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1 Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2012 God Protect Us from War: A Conductor's Analysis of Male Chorus Repertoire by Veljo Tormis on the Themes of War and Conflict Michael Hanawalt Follow this and additional works at the FSU Digital Library. For more information, please contact lib-ir@fsu.edu

2 THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC GOD PROTECT US FROM WAR: A CONDUCTOR S ANALYSIS OF MALE CHORUS REPERTOIRE BY VELJO TORMIS ON THE THEMES OF WAR AND CONFLICT By MICHAEL JOHN HANAWALT A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2012

3 Michael John Hanawalt defended this dissertation on June 20, The members of the supervisory committee were: André Thomas Professor Directing Dissertation Christopher Moore University Representative Judy Bowers Committee Member Kevin Fenton Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii

4 The greatest thing you ll ever learn is just to love and be loved in return. - Eden Ahbez I dedicate this dissertation to the greatest sources of love I have known: my parents, Mark and Barbara Hanawalt, and my wife, Justine Sasanfar. iii

5 ACKNOWLEDGEMENTS I wish to thank a number of people, without whose knowledge and generosity this document would not have been possible. First and foremost, my thanks to Veljo Tormis, who leaves an incredible legacy of music and humanity and so graciously gave of his time during my visit to Estonia. My thanks to those who personally provided their expertise on this subject matter: Mimi Daitz, for her biography on Veljo Tormis and her input regarding interview questions; and David Puderbaugh, for his research on the National Song Festivals and conversations while I was in Tallinn. My thanks to those who so expertly translated texts for this document: Christopher Brunelle, who translated the Latin; Daniel Karvonen, who translated the Finnish; and especially Helle Merilo, who transcribed my entire interview with Mr. Tormis, as well as all of the Estonian texts. My thanks to those who helped facilitate stay in Estonia: Piia Tamm, who organized the workshop that I attended and who coordinated my stay in Toila; and Kaire Siiner, who helped with all of my requests throughout the course of the workshop. My thanks to two individuals who made my experience in Estonia so very meaningful and memorable: Allan Tamme and Kadri Sakala, for their expertise but also their overwhelming kindness and friendship during my stay. My thanks to my doctoral committee: John Drew and Christopher Moore, who served as university representatives for my preliminary exam and defense, respectively; Kevin Fenton and Judy Bowers, whose guidance and support throughout this degree have been invaluable; and André Thomas, for his mentorship, for directing this dissertation, and for an incredible wealth of opportunities throughout my time at Florida State. My thanks to friends and mentors who have helped me throughout my career: Ed Van Hemert and Alan Hagen, who first opened my eyes to choral music; Anton Armstrong, Robert Scholz, Sigrid Johnson, and John Ferguson, who showed me what was possible as an undergraduate student and who were incredibly generous colleagues during my recent time at St. Olaf; David Rayl, Jonathan Reed, and Sandra Snow for taking a chance on and mentoring a young, unproven conductor; Patricia Hagen, Janis iv

6 Hardy, Mary Kay Schmidt, and Stanford Olsen for teaching me how to sing; and my colleagues and friends in Cantus, especially Erick Lichte, who introduced me to the music of Veljo Tormis. I also wish to thank my parents, Mark and Barbara Hanawalt, whose love and support have provided me with best examples of these things a son could hope for. Finally, I wish to thank my wife, Justine Sasanfar, whose advice throughout this process was invaluable, and whose beauty, grace, intellect, talent, and love are pure inspiration. v

7 TABLE OF CONTENTS List of Tables...x List of Figures... xi List of Musical Examples... xii Abstract...xv 1. INTRODUCTION: PURPOSES AND PROCEDURES Problem Statement Research Questions Definition of Terms Delimitations Need for the Study Purpose of the Study Procedures Organization of the Study ESTONIA: A HISTORY OF WAR, CONFLICT, AND SONG Estonian History Until Newfound Nationalism The National Awakening The Advent of the Song Festival The Struggle for Independence Russification, Revolution, and War Song Festivals from 1885 until World War I Independence Military Struggle Song Festivals During Independence The Return of Soviet Rule German Occupation The Stalinist Era An Era of Oppression Song Festivals During the Stalinist Era The Post-Stalin Era The Khrushchev and Brezhnev Regimes Song Festivals During the Post-Stalin Era The Singing Revolution Independence Through Song Other Contributions to Independence Conclusion VELJO TORMIS Childhood Musical Training...43 vi

8 3.3 Professional Life Influences The Soviet Union Folk Music Personal Characteristics Conclusion REGILAUL Introduction Terminology History Collection and Preservation of the Tradition Characteristics of Regilaul Text Music Performance Practice Conclusion Subsequent Chapters INCANTATIO MARIS AESTUOSI (INCANTATION FOR A STORMY SEA) General Information Commission and Premiere Text Music Form Section A Section B Section C Section D Section E TÕMBTUUL (CROSSWIND) General Information Text Music Form Ritornelli Verses MAARJAMAA BALLAAD (BALLAD OF MARY S LAND) General Information Text Music Form Section A Section B Section C...93 vii

9 8. VARJELE, JUMALA, SOASTA (GOD, PROTECT US FROM WAR) General Information Text Music Form Section A Section B Section C Section D Section E PIISPA JA PAKANA (THE BISHOP AND THE PAGAN) General Information Genesis and Commission Text Music Form Section A Section B Section C Section D Section E Section F KATUAJA MÄLESTUS (PLAGUE MEMORY) General Information Genesis Text Music Form Introduction Section A Section B Sections C and D Section E Section F JÄTA PÄIKE PAISTMA! (LET THE SUN SHINE!) General Information Text Music Form Verses Coda viii

10 12. SÕTTAMINEK (GOING TO WAR) General Information Text Music Form Section A Section B Section C Section D Coda ILMIANTAJAN TARINA (STORY OF A BETRAYER) General Information Text Music Form Section A Section B Section C Section D Section E Section F Section G Coda SUMMARY, CONCLUSIONS, AND RECOMMENDATIONS FOR FUTURE RESEARCH Summary Conclusions Research Questions Other Conclusions Recommendations for Future Research APPENDIX A: TRANSCRIPT OF INTERVIEW WITH VELJO TORMIS APPENDIX B: PERMISSIONS TO REPRODUCE SCORE EXCERPTS APPENDIX C: CONFIRMATION OF ORAL HISTORY STATUS BIBLIOGRAPHY BIOGRAPHICAL SKETCH ix

11 LIST OF TABLES 5.1 General information regarding Incantatio maris aestuosi by Veljo Tormis Form and content of Incantatio maris aestuosi General information regarding Tõmbtuul by Veljo Tormis Form and content of Tõmbtuul General information regarding Maarjamaa ballaad by Veljo Tormis Form and content of Maarjamaa ballaad General information regarding Varjele, Jumala, soasta by Veljo Tormis Form and content of Varjele, Jumala, soasta General information regarding Piispa ja pakana by Veljo Tormis Form and content of Piispa ja pakana General information regarding Katkuaja mälestus by Veljo Tormis Form and content of Katkuaja mälestus General information regarding Jäta päike paistma! by Veljo Tormis Form and content of Jäta päike paistma! General information regarding Sõttaminek by Veljo Tormis Form and content of Sõttaminek General information regarding Ilmiantajan tarina by Veljo Tormis Form and content of Ilmiantajan tarina x

12 LIST OF FIGURES 2.1 Map of modern Estonia Estonian fortress in Narva, next to the Russian border Russian fortress across the border from Narva, Estonia The Song Festival stage Statue commemorating the one-hundredth-anniversary festival of The Estonian flag flies above the headquarters of the Estonian government building at the site of Toompea Castle Veljo Tormis Pühajõe Church near Toila, Estonia Farmhouse on the grounds of Pühajõe Church Schedule for a regilaul workshop led by Veljo Tormis Veljo Tormis with the author...51 xi

13 LIST OF MUSICAL EXAMPLES 2.1 Mu ismaa on minu arm by Gustav Ernesaks A traditional regilaul melody Overlapping aspect of regilaul call-and-response performance practice Incantatio maris aestuosi, mm Incantatio maris aestuosi, mm Incantatio maris aestuosi, mm Incantatio maris aestuosi, mm Incantatio maris aestuosi, mm Tõmbtuul, mm Tõmbtuul, mm Tõmbtuul, mm Tõmbtuul, mm Tõmbtuul, mm Maarjamaa ballaad, 1-1 through Maarjamaa ballaad, Maarjamaa ballaad, Maarjamaa ballaad, 14-2 through Maarjamaa ballaad, 16-2 through Maarjamaa ballaad, Varjele, Jumala, soasta, mm Varjele, Jumala, soasta, mm Varjele, Jumala, soasta, mm , bass and baritone lines xii

14 8.4 Varjele, Jumala, soasta, mm Varjele, Jumala, soasta, mm Varjele, Jumala, soasta, mm Varjele, Jumala, soasta, mm Piispa ja pakana, reh Piispa ja pakana, reh Piispa ja pakana, reh Piispa ja pakana, reh Piispa ja pakana, reh Piispa ja pakana, reh Piispa ja pakana, reh Piispa ja pakana, reh Katkuaja mälestus, mm Katkuaja mälestus, mm Katkuaja mälestus, mm Katkuaja mälestus, mm Katkuaja mälestus, mm Jäta päike paistma!, mm Jäta päike paistma!, mm Jäta päike paistma!, mm Sõttaminek, mm Sõttaminek, mm Sõttaminek, mm xiii

15 12.4 Sõttaminek, mm Sõttaminek, mm Ilmiantajan tarina, mm. 5-6, bass line Ilmiantajan tarina, mm Ilmiantajan tarina, mm , baritone line Ilmiantajan tarina, mm Ilmiantajan tarina, mm Ilmiantajan tarina, mm Ilmiantajan tarina, mm Ilmiantajan tarina, mm Ilmiantajan tarina, mm xiv

16 ABSTRACT The purpose of this dissertation is to provide a conductor s analysis of a specific set of repertoire by Estonian composer Veljo Tormis. The selected works share two common traits: (1) they are all scored for male chorus; and (2) their subject matter in some way addresses the themes of war and conflict. The author seeks to facilitate informed performance of these specific works and provide a general resource for conductors who have an interest in performing music composed by Veljo Tormis. The study includes a discussion of Estonian history as it relates to war and conflict. It traces various altercations throughout the country s history, including its conquest by Christian crusaders, its economic capitulation to Baltic German nobility, and its invasions by Czarist Russia. It also examines Estonia s plight after the turn of the century, including its role in World Wars I and II and its occupation by the Soviet Union. The historical narrative concludes with an examination of the circumstances leading to Estonia s independence. This historical inquiry also investigates the role of singing as a means of cultural preservation in the face of foreign tyranny. This includes an examination of the National Song Festivals, which began in 1869 and continue to the present. The document studies the role of the Song Festivals as a means of cultural expression, as well as their function as a vehicle for peaceful protest. This discussion also includes the events known as the Singing Revolution, which demonstrate how the act of singing helped to unify public sentiment against the Soviet Union, ultimately resulting in Estonian independence. Significant events regarding the life of Veljo Tormis, from his birth until the present, are highlighted. The narrative identifies key experiences in his life that influenced him as a composer, including childhood encounters with church music and organ lessons, composition studies in Moscow, and travel to Kihnu Island, Estonia, and Budapest, Hungary. This chapter documents how Tormis s experiences ultimately resulted in a dedication to using folk songs within his musical compositions. Information about Tormis s compositional source material of choice, a type of Estonian folk music known as regilaul, is also provided. The study identifies characteristics of both the texts and melodies of regilaul. In addition, issues of xv

