvald. First Symphony for Strings (Classical)
Mati Kuulberg. Second Symphony

Eino Tamberg. First Symphony
Mati Kuulberg. Third Symphony (April)

Helmut Rosenvald. Ninth Symphony
Helmut Rosenvald. Second Chamber Symphony
Taavo Virkhaus. Second Symphony

Anti Marguste. Sixth Symphony
Helmut Rosenvald. Simple Symphony

Lepo Sumera. First Symphony
Ants Sõber. Second Symphony
Eduard Tubin. Eleventh Symphony1

Jaan Koha. Third Symphony
Igor Garshnek. First Symphony

Mati Kuulberg. Fourth Symphony (Lenin)
Ville Kell. Symphony
Jüri Tamverk. Symphony for Strings

Lepo Sumera. Second Symphony
Helmut Rosenvald. Sinfonia Breve
Erkki-Sven Tüür. First Symphony
Igor Garshnek. Second Symphony
Taavo Virkhaus. Third Symphony

Helmut Rosenvald. Second Symphony for Strings
Urmas Sisask. Symphony
Anto Pett. Symphony for Wind Instruments
Jaan Rääts. Eighth Symphony

Rein Rannap. Symphony
Mati Kuulberg. Fifth Symphony (May Day)
Eino Tamberg. Second Symphony
Raimo Kangro. Sinfonia Sincera

Helmut Rosenvald. Symphony of the Year 1987
Erkki-Sven Tüür. Second Symphony

Lepo Sumera. Third Symphony
Harri Otsa. Symphony (In Memoriam)
Alo Mattiisen. Symphony
Taavo Virkhaus. Fourth Symphony

Eino Tamberg. Third Symphony
Ville Kell. Symphony with Saxophone Solo

Mari Vihmand. Symphony
Esko Oja First. Symphony
1992 Lepo Sumera. Third Symphony
Urmas Sisask. Second Symphony (The Northern Star)

Tõnu Kõrvits. Symphony

Lepo Sumera. Fifth Symphony
Kaljo Raid. Third Symphony

Esko Oja. Second Symphony

Erkki-Sven Tüür. Third Symphony
Urmas Sisask. Third Symphony (From the Dimness of Ages)

Eino Tamberg. Fourth Symphony

Lepo Sumera. Sixth Symphony
APPENDIX F. SOUND TAPES OF ESTONIAN SYMPHONIES IN THE ESTONIAN MUSIC INFORMATION CENTRE AT THE COMPOSERS UNION.
APPENDIX G. SOME PROGRAMMES WITH ESTONIAN MUSIC AND CONDUCTORS.
APPENDIX H. INDEX OF PERSONAL NAMES.
APPENDIX I. SELECTION OF PHOTOGRAPHS.

Aleksander Läte

Rudolf Tobias

Artur Kapp

Mihkel Lüdig

Theatre Vanemuine in Tartu, opened in 1906 ( designed by the Finnish architect A. Lindgren )

Artur Lemba

Theatre Estonia in Tallinn, opened in 1913 (designed by the Finnish architects A. Lindgren and W. Lönn)

Estonian musicians in Tartu. From left: L. Neuman, A. Läte, J. Aavik, M. Saar and A. Kapp

Heino Eller

Eduard Oja

H. Eller in Tartu with his students in 1930. From left: E. Tubin, O. Roots, K. Leichter, A. Karindi

Evald Aav

Eduard Tubin

Eugen Kapp

Cyrillus Kreek

Kaljo Raid

Juhan Aavik

Anatoli Garshnek

Eino Tamberg

Veljo Tormis

Villem Kapp

Jaan Rääts

Arvo Pärt

Anti Marguste

Helmut Rosenvald

Heimar Ilves

E. Tubin meeting with lecturers and students at the Tallinn Conservatoire in 1961. In the forefront from left: E. Kapp, V. Alumäe and H. Eller

Jaan Koha

Ester Mägi

Kuldar Sink

Heino Jürisalu

Alo Põldmäe

Mati Kuulberg

Raimo Kangro

Lepo Sumera

Erkki-Sven Tüür

Mari Vihmand

Helena Tulve

Tõnu Kõrvits

Urmas Sisask

Juhan Aavik

Raimund Kull

Olav Roots

Roman Matsov

Neeme Järvi

Estonian State Symphony Orchestra with its chief conductor N. Järvi in 1965

Eri Klas

E. Klas with the King and Queen of Sweden in the Stockholm’s Opera House in 1985

Peeter Lilje

Uno Soomere

APPENDIX J. MUSICAL EXAMPLES. PIANO ARRANGEMENTS AND SCORE SAMPLES.

NB! Numeratsioon läheb kahes kohas segi, tuleb üle kontrollida!

Aleksander Läte. Overture Kalevala. Main theme

Kalevala. Subsidiary theme.

Rudolf Tobias. Overture Julius Caesar. Introduction.

Julius Caesar. Main theme.

Julius Caesar. Subsidiary theme.

Rudolf Tobias. Oratorio. Des Jona Sendung. Leitmotif of God.

Des Jona Sendung. Leitmotif of Jonah.

Artur Kapp. Overture. Don Carlos. Introductory theme.

Don Carlos. Main theme.

Don Carlos. Subsidiary theme.

Mihkel Lüdig. Overture-Fantasy No.1. First theme.

Overture-Fantasy No.1. Second theme.

Artur Lemba. First Symphony. Introduction.

First Symphony. Main theme (with score sample)

First Symphony. Subsidiary theme.

First Symphony. Scherzo theme.

Heino Eller. Dawn. Main theme.

Dawn. Second image.

Artur Kapp. First Symphony. Main theme.

First Symphony. Subsidiary theme.

First Symphony. Beginning of the second movement.

First Symphony. Finale. The first variation.

Oratorio. Job. His theme.

Cyrillus Kreek. Requiem. Basso ostinato theme from the introduction.

Heino Eller. Calls of the Night. First theme.

Calls of the Night. Second theme.

Ghosts. Introduction.

Ghosts. Main theme.

Ghosts. Subsidiary theme (in development).

Eduard Oja. Beauty Poem. First theme.

Beauty Poem. Second theme.

Eduard Tubin. Suite on Estonian Motifs. Theme from the first movement.

Suite on Estonian Motifs. Theme from the third movement.

Eugen Kapp. Overture. Kalevipoeg. Theme of the Sorcerer.

Overture. Kalevipoeg. Theme of the hero.

Heino Eller. First Symphony. Main theme

First Symphony. Subsidiary theme.

First Symphony. First theme of the second movement.

First Symphony. Finale.

Evald Aav. Symphony. Maestoso theme from the first movement (score sample).

Symphony. Beginning of the second movement.

Symphony. Waltz theme from the third movement.

Symphony. A theme from the Finale.

Eduard Tubin. Second Symphony. Introduction.

Second Symphony. Main theme.

Second Symphony. First movement, heroic subsidiary theme.

Second Symphony. Finale theme.

Eugen Kapp. First Symphony. Main theme.

First Symphony. Subsidiary theme.

First Symphony. Section from the second movement.

Eduard Oja. Symphony. Beginning of the second movement.

Artur Kapp. Second Symphony. Introductory theme (development score sample).

Second Symphony. Subsidiary theme.

Second Symphony. Beginning of the second movement, Scherzo.

Second Symphony. The third movement, Fugue theme.

Juhan Aavik. First Symphony. Introduction.

First Symphony. Main theme.

First Symphony. Subsidiary theme.

First Symphony. Theme from the second movement.

Kaljo Raid. First Symphony. First movement, main theme.

First Symphony. First movement, subsidiary theme.

First Symphony. Introduction of the second movement.

First Symphony. Introduction of the third movement.

Second Symphony. Introduction to the first movement.

Second Symphony. Second movement.

Second Symphony. Section of the third movement.

Second Symphony. Introduction of the fourth movement.

Artur Kapp. Fourth Symphony. Main theme.

Fourth Symphony. Subsidiary theme.

Fourth Symphony. First variation of the second movement.

Heino Eller. Singing Fields. Main theme.

Singing Fields. Subsidiary theme.

Villem Kapp. Second Symphony. Main theme.

Second Symphony. ‘Homeland’ theme.

