The Estonia Page > CultureEstonian MusicMusic is the best thing that Estonia has to offer to the world. This assertion has recently become more prevalent. The media has half-jokingly called music the most powerful 'export article', the most significant trademark of a small state. The work of Estonian composers are performed and recorded in many countries of the world. The choirs and conductors win influential awards, attract enthusiastic audiences and collect exalted reviews in the foreign press. And yet, Estonian professional music is only one hundred years old. The first symphonic piece by an Estonian composer - Rudolf Tobias's overture 'Julius Caesar' - was performed in 1896. A significant fact reached the Estonian wider public not so long ago, casting light on the earlier history of Estonian music: one of the three earliest German operas in existence 'Die beständige Argenia' was composed and performed in Estonia. The composer was Johann Valentin Meder, a Baroque composer who lived and worked in Tallinn; he was born in 1680. Folk songs have always accompanied Estonians in their daily lives. Music was transferred from one generation to the next and is still closely connected with old customs and traditions. In the mid 19th century, urged on by the national awakening, the people started gathering and preserving folk music. The Estonian Literary Museum music archives contain approximately 100 000 recordings. The tradition of song festivals, still very much alive today, was founded in 1869. Every five years, numerous choirs from all over Estonia gather in Tallinn to sing both folk songs and contemporary choir music; many songs in the festival repertoire have been retained from the very first one. During the period of Soviet occupation, the song festivals were of immense importance for Estonians. This was the only chance to publicly demonstrate that Estonians still felt strongly about their identity and belonging together. Song festivals have been a vital source of emotional energy for Estonians. Singing together, people have felt the strength to persevere and stand up for themselves in difficult times. Throughout dozens of years, Gustav Ernesaks's song 'My Native Land, My Dearest Love', has been the song closest to Estonians' hearts. The words were written by the poetess Lydia Koidula during the period of national awakening last century. For a long time now, this has been the final song of the festival, performed by the numerous choirs on stage and tens of thousands of spectators; it is usually sung several times before people have the heart to leave the festival grounds. Most of the first professional Estonian musicians were educated at the St.Petersburg Conservatory in organ and composition classes. At the turn of the century, a whole generation of musicians emerged: Rudolf Tobias, who has become a classic; Artur Kapp with his fascination with monumental clarity; and the first female composer Miina Härma, whose lyrical, but at the same time powerful, almost masculine choir music is popular even today. Later, Mart Saar and Cyrillus Kreek stepped into the limelight with their choir music, as did Heino Eller, called the Estonian Sibelius, with his symphony music. During the initial twenty years of the 20th century, Estonian music practically rushed through almost the entire history of occidental music from classical forms to the 20th century avant garde. The first national opera, Evald Aav's 'Vikerlased' (Vikings) appeared in 1928. Music which had reached a calm and balanced stage of development in the 1930s, suffered the turmoil of the 1940s with the rest of society. In 1944, amongst many others, a number of top Estonian musicians escaped to the West. Soviet dictate about 'national form and socialist content' effectively obstructed the development of music until the late 1950s. The emerging new generation of composers managed to unite contemporary world trends in music with exceptionally Estonian ways of expression. The work of Veljo Tormis, Eino Tamberg, Jaan Rääts, Arvo Pärt and Kuldar Sink continue to define Estonian music today. All of them have undergone several changes in the conceptualisation of their music and have advanced in quite different directions. Arvo Pärt who emigrated from Estonia in 1980, now commands one of the largest audiences in the world. The beauty and balance of his tintinnabulary style has left a powerful impression on listeners. In 1999, Pärt surprised the music world with an entirely new language of sound. His latest work, Como anhela la cierva expresses religious devotion, so typical of Pärt, but at the same time an unexpectedly acute world-weariness. The composer Erkki-Sven Tüür (1959) has achieved a remarkable international breakthrough over recent years. His works have been performed at many concerts and radio stations. Several influential European festivals have offered him the position of Resident Composer. The third Estonian composer whose work is often being performed in the world today, is Veljo Tormis (1930). The particular spirit and language of his music developed in the sphere of influence of the original Estonian folk music. "I am not using folk songs," Tormis has said, "folk songs are using me." He is considered the composer with the most national style of expression, but within his music is also a salient, universal message, which the whole world can understand. Part of the fame of Estonian music can be attributed to its conductors. The well-know conductor Neeme Järvi (1937) has mostly worked in the USA and Sweden. He is a musician with a special sense of mission who has been promoting Estonian music for years. Thanks to him, numerous audiences have become acquainted with the works of the Estonian classics in music - Rudolf Tobias, Artur Kapp, Eduard Tubin - as performed by world-standard musicians. Järvi has recorded more than 300 CDs with different orchestras, including major works by various Estonian composers. The conductor Tõnu Kaljuste's (1953) is also gaining fame in the world. He has worked miracles with the Estonian Philharmonic Chamber Choir. The choir's unique sound and professionalism have gained widespread acclaim. In 1995, Kaljuste was nominated for the Grammy award in the choir category for the recording of Arvo Pärt's Te Deum. The choir's recording of Pärt's Kanon Pokajanen (ECM company) was elected one of the best CDs in the world in 1998 by the critics of the BBC Music Magazine and the magazine Gramophone. Amongst those who shape Estonian music today, is doubtlessly the young conductor Olari Elts. His hugely popular NYYD-Ensemble performs contemporary music, introducing Estonian audiences with the works of various modern composers from all over the world. The Ensemble, with its well designed image, mostly attracts younger audiences. Although the history of professional Estonian music starts only as late as the end of the 19th century, the interest in early European music has always been great in Estonia. Hortus Musicus has been the main ensemble of early music to foster that interest. Under the leadership of the violinist and composer Andres Mustonen, Hortus Musicus has been successfully performing for more than twenty years. The tradition of choir singing in Estonia is not limited to song festivals. Estonia boasts several first-rate professional choirs and an incredibly large number of amateur choirs. Estonians have always been proud of the fact that each town, parish and even the smallest villages have their own choirs; singing has been a popular means of communication. Almost every Estonian school has its children's or boys' choir. The girls' choir, Ellerhein; the Tallinn Boys' Choir; and the Estonian Boys' Choir belong among the professionals. They regularly participate in major classical concerts with Estonia's finest musicians. Besides the Estonian Philharmonic Chamber choir, the best known choir is the Estonian National Male Choir. It was founded during the Second World War in 1944 by the legendary Estonian conductor and composer Gustav Ernesaks. The most influential orchestra, the Estonian State Symphony Orchestra, and its chief conductor Arvo Volmer have had, amongst other things, the most important role of reviving and promoting our own classical masterpieces- Rudolf Tobias's Des Jona Sendung and Artur Kapp's Job. The building of the opera house Estonia early this century was an event of national importance, and it has remained one of the most significant national symbols. On 24 February each year, the President of the Republic holds the major speech of the year in the very hall of the Estonia theatre. As the leading musical theatre of the country, Estonia always tries to compile as diverse a repertoire as possible; it therefore includes musicals, operettas and performances for children in addition to Mozart, Verdi, Bizet and other worthy opera classics. ^ back to topUseful Links:
^ back to topThe Estonia Page > CultureThis fact sheet was published by the Estonian Institute in October 1999 and is intended to be used for reference purposes. It may be freely used in preparing articles, speeches, broadcasts, etc. No acknowledgement is necessary. |