17 performance practice are addressed, and academic interest in the collection and preservation of the tunes are examined. The study concludes with an analysis of nine pieces by Veljo Tormis. These pieces are: Incantatio maris aestuosi (Incantation for a Stormy Sea), Tõmbtuul (Crosswind), Maarjamaa ballaad (The Ballad of Mary s Land), Varjele, Jumala, soasta (God Protect Us from War), Piispa ja pakana (The Bishop and the Pagan), Katkuaja mälestus (Plague Memory), Jäta päike paistma! (Let the Sun Shine!), Sõttaminek (Going to War), and Ilmiantajan tarina (Story of a Betrayer). For each piece, a general overview of pertinent compositional information is provided, including instrumentation, vocal ranges, publication facts, and available recordings, including performance times. In addition, information on the source of the texts, word-for-word and poetic translations, and an IPA pronunciation guide is included. Finally, each piece is analyzed for its musical content, including formal tables and musical excerpts as supporting information. xvi

18 CHAPTER ONE INTRODUCTION: PURPOSES AND PROCEDURES Problem Statement Veljo Tormis is one of Estonia s most famous and prolific composers. While he wrote for many types of ensembles, he is perhaps best known for his more than fivehundred choral compositions. Following Estonia s independence from the Soviet Union in 1991, Tormis s compositions have increasingly come into worldwide consciousness, receiving performances at prestigious choral gatherings around the globe. Since foreign countries forcibly occupied Estonia for most of his life, it seems fitting that many of Tormis s compositions for male chorus deal with the themes of war and conflict. This dissertation will enable scholarly performance of these works by providing a conductor s analysis of this specific set of repertoire. Research Questions 1. How did the occupation of Estonia by foreign entities serve to bolster singing as a means of cultural preservation? 2. What experiences in the life of Veljo Tormis informed the musical content and subject matter of his compositions? 3. What is regilaul, why does Tormis use it as compositional source material, and how is it incorporated into his compositions? 4. What information about the text and music of each piece is necessary to facilitate an informed performance of the work? Definition of Terms Veljo Tormis (b. 1930) is a living Estonian composer of many genres of music. Now retired, he is best known for his choral compositions, of which he wrote over five- 1

19 hundred. With the exception of Arvo Pärt, he is the most famous Estonian composer alive today. Regilaul [re.gɪ.laul] is a type of ancient Estonian folk song, which Tormis used as musical source material for his compositions. Delimitations Tormis composed many choral compositions for various voicings (SATB, TTBB, SSAA, etc.) on a variety of topics. This study is limited to compositions originally written for male voices on the themes of war and conflict. This study makes no attempt to discover rare or unpublished works by Tormis in hopes of bringing them into public consciousness. The aim of this study is practical in nature and seeks to provide a comprehensive resource for those pieces already available to the general public. This study makes no attempt to provide an exhaustive history of Estonia. It is limited to that information which serves as a historical context to the examined repertoire, namely the history of Estonian wars and occupations, and the response to these hardships in the form of singing. 1 This study is not designed to provide an exhaustive biography of Tormis s life. It simply seeks to provide information pertaining to his personal history that conductors may find relevant and useful in preparing these compositions. 2 This study is not a comprehensive examination of regilaul, yet a general discussion was necessary given its significance in serving as source material for Tormis. Therefore, enough background on regilaul was included such that a conductor may 1 Toivo Raun wrote a complete history of Estonia from 1200 through the 1990s, entitled Estonia and the Estonians. It contains information about the independence from and the dissolution of the Soviet Union in It also includes content about the aftermath of the independence, as well as the Estonian journey as a free and independent country throughout the 1990s. 2 Mimi Daitz s book, Ancient Song Recovered: The Life and Music of Veljo Tormis provides thorough biographical information about the composer s life. 2

20 understand pertinent information to enable him or her to teach this repertoire with a general scholarly understanding of this source material. 3 Need for the Study Veljo Tormis was born on August 7, 1930, in the small town of Kuusalu, Estonia. The date of his birth is important, as it falls during a unique period in Estonian history when the country was ruled by its own people. His extended family consisted mainly of farmers who, naturally, had a strong connection to rural Estonia. Tormis s father, Riho, was a musician with training in violin, conducting, and organ. It was therefore natural that Tormis began studying music at a young age. He started organ lessons in 1942, first with August Topman, who was his father s teacher. Other musical studies included piano and solfeggio classes. In 1947, he began organ studies at the Tallinn Conservatory. 4 His teacher at the Conservatory was Edgar Arro, who also taught composition. It was Arro to whom Tormis first submitted his compositions, and Arro who suggested using folk music in his writing. 5 By the time Tormis had commenced his studies at the Tallinn Conservatory, Estonia had already endured a great amount of political upheaval. In 1939, as Nazi Germany was gaining power, Germany and Soviet Russia signed the Molotov- Ribbentrop Pact which, in addition to being a pact of non-aggression, secretly allotted various European countries to be under either Nazi or Soviet influence. Estonia was to be controlled by the Soviets, and, in 1940, Russia established military bases in Estonia and 3 Jaan Ross and Ilse Lehiste wrote a book about regilaul entitled The Temporal Structure of Estonian Runic Songs. In addition, several articles have been published on various aspects of the regilaul, including Language and Poetic Metre in Regilaul and Regilaul: Clearing the Alliterative Haze, both by Mari Sarv, and Some Problems with that Regilaul, written by Veljo Tormis. 4 Tallinn is the capital city of Estonia, located on the Gulf of Finland in the northern portion of the country. 5 Bibliographical information is predominately taken from Mimi S. Daitz, Ancient Song Recovered: The Life and Music of Veljo Tormis (Hillsdale, NY: Pendragon Press, 2004),

21 nationalized many businesses and banks. The twenty-two years of Estonian self-rule had officially ended, and foreign occupation of Estonia would continue until In June of 1941, Germany attacked the Soviet Union, and Estonia fell under Nazi control until World War II ended. At that point, Estonia became the Estonian Soviet Socialist Republic and remained as such until Estonian culture was oppressed during this time, as institutions of higher learning were under the control of the Soviets. The works of artists, including musical compositions, were scrutinized for anti-soviet messages and censored on that basis. Despite such restrictions, one aspect of Estonian culture persisted through all of the various occupations. The Üldlaulupidu, or National Song Festivals, which had been in existence since 1869 and were held every five years in Tallinn, involved large groups of Estonians coming together to listen to and perform songs. Anderson notes, For Estonia under the Soviet yoke, as for the other two Baltic countries, Latvia and Lithuania, song was a vital expression of national identity Having attended the Latvian Song Festival in Riga in July, 1992, I can vouch for the effectiveness of these occasions in inculcating a dignified sense of national identity: the sound of hundreds of thousands of voices all around you picking up a national hymn does more than stir the hair at the base of your neck it touches something very basic in the human make-up. 6 During the course of the Soviet occupation, the Festivals began to take the form of peaceful protest. In 1988, over 300,000 Estonians gathered to sing patriotic songs, wave flags, and listen to political speeches at what came to be known as the Singing Revolution, a term coined by an Estonian writer. The large number of participants represented roughly one-fifth of the population of Estonia at that time, showing the immense importance of singing as a part of the cultural fabric of the country. From the time of Arro s initial suggestion that he use Estonian folk music as the basis of his works, Tormis slowly turned toward folk-based composition. In 1958, while teaching at the Tallinn Music School, he accompanied a group of students to Kihnu Island. 7 The group attended a traditional wedding at a village on the island, and while the trip was not intended specifically for the ethnomusicological collection of folk music, 6 Anderson, Martin, and Veljo Tormis, We Should Know Who We Are : Veljo Tormis in Conversation, Tempo New Series, no. 211 (2000): Kihnu Island is located off of the west coast of mainland Estonia. 4

22 Tormis paid close attention to the tunes sung at the festivities. 8 formative experience in his musical development. This turned out to be a An even more influential experience in Tormis s life took place in 1962, when he was allowed to travel to Budapest. While in Hungary, he purchased musical scores, including Bartók s string quartets and Kodály s choral music. Apparently, Tormis had been aware of Bartók s compositions prior to the trip, but these travels afforded him the opportunity to see the integration of folk and art music first hand. According to Daitz, there are striking similarities between Tormis s and Bartók s ideas regarding folk music in contemporary composition. Bartók offers the following: in every case [of a composer using folk music in art music,] it is of the greatest importance that the musical qualities of the setting should be derived from the musical qualities of the melody, from such characteristics as are contained in it openly or covertly, so that melody and all additions create the impression of complete unity. 9 Even so, Tormis found Kodály s music even more influential, as these masterpieces of vocal art contain an immense variety of sounds, at times powerful, frequently delicate. 10 By the mid-1960s and after these formative experiences, Tormis began to turn almost entirely to folk-based composition. His folk material of choice was most often regilaul, a type of ancient Estonian song. Tormis notes, I knew about the existence of regilaul from the very beginning, but I only began to understand its essence when I was about thirty-five. I started to use it in my works in a new way. 11 Eventually, Tormis fully explained his dedication to the use of folk music in his compositions in a 1972 article entitled Rahvalaul ja meine, which, when translated, means Folksong and Us. The following excerpt clearly articulates his position: Regilaul is our people s oldest, unique, their most highly evolved and complete creation throughout the centuries, an expression of the people s creative genius. As such, it could serve as the basis for our contemporary national art, not merely as an ornamentation. As important as its aesthetic worth is its ethical value. For 8 Daitz, Ancient Song Recovered, Ibid., Ibid. 11 Veljo Tormis, Some Problems With That Regilaul, (lecture, Viljandi Culture Academy, international conference RING, 2007), par. 1. 5

23 regilaul embodies the life values of working people which have evolved over thousands of years. Why should we now abandon this heritage to oblivion or scorn it as archaic? 12 Tormis s interest in folk music is not unique. Beginning in the nineteenth century and throughout many parts of the world, there was an awakening of interest in collecting folk material. Francis Child collected folk verse from England and Scotland. Czech composer Antonín Dvořák used folk melodies in his own compositions and attempted to help American composers find a voice for classical composition through the use of African-American folk tunes. Beginning in the twentieth century, Cecil Sharp assisted in founding a folk music revival in England that was continued by composers such as Ralph Vaughan Williams, Percy Grainger, and Gustav Holst. The work of Hungarian composers Bartók and Kodály was mentioned earlier. In America, Frances Densmore collected Native American melodies from tribes throughout the country. While all of these examples of folk music use are notable, the political and cultural circumstances surrounding Tormis s folk-based composition make his situation particularly compelling. Purpose of the Study This study will provide an analysis of a selection of works by Veljo Tormis originally written for male chorus based on the themes of war and conflict. Veljo Tormis gave a voice to the ancient musical traditions of Estonia in a way that both honors the past and is innovatively modern. While the world has begun to discover and perform his music, conductors and educators need additional resources to fully understand the historical context, language, and musical features involved in giving fully-informed performances of these works. An analysis of this portion of Tormis s repertoire will allow more choirs to perform these pieces, thereby increasing their scope of influence throughout the choral world. 12 Daitz, Ancient Song Recovered, 65. 6