Eino Tamberg. Concerto Grosso. Main theme.

Concerto Grosso. Introduction to the second movement.

Concerto Grosso. Introduction to the Finale.

Symphonic Dances. Beginning of the second dance.

Symphonic Dances. Beginning of the third dance.

Ballet-Symphony. Leading theme (with score sample).

Ballet-Symphony. Theme from the second movement.

Ballet-Symphony. Culmination from the third movement.

Veljo Tormis. Overture No. 2. Main theme, both components.

Jaan Rääts. Third Symphony. Beginning of the second movement.

Third Symphony. Finale.

Fourth Symphony. Beginning of the first movement.

Fourth Symphony. Theme of the fourth movement.

Fourth Symphony. Theme of the fifth movement.

First Concerto for Chamber Orchestra. Beginning of the first movement.

First Concerto for Chamber Orchestra. Section from the second movement.

Sixth Symphony. Section from the Finale.

Seventh Symphony. An image from the first movement.

Seventh Symphony. An image from the second movement.

Arvo Pärt. Nekrolog. The first theme.

Nekrolog. The second theme.

Perpetuum Mobile. A section.

First Symphony. Leading theme.

First Symphony. Main theme.

First Symphony. Fugue theme (with score sample).

First Symphony. Coda.

Second Symphony. An image from the first movement.

Second Symphony. Beginning of the second movement.

Second Symphony. Section from the second movement.

Second Symphony. Beginning of the third movement.
105. Helmut Rosenvald. First Symphony. Main theme.

First Symphony. Subsidiary theme.

Second Symphony. Main theme.

Second Symphony. Beginning of the second movement.

Third Symphony. Main theme.

Third Symphony. Subsidiary theme.

Third Symphony. Theme from the second movement.

Fifth Symphony. Thematic image from the first movement.

Fifth Symphony. Beginning of Scherzo, third movement.

Fifth Symphony. Thematic image from the fifth movement.

Sixth Symphony. The second Prelude.

Sixth Symphony. The Fugue theme.
117. Anti Marguste. Second Symphony. Boogie theme, first movement.

Second Symphony. Theme from the second movement.

Second Symphony. Developing theme, third movement.

Fourth Symphony. First theme, first movement.

Fourth Symphony. Second theme, first movement.
122. Heimar Ilves. First Symphony. Main theme (with score sample).

First Symphony. Connecting part, first movement.

First Symphony. Concluding part, first movement.

First Symphony. New theme for the development.

Second Symphony. Main theme.

Second Symphony. Subsidiary theme.

Second Symphony. Funeral march (a section).

Fourth Symphony. Introductory theme.

Fourth Symphony. Main theme.

Fourth Symphony. Subsidiary theme.

Fifth Symphony. Main theme.

Fifth Symphony. Subsidiary theme.

Fifth Symphony. Theme from the Finale.

Eduard Tubin. Fifth Symphony. Main theme (in development with score sample).

Fifth Symphony. Subsidiary theme.

Fifth Symphony. Beginning of the second movement.

Fifth Symphony. Beginning of the third movement.

Fifth Symphony. Final section.

Sixth Symphony. Main theme.

Sixth Symphony. Subsidiary theme.

Sixth Symphony. Central theme, second movement.

Seventh Symphony. Main theme.

Seventh Symphony. Theme from the second movement.

Eighth Symphony. The first theme, second movement.

Eighth Symphony. Theme from the third movement (with score sample).

Jaan Koha. First Symphony. Main theme (with score sample).

First Symphony. Subsidiary theme.

First Symphony. Threnody theme, third movement.

First Symphony. Finale theme.

Second Symphony. Main theme.

Second Symphony. Subsidiary theme.

Second Symphony. Theme from the second movement.

Ester Mägi. Symphony. Main theme.

Symphony. Subsidiary theme.

Symphony. Theme from the second movement.

Kuldar Sink. Second Chamber Symphony. Section from the first movement.

Second Chamber Symphony. Beginning of the second movement.

Second Chamber Symphony. Beginning of the third movement.

Concerto for Strings. The second theme, first movement.
Concerto for Strings. Fugato, second movement.

Concerto for Strings. First image, third movement.

Eduard Tubin. Ninth Symphony. Main theme.

Ninth Symphony. Subsidiary theme.

Ninth Symphony. The second theme, second movement.

Ninth Symphony. Fugue theme, second movement.

Arvo Pärt. Third Symphony. Main theme (with score sample).

Third Symphony. Supplementary phrase to the main theme.

Third Symphony. Section from the second movement.

Third Symphony. Beginning of the third movement.

Third Symphony. Second image, third movement.

Te Deum laudamus. First movement, choir beginning.

Heino Jürisalu. Concerto for Orchestra. Beginning.

Concerto for Orchestra. Section from the Finale.

Three Serenades. Beginning.

First Symphony. Main theme.

First Symphony. Subsidiary theme.

First Symphony. Beginning of the second movement.

Second Symphony. Beginning of the second movement.

Second Symphony. Finale theme.

Anti Marguste. First Rune. Second theme.

First Rune. Third theme.

Second Rune. First theme.

Second Rune. Third theme.

Third Rune. Second theme.

Third Rune. Third theme (in development).

Eino Tamberg. First Symphony. Leading theme, first movement.

First Symphony. Subsidiary theme, first movement.

First Symphony. The beginning of the second movement.

First Symphony. Finale: folk tune Song of the Great Oak.

Second Symphony. Allegro theme, first movement.

Second Symphony. First developing theme in the second movement.

Alo Põldmäe. Ballet Suite Mermaid. Section from the introduction.

Ballet Suite Mermaid. Appearance of Kaspar.

Ballet Suite Mermaid. Mermaid solo.

Ballet Suite Mermaid. Metamorphoses.

Concerto-Symphony. Main theme.

Concerto-Symphony. Episode from the middle.

Concerto-Symphony. Episode from the conclusion.

Mati Kuulberg. Chamber Symphony. Main theme, first movement.

Chamber Symphony. Subsidiary theme, first movement.

Chamber Symphony. Fugato theme, third movement.

Legend of the Liberator. Reminder of the Hero.

Second Symphony. An image from the beginning.

Second Symphony. Beginning of the second movement.

Second Symphony. An image from the third movement.

Raimo Kangro. Divertissement for Chamber Orchestra. Beginning of the first movement.

Divertissement for Chamber Orchestra. Beginning of the second movement.

Divertissement for Chamber Orchestra. Beginning of the third movement.

Simple Symphony. An image from the first movement.

Simple Symphony. An image from the second movement.

Simple Symphony. Beginning of the third movement.

Sinfonia Sincera. Introduction.

Sinfonia Sincera. Allegro theme, first movement.

Sinfonia Sincera. Beginning of the second movement.

Sinfonia Sincera. Beginning of the third movement.

Lepo Sumera. In Memoriam. Main theme.

In Memoriam. Second theme.

In Memoriam. Third theme.

Music for Chamber Orchestra. Main theme.

Music for Chamber Orchestra. Beginning of the second movement.

First Symphony. Image from the first movement (with score sample).

First Symphony. First image, second movement.

First Symphony. Folk music theme, second movement.

First Symphony. “Street” theme, second movement.

Second Symphony. Beginning of the first movement.

Second Symphony. An image from the beginning of the third movement.

Second Symphony. An image from the middle of the third movement.

E.-S. Tüür. First Symphony. First movement, leading primary image for Violins.

First Symphony. First movement, expanding phrase for Violoncellos.

First Symphony. First movement, new theme for brass.

First Symphony. Second movement, second theme for woodwinds.

Second Symphony. Second movement, system of images for woodwinds.

Second Symphony. Section from the middle of the second movement.

Lepo Sumera. Fourth Symphony. An example from the first movement.

Fourth Symphony. An example from the fifth movement.

E.-S. Tüür. Searching for Roots. The beginning.

Requiem. First movement, beginning of the choir.

APPENDIX K. USEFUL ADDRESSES.