24 Procedures Sources include the following: Books on the life of Veljo Tormis, Estonian history, and characteristics of regilaul by Diatz, Raun, O Connor, Taagepera, Ross, and Lehiste. Dissertations on the National Song Festivals and Tormis s Forgotten Peoples choral cycle by Puderbaugh and Jones. Translations of Kalevala, the Finnish national epic, and Kalevipoeg, the Estonian national epic, by Crawford and Kirby. Lectures by and interviews of Veljo Tormis on the subjects of folk music and composition. A personal interview with Veljo Tormis conducted by the author while on a research trip in Estonia. Scores and recordings of works to be analyzed. Organization of the Study Chapter 1: Introduction: Purposes, and Procedures. This chapter presents the purpose of the study and the procedures used. Chapter 2: Estonia: A History of War, Conflict, and Song. This chapter gives an overview of Estonian history as it relates to war and conflict, showing the importance of singing to its culture. Chapter 3: Veljo Tormis. This chapter provides relevant biographical information on Veljo Tormis. Chapter 4: Regilaul. This chapter provides information about the ancient Estonian song that serves as a basis for much of Tormis s compositional output. Chapters 5-13: Repertoire. These chapters provide background information, musical analysis, text translation, and performance considerations for the following compositions by Veljo Tormis: Incantatio maris aestuosi (Incantation for a Stormy Sea) Tõmbtuul (Crosswind) Maarjamaa ballaad (The Ballad of Mary s Land) 7

25 Varjele, Jumala, soasta (God Protect Us from War) Piispa ja pakana (The Bishop and the Pagan) Katkuaja mälestus (Plague Memory) Jäta päike paistma! (Let the Sun Shine!) Sõttaminek (Going to War) Ilmiantajan tarina (Story of a Betrayer) Chapter 14: Summary, Conclusions, and Recommendations for Future Research. This chapter will provide a summary of the findings, conclusions, and recommendations for future study. 8

26 CHAPTER TWO ESTONIA: A HISTORY OF WAR, CONFLICT, AND SONG Estonian History Until 1860 The land that comprises present-day Estonia has been occupied for thousands of years. Evidence of the earliest Estonian settlements dates back to 7500 BCE, and early migrants came from what is now the heavily-forested, middle Volga River region of Russia. 13 Known as the Ests, they spoke a language ancestral to modern Estonian and Finnish. Another wave of immigrants arrived around 2000 BCE and most likely spoke a Baltic language that was a precursor to present-day Latvian and Lithuanian. 14 These two cultures fused. The Finnic-type language prevailed in Estonia, while the Baltic language became prominent in Latvia and Lithuania. The Estonians were mainly hunter-gatherers who became fishers, farmers, and even beekeepers. They lived peacefully for thousands of years. Around 1200 CE, the Estonians experience of war and occupation began. The Livonian order controlled much of what constitutes modern Estonia (Figure 2.1), and Albert von Buxhoevdn of Bremen, Bishop of Livonia, decided it was time to Christianize the people of the Baltic region, whom he viewed as pagans. In fact, the Estonians, a people spiritually rooted in animism, had already begun a peaceful conversion to Christianity. 15 Buxhoevdn, along with the order of the Knights of Christ, led a campaign for Christian expansionism based out of Riga in what is now Latvia. Using Pope Innocent III s descriptive term for the area, the Land of Mary, 16 as justification for their 13 Toivo Raun, Estonia and the Estonians, 2nd ed. (Stanford, California: Hoover Institution Press, 2001), Rein Taagepera, Estonia: Return to Independence (Boulder, Colorado: Westview Press, 1993), Ibid., The phrase, Land of Mary, refers to Estonia during the conquering of the country by religious crusaders. Mary was the patroness of the knights order, who 9

27 aggression, the German crusaders moved north across the Baltic states. 17 describes the mindset of the invaders: O Connor Like those who had marched to Jerusalem, the Northern crusaders were driven by their fidelity to the papacy and to the Roman Christian faith, as well as the knowledge that for their services they would obtain remission of their sins. The promise of heaven justified any misdeeds performed in the cause of spreading the faith. 18 Figure 2.1. Map of Modern Estonia. Courtesy of the World Factbook, Central Intelligence Agency. The war dragged on, involving considerable bloodshed. From 1201 to 1212, the Estonians persevered, and the initial war ended in a three-year armistice. However, war began anew in 1218, this time with the Danes joining the invading Germans against the referred to Estonia as the Land of Mary. Thus, Land of Mary is synonymous with a conquered people. 17 Ibid., Kevin O Connor, The History of the Baltic States (Westport, Conncticut: Greenwood Press, 2003),

28 Estonians. By 1220, nearly all of Estonia was under either German or Danish control, and the Sword Brethren, the popular name for the German crusaders, declared victory. 19 Estonia remained in the hands of the Germans and the Danes until the 1500s, when the Knights of Christ failed. Tallinn, the name of the present-day capital city of Estonia, means Danish castle and serves as a reminder of this era of Estonian history. 20 By 1561, Russia, Denmark, and Sweden had gained control of Estonia, and Poland also vied for influence in the region. For years, the four powers fought amongst themselves in what became known as the Livonian Wars. These conflicts lasted a quarter of a century, wreaked havoc on the area, and decimated the societies in their wake. According to Toivo Raun, the devastation was so bad that a Swedish farmstead survey of 1586 reported that the majority of the rural population in northern Estonia had been killed, kidnapped, or had fled. 21 By the end of the Livonian Wars, Estonia was divided among Denmark, Sweden, and Poland. Despite this newly-established division of power, peace did not come to Estonia. The Danes, Swedes, and Poles continued to war with each other. These hostilities were even more devastating to Estonians than the Livonian Wars. O Connor writes that the entire Estonian population decreased from 250,000 to 100,000 as a result of these combats. 22 Raun goes even farther, saying that over seventy-five percent of the inhabitants of Estonia disappeared through the combined effects of war, disease [especially the plague], and famine. 23 The conflict ended in 1629 with the Peace of Altmac, which gave the Swedes control of the entire Baltic area north of the Daugava River. By the late seventeenth-century, the Swedish empire found themselves overextended and under the leadership of Charles XII, who was both young and 19 Raun, Estonia and the Estonians, Ibid. 21 Ibid., O Connor, The History of The Baltic States, Raun, Estonia and the Estonians,

29 inexperienced. These two factors combined to make the empire vulnerable to attack by foreign entities. Sensing the Swedish weakness, Russian leader Peter I decided to invade the area in 1700, beginning what would become known as the Great Northern War. Despite several early setbacks, the Russian campaign was a great success. By 1704, Russian armies controlled Narva and Tartu, and a subsequent westward campaign gave them control of Tallinn by The fighting was brutal: a scorched-earth policy implemented by the Russian Czar demolished much of the countryside. To make matters worse, plague and famine accompanied the fighting. Approximately eight-ninths of the population of Tallinn died in a plague epidemic in In what served to foreshadow similar events over the next three-hundred years, Estonians living in the city of Tartu found themselves deported to northern Russia. The deportations prompted Käsu Hans to write the first documented Estonian poem: Then to Russia he did take all the city folks, by force. All the masters, mistresses sorrowfully shed their tears: Into Russia I will be. Tartu city, woe to me! 25 Following the Russian conquests of the Great Northern War, imperial Russian control commenced in 1710 and would persist for more than two centuries. In a much longed-for contrast to the bloody fighting, famine, and disease that characterized the previous five-hundred years, a relative peacefulness descended on the area. This harmony allowed the Estonians to rebuild after the destruction of the Great Northern War, during the period from 1710 to Despite the opportunity to reconstitute in an era of relative peace, Estonian peasant farmers faced virtual enslavement due to the institution of serfdom. In the eyes of the peasants and other critics, serfdom was an exploitive system that landowners used 24 Ibid., Taagepera, Estonia: Return to Independence,

30 to extract an increasing amount of labor from peasants, who could not leave. 26 paints a bleak picture of this period: Raun Serfdom completely dominated agricultural relations in the eighteenth century, and the low point in the status of the Estonian peasantry was no doubt reached in this period The Russian state, in which serfdom also reigned, was much less concerned with the status of the peasantry than the Swedish state had been. Moreover, the Baltic lords increased their demands on the peasantry in order to support a more expansive style of life. 27 Authors suggest that by 1739 and 1740, total and complete serfdom was the official way of life for many Estonians, as established by the Rosen Declaration. 28 In addition to being submissive to Russian rule during this period, Estonians were also subject to the control of the German Baltic lords, who comprised the ruling class in Estonia from the thirteenth century to the beginning of the twentieth century. They came to Estonia as traders and crusaders, but soon established economic control over the region. O Connor describes the relationship between Baltic Germans and Estonians as colonial. This was reflected in the Baltic Germans generally condescending attitude toward the natives and their reputedly harsh treatment of Estonian peasants. 29 The Baltic lords constantly demanded increases in peasant labor obligations. Estonians found little opportunity for upward social mobility, and those who did rise of the social ladder could only do so by adopting the languages, customs, and values of the German elites. 30 Their power also served to facilitate the Christianization of Estonia in 1730 through the Moravian Brethren movement. As a consequence, much of the Estonian folklore and material culture, which the ruling Baltic lords deemed overly worldly, 31 was destroyed. In 1796, the Baltic lords began using the obligation of military service in the Russian armed forces as a way to remain dominant over the Estonian peasants. 26 O Connor, The History of the Baltic States, Raun, Estonia and the Estonians, Ibid., O Connor, The History of the Baltic States, Raun, Estonia and the Estonians, Taagepera, Estonia: Return to Independence,

31 With oppression coming from both the Russians and Baltic Germans, Estonians began to show signs of unrest. Working conditions were a source of contention, causing many Estonians to feel disgruntled. Because of this, they began to demand reforms, using means such as work stoppage to demonstrate their collective power. Work disturbances occurred throughout the first part of the nineteenth century, including one in 1858 that involved twenty percent of the estates. These demonstrations led to the eventual abolition of serfdom, which was officially eliminated in 1816 for Estland and in 1819 for Livland. 32 Of course, circumstances resembling serfdom persisted long after the activities were to have officially ceased. Newfound Nationalism The National Awakening In the latter half of the nineteenth century, a confluence of events brought about what became known as the National Awakening, a period which lasted from Though still under the grip of Imperial Russian and Baltic German control in 1860, conditions improved for Estonia. The abolishment of serfdom and ceasing of worker protests led to an increase in economic comfort, allowing Estonians to travel and interact with the outside world. In addition, there were improvements in education such that Estonians were better equipped to interact with their Russian and German rulers. During this period, there was a renewed interest throughout Europe in individual and cultural histories. According to O Connor, For late Enlightenment intellectuals, observations of peasant attitudes, expressions, and traditions yielded clues to understanding humanity as a whole. 33 This trend of looking back toward one s roots was present in Estonia as well, resulting in the birth of a true Estonian national culture. The National Awakening brought about two organizations that exemplified the cultural rebirth that was taking place. The first is the Estonian Alexander School, the earliest secondary school to use Estonian as the primary language of instruction. 32 Estland is northern portion of present-day Estonia, while Livland is the southern portion of present-day Estonia. 33 O Connor, The History of the Baltic States,

32 Founded in the early 1860s, it served to train elementary school teachers. The other organization is the Society of Estonian Literati, which was founded in the 1860s by Friedrich Reinhold Kreutzwald. This society helped promote educational literature written in the Estonian language. In addition to founding the Society of Estonian Literati, Kreutzwald also wrote Kalevipoeg, a book that Tormis biographer Mimi Daitz calls Estonia s single most important literary event of the century. 34 Modeled after Kalevala, the Finnish national epic, and published between 1857 and 1861, Kreutzwald s work helped reinforce a sense of national identity for the Estonians. The book tells of the adventures of Kalevipoeg, an enormous mythological creature. At the end of the epic, Kalevipoeg loses his legs by his own sword and finds himself chained to the gates of hell. Despite this grim picture, Kreutzwald s final lines give hope to the Estonian people, as they prophecy his return and a resultant era of happiness: Here he sits now on his horse at the gates of Põrgu, watching the bonds of others while bound himself From time to time, too, the Kalevide struggles to free his hand from the wall of rock, till the earth trembles and the sea foams; but the hand of Mana holds him, that the warder shall never depart from his post. But one day a vast fire will break out on both sides of the rock and melt it, when the Kalevide will withdraw his hand, and return to earth to inaugurate a new day of prosperity for the Estonians. 35 Kalevipoeg infused the Estonians with a sense of encouragement during this period that followed years of national struggle. According to O Connor, The story reflected Kreutzwald s beliefs that Estonians could overcome their socioeconomic conditions and that through education they could achieve and preserve Estonian nationhood Daitz, Ancient Song Recovered, Friedrich Kreutzwald, Kalevipoeg, William Kirby, trans. (accessed January 28, 2012), O Connor, The History of the Baltic States,

33 The Advent of the Song Festival While the aforementioned events helped forge a renewed sense of national identity, Estonians began another tradition that would become one of the most significant displays of cultural pride in the world: the üldlaulupidu, or National Song Festivals. 37 The festivals were the brainchild of Johannes Jannsen and were modeled after similar large-scale choral festivals that were taking place in Switzerland and Germany. The first National Song Festival took place in Tartu from June 18-20, The format used for this earliest festival served as a model for subsequent years. Day one featured performances of sacred music, while the second day highlighted secular music. On day three, individual choirs performed as part of a competition. In total, over 845 musicians performed for an audience of ten-thousand people. 38 The first Song Festival further awakened Estonian national sentiment. For the first time, huge crowds of Estonians gathered to celebrate a sense of national culture. For a country that had been ruled and oppressed by foreign powers for centuries, the effects of such an event cannot be overstated. The üldlaulupidu began the process that eventually led to national change, not just socially and politically, but also musically. According to Puderbaugh, The first song festival was the first major watershed in the history of Estonian music. While the previous generation had seen the introduction and gradual growth of organized music making through choirs and instrumental ensembles, the festival s effect on this trend was electric. New ensembles grew at a dizzying rate The experience of the song festival gave Estonian composers a fresh and increased impetus to develop their craft. 39 Basking in the success of the first National Song Festival, organizers orchestrated two additional gatherings during the period of National Awakening. Estonians held their 37 Separated into syllables, üldlaulupidu breaks down into the following: üld means national, laul means song, and pidu means festival. 38 Much of the information in this chapter about the National Song Festivals is from David Puderbaugh, My Fatherland is My Love: National Identity and Creativity and the Pivotal 1947 Estonian National Song Festival (DMA diss., University of Iowa, 2006), in Proquest Dissertations and Theses, 39B14B435F9/6?accountid=4840 (accessed January 18, 2012). 39 Ibid.,

34 second festival from June 20-22, 1879, again in Tartu. The format for this festival was modeled after the first, and over 1,070 musicians participated during the three-day event. 40 Because they wanted to attract a broader audience, organizers moved the third festival to Tallinn, and it took place during June 12-13, Over 782 participants performed for an audience of ten-thousand people. 41 This newly-established tradition, based on three successful festivals, cemented the events as an important Estonian cultural institution. The Struggle for Independence Russification, Revolution, and War From , the Russian government implemented a series of reforms intended to align Estonia more closely with the interior of the Russian empire. The Russians sought to belittle the National Awakening by gaining control of various aspects of Estonian life. As the first step toward a general policy of Russification, the government placed schools under the control of the Ministry of Education in St. Petersburg. In tandem with this development, Russian became the official language of instruction in Estonian schools. Curiously, Estonians generally accepted the implemented reforms with little resistance. While they were officially under the control of the Russian government, Baltic German nobility still dictated much of their day-to-day lives, and the Estonians viewed the notion of Russification as a good alternative to Baltic German oppression. Thus, the main effect of Russification, as pointed out by O Connor, was not so much the subjugation of Estonian culture as the weakening of Baltic German control in the area. A major effect of Russification in the Baltics was the undermining of some of the authority of German landowners many ordinary Estonians and Latvians welcomed the introduction of Russian administrative measures in the Baltic provinces Ibid., Ibid., O Connor, The History of the Baltic States,

35 Yet, by 1905, Estonians had grown weary of the policies put in place by the Russian government. Their initial acceptance of Russification as a means of weakening the power of the Baltic Germans had dissipated into a general distrust of the Russian government. As a result of this sentiment, a growing revolutionary spirit began to spread throughout Estonia. Raun outlines four factors that helped contribute to this charged atmosphere. 43 First, rapid industrialization had led many Estonians into factory jobs with unfavorable working conditions, a stark contrast for people accustomed to farm life. Second, these adverse circumstances caused workers to become increasingly discontent. Third, a disorganized Russian government mishandled the Russo-Japanese War, leading many Estonians to doubt the capability of the Russian authorities. Fourth, a general economic downturn made life increasingly difficult for many Estonians. A culminating event occurred in January of 1905, when Russian forces opened fire on hundreds of workers who were peacefully marching in St. Petersburg. To Estonians, this event, known as Bloody Sunday, was the last straw 44 and opened the floodgates of revolution. Soon after Bloody Sunday, Estonian nationalistic sentiment boiled over in what became known as the Revolution of Strikes broke out throughout Estonia, in such cities as Tallinn, Narva, Pärnu, and Tartu. Faced with escalating Estonian protests, Russian authorities retaliated with great brutality, 45 killing sixty civilians and wounding two-hundred others at a peaceful demonstration in Tallinn in October of By December of 1905, Russian forces had invoked martial law in another attempt to regain control of the country, resulting in the deaths of three-hundred Estonians. An additional six-hundred civilians were subjected to corporal punishment. 47 Across the Baltics, 43 The subsequent four factors are from Raun, Estonia and the Estonians, Ibid. 45 O Connor, The History of the Baltic States, Raun, Estonia and the Estonians, Ibid.,

36 Russian authorities sentenced 652 people to death by execution and sent 495 people to forced labor camps. 48 While the Revolution of 1905 was not an outright success, it did serve an important purpose. Many Estonians lost their lives in protest, and many others endured years in forced labor camps. Yet, despite these human losses, Estonians succeeded in creating a renewed drive for independence. The bloodbaths of 1905 served to bolster the sentiment that reforms were desperately needed. Estonians did gain several minor concessions from the Russian government, including reinstatement of the Estonian language in schools. 49 During this period, Estonians submitted proposals advocating for an independent Estonia, but to little effect. They did, however, serve to raise the public consciousness through increased political discourse. Because of this series of events, Raun refers to the Revolution of 1905 as a major watershed in Estonian history. 50 Less than ten years after the Revolution of 1905, World War I broke out. While this war would not prove to be as costly to the Estonians as World War II, the country endured certain hardships. The Russian government forced over 100,000 Estonian men to serve in the tsarist armed forces, which represented ten percent of the Estonian population at the time. 51 Because many of the conscripted men were farmers, agricultural production suffered dramatically, leading to rampant food shortages. The Russian government printed more money to finance the war, causing runaway inflation. 52 Overall, the economic hardships and military casualties endured during World War I served to engender among the Estonians an even greater amount of civil unrest and unhappiness, amplifying the sentiment already embodied by the Revolution of Ibid. 49 O Connor, The History of the Baltic States, Raun, Estonia and the Estonians, Ibid., O Connor, The History of the Baltic States,

37 Song Festivals from 1885 until World War I Propelled by the prevailing nationalistic attitude of the time, the Song Festivals continued during the late tsarist period, although they came under increasing Russian influence. Russian officials viewed the Song Festivals as a form of Estonian patriotic expression that was ripe for Russification. On these grounds, Russians named the 1891 gathering a Festival of Gratitude for the Tenth Anniversary of the Reign of Emperor Alexander III. 53 Following the 1891 festival in Tartu, Russian authorities dismantled the Estonian Writer s Society, the organization responsible for coordinating the event. During the seventh festival, held in Tallinn in 1910, plain-clothed Russian officers supervised the festivities, and Russian authorities changed song lyrics to reflect more pro- Russian ideologies. Though the festivals endured increased Russian scrutiny, they remained popular and well attended. In fact, each festival during this era featured subsequent increases in the number of both performers and audience members. The 1891 Tartu festival featured 2,700 participants and was attended by 15,000 people. 54 Involvement increased with each subsequent gathering, culminating in the seventh festival in Tallinn in 1910, which included 10,100 musicians and 35,000 audience members. 55 Despite Russification policies, the music selections of the song festivals reflected intensified Estonian nationalistic sentiment. In fact, the number of Estonian pieces performed actually increased, while the number of German pieces decreased, reflecting the declining power of the Baltic German nobility. Choirs premiered new compositions by Estonian composers, making the Song Festivals a prominent venue through which new works could be featured. Puderbaugh sums up the effect of the festivals during this time period: In an era when ethnic Estonians were searching for a national identity uniquely theirs, the festivals provided a venue where music accelerated nationalistic 53 Puderbaugh, My Fatherland is My Love, Ibid. 55 Ibid.,