Theatres
Vanemuine Theatre
Vanemuise 6
51003 Tartu
Estonia
Phone : +372 744 0100
Box Office: + 372 744 0165
E-mail: [email protected]
Home page: www.vanemuine.ee
Ugala Theatre
Vaksali 7
71020 Viljandi
Estonia
Secretary: +372 433 3718
Box Office: +372 433 3876
Fax: +372 433 4431
E-mail: [email protected]
Home page: www.ugala.ee (no English version)
Endla Theatre
Keskväljak 1
80010 Pärnu
Estonia
Box Office: +372 442 0666
E-mail: [email protected]
Home page: www.ugala.ee (no English version)
National Opera Theatre Estonia
Estonia Avenue 4
10148 Tallinn
Estonia
Phone: +372 683 1260
Fax: +372 683 1246
E-mail: [email protected]
Home page: www.opera.ee
Concert Halls
Estonia Concert Hall
Estonia Avenue 4
10148 Tallinn
Estonia
Box Office:
Phone: +372 614 7760
Fax: +372 614 7769
E-mail: [email protected]
Vanemuise Concert Hall
Vanemuise 6
51003 Tartu
Secretary: + 372 737 7530
Box office: +372 737 7536, +372 737 7537
E-mail: [email protected]
Pärnu Concert Hall
Aida 4
80011 Pärnu
Estonia
Phone: + 372 445 5810
Fax: + 372 445 5806
E-mail: [email protected]
Jõhvi Concert Hall
Pargi 40
41537 Jõhvi
Estonia
Secretary: + 372 334 2010
Box office: + 372 334 2000, + 372 334 2001
Front desk: +372 334 2000, + 372 334 200
E-mail: [email protected]
The State Concert Institution Eesti Kontsert
Estonia Avenue 4
10148 Tallinn
Estonia
General manager: + 372 614 7710
Secretary: + 372 614 7700
Front desk: + 372 614 7705
Box office: + 372 614 7760
Accounting : + 372 614 7720
Producers: + 372 614 7730
Concert organizing: + 372 614 7740
Advertising & marketing : + 372 614 7750
Estonia Concert Hall Management: + 372 614 7770
Estonian National Male Choir: + 372 614 7780
E-mail: [email protected]
Home page: www.concert.ee
Universities
University of Tartu
Ülikooli 18
50090 Tartu
Estonia
Phone: + 372 737 5100
Fax: + 372 737 5440
E-mail: [email protected]
Home page: www.ut.ee
Tallinn University
Narva mnt. 25
10120 Tallinn
Estonia 
Phone: +372 640 9101
Fax: +372 640 9116
E-mail: [email protected]
Home page: www.tlu.ee
Estonian Academy of Music and Theatre
Rävala pst 16
10143  Tallinn
Estonia
Phone: +372 667 5700
Fax: +372 667 5800  
E-mail: [email protected]
Home page: www.ema.edu.ee
Music Schools
Tallinn Music High School
Vabaduse pst 130
10920 Tallinn
Estonia
Secretary: +372 657 6004
Fax: +372 670 6708
E-mail: [email protected]
Home page: www.tmkk.edu.ee (no English version)
Tallinn Music School
Tallinna Muusikakool
Narva mnt. 28
10152 Tallinn
Estonia
Phone: +372 648 5819
Fax: +372 631 2048
E-mail: [email protected]
Home page: http://muusikakool.haridus.ee (no English version)
Georg Ots Tallinn Music School
Vabaduse väljak 4
10146 Tallinn
Estonia
Phone: +372 644 3626
Fax: +372 644 6450
E-mail: [email protected]
Home page: www.otsakool.edu.ee (no English version)
Heino Eller Tartu Music School (formerly Tartu Higher Music School)
Lossi 15
51003 Tartu
Estonia
Phone: +372 742 3705
Fax: +372 742 3611
E-mail: [email protected]
Home page: www.tmk.ee (no English version)
Libraries
National Library of Estonia
Tõnismägi 2
15189 Tallinn
Estonia
Phone: +372 630 7611
Fax: +372 631 1410
E-mail: [email protected]
Home page: www.nlib.ee
Tartu University Library
W.Struve 1
Tartu 50091
Estonia
Phone: +372 737 5702
Fax: +372 737 5701
E-mail: [email protected]
Home page: www.utlib.ee
Tartu Public Library
Kompanii 3/5
51004 Tartu
Estonia
Secretary: +372 736 1370
Fax: +372 736 1373
E-mail: [email protected]
Home page: www.luts.ee
Tallinn Central Library
Estonia pst 8
15044 Tallinn
Estonia
Phone: +372 683 0915,
E-mail: keskraamatukogu @tln.lib.ee
Home page: www.keskraamatukogu.ee
The Library of Estonian Academy of Music and Theatre
Rävala pst 16
10143 Tallinn
Estonia
Phone: +372 667 5751
Fax: +372 667 5800
E-mail: [email protected]
Home page: www.ema.edu.ee
Pärnu Central Library
Akadeemia 3
Pärnu 80010
Estonia
Phone: +372 445 5707
Fax: +372 445 5714
E-mail: [email protected] 
Home page: www.pkr.ee
Unions and Foundations
Estonian Composers’ Union
Lauteri 7
10145 Tallinn
Estonia
Tel/fax: +372 645 4068
E-mail: [email protected]
Home page: www.helilooja.ee
Estonian Song and Dance Celebration Foundation
Suur-Karja 23
10148 Tallinn
Estonia
Phone: +372 627 3120
Fax: +372 627 3125
E-mail: laulupidu @kul.ee
Home page: www.laulupidu.ee
Orchestras and ensembles
Estonian National Symphony Orchestra
Estonia Avenue 4
10148 Tallinn
Estonia
Phone: +372 614 7787
Fax: +372 631 3133
E-mail: [email protected]
Home page: www.erso.ee
NYYD Ensemble
Süda 3-5
10118 Tallinn
Estonia
Phone/ Fax: +372 646 3238
E-mail: [email protected]
Home page: www.nyyd.ee
Museums
Estonian Theatre and Music Museum
Müürivahe 12
10146 Tallinn
Estonia
Phone: +372 644 6407
Fax: +372 641 8166
E-mail: [email protected]
Home page: www.tmm.ee
Home Museum of Cyrillus Kreek
Väike-Viigi 10-2
90502 Haapsalu
Estonia
Phone: +372 473 7065
Fax: +372 473 7048
E-mail: talis @muuseum.haapsalu.ee
Home page: www.muuseum.haapsalu.ee (no English version)
Home Museum of the Kapp family
Tallinna 30
Suure-Jaani
71502 Viljandimaa
Estonia
Phone: +372 437 1190
E-mail: [email protected]
Home Museum of Mart Saar
Hüpassaare farmstead
71402 Vihi village
Viljandi county
Estonia
Phone: +372 435 7141
E-mail: [email protected]
Home page: www.muuseum.viljandimaa.ee
Home Museum of Rudolf Tobias
Hiiu mnt. 33
92101 Käina
Hiiumaa island
Estonia
Phone: +372 505 7352
Home page: www.muuseum.hiiumaa.ee (no English version)

Internet Links

Estonica Encyclopedia about Estonia.
http://www.estonica.org/
Estonian Tourist Board.
http://www.visitestonia.com/