38 currents and magnified the gains that Estonians were making toward eventual autonomy. 56 Independence Military Struggle In October of 1917, in what became known as the October Revolution, Vladamir Lenin came to power in Russia, creating a period of instability as the Russian government underwent transition. Estonians seized on this new Russian uncertainty. According to O Connor, Baltic peoples were using the window of opportunity provided by the confusion in Russia to shape their own futures. 57 The seizing came in the form of an Estonian resolution in favor of independence as World War I was winding down. The resolution passed in January of 1918, and on February 24, 1918, the Committee of Elders of the Maapäev declared Estonia to be independent and democratic within its historical and ethnographical borders. 58 Estonia had finally achieved liberation, and officials created a provisional government. Unfortunately for the Estonians, the newfound freedom was short-lived. A mere day after the Committee of Elders declared independence, German troops, who had already invaded Estonia, charged north and invaded Tallinn, effectively gaining control of the entire country. The Germans assumed immediate jurisdiction over the Estonians lives. They closed all Estonian societies and newspapers and implemented strict censorship over many aspects of daily Estonian tasks. Working-class Estonians suffered layoffs and starvation-level wages during the period of German control. World War I officially ended on November 11, 1918 with an armistice, but it did not bring immediate peace for the Estonians. German soldiers left Estonia at war s end, but Soviet forces quickly invaded Estonia from the East, beginning in Narva (Figures 2.2 and 2.3). With the invasion, they hoped to regain control of the country. The first part of 56 Ibid., O Connor, The History of the Baltic States, Raun, Estonia and the Estonians,

39 Figure 2.2. Estonian fortress in Narva, next to the Russian border. Photo by the author. Figure 2.3. Russian fortress across the border from Narva, Estonia. Photo by the author. the Soviet conquest was swift: by December, 1918, Soviet forces controlled half of Estonia. Yet, as the Soviets neared Tallinn on their march westward, they met stiff resistance from Estonian soldiers who were reinforced and aided by troops from Finland and Britain. Eventually, the Estonians prevailed, pushing the Soviets out of Estonia. In February of 1920, the Tartu peace treaty with Soviet Russia officially ended the conflict. Thus began twenty years of Estonian independence that would last until

40 Song Festivals During Independence As might be expected, the popularity and influence of the Song Festivals grew immensely during the twenty years of Estonian independence. Organizers founded the Estonian Singer s Union (ESU) in 1921 to help plan the gatherings. The ESU decided to hold the festivals at regular, five-year intervals in the hopes of a renewed sense of continuity and stability. Local training of singers and conductors increased, as did general festival preparation. For the 1928 festival, 255 rehearsals in fifty different districts took place throughout Estonia. 59 Around fifteen-thousand musicians performed at this festival, and those in attendance numbered 150,000, about one-eighth of the total population of Estonia. 60 By the time the 1938 festival occurred, the last to take place prior to World War II, 569 different performing ensembles were participating in the festival, culminating in a total number of 17,501 musicians. 61 The Return of Soviet Rule On August 23, 1939, Nazi Germany and Soviet Russia signed the Molotov- Ribbentrop Pact, which had unfortunate implications for Estonia. Outwardly marketed as a pact of non-aggression between the two major powers, it contained secret clauses that allocated control of certain European countries to either Germany or Russia. Finland, Estonia, and Latvia were all placed in the sphere of Soviet Russia. Caught between the fear of a Nazi invasion and 160,000 Soviet troops that had amassed on their border, 62 Estonia signed a mutual assistance pact with the USSR on September As a result of 59 Puderbaugh, My Fatherland is My Love, Ibid. 61 Ibid., 63. army. 62 At the time, 160,000 troops was ten times greater than the size of the Estonian 63 Raun, Estonia and the Estonians,

41 this treaty, 25,000 Soviet troops were placed in Estonia. 64 In 1940, Nazi Germany invaded France, and the Soviets decided to counter the invasion by invoking the secret clauses of the Molotov-Ribbentrop pact. Estonian officials were forced to allow an additional ninety-thousand Soviet troops into Estonia, bringing the total number of Soviet forces to 115,000 troops and effectively bringing the country under Soviet military occupation. 65 With a superior foreign military occupying the country and little chance for resistance, Estonia was ripe for an official takeover by the USSR. During rigged elections held in 1940, the Soviets won control of the Estonian government. Taagepera describes the corrupt Soviet practices during this 1940 election: The Soviets pretended to follow the existing electoral laws but grossly violated them in practice. 66 One example of the violations included shortening the period for presenting candidates from thirty-three days to three days. In addition, only legal organizations were allowed to nominate candidates, and since only Communist organizations met this criterion, only Communist candidates were allowed to run. Following the elections, the new government officially declared Estonia the sixteenth republic of the USSR on August 6, 1940, bringing Estonia s twenty years of independence to an end. The Soviet Union wasted no time in purging Estonia of elements deemed irrelevant to Communist interests. Soviet officials arrested prominent Estonian political leaders and deported them to the Russian interior. The Soviet Red Army absorbed the Estonian army, and sent former Estonian military leaders to prison camps. Soviets executed over two-thousand Estonians and deported nineteen-thousand more, sending them to labor camps. 67 Party leaders destroyed over seventy-thousand Estonian books as part of the implementation of a new education system based on Marxism and Leninism Ibid., Ibid., Taagepera, Estonia: Return to Independence, Raun, Estonia and the Estonians, Ibid.,

42 By many accounts, the Soviet takeover was exceedingly brutal. As a child, Taagepera remembers his parents saying, At the rate things are going, even German rule would have been better. 69 He sums up the ordeal bluntly: Every cloud is supposed to have a silver lining, and scholarly tradition demands a balanced handling. The silver linings of Marxist-Leninist regimes have acquired a distinct tarnish even when not Stalinist. To say anything positive to balance the account of the first year of Soviet occupation of Estonia, I would have to lie. It was an unmitigated disaster. 70 German Occupation After one year of Soviet rule, World War II broke out, and Estonia was subjected to more forcible occupation, this time at the hands of Nazi Germany. Defying the secret provisions of the Molotov-Ribbentrop pact, which had allocated Estonia to the Soviets, the German army invaded Estonia in June of While under Soviet control, the Red Army had absorbed the Estonian army, and 33,000 Estonian men were conscripted into Soviet service. 71 Now, during the German occupation, over seventy-thousand Estonians served in the Nazi army. 72 In addition, another five-thousand Estonians escaped across the Baltic Sea to Finland, and 2,700 of these joined the Finnish armed forces. 73 This created a chaotic situation, forcing Estonians to fight against each other on the battlefield. World War II annihilated the Estonian population. With the vast fighting that took place on Estonian soil and the number of Estonians conscripted into various armed forces, Estonia experienced considerable wartime losses. Nazis executed six-thousand Estonians during their occupation, including Communists, purported Communists, and 69 Taagepera, Estonia: Return to Independence, Ibid., Raun, Estonia and the Estonians, Taagepera, Estonia: Return to Independence, Raun, Estonia and the Estonians,

43 nearly all of the Jews remaining in the country. 74 Another fifteen-thousand Estonians were forced into labor service in Germany. 75 Overall, the combined factors of war casualties, deportations, executions, and fleeing led to enormous human loss. By the end of World War II, the population of Estonia had declined by 100,000 people. 76 The Stalinist Era An Era of Oppression Despite successfully removing the Soviets for a brief period at the end of World War II, Estonia was re-annexed as a Soviet Socialist Republic in 1944, and the iron curtain again came down on various aspects of Estonian life, including agriculture. At first, Estonians voluntarily complied with the collectivization of farmland, but they eventually began to resent the system. O Connor notes, Since voluntary collectivization was not working to the desired effect, the regime took more drastic measures, principally raising tax rates on farms to a level where it became impossible for them to continue functioning. This left many peasants with little choice but to join the kolkhozy. 77 By the end of the Stalinist era, over 97% of Estonian farms had been collectivized, stripping the Estonian farmers of their rights as landowners. 78 The collectivization of agriculture had serious consequences for Estonians. Throughout the process, they experienced shortages of food and other consumer goods. Food was rationed until Soviets deported those unwilling to collectivize their farms to Siberian labor camps. During the month of March, 1949, some 50,000-60,000 people were rounded up and deported, an estimated twelve percent of the Estonian 74 Ibid., Taagepera, Estonia: Return to Independence, Raun, Estonia and the Estonians, O Connor, The History of the Baltic States, 126. Kolkhozy refers to a unit of socialized farm structure that was part of the Soviet collectivization of agriculture. 78 Raun, Estonia and the Estonians,

44 population. 79 These mass deportations and other incidents, which resulted in the deaths of many Estonians, led Taagepera to refer to the Stalin period as the years of genocide. 80 Soviet brutality toward Estonians reached an all-time high during this period. Numerous accounts of violence, including thefts, beatings, shootings, and rape provide a grim picture of life during the Stalinist era. One such incident follows: There are numerous reports of soldiers assaulting isolated women in the country. Only last week, some soldiers raped a woman on her way to the hospital to give birth, inflicting serious injuries on her husband as well, so that the couple later died in the hospital. Because the incidence of robberies, murders, and thefts is so high, the people are dispirited and no longer dare to live on isolated farms. 81 For the most part, Estonians endured the brutality and oppression, but a small force of fighters known as the Forest Brothers provided armed resistance against Soviet troops. Members of the Forest Brothers were former Estonian soldiers or defectors who refused to live under Soviet rule. They lived in the forests in hidden bunkers, which were carefully camouflaged and often equipped with an emergency escape route that was disguised with special care. Quite often the bunker trapdoor was covered by a tree stump or planted fir Many bunkers were very well armored and equipped with well-constructed loopholes and trenches Only those bunkers with roundthe-clock guard and utmost secrecy of location had any chance of survival. 82 The Forest Brothers carried out attacks on the Red Army, which were often quite effective. While they did not succeed in achieving Estonian independence, the Forest Brothers maintained their resistance for quite some time, before finally succumbing to the superior Soviet forces. Visilind notes, It seems quixotic, even futile, that a small band of partisans had hoped to put a dent in the armor of one of the world s major military 79 Ibid. 80 Taagepera, Estonia: Return to Independence, Mart Laar, War in the Woods: Estonia s Struggle for Survival , trans. Tiina Ets (Washington, DC: The Compass Press, 1992), Ibid.,

45 powers. And yet, it took the Soviets nearly a decade to bring the Forest Brothers under control. 83 The oppression the Estonians experienced also involved aspects of their cultural lives. The arts in Estonia were controlled by two Soviet organizations: the Union of Artists and the Union of Composers. Soviet authorities enforced the policy of Zhdanovshcina as a method of censorship of the Estonian artistic scene. 84 This entailed screening musical and artistic output for bourgeois nationalism. Artists who did not conform to the boundaries of what was deemed appropriate were dismissed and deported. According to Raun, The bleakest period in Estonian culture came under Stalin in , and the thaw did not begin until the mid 1950s. 85 Song Festivals During the Stalinist Era Despite being dispirited by the hardships that Estonians endured during this period, public sentiment began to build in support of another Song Festival. Gustav Ernesaks, a prominent conductor and board member of the Estonian Composers Union, wrote a letter advocating for the return of the festivals: On behalf of the Composers Union, I would like to greet all musicians; our accomplishments are great, despite the difficult times. We have managed to hold onto our battle spirit and enthusiasm. We have been successful despite the occupation. According to our traditions, we must continue developing our choral singing; everything that stands in the way must be eliminated. Choral singing is for the masses. This is the only type of musical activity that can be participated in by anyone The Song Festivals will continue with more enthusiasm and spirit We must only hope that the composers will start composing new songs after all the dark years I am sure, [by] searching really hard, we can obtain a great legacy of battle songs that will strengthen our spirits and bodies Let us unite! 83 Vesilind, Priit, James Tusty, and Maureen Tusty, The Singing Revolution: How Culture Saved a Nation (Tallinn, Estonia: Varrak Publishers, 2009), Raun describes Zhdanovshcina as the extreme enforcement of socialist-realist norms in literature and the arts, Raun, Estonia and the Estonians, Ibid.,

46 The battle continues. 86 In addition to Estonian pride, a Soviet political agenda also contributed to the rebirth of the Song Festival tradition. Eager to quell Western fears that they were being too oppressive to the Baltic states, Soviet authorities rationalized that the Song Festival might bolster their own public image. By supporting the gathering, they hoped to be perceived as showing respect for Baltic culture. In addition, they could use the festival as a platform for their own Communist propaganda. According to Puderbaugh, The spectacle of thousands of traditionally-clad Soviet Estonian citizens joyously singing songs of their heritage alongside pieces that preached Marxist ideology could convey the idea that Joseph Stalin was not interested in erasing the ethnic identities of his newfound territories. Such a spectacle would show the West that Estonians perceived the Soviet occupation as a positive development for their country, one which Estonians welcomed and readily incorporated into their already extant traditions. 87 In an attempt to balance the façade of Estonian happiness with Soviet propaganda, officials in charge of the festival allowed Estonian selections to comprise a significant role in the music performed at the festival. Thus, the repertoire consisted of both pieces that promoted Soviet propaganda and Estonian folk songs and music by Estonian composers. The most important new piece performed at the festival was a new work by Gustav Ernesaks, who wrote a new song to the text of Mu isamma on minu arm (My Fatherland is my Love) (Example 2.1). This setting of the text by Lydia Koidula would be performed at nearly every subsequent Song Festival, and has become the signature piece of the celebration. Over 28,000 people participated in the 1947 Song Festival, and the audience included an estimated 100,000 people. 88 Despite the success of the 1947 festival, Soviet officials were leery about the potential of such gatherings to incite Estonian nationalistic fervor, and they greatly increased their censorship of the 1950 gathering. Beginning in 1948, the Estonian Communist Party had begun a cultural purge, and the Composer s Union announced a 86 Gustav Ernesaks, Laulukoorid tööle, Sirp ja Vasar, in Puderbaugh, My Fatherland is My Love, Puderbaugh, My Fatherland is My Love, Raun, Estonia and the Estonians,

47 Example 2.1. Mu ismaa on minu arm by Gustav Ernesaks. 30

48 Example 2.1 continued. thirteen-point plan to correct flaws in Estonian music and to eliminate Western influence in all segments of Estonian musical culture. 89 As a result of the purge, authorities sent festival conductors Tuudur Vettik, Alfred Kardini, and Riho Päts to prison. 90 The festival itself was not even known as the thirteenth festival, as Soviet officials wanted to associate the gatherings with Soviet anniversaries. Therefore, the 1950 festival officially celebrated the tenth anniversary of Soviet rule in Russia. Not surprisingly, repertoire presented more Soviet Communist themes and included more music from other Soviet Socialist Republics. Despite the increased censorship, Estonians were able to keep a sense of covert nationalism alive and well. Veljo Tormis describes an Estonian sentiment of perseverance: Regardless of what song they were singing, they felt that we are Estonians and we are all here together and we are singing as we can. 91 Raun speaks to the influence of the festival, saying, in many ways this powerful musical tradition, reaching back to the National Awakening, transcended even the restrictions of the Stalinist era Puderbaugh, My Fatherland is My Love, Raun, Estonia and the Estonians, Veljo Tormis, in Puderbaugh, My Fatherland is My Love, Raun, Estonia and the Estonians,

49 The Post-Stalin Era The Khrushchev and Brezhnev Regimes After Joseph Stalin s death in 1953, Soviet rule passed to Nikita Khrushchev, which brought positive changes to the lives of Estonians. Unlike Stalin, Khrushchev rejected the notion of strict isolationism and instead embraced competition with the outside world. This allowed Estonia to have increased interaction with foreign countries. The first example of this newfound openness came in the form of the Helsinki-Tallinn boat line, which launched in 1965, connecting Estonia and Finland. This and other events instilled a feeling of hope among the Estonian people, who felt the shackles of the Stalin-era terror machine beginning to loosen. For all the signs of hope, Estonians still endured hardships. Environmental pollution increased greatly during the Khrushchev regime. Jobs in Estonia were often advertised more prominently in Russia, resulting in an influx of Russian immigrants coming to Estonia, taking jobs and moving into new apartments that Estonians had been waiting for and desperately needed. Estonian officials would not dare challenge the intrusions for fear of being labeled a nationalist, a classification that often resulted in consequences. The Soviets destroyed cultural landmarks, including the ruins of a medieval city in the border town of Narva. According to Taagepera, these remnants could have been restored, yet they were bulldozed in early Following the ousting of Khrushchev in 1964, Lenoid Brezhnev assumed control of the Soviet Union. The relaxing of restrictions during the Khrushchev era had buoyed Estonian morale, but many in the USSR were looking for a strong leader to reverse some of the increased liberalism implemented during the Khrushchev era. The Brezhnev regime quickly suppressed any sense of hope by cracking down on dissenters. Soviet aggression towards Czechoslovakia in 1968 left Estonians preparing for assault. According to Taagepera, All this [positive Estonian morale] changed when Soviet troops 93 Taagepera, Estonia: Return to Independence,

50 invaded Czechoslovakia. Estonia braced for a purge. It did not come, but Brezhnev s regime had squandered the fleeting goodwill. 94 While there was no Soviet aggression in Estonia during this period, life remained difficult. Housing and food shortages were common. Environmental pollution remained a problem, largely due to lenient regulations at oil shale and phosphate mines. These factors prompted Taagepera to characterize the Brezhnev era as the years of suffocation. 95 Song Festivals During the Post-Stalin Era As the terror of Stalin-era policies gradually lifted during the Khrushchev era, censorship of the Song Festivals relaxed as well. The 1955 festival, the first after Stalin s death, was similar in nature to previous gatherings, as practical changes of the Khrushchev regime were slow to trickle down to the festivals themselves. However, the 1960 Song Festival boasted several significant changes. The first was the construction of a new stage, which began in Completed in time for the 1960 festival, the stage was 118 feet high and able to accommodate 24,000 singers. 96 A shell placed behind the stage was designed to greatly improve the acoustical experience. 97 On one side of the stage, workers constructed a tower that held an Olympic-style flame that would be lit during the festivities (Figure 2.4). Toward the close of the 1960 festival, a memorable experience occurred. Over time, it had become tradition for audience members to remain on the grounds at the conclusion of the festivities for a time of informal singing. As this was happening during the 1960 festival, several choir members began singing Ernesaks s Mu ismaa on minu arm, which had been banned from the festivals since The singing quickly 94 Ibid., Ibid., Puderbaugh, My Fatherland is My Love, Ibid. 33

51 Figure 2.4. The Song Festival stage. Photo by the author. intensified, and soon the entire audience had joined. Soviet officials attempted to quell the singing by blaring loud music through the speaker system, but when Ernesaks rushed the stage and began conducting during the second verse, the momentum became unstoppable. This occasion marked the first time since 1947 that Mu ismaa had been performed at the festival, and it has been performed at every festival since that time. 98 The 1969 gathering (Figure 2.5) was a milestone moment in Estonian music, as it represented the one-hundredth anniversary of the festival. The event was hugely popular, with an audience of an estimated 300,000 people. 99 Soviet officials further relaxed the censorship policies, including the volume of Soviet songs that were required as part of the program. Thus, choirs were able to perform a greater amount of Estonian repertoire than in previous years The description of the spontaneous performance of Mu ismaa on minu arm at the 1960 festival is taken from Puderbaugh, My Fatherland is My Love, Vesilind, Tusty, and Tusty, The Singing Revolution, Puderbaugh, My Fatherland is My Love,

52 Figure 2.5. Statue commemorating the one-hundredth-anniversary festival of Photo by the author. Throughout the Soviet era, the act of gathering together and participating in the Song Festivals gave many Estonians the emotional fuel necessary to persevere during the years between gatherings. Heinz Valk, a political cartoonist, describes this sentiment: The people sang along, holding their hats in their hands and with tears in their eyes. Thanks to the Soviet Union, each Song Festival turned into a mass demonstration. It turned out that we prepared five years for this festival, the main purpose of which was really to come together as a nation and sing this one forbidden song [Mu ismaa on minu arm]. Each person could go to work the next day knowing that the Estonian spirit survives Vesilind, Tusty, and Tusty, The Singing Revolution,

53 The Singing Revolution Independence Through Song In 1985, Mikhail Gorbachev assumed power in the USSR and instituted policies that further relaxed the control of the Soviet Union on its satellite republics. Two such policies were perestroika and glasnost. 102 In particular, glasnost enabled Estonian grassroots organizations to experiment with outright protest. The first demonstrations took place in the spring of 1987, when Estonians organized against the possibility of phosphate mining that placed forty percent of Estonia s water supply in danger of pollution through the excavation of radioactive materials. 103 The mining would also have increased air pollution in Tallinn due to a nearby processing plant. Soviet authorities neglected to stifle the protests, and in October of the same year, announced that the proposal had been abandoned. The first official Estonian protest took place on August 23, 1987, at Hirvepark in Tallinn. Organizers had obtained permits from the Soviet government, making it the first protest to be formally registered. 104 Speakers at the rally outwardly criticized the Molotov-Ribbentrop Pact, and Soviet authorities once again declined to use force against the protesters. The rally, along with the demonstrations against the phosphate mines, ignited the Estonian public. Raun describes the effect of these incidents: the event emboldened Estonian society and further shook it out of its lethargy. A growing range of issues was held up to public scrutiny, and in this process the so-called creative intelligentsia writers, critics, artists, journalists, and so on played a leading role. 105 The success of the phosphate mine and Hirvepark protests readied public sentiment for what would be one of two seminal moments in the Estonian struggle for freedom. The Old Towne Days festival, held in Tallinn during June 11-14, 1988 was one such occasion. Part of the event schedule included a Night Song Festival, where an 102 Perestroika refers to restructuring, while glasnost refers to openness. 103 Raun, Estonia and the Estonians, Ibid. 105 Ibid. 36

54 estimated sixty-thousand youth came to the Song Festival grounds to wave Estonian flags and listen to rock music. 106 With no Soviet suppression, the festival continued the following night, this time with between 100,000 and 150,000 people in attendance. 107 Ivo Linna, one of the performers at the festival, describes the night: The experience was one of those that you only get one time in your life. All of us who were on that stage were truly thinking that what we re doing is getting rid of the Soviet Union and on our way to freedom. It was such a feeling of pride that tears were flowing down my face it was a huge, proud, and clean feeling. I will never do anything again that came so directly from my heart. I felt then that my youth would never leave me. 108 Besides the Night Song Festival, the other significant moment came in cooperation with the other Baltic states. In August, 1989, more than one-million people formed a human chain stretching from Tallinn to Vilnius, Lithuania, a distance of fourhundred miles. 109 The chain, a prominent display of Baltic solidarity in the face of Soviet oppression, received international attention through news coverage from around the world. Once again, the Soviet Union, fearing an international uproar due to the high amount of publicity, neglected to stifle the demonstrators. Other Contributions to Independence Other developments emboldened Estonians and contributed to the spirit of independence. Karl Valino, Gorbachev s Estonian Communist Party Secretary, was an unpopular figure in Estonia. Bowing to public pressure, officials replaced him with Vaino Väljas, the first native Estonian to hold the post since Väljas held strong anti-stalinist positions and ignited the Estonian nationalistic sentiment with his impassioned speeches. Public opinion polls, which had only recently been allowed, 106 Taagepera, Estonia: Return to Independence, Ibid. 108 Vesilind, Tusty, and Tusty, The Singing Revolution, Taagepera, Estonia: Return to Independence,