ABOUT THE AUTHOR

Uno Soomere, born on September 19th, 1930 in Tallinn, is an Estonian composer, pianist, music researcher and educationalist. He graduated from the Tallinn State Conservatoire in Piano (1959) with Professor Bruno Lukk and in composition (1962, cum laude) with Professor Eugen Kapp. He became a member of the Estonian Composers’ Union in 1967 and the Estonian Authors’ Society in 1996. He was engaged as a senior lecturer at the Tallinn Pedagogical Institute, Chair of Music, between 1960 and 1983. From 1988 to 2003, he taught at the School of Music and Fine Arts in Kuusalu ( Harjumaa county).
As a composer he has written instrumental symphonic works: Passacaglia and Double Fugue for Strings (1961); Concerto for Piano (1964) and Violoncello (1966); Poem to my Father (2000). He is also attracted to chamber music (vocal poems, Violin Sonata) though mostly by vocal-symphonic poems for soloists and orchestra based on the works of Estonian poets (Under, Suits, Liiv and Alver). He has shown himself to be a tender lyrical as well as an introspective dramatic writer with a tragic undertone. Among the numerous vocal solo compositions the cycle Tiny Songs (Hendrik Adamson, 1891-1946), 1968, was awarded at the Estonia Theatre Concert Pieces contest in the same year.
Uno Soomere completed his most extensive and mature composition, the twelve-part Oratorio Song to the Creator (based on Rabindranath Tagore’s poems from the Gitanjali), in 1996, paying with it his homage to the Almighty. Here the animated lyricism of the anguish and pain of human existence intertwine with rejoicing in spiritual improvement, creating a broad psychological vista of the whole being.1
For many years Uno was involved with Estonian Radio as a music critic and broadcasting on Estonian symphonism. His series of essays and lectures on several basic problems of music: Listen, Understand, Evaluate1 and Lectures on the Avant-garde in Music2 were published in 1969. He has also promoted the output of Estonian symphonists abroad with lectures at the Sibelius Academy in Finland (1987) and at the University of Stockholm (The Baltic Conference, 1991). On the proposal of Neeme Järvi, Uno Soomere wrote the CD annotation for Music from Estonia, Volume 2 (works by Tobias, Lemba, Eller, Tormis and Pärt) recorded by the Scottish National Orchestra conducted by Neeme Järvi.3 His manuscript Estonian symphonist Arvo Pärt: Creative Years in the Homeland 1959-1979 (translated into English in 1991) is not yet published. A summary of it appeared first in Russian (Soviet Composers Publishers, Moscow, 1977) and later in Stockholm (Estonian Quarterly Tulimuld, 1988).
The author is a follower of the Bhagavan Sri Satya Sai Baba. In January 2000, he stayed at Satya Sai Baba’s ashram and received his blessings among sixty thousand devotees from around the world.
1 Heimar Ilves, personal conversations with Uno Soomere, October 1974.
2 Eino Tamberg, interview with Annika Koppel, Postimees, 17 Apr. 1998.
1 Not meant as a disparaging euphemism.
1 Arnold Schönberg, Ausgewählte Briefe, ed. Erwin Stein (Mainz: B. Schott's Söhne, 1958), 179. English translation: Schoenberg, Arnold, Arnold Schoenberg Letters, ed. Leonard Stein, trans. Eithne Wilkins and Ernst Kaiser (London: Faber and Faber, 1964).
2 See his article “Eesti muusika iseloomlik ilmend” (The characterising expression of Estonian music), in Eesti Kultura II (Tartu: Postimees, 1913).
1 Its subject matter included articles about Estonian and European music, musicians, folk music, composing, etc.
1 Gifted as a choral conductor.
1 Its manifesto called for reforms from the tsarist regime and for limited autonomy for Estonia.
1 Kohalikud sõnumid (The Local News), Postimees [Tartu] 1st May 1901.
1 First performance in Tartu, Vanemuine Theatre, 19 Nov. 1907, composer conducting.
1 26 Nov. 1909, in Andreas Church, Tobias conducting.
2 Vardo Rumessen, Rudolf Tobias ja tema oratoorium “Joonase lähetamine” (R. Tobias and his Oratorio “Des Jona Sendung”). Teater. Muusika. Kino . Nr. 10, 1988.
3 Allgemeine Musikzeitung [Berlin], August 19/26 no 34/35 (1910). Translation in Muusikaleht (Music Paper) 10 (1928). Ten years after the death of Rudolf Tobias.
1 Suurteos läbi aegade (A grand work throughout times) Päevaleht (Daily Newspaper) 30 June 1992.
2 Muusikaleht (Music Paper) 10 (1928).
1 Inspired by Friedrich Schiller’s tragedy.
2 The city lies on the Volga River, near the Caspian Sea.
3 Pavlovsk is a town 30km outside St. Petersburg. The performance was in the summer of 1901, performed by the local orchestra under the baton of Kapp.
4 Tartu, Vanemuine Theatre, 17 Aug. 1920, Artur Kapp conducting his authorial concert.
1 The previous one burned down in 1903.
2 First performed in Tartu, Vanemuine Theatre, 13 Aug. 1906; Artur Kapp conducted the theatre orchestra. The concert was dedicated to Estonian music.
1 Editor’s note: both were popular light romantic pieces rather than challenging pieces demanding the attention of the audience.
2 Exact date unknown.
1 Carl Hunnius, “The Daughter of Lembitu”, Elu (Life). Tartu, 29 and 30 Apr. 1908.
1 The first performance took place in St. Petersburg, January 1909 conducted by Alexander Glazunov.
1 Designed by the Finnish architects Armas Lindgren and Wivi Lönn.
2 Eesti Kultura II (Estonian Culture II) (Tartu: Postimees, 1913) 181-190.
1 The first performance took place at Tartu’s Vanemuine Theatre on 27 Aug. 1921, the composer conducting.
2 Lyric Pieces no.4 in op. 54.
1 ”Pilk tulevikku” (A Glance into the future) Looming (1923): 292-293.
1 Still to be translated and published, in its entirety, in English.
2 A worldwide association of writers, founded in 1921, to promote friendship and intellectual co-operation among writers everywhere; to emphasize the role of literature in the development of mutual understanding and world culture
1 The story of frontline soldiers during the War of Independence.
1 “Eesti muusika” (Estonian Music) Eesti: Maa. Rahvas. Kultuur. (Estonia. Land. People. Culture.) (Tartu: Haridusministeeriumi kirjastus, 1928).
2 First performance by the Estonia Theatre orchestra, 20 Nov. 1925, the composer conducting.
1 Kakskümmend aastat Eesti muusikat: 1918-1938 (Twenty Years of Estonian Music: 1918-1938), ed. Karl Leichter (Tallinn: Tallinna Eesti Kirjastus-Ühisus, 1938) 70-72.
1 Artur Kapp sõnas ja pildis (Artur Kapp in Word and Picture) (Tallinn: Eesti Raamat, 1968) 109.
1 First performance in Tallinn: the mixed choir of Estonia Music Department and Estonia Theatre orchestra, 20 Oct. 1929, conducted by Juhan Aavik.
1 Juhan Aavik. Eesti muusika ajalugu III (History of Estonian Music III) (Stockholm: Kirjastus Eesti Lauljaskond Rootsis, 1969) 29.
2 First performance in Tartu’s Vanemuine Theatre, 8 Apr. 1921, the orchestra was conducted by the composer.