55 reflected a significant increase in pro-independence sentiment from 1989 to On February 24, 1989, for the first time in forty-five years, the Estonian flag flew from Tall Hermann tower of Toompea Castle, the seat of the national government (Figure 2.6). In addition, officials returned street names to those used in pre-soviet times, and the official time zone was reset to align with Finland, instead of the Soviet Union. Estonian textbooks also began to replace Soviet-era literature in classrooms. Figure 2.6. The Estonian flag flies above the headquarters of the Estonian government building at the site of Toompea Castle. Photo by the author. In 1991, a rapid series of events culminated in reinstating Estonian independence. Moscow experienced a coup that began in August of 1991 and involved hardliners in the Soviet government attempting to reassert control over progressives. The coup failed and served to galvanize Russian support around Boris Yeltsin, who urged autonomy for the Baltic States, saying, If they don t get autonomy, they ll start pressing for 110 Those Estonians viewing themselves as pro-independence increased from fifty-six percent to ninety-six percent between April, 1989 and May, 1990 (Raun, Estonia and the Estonians, 229). 38

56 independence. 111 The backlash against the hardline position ended any possibility that the Soviet Union would survive and resulted in the further decentralization of governmental power. The ultimate result was independence for the Soviet Socialist Republics, and on August 20, the Supreme Council declared Estonia s sovereignty. Conclusion The story of Estonian history reveals the importance of singing as a means of peaceful protest in the face of occupation and oppression. Throughout the years, the Song Festivals demonstrated their importance as a means of uniting the country by coalescing around an activity steeped in cultural tradition. The Singing Revolution of the late-1980s was the final explosion of nationalistic sentiment that had been gaining momentum at the Song Festivals for decades. This Estonian sentiment is best described by Valk, who coined the term Singing Revolution in an article of the same title in the June 17, 1988 edition of Sirp ja Vasar: A song is something that has been the only way for an Estonian to express their ideas and opinions as well as protests. For decades, that song was My Fatherland Is My Love. The primary image of the Song Festivals appeared through thousands of people singing that song together. It is probably unique in the world to prepare for five years, then come together to hear what everybody has to say, and then just start singing from the bottoms of our hearts! It is our cultural phenomenon that should be introduced to all the nations of the world! 112 Given this attitude, it is fitting that 100,000 Estonians celebrated their newfound independence with the Song of Freedom event held on the Song Festival grounds in September of In doing so, the country celebrated through the same means that had given them a voice throughout history: the act of singing. 111 Boris Yeltsin, in Taagepera, Estonia: Return to Independence, Heinz Valk, Sirp ja Vasar, June 17, 1988, in Puderbaugh, My Fatherland is My Love, Taagepera, Estonia: Return to Independence,

57 CHAPTER THREE VELJO TORMIS Figure 3.1. Veljo Tormis. Photo Tõnu Tormis and used with permission. Childhood Veljo Tormis (Figure 3.1) was born on August 7, 1930 near Kuusalu, Estonia. His father, Riho Tormis, was a music-loving farmer and amateur musician who played violin and organ, conducted, and served as parish clerk at Vigala Church. 114 Because of his father s vocation, Veljo was exposed to choral music at a very young age. According 114 The biographical information on Veljo Tormis found in this chapter was largely obtained from Daitz, Ancient Song Recovered, with additional information from Urve Lippus s biographical sketch found in Tormis s catalogue of works published by Fennica Gehrman in Helsinki, Finland. 40

58 to Urve Lippus, The church choir practiced at their home, his mother singing alto and Veljo often sitting next to her. The church choir sang all kinds of music, and like most Estonian choirs of that time, took part in local social events and national song festivals. 115 These experiences during his youth were formative throughout Tormis s life, as they served as an introduction to many elements of the Estonian choral tradition. In addition, this period also instilled in him a sense of reverence for Estonian culture. Lippus notes, This early experience of choral music and his involvement with national ideas and feelings related to the Estonian choral movement were certainly important for the future composer. 116 The young Tormis also spent time during his childhood in Ida-Viru County, near the seaside village of Toila. It was here that his father served a church (Figure 3.2) as parish clerk until 1936, while the family lived in a small farmhouse (Figure 3.3) on the grounds. Because of the house s close proximity to the church, Tormis was able to fully participate in the musical life of the congregation. 117 Tormis s musical training commenced early. At the age of eight, he began playing parlor organ, an experience that would influence the style of his future choral compositions. According to Daitz, Tormis s early exposure to organ playing may be partially responsible for some of the dense parallel chords which later provided the important background material in many of his choral works. 118 At age twelve, he began studying organ with August Topman, who had also taught his father. 115 Urve Lippus, Veljo Tormis (Helsinki, Finland: Fennica Gehrman), Ibid. 117 It was at this locale that the author, on a 2011 research trip to Estonia, encountered Tormis and his wife Lea, where he was helping to lead a workshop on regilaul, a kind of ancient Estonian folksong that will be discussed in greater detail in the following chapter. 118 Daitz, Ancient Song Recovered,

59 Figure 3.2. Pühajõe Church near Toila, Estonia. Photo by the author. Figure 3.3. Farmhouse on the grounds of Pühajõe Church. Photo by the author. 42

60 Musical Training Tormis s formal musical training began in 1944, when he enrolled in the Tallinn Music School. As a part of his studies, he received after-school organ lessons for three years. In 1947, he was admitted to the Tallinn Conservatory, and began studying organ with Edgar Arro. In addition overseeing his organ instruction, Arro also encouraged Tormis to compose, and was the first to suggest that Tormis use folk music as source material for his compositions. In 1948, due to the Stalin-era policies of the Soviet Union, officials ceased to offer organ instruction at the Tallinn Conservatory. It seems the instrument was too closely associated with church music, a practice that Soviet officials felt was deeply tied to Estonians sense of cultural identity, and therefore posed a threat to Soviet power. Because of this, Tormis returned to the Music School and attempted to study choral conducting. For whatever reason, this venture was unsuccessful. Daitz notes, Tormis told me that he knew quickly that he was unsuited to be a choral conductor; his professor agreed. 119 In 1950, he re-entered the Conservatory with a new concentration in composition, commencing study with Willem Kapp. To further this new direction in his musical studies, Tormis, along with his wife Lea, moved to Moscow in 1951, where she began studies at GITIS (The State Institute of Theatrical Art), and he started classes at the Moscow Conservatory. Tormis s professors at this new institution leveled greater criticism at his works than he was accustomed to, which had an adverse effect on his confidence. According to Tormis, his opinion of himself as a composer was quite high. After a week [of lessons at the Conservatory], that high opinion of [himself] had evaporated without a trace. 120 While at the Moscow Conservatory, Tormis benefited from the instruction of several teachers. His primary composition professor was Vissarion Shebalin, who nurtured Tormis s inclination for using Estonian folk music as compositional source material. Lippus unequivocally states, Shebalin supported his student s interest in a 119 Ibid., Veljo Tormis, in Daitz, Ancient Song Recovered,

61 national style based on the use of folk music. 121 In addition to affirming the folk-based aspect of Tormis s compositional approach, Shebalin gave influential remarks, improving the overall pacing of Tormis s works. Tormis recounts his teacher saying, Here you need to cut the transition, or Here you need to extend the climax, so the whole episode will sound as one piece. 122 Studies in orchestration and score reading with Yuri Fortunatov further augmented his training at the Conservatory. Tormis regards Fortunatov with great admiration: [Tormis] sends or brings every new work to Moscow to [Fortunatov] always with great respect and attention he takes his advice. 123 Tormis final projects at the Conservatory involved subject matter that foreshadowed much of his future compositional output. One of his compositions, Kalevipoeg, eepiline kantaat (Kalevipoeg, Epic Cantata), was based on the Estonian mythic character Kalevipoeg, the hero of the Estonian national epic of the same name. Other pieces contained texts from Kalevala, Kanteletar, 124 and the poetry of lateeighteenth-century poet Juhan Liiv. The subject matter of Liiv s poems, written during the Russification period, paralleled contemporary events in Stalin s Soviet Russia. Professional Life Following his time at the Moscow Conservatory, Tormis and Lea moved back to Tallinn, where he began his professional career. His first appointments included teaching at the Tallinn Music School and Tallinn High School of Music, from and , respectively. During this period, he worked as a consultant at the Estonian Composers Union. After 1969, he left these professional positions and focused his time and efforts on establishing himself as a freelance composer. 121 Lippus, Veljo Tormis, Veljo Tormis, in Daitz, Ancient Song Recovered, Daitz, Ancient Song Recovered, Kalevala is the Finnish national epic, and Kanteletar is a collection of traditional Finnish lyric poetry. 44

62 By the late 1960s, Tormis was highly regarded as a composer throughout Estonia and the other Soviet satellite republics. At the 1969 Song Festival, the hundredthanniversary celebration, Tormis s composition Laulu algus (The Beginning of Song), opened and closed the festivities. The prominent inclusion of this composition illustrates the high level of fame that Tormis had obtained in Estonia by this time. Yet, Tormis s reputation remained confined to the Soviet satellites due to the iron curtain of the government in Moscow. This differed from some of his other countrymen, including composer Arvo Pärt and conductor Neeme Järvi, both of whom left Estonia during the cold war and achieved greater worldwide recognition for their musical accomplishments. In contrast, Tormis remained in Estonia, limiting his popularity outside of his native country. This is significant, as it engendered a deep connection between himself and the Estonian people. On a research trip to Estonia, the author encountered strong sentiments towards Tormis by his compatriots, including awe, endearment, and even love. One individual referenced Tormis s association with the political struggle in Estonia, saying that his connection to nationalistic currents made him the most beloved of any living Estonian composer. In 1990, The World Youth Choir performed Tormis s Raua needmine (Curse Upon Iron) at the Second Annual World Choral Symposium of the International Federation of Choral Music. The performance took place in Stockholm, Sweden and introduced Tormis to the larger world of choral music. Tormis biographer Mimi Daitz heard the performance, and described the response of listeners at the concert: In Stockholm we heard the World Youth Chorus perform Raua needmine by Veljo Tormis, a composer unknown to almost all of us. The effect of the ten-minute work was extraordinary; we had never heard anything quite like it and wanted to hear more. 125 Since then, Tormis s music has gradually gained popularity throughout the choral community. In 1993, The King s Singers premiered Piispa ja pakana (The Bishop and the Pagan), which they subsequently recorded. Other prominent choirs throughout the world have performed and recorded Tormis s music, including The Holst Singers (conducted by Stephen Layton), The Kansas City Chorale (conducted by Charles Bruffy), and the male vocal ensemble, Cantus. 125 Daitz, Ancient Song Recovered, 1. 45