1 The work was later recorded (1968) for the archives of Estonian Radio, the Estonian Radio Symphony Orchestra conducted by Kirill Raudsepp.
1 The sentiments of the apologists of the regime at the time: compared to Poland, Portugal, Spain, Italy and Germany, it almost had the air of accuracy .
1 Looming (Creation) 9 (1933): 1081.
2 Based on his novel of the same title, the play was co-written with August Annist, it was filmed in 2002.
1 Look at the opinion of the Head of State, Konstantin Päts, as he addressed Estonia Theatre in April 1935; Postimees 17 Apr. 1935.
2 Eesti Kultuuri struktuurist, orientatsioonist ja ideoloogiast (Estonian Culture, structure, orientation and ideology) Varamu (Treasury) (1938): 720.
1 The Suite as a whole was first performed in the Estonia Concert Hall, 13 Dec. 1939, the State Broadcasting orchestra was conducted by Olav Roots.
1 The first performance was in October, 1938. The State Broadcasting Symphony orchestra was conducted by Raimund Kull.
2 Not the traditional image.
1 Esmaspäev (Monday) 8 Oct. 1938.
1 The first performance was at the Estonia Concert Hall, 4 Sept. 1939, conducted by Valerian Bierdiayew (Poland).
1 Heino Eller, Vaba Maa (Free Land) 6 Mar 1937.
2 Kakskümmend aastat Eesti muusikat 74.
1 First performance was at the Tallinn Estonia Theatre, 8 Sept. 1928. Stage director Henno Kompus, conductor Raimund Kull.
1 Eesti muusika II (Estonian Music II) (Tallinn: Eesti Raamat, 1975) 248-249.
1 Juhan Aavik. Eesti Muusika Ajalugu, IV. Kunstmuusika. Eesti Vabariigi aeg. History of Estonian Music. Era of Estonian Republic. Pp. 150-188. Stockholm 1969, the Estonian Singers’ League in Sweden.
1 First performance was at Tallinn, Estonia Concert Hall, 24 June 1938. The State Broadcasting Symphony orchestra was conducted by Olav Roots.
2 Olav Roots. Eduard Tubina Legendaarne sümfoonia (Eduard Tubin’s Legendary Symphony). Kakskümmend aastat Eesti muusikat, pp. 82-84.
1 Eesti muusika II, pp. 265.
2 A type of Golem, even though evil the Kratt can enrich his creator with worldly wealth.
1 Woldemar Mettus, Aja Kaja (Echo of the times) 28 Feb. 1944.
2 Gramophone : the world's best classical music magazine, September 1986: 390.
1 R. K. Postimees [Tartu] 1 Mar. 1944.
2 Õie Elango, Eesti kunstiintelligents pöördeaastail 1940-1941 (Estonian Art Intellectuals in the Pivotal years 1940-1941) (Tallinn: Eesti Raamat, 1979) 17.
1 Mihkel Lüdig, Mälestused (Memoirs) (Tallinn: Eesti Raamat, 1969) 187.
2 Hans Kruus, Eesti rahva kutsumusest ja rahvusterviklusest (The mission and national integrity of the Estonians) (Tartu: Eesti Üliõpilaste Seltsi Vilistlaskogude Liidu Kirjastus, 1940) 28-29.
1 Molotov-Ribbentrop Pact, signed 23 Aug. 1939.
2 28 Sept. 1939.
3 Eesti kirjanduslugu (Estonian Literary History) (Tallinn: Koolibri, 2001) 345.
1 Vares, under investigation by the Soviet NKVD for his activities in the Estonian War of Independence, committed suicide in Kadriorg Palace in Tallinn, in November.
1 The Third Symphony was first performed at the Estonia Concert Hall, 26 Feb. 1943, Olav Roots conducting the Broadcasting Symphony orchestra. The Fourth Symphony was first performed at the Tallinn Drama Theatre, 16 Apr. 1944, same performers.
2 Eduard Tubina elust ja loomingust (Eduard Tubin’s Life and Works), Eesti loomig: kirjanduslik koguteos (Estonian Creation), vol. 4 (Stockholm: Välis-Eesti Kirjastustoimkond, 1946) 103.
3 Ibid, 103-104.
4 Carl G. Brinkmann, Revaler Zeitung 18 Apr. 1944.
1 Aspects of Estonian Culture, ed. Evald Uustalu (London: Boreas Publishing, 1961) 316.
1 First performed in Moscow, in the Hall of the Trade Unions, January 1943. The All-Union Radio Symphony Orchestra was conducted by Sergey Gortshakov.
2 First performed by ERSO (Estonian Radio Symphony Orchestra), 13 Jan. 1956, conducted by Roman Matsov.
3 Performed by ERSO, 9 Oct. 1975, conducted by Neemi Järvi.
1 Harri Kiisk, Teataja [Stockholm] 16 Nov 1996.
2 First performance 21 July 1945. Since the Estonia building still stood in ruins, the venue was the Gloria Palace Cinema.
3 First performance in the Gloria Palace Cinema, 27 Mar. 1948.
1 Õhtuleht 28 July 1945.
2 Riho Päts, Õhtuleht 29 Mar. 1948.
3 Noorte Hääl 19 Aug. 1950.
4 The work was recorded for the archives of Estonian Radio in 1965, ERSO conducted by Kirill Raudsepp.
1 First performance in Tallinn, at the Jaan Tomp Culture Hall, 20 Mar. 1946, the ERSO conducted by Roman Matsov.
1 Sirp ja Vasar 16 June 1945.
2 Its planned first performance was prohibited by the Soviet authorities. The First Symphony was first performed in Germany, at Geislingen, by the Stuttgart Philharmonic orchestra on 23 Feb. 1948, conducted by Roman Toi. It was eventually recorded by ERSO conducted by Roman Matsov for the archives of Estonian Radio.
1 Juta Kurman, Lauluisa Juhan Aavik – 95 (The Senior Bard Juhan Aavik – 95), Tulimuld 1 (1979): 39-41.
1 First performance by the State Broadcasting (Landessender Reval), 18 Aug 1944, Olav Roots conducting.
2 Eesti Sõna 20 Aug. 1944.
3 The Second Symphony was recorded for Estonian Radio in Tallinn, September 1991. The Radio Symphony Orchestra was conducted by Arvo Volmer (1962-). The work was broadcast that November.
1 Reede 8 June 1990.
1 Evald Laasi, Kui kolhoose tehti (When Collective Farms were organised), Horisont 1 (1988) 13.
2 Eesti saatuseaastad 1945-1960 (Estonia: The Fatal Years, 1945-1960), vol.2 (Stockholm: EMP, 1964) 49.
3 The Minister of Education and Culture in the short-lived Estonian communist government of 1940.
1 Epp Kaidu, Eesti kunstilisest filmist, Eesti Nõukogude Teater II (Estonian Feature Film: The Estonian Soviet Theatre II), (Tallinn, 1956) 193.
1 First performed by ERSO, 30 Sept. 1948, under Sergey Prokhorov.
1 Gustav Ernesaks, Nii ajaratas ringi käib (So The Wheel of Time is Turning) (Tallinn: Eesti Raamat, 1977) 39-42.
2 First performance by ERSO, 4 Nov. 1951, conducted by Roman Matsov.
1 First performance at Estonia Concert Hall, 9 Mar. 1962, ERSO conducted by Neeme Järvi
2 Ernesaks, Nii ajaratas 71.
3 From a speech delivered at the 7th Congress of the Soviet Estonian Composers’ Union, 1961.
1 First performance 12 Mar. 1965: Vladimir Alumäe (soloist), ERSO conducted by Neeme Järvi.
2 First performance in Tallinn by ERSO, 27 Mar. 1960, conducted by Roman Matsov.
1 The nephew of Artur Kapp.
1 Kross was nominated several times for the Nobel Prize in Literature.
1 Ivar Kosenkranius, Film ja aeg : esseid, etüüde, portreevisandeid (Film and Time. Essays, etudes and sketches) (Tallinn: Eesti Raamat, 1974) 84.
2 Sirp ja Vasar (Sickle and Hammer) no 5 1955: 6.
3 First performed in Moscow by the All-Union Radio Symphony orchestra, 10 July 1957, conducted by Nikolai Anossov.
1 First performed by ERSO, 4 Apr. 1958, conducted by Sergey Prokhorov.
1 The work was first staged at the Schwerin State Theatre (the then East Germany) in 1960 with Kurt Masur conducting. The first symphonic performance was by ERSO, 7 Oct. 1960, conducted by Erich Kõlar .
2 Kuus Eesti tänase muusika loojat (Six Creators of Estonian Modern Music) (Tallinn: Eesti Raamat, 1970) 117-118.
1 Kuus Eesti tänase muusika loojat. (Six Creators of Estonian Modern Music) (Tallinn: Eesti Raamat, 1970) pp.125-126.
1 Eesti Ekspress 10 Aug 1990: 4.
2 First performance in Tallinn, 27 Nov. 1959, ERSO conducted by Roman Matsov.
1 First performance in Estonia Concert Hall, 24 Apr. 1959, ERSO conducted by Sergey Prokhorov.
1 First performance: 25 Dec. 1959. ERSO conducted by Roman Matsov.
1 The first performance took place on 21 Dec. 1961. ERSO was conducted by Roman Matsov.
2 The first performance took place on 3 Nov. 1967, ERSO was conducted by Neeme Järvi.
1 Sovetskaya Muzyka (Soviet Music) 8 (1969).
1 Kodumaa (Homeland) 24 Jan. 1968.
2 Kuus eesti Eesti tänase muusika loojat. (Six Creators of Estonian Modern Music) (Tallinn: Eesti Raamat, 1970) p. 65.
1 Harri Kiisk. Eesti muusikast ja muusikutest : valik artikleid (About Estonian music and musicians. Selected articles) (Tallinn: Estonia Selts, 1997) 6.
1 Arvo Pärt, personal conversations with Uuno Soomere, 1960.
2 The second performance took place in Leningrad, May 1962. The work was performed in Tallinn only in 1966.
1 Yuri Korev, Sovetskaya Muzyka May (1961): 131 – 132.
1 Karl Leichter, On Nekrolog Sirp ja Vasar 19 Jan. 1962.
2 The first performance in Tallinn Estonia Concert Hall by ERSO, 27 Nov. 1963, Conductor Neeme Järvi.
1 Giacomo Manzoni, On Arvo Pärt. L’Unita 13 Sept 1964.
2 Arvo Pärt – a Soviet composer, by Fred Prieberg, Radio Cologne, 20 May 1975.
3 The first performance in Tallinn, Estonia Concert Hall, 7 Febr. 1964, The Estonian Radio Symphony Orchestra conducted by Neeme Järvi.
1 Articles of the Baltic musicologists. (Moscow: Sovetsky Kompozitor, 1968) 277.
2 The first performance took place in Tallinn, 13 Oct. 1967. The orchestra was conducted by Eri Klas.
1 Sirp ja Vasar 21 Febr. 1969.
1 The first performance on 6 Febr. 1969, ERSO conducted by Olev Oja.
2 The first performance in 28 May 1986, ERSO conducted by Paul Mägi and was broadcast by Estonian Radio.
1 First performance 27 Dec. 1967,ERSO was conducted by Neeme Järvi.
1 The work was recorded by ERSO and conductor Neeme Järvi for the archives of the Estonian Radio in 1969 but has never been publicly performed.
2 The Sixth Symphony was recorded by ERSO and conductor Leho Muldre for the archives of the Estonian Radio in 1970 but has not been publicly performed.
1 Priit Kuusk, On the music of Helmut Rosenvald. Sirp ja Vasar 23 Oct. 1970.
2 The work was performed on 24 Nov. 1964, by an ERSO ensemble conducted by Roman Matsov.
3 In conversation with the author.
1 First performed on 12 Dec. 1976 by a chamber ensemble and the State Male Choir, conducted by Olev Oja.
2 First performed on 5 Nov. 1970 by ERSO, conducted by Roman Matsov
1 Helju Tauk, On the music of Marguste Sirp ja Vasar 16 Sept. 1966.
2 Jaan Sarv, Anti Marguste III ja IV sümfoonia’ graduation thesis, Tallinna Riiklik Konservatoorium , 1970, 70.
1 First performed on 25 Mar. 1960 by ERSO, conducted by Roman Matsov.
1 Sirp ja Vasar. 24 March 1967.
2 First performed on 27 Nov. 1964 by ERSO conducted by Roman Matsov.
1 Avo Hirvesoo, On the Second Symphony of Heimar Ilves, Sirp ja Vasar 11Dec. 1964.
2 Regrettably, the recording of this work (conducted by Roman Matsov) in the archives of the Estonian Radio has been lost.
1 First performed on 4 Mar. 1971, by ERSO conducted by Roman Matsov
1 First performed in the Stockholm Concert Hall by the Symphony Orchestra of the Concert Society, 16 Nov. 1947, conducted by Carl Garaguly.
1 Stockholms Tidningen 16 Nov. 1947.
2 First performed by the Swedish Radio Symphony Orchestra, 30 Sept. 1955, conductor Tor Mann .
1 Stockholms Tidningen 7 Nov. 1956.
2 First performed in the Gävle Town Theatre, 1 Mar. 1959, conductor Gunnar Staern.
3 First performed in the Estonia Concert Hall, 24 Febr. 1967, conductor Neeme Järvi .
1 Herbert Connor. Eduard Tubin – est, svensk, kosmopolit. Svensk Tidskrift för Musikforskning 60 (1978): 1.
1 Nõukogude Eesti: entsüklopeediline teatmeteos (Soviet Estonia: An Encyclopaedic Reference Book) (Tallinn: Valgus 1978) 41.
1 Ivar Kosenkraius, Film ja aeg: esseid, etüüde, portreevisandeid (Film and Time. Essays.) (Tallinn: Eesti Raamat, 1974) 98.
2 First performed by ERSO, 17 Febr. 1961, conducted by Roman Matsov.
1 First performed by ERSO, 16 Nov. 1968, conducted by Neeme Järvi.
1 Kuus Eesti tänase muusika loojat. Tallinn, Eesti Raamat 1970, p. 29.
2 First performed by ERSO, 23 Apr. 1969, conducted by Roman Matsov.
1 Kaheksa eesti tänase muusika loojat (Eight Creators of Estonian Modern Music) (Tallinn: Eesti Raamat, 1979) p. 170.
1 Socialist Musical Culture (Moscow: Muzyka Publishers, 1974) 257.
1 First performed by ERSO, 2 Nov. 1976, conducted by Neeme Järvi.
1 Hugo Lepnurm. Viimaselt sümfooniakontserdilt. Sirp ja Vasar, 10 December 1976.
1 First performed in the Stockholm Royal Music Academy by the Swedish Radio Symphony Orchestra, 20 Nov. 1971, conducted by Stig Westerberg.
1 Arnolds Klotinsh, On the symphonism of Eduard Tubin. Sirp ja Vasar 21 May 1976.
1 Merike Jõulma, Eduard Tubina sümfooniate dramaturgia (The Symphonic Dramaturgy of Tubin), Graduation thesis, Tallinna Riiklik Konservatoorium, 1966, 76.
2 Kallis Eduard Tubin (Dear Eduard Tubin). Kodumaa (Homeland) 18 June 1980.
1 The performance took place in Tallinn Estonia Concert Hall on 21 Sept. 1972. The Estonian Radio and Television Symphony Orchestra was conducted by Neeme Järvi. The Third Symphony is dedicated to Neeme.
1 Aurora Semper, On the Third Symphony. Rahva Hääl 30 Sept. 1972.
2 Ofelia Tuisk, On the Third Symphony. Sirp ja Vasar 28 Mar. 1975.
3 Neeme Järvi, On Arvo Pärt. Noorte Hääl 9 Sept. 1973.
4 Kuus Eesti tänase muusika loojat p. 58.
1 Sirp 22 Oct. 1993.
1 The first performance in Tallinn, Oleviste Curch, 7 May 1989. The Early Music Ensemble was conducted by Andres Mustonen.
2 The recording was made by the Estonian Philharmonic Chamber Choir and Tallinn Chamber Orchestra in Helsinki, January 1993, Tõnu Kaljuste conducting. Te Deum ECM 1505CD 439 162-2
3 Robert Cowan. Gramophone : the world's best classical music magazine, Nov. (1993).
1 Eestlane ja tema kultuur (The Estonian and His Culture) (Tallinn: Perioodika, 1976) pp. 31, 33.
2 Ilmar Torn. Eesti kunsti palgejooni. Sirp ja Vasar 28 Jan. 1977.
1 First performed by ERSO, 21 Oct. 1960, conducted by Roman Matsov.
1 The work was first performed by ERSO, 19 Oct. 1970, Eri Klas conducting.
1 Sirp ja Vasar 2 June 1970.
2 Heino Jürisalu. Of his music. Sovetskaya Muzyka 5 (1974).
3 The work was first performed by ERSO, 20 Nov. 1975, conducted by Roman Matsov.
1 The First Rune was performed in the Tartu Vanemuine Concert Hall, 15 Mar. 1974, conducted by Roman Matsov.
1 All of these symphonies had their first performances under the baton of Peeter Lilje with ERSO: First, 27 Jan. 1979; Second , 23 Oct. 1986; Third – 12 Nov. 1989.
1 It is remarkable that a repeating motif of an ancient Estonian dance tune Pidu hakkab (The Party Begins) is heard (flutes and violins). Perhaps it is not meant so by the composer, bu this sounds as a presentiment.
2 Merike Vaitmaa. Sirp ja Vasar 29 Dec. 1978.
1 Evi Papp . On the author’s evening of Tamberg. Sirp ja Vasar 16 May 1987.
1 Annotation of Eino Tamberg: Symphonies, annot. E.H., the booklet of Antes Edition En. BMCD 31, 9075.
2 The first generation of Estonian symphonists: Rudolf Tobias, Artur Kapp, Juhan Aavik, Artur Lemba and Heino Eller.
The second generation: Evald Aav, Eduard Tubin, Eugen Kapp, Villem Kapp, Heimar Ilves among others.
The third generation: Jaan Koha, Eino Tamberg, Anti Marguste, Jaan Rääts, Arvo Pärt and others.
The fourth generation: the most outstanding representatives are the above-mentioned plus Kuldar Sink.
It seems reasonable to proceed from a twenty-year cycle as it is the shortest interval of time after which young artists start their creative work.
1 Recommendation to the Estonian Composers’ Union by Eino Tamberg, dated 2 Febr. 1971.
1 First performance by ERSO, 21 June 1970, conducted by Roman Matsov.
2 Taken from the short fantasy story by Friedebert Tuglas.
3 The Suite was performed for the first time in an ERSO studio broadcast on 23 Sept. 1979, conducted by Peeter Lilje.
1 Antanas Rekašius. Sirp ja Vasar 5 Dec. 1974.
2 First performance in Tallinn, 10 Nov. 1982, the ERSO conducted by Peeter Lilje.
1 Rahva Hääl 9 Apr. 1984.
1 Kristel Pappel, Sirp ja Vasar 21 Nov. 1986.
2 Alo Põldmäe. On Music. Õhtuleht 13 Febr. 1979.
3 Alla Grigoryeva. Focus on Current Problems. Sovetskaya Muzyka 8 (1979) 32.
4 Eesti tänase muusika loojaid (Creators of Modern Estonian Music) (Tallinn: Eesti Muusikafond, 1992) 101-102.
1 It was recorded by ERSO conducted by Roman Matsov for broadcasting in October 1973.
1 Recorded on 31 Mar. 1975, for broadcasting by ERSO conducted by Roman Matsov .
1Dina Daragan. Kuulberg’s Second Symphony. Sovetskaya Muzyka 4 (1978).
1 First performance at the Vanemuine Theatre, 29 Dec. 1971.
2 Ines Rannap. Õhtu Mati Kuulbergiga (An Evening with Mati Kuulberg), Rahva Hääl 13 Nov. 1986.
3 Annotation of the Chamber Music of Mati Kuulberg CD Antes Edition BMCD 31 9087.
4 The letter was undated.
1 Tiina Šubin. Kodumaa. 16 Dec. 1977.
2 Alla Bogdanova. On the music of Kangro. Muzykalnaya Zhizn 1 (1977).
3 It was commissioned by the Vanemuine Theatre.
1 First performance by ERSO, 13 Mar. 1986, conducted by Peeter Lilje.
1 Raimo Kangro, interview with M. Liidja. Õhtuleht 27 Jan. 1979.
2 Dina Daragan. On the music of Raimo Kangro. Teater. Muusika. Kino 8 (1987).
1 Annotations by Helmuth Peters, from the Antes Edition BMCD 31 9070, 1996.
2 First performance by the ERSO conducted by Roman Matsov in 1972. The first public performance followed in Nov. 1974, the ERSO conducted by Neeme Järvi.
1 Alla Grigoryeva. Sirp ja Vasar. 16 June 1978.
2 First performance on 30 June 1977.
1 First performance by the ERSO, 10 Oct. 1981, conducted by Vitali Katayev.
1 Isaak Dunayevsky, a Soviet composer, who specialised in "light music" for operetta and film comedies.
1 Annotation by Lyubov Berger on the sleeve of the gramophone record.
2 Lepo Sumera. Ainult üks küsimus (One question only), Noorte Hääl 9 Oct. 1981.
3 First performance by the ERSO, 2 Apr 1984, conducted by Peeter Lilje.
4 Notes by the composer on the gramophone sleeve ( Olympic Music 1, Music for Chamber Orchestra. Symphony No. 2.
1 Sirp ja Vasar 5 June 1987.
2 De Jong, American Record Guide May/ June 1995.
3 G. N. Stadtanzeiger, Kiel, 28 Febr. 1995.
1 Teater. Muusika. Kino 2 (1985).
2 Dated 25 Dec. 1984.
3 Dated 24 Dec. 1984.
1 First performance in the Radio Theatre by the ERSO, 24 Nov. 1984, conducted by Vello Pähn.
1 Urve Lippus. The First Symphony by Erkki-Sven Tüür. Sirp ja Vasar 18 Jan. 1985.
2 First performance by the ERSO, 22 Nov. 1988, conducted by Paul Mâgi.
1 Sleeve note for the gramophone record.
1 Evi Papp. The Second Symphony of Erkki-Sven Tüür. Sirp ja Vasar 5 Febr. 1988.
2 Interview with …. Sirp ja Vasar 8 Jan. 1993.
3 Andreas Obst, Neue Musikzeitung 2 (1996).
4 Christoph Schlüren, Fono Forum (Germany), June (1996).
1 The monthly Aja Pulss 1989, No. 15, p. 2
1 Eesti nõukogude entsüklopeedia, vol. 2 (Tallinn: Valgus, 1987) 364.
1 Tõnn Sarv, ‘The Theatre Question,’ Teater, Muusika, Kino 12 (1985).
2 Aivo Lõhmus, ‘The Question of Film,’ Teater, Muusika, Kino 2 (1986): 65.
1 Reede 21 July 1988.
2 Reede 21 July 1988.
3 Also known as the Popular Font.
1 Hasso Krull, ‘Eesti noorem proosa’ (Estonian youth prose literature) Looming 2 (1997): 258.
2 Teater. Muusika. Kino. 4 (1997): 5-12.
1 Estonia: Emerging and Dynamic (Tallinn: Estonian Enyclopaedia Publishers, 1998) 107.
2 ‘Vastab kino’ (Cinema is answering). Teater. Muusika. Kino 4 (1997): 19-26
3 ‘Vastab muusika. Vestlusring’ (Music is answering.) Teater. Muusika. Kino. 4 (1997): 13, 16, 17.
4 Teater. Muusika. Kino. 4 (1997): 17.
5 The first performance in Karlsruhe, 11 Apr. 1992, the Baden-Württemberg State Orchestra was conducted by Eri Klas.
1 Ulrich Hartmann, Badische Neueste Nachrichten 13 Apr. 1992.
2 Mark Aranovsky. Symphonic Quest: Essays of research. (Leningrad: Soviet Composers Publishers, 1979) 34-35.
1 Arnolds Klotinsh, ‘The Fifth Symphony of Lepo Sumera,’ Kultuurimaa 13 Aug. 1997.
2 Philosophical and tragic – the music of Lepo Sumera,’ Päevaleht 2 Mar. 1991. Trans. from The Baghdad Observer
1 The first performance took place in Helsinki, 28 Mar. 1991. The Helsinki City Orchestra was conducted by Eri Klas.
2 ‘First performances’ Sirp 12 Apr. 1991: 10. Trans. from Helsinkin Sanomat 28 Mar. 1991.
1 The first performance took place in Tallinn, 3 Apr. 1997. The Estonian National Symphony Orchestra was conducted by Arvo Volmer.
2 Evi Arujärv, ‘Reading of symphony: About the symphonies of Erkki-Sven Tüür’ Teater. Muusika. Kino. 7 (1989): 45.
3 ‘Echo of recordings’. Teater. Muusika. Kino 11 (1997): 78-79. Trans. from Christoph Schlüren, ‘Review of new recordings’ Fono Forum June (1996): 54.
4 Tiia Teder, ‘Helikristallide moodustamine’ (Forming Sound Crystals) Pühapäevaleht (Sunday Paper) 16 Mar. 1996.
5 E. S. Tüür. Cristallisatio. Booklet to the CD, ECM New Series, No. 1590.
1 ‘Tensions take birth in myself,’ interview with Kärt Hellerma, Eesti Ekspress 18 Apr. 1997.
2 ‘Mari Vihmand – a maiden from France,’ interview with Evi Arujärv, Postimees 3 May 1996.
1 Helena Tulve, interview with Immo Mihkelson, Postimees 11 Apr. 2000.
1 Virge Joamets, ‘Hopefully towards the future’ Muusikaleht 7/8, April (1994): 11.
1 The first performance took place at the author’s concert in Tallinn, 28 Nov. 1992. The NYYD Ensemble was conducted by Olari Elts .
1 Santeri Levas, Jean Sibelius (Tallinn: Eesti Raamat, 1971) 275.
2 ‘New winds in Estonian music’ Finnish Musical Quarterly 4 (1998): 31-35.
1 Eduard Tubin, About the History of Estonian Music, ms., Fund of Tubin, M 319: 1/5, Museum of Theatre and Music.
1 By the decree of the Council of Ministers of Soviet Estonia the purchase limit was raised by 25 per cent in 1983. The total budget though did not increase by very much.
1 Written in Rio de Janeiro in 1943.
1 Valik. 2 : artikleid eestluse ajaloost (Articles on the History of Estonian Nationalism II), (Tallinn : Perioodika, 1988) 96-97.
1 Heikki Klemetti, On the concert of Philharmonic Orchestra of Helsinki. Uusi Suomi 9 Oct. 1924. Artur Kapp conducting.
1 Sirp ja Vasar 10 Sept. 1976.
2 Sirp ja Vasar 14 Sept. 1984.
1 Sirp ja Vasar 14 Sept. 1984.
2 Kodumaa 26 Sept. 1990.
1 Päevaleht 4 Nov. 1993.
2 Westdeutsche Zeitung [Düsseldorf] 19 Nov. 1996.
3 Hans Hubert Schieffer. With a lovable idyll Rheinische Post 19 Nov. 1996.
4 ‘ERSO – 70’ Kultuurileht 10 Jan. 1997.
1 Õhtuleht 9 Sept. 1997.
1 “Signale”No. 22, May 27, 1931.
1 La Orquestra Sinfonica de Colombia. Bogota 1962, p.49.
1 R.Tobias. In Puncto Musicorum. Articles on music. Tartu, “Ilmamaa” Publishers 1995, pp.86, 87, 139.
2 A. Kapp in Word and Picture. Tallinn, “Eesti Raamat” Publishers 1968, pp.98, 103.
3 ‘Muusikaleht’, February 1938, pp.31, 32.
1 Heino Eller in Word and Picture. Tallinn, “Eesti Raamat” Publishers 1967, pp.102-103, 119.
2 ‘Huvitav žurnaal’ (“Interesting Journal”) No.3, March 1939.
3 To his sister Frida, March 20th, 1939; Newspaper “Reede”, March 7th, 1990.
4 L. Aarde. 70 years from the birth of Evald Aav. The newspaper “Noorte Hääl”, February 21st, 1970
5 E: Luts. Necrologue. “Muusikaleht” 1939, No,3, p.61.
6 E. Oja on musical contests. “Muusikaleht” 1938, No.2, p.39.
7 V. Rumessen. A bright personality. Newspaper “Edasi”, Tartu, January 26th , 1985.
8 H. Tauk. Features of the creative personality of Eduard Oja. A paper at the Music Museum conference “Heino Eller – 100” in 1987, p.13.
1 The Estonian newspaper “Välis-Eesti” in Sweden, May 18, 1981, p.2.
2 In personal conversation at his home October 10th, 1999.
1 Theatre. Music. Cinema, 1990, No.6, pp.10, 11. E.Tamberg an interview with Helju Tauk.
2 Theatre. Music. Cinema, 2000, No.8/9, pp.66. An interview with Igor Garšnek.
3 ‘Folksong and us’, “Sirp ja Vasar” June 16th, 1972.
4 Veljo Tormis “The Word is Sung” (“Lauldud sõna”). Tartu University Publishers, 2000, p.118.
5 Õhtuleht, 2000, July 22nd. An interview without signature.
6 Postimees, July 5th, 1996. An interview with Tiit Tuumalu.
1 Õpetajate leht” (“Teachers’ Paper”), October 4, 2002. An interview with Linda Järve.
2 Eesti Sõnumid (Estonian Tidings), April 24th, 1995, p.6.
3 Eesti Päevaleht, August 3rd, 2000, p.7. Childhood brings Pärt home. An interview with Henrik Roonemaa.
4 Virumaa teataja, September 10, 2002, p.4. An interview twith Juna Grünfeldt.
5 Virumaa teataja, September 11th, 2002, p.5. An interview without signature.
1 Postimees, May 13th, 2000. An interview with Kadri Kõusaar.
2 P.O.Vidyakar. Practical Spirituality and Bhagavan Sri Sathya Sai Baba. Sai Towers Publishers. Prasanthi Nilayam, India, 1995, p.14
3 Michelangelo. Life. Creation. Moscow, Iskusstvo Publishers 1964, p.176
1 La Mara. Bach. Leipzig, Breitkopf und Härtel 1921, p.19
2 Romain Rolland. “Beethoveni elu” (The Life of Beethoven). Tallinn, “Eesti Raamat” 1970, p.75.
3 Santeri Levas. Jean Sibelius. Tallinn, “Eesti Raamat” 1971, p.275
4 Unto Tähtinen. Indian Philosophy of Value. Turun Yliopisto, Turku 1968, pp.82-83
5 Bhagavadgitā X; 20, 41. Loomingu Raamatukogu. Kirjastus Perioodika. Tallinn 1980.
6 Plotinus. The Six Enneads. Encyclopedia Britannica Inc., Chicago , London, Toronto 1952, pp.243,246.
1 Paramahamsa Yoganda. Autobiographie eines Yogi. /Kapitel XV/ Otto Wilhelm Barth Verlag, Weilheim 1967
2 Alain Danielou. Ethical and Spiritual Values in Music. “The World of Music”, Berlin, Vol.XXII No.2, 1980, p.8.
3 Sathyam-Sivam-Sundaram. Part Two, p.177. The Life of Bhagavan Sri Sathya Sai Baba by N.Kasturi. Sri Sathya Sai Books and Publications. Prashanti Nilayam. Anantapur, India 1973.
1 Kalevi Aho. Muusika, rahvuslikkus ja ühiskond. (Music, nationality and society). Teater. Muusika. Kino 1994, No.4, pp18, 19.
2 Dom Jacques Hourlier. Vestlused gregoriuse laulu vaimsusest. (Conversations on the spirituality of the Gregorian chant). Solesmes 1985. Tallinn 1996, AS Korol, p.52.
3 Andante religioso. Märkmeid tänapäeva kirikumuusikast (Remarks on the modern church music). Allgemeine Musikzeitung. Berlin, August 19/26, 1910, No.34/35. Translation in the “Muusikaleht” (“Music Papar”) 1928, No.10.
4 An Axiom often used by Willa Cather (1873–1947) among others.
5 U.Kasemets. Artur Kapp – tema vaimuilm ja helikeel (A. Kapp – his spiritual world and musical language): Tulimuld 1953, No.5, p.266
1 Esko Jalkanen. Varjud peeglis (Shadows in the Mirror). Maalehe Raamat, Tallinn 1998, pp.11-14, 55, 71.
2 Sivanda Literature. Volume I. Ed. By Swami Omkarananda. Divine Life Society, Sivananda Nagar, India 1960, p.238.
3 In the same Volume I, pp.235, 244
1 Boris Tesnov. A Short History of Estonian People. Vancouver – Tartu 2001. Jaak Uibu, Chairman of the Estonian Medical Council, MD, PhD, pp.315-316. From his lecture to the Presidental Academic Council. October 4, 1995.
2 B. Tesnov. A History of Estonian People. Lee Hoeckstader, the foreign editor of the Washington Post, p.330.
3 B. Tesnov. A Short History of Estonian People. Conclusion to the book by its author. P.391.
1 Andres Mustonen. Teater. Muusika. Kino. 1999, No.12, p.51. A round-table conversation – The 20th century in the thoughts of Estonian musicians.
1 ‘Teater, Muusika, Kino’, Raimo Kangro, 1984, No. 3, lk. 30. (Theatre, Music, Cinema, 1984, No. 3, p.30).
2 The year refers to the completion date of the work, first performances often followed later.
1 The composer, a Russian by nationality, was a meritorious artist in Estonian cultural life, being a conductor of ERSO (1940-1960), member of the Estonian Composer’s Union and lecturer at the Tallinn State Conservatoire.
1 The composer, an American Estonian, gave the score (without a completion date) to the archives of the Estonian Theatre and Music Museum in 1960.
1 The first movement only, the work was completed by Kaljo Raid.
1 The Oratorio was issued as his own publication, 2007, Tallinn.
1 Eesti Raamat Publishers, Tallinn, 1969.
2 Lectures on the Avant-garde in Music, Pedagogical Institute Publishers, Tallinn, 1969.
3 Chandos 8656, 1989.