63 In 2000, Tormis wrote Lauliku lõpusõnad (The Singer s Closing Words), his final composition. The poignant text of the work is from Kalevala and addresses the ideas of old ceding to new and the renewal of life forces: Now I end my measured singing, Bid my weary tongue keep silence, Leave my songs to other singers. Horses have their times of resting After many hours of labor; Even sickles will grow weary When they have been long at reaping; Waters seek a quiet haven After running long in rivers; Fire subsides and sinks in slumber At the dawning of the morning Therefore I should end my singing, As my song is growing weary, For the pleasure of the evening, For the joy of morn arising. 126 Tormis officially retired from composing in 2000, and currently refers to himself as Composer Emeritus on business cards. Still, according to Lippus, he has been amazingly active during the past decade or so and devoted all his energy to editing earlier compositions, supervising performances and recordings of his music all over the world, and teaching the style of singing old folk songs at the Estonian Academy of Music and Theatre and the Viljandi Culture Academy. 127 The author encountered Tormis s teaching at a workshop in Toila, Estonia in July, The three-day event, designed to teach both students and music teachers about regilaul, 128 involved lectures, rehearsals, and performances (Figure 3.4). An Estonian public television station recorded much of the workshop, the footage from which was to be made into a documentary. 126 John Martin Crawford, trans., The Kalevala (Santa Cruz, CA: Evinity Publishing), 2009, Epilogue. 127 Lippus, Veljo Tormis, 6. chapter. 128 A type of ancient Estonian folk song, discussed in greater detail in the next 46

64 Figure 3.4. Schedule for a regilaul workshop led by Veljo Tormis. Photo by the author. Influences The Soviet Union Tormis spent most of his life under the control of the Soviet Union, and many of his compositions have been influenced by this political situation. In 1951, Tormis married Lea Rummo, to whom he is still married and who remains his literary advisor, suggesting texts, arranging them, and helping him to write articles. 129 Tormis s parents opposed the marriage due to Lea s tendency towards socialism, a philosophy to which 129 Daitz, Ancient Song Recovered,

65 both Veljo and Lea ascribed in their youth. As they matured, the Tormis political thinking evolved, as evidenced by Veljo s thoughts: Still, why did it take so long to see through the inhuman system? Maybe because I was lost in the world of books and art, lived in my own inner world? in my youth I was nearly trapped in totalitarian mass psychosis. There were basically good ideas about equality, peoples friendship, and peace, which, to a naïve political idealist seemed a continuation of pre-war attitudes already instilled in me during childhood. 130 Through his experiences with the Soviet Union, whose censorship rules affected his commissions, Tormis s political philosophy began to change. During the Soviet years, it was difficult for composers to obtain work from outside of Estonia, as communication with foreign countries was limited. One commission, Pildikesi Vormsi minevikust (Pictures from Vormsi s Past), was for the Lund University Men s Chorus in Sweden. This 1983 commission was made possible through an organization known as the Society for the Development of Cultural Relations with Estonians Living Abroad, a type of organization that existed in each of the Soviet republics. While the Society allowed for cultural exchanges, its true purpose was to use these connections as a means to further KGB surveillance. 131 In the 1980s, Tormis s compositions became increasingly anti-soviet in nature, causing some of his music to be censored. An example of this involves his piece, Mõtisklusi Leniniga (Relflections with Lenin). For the work, Tormis set a text by Lenin, but selected only the portions that he liked, twisting Lenin s narrative into one that was anti-soviet in nature. As a result, Soviet authorities did not allow the work to be publicly performed. In 1981, the Chamber Choir of the State Philharmonic was banned from performing Tormis s compositions because of what the KGB called inferior artistic quality and because the words of some songs had a nationalist tint and anti-soviet content. 132 Permission to travel outside of Estonia was difficult to obtain and required an application. Upon receipt of such a request, Soviet authorities determined permission to 130 Veljo Tormis, in Daitz, Ancient Song Recovered, Daitz, Ancient Song Recovered, KGB report, in Daitz, Ancient Song Recovered,

66 travel based on knowledge of the applicant s familial relations and other social contacts. In 1982, Tormis was denied permission to travel to Finland. Yet, he had been permitted to travel to both Poland and Finland in the 1960s. Overall, Tormis attempted to appease Soviet leaders enough such that he was allowed some of the privileges afforded to the Soviet artistic elite. One of these dispensations included stays at the Soviet Houses of Creativity. Tormis could use the Houses, which were cottages with full, hotel-like service and beautiful surroundings, free of charge, as long as he finished a composition while he was there. Folk Music While he had shown an affinity for folk-based musical composition since his early career, there are two experiences that stand out in leading Tormis to confirm his belief in using folk music as source material. In the middle of the nineteenth century, many composers, including Tormis, shunned tonality in favor of serialism. Yet, in 1958, he accompanied a group of students from the Tallinn Music School to Kihnu Island, off the southwest coast of mainland Estonia. While on the island, he attended a village wedding, which included traditional folk songs and dances. Tormis listened carefully to the music, which proved so enchanting that it changed Tormis s attitude to the use of folk material. 133 This experience resulted in Kihnu pulmalaulud (Kihnu Island Wedding Songs), which won him first prize in a 1962 competition featuring compositions from throughout the Soviet Union. The other event that solidified Tormis s love of folk-based composition was a 1962 trip to Budapest. While in Hungary, Tormis bought scores of Béla Bartók s quartets and Zoltán Kodály s choral music. While Bartók and Tormis share many thoughts about the use of folk music in composition, Tormis confesses that Kodály s choral compositions are particularly close to him. 134 In fact, one of his most popular choral song cycles, Sügismaastikud (Autumn Landscapes), was influenced by Kodály s choral music. 133 Lippus, Veljo Tormis, Ibid. 49

67 Because the folk tunes are of paramount importance to Tormis, he has always sought to elevate their status within his compositions. Early in his career, he referred to his music as folksong arrangements in order to give more prominence to the folk music from which they were derived. This decision had financial consequences, as he only received half of what someone who wrote compositions would be given. After writing Raua needmine, which he originally called an arrangement, he realized he was mislabeling his work. He now refers to works that utilize regilaul as compositions and pieces that employ newer folk songs and nineteenth-century compositions as arrangements. Personal Characteristics Despite his prominent status in Estonia, Tormis remains humble. He has a selfdeprecating sense of humor, saying, I have never needed opus numbers because I am not a true composer. 135 This is a curious statement for someone with over five-hundred choral compositions to his name. Tormis obviously feels at home in the genre of choral music, perhaps due to his many years of experience singing in choirs during childhood. While interviewing Tormis (Figure 3.5), the author observed several characteristics about this unique composer, who was excited by the possibility of additional avenues through which his music could gain an even wider audience. Despite years of health issues and advancing age, Tormis retains a good amount of energy. 136 He moves quickly and decisively, with the assuredness of someone of clear conscience. He drives wildly, often gesturing with a cigarette in his hand as he careens around curves. A certain twinkle lights up his eyes during conversation, and infectious laughter is present throughout his daily discourse. Overall, the author found him to be filled with a compelling gusto, sharing an extraordinary spirit with those around him. 135 Tormis in Daitz, Ancient Song Recovered, Tormis was over eighty years of age at the time of the author s interview. 50

68 Figure 3.5. Veljo Tormis with the author. Photo provided by the author. Conclusion The career of Veljo Tormis is the result of the circumstances imposed on him throughout his life. The child of a church musician, he experienced choral music at an early age. A product of his native country s forcible occupation by the Soviet Union, he turned to folk music as a means of preserving national identity. Many of his compositions contain anti-soviet sentiment, the product of having endured years of Soviet occupation. Perhaps more than anything, he has remained true to his roots as an Estonian. Heljo Turk observed, Looking back on Tormis s path we see the direct line with early Estonian composers and some parallels with our cultural history. Tormis s inspiration and effort sprang up not from urban facilities but from a hand-made organ and choral song, country people, and the soil... Historically, the bearer of Estonian culture has been neither the court, the church, nor the urban intellectual, but rather the country people, the peasant Daitz, Ancient Song Recovered,

69 CHAPTER FOUR REGILAUL Introduction The previous chapter established that Tormis began to turn almost entirely to folkbased composition in the mid-1960s. His material of choice was most often regilaul, a type of ancient Estonian song. Tormis notes, I knew about the existence of regilaul from the very beginning, but I only began to understand its essence when I was about thirty-five. I started to use it in my works in a new way. 138 Tormis fully explains his dedication to the use of folk music in a 1972 article entitled, Rahvalaul ja meine, which, when translated, means Folksong and Us. The following excerpt clearly lays out his position: Regilaul is our people s oldest, unique, their most highly evolved and complete creation throughout the centuries, an expression of the people s creative genius. As such, it could serve as the basis for our contemporary national art, not merely as an ornamentation. As important as its aesthetic worth is its ethical value. For regilaul embodies the life values of working people which have evolved over thousands of years. Why should we now abandon this heritage to oblivion or scorn it as archaic? 139 Terminology Other terms are often substituted for regilaul. Finnish folklorists use the terms runo, runolaul, or runic song. Because many regilaul verses are also found in Kalevala, the Finnish national epic, they are sometimes referred to as Kalevala songs. 140 In Finland, Armas Otto Väisänen has used runosävelmä and Kalevalansävelmä as 138 Veljo Tormis, Some Problems With That Regilaul, (lecture, Viljandi Culture Academy, international conference RING, 2007), par Daitz, Ancient Song Recovered, Mimi S. Diatz, Integral vs. Derivative Use of Balto-Finnic Traditional Song in the Choral Compositions of Veljo Tormis, Fontes Artis Musicae 51, no. 3-4 (2004):

70 descriptors, both of which refer to the same musical tradition. 141 Tormis uses the term, regilaul. Thus, regilaul will be used for the purposes of this document. History Differing opinions exist as to the age of regilaul. According to Tormis, Estonians estimate the tradition to be two- or three-thousand years old, as many of the texts have their roots in paganism. 142 Due to the structure of the individual verses, historians think they may date back to the time of Christ. However, attempts to trace the linguistic history have revealed similarities between regilaul and fourteenth-century Estonian, which may indicate that the regilaul texts sung today do not date back to the very beginning of the tradition. 143 Daitz explains that regilaulud 144 probably date back to before the thirteenth century, but, as with all oral traditions, have changed with time. 145 Lippus is more definitive: it can be safely stated that the outlines of the tradition, the forms of the songs, and many of the themes were in existence at the end of the first millennium, before the conquest of the lands and the Christianization of the peoples by different missions the tradition as a whole goes back at least into the times when communication between different Baltic-Finnish tribes was very close, i.e. before the thirteenth century. 146 Whatever the exact age, it makes sense that an oral tradition such as regilaul would evolve throughout the years. Thus, the melodies sung today are likely descendants of an even more ancient tradition. 141 Urve Lippus, Baltic-Finnish Tradition of Runic Song (Lecture, Seattle, WA, January 27, 1993), par Tormis, Some Problems With That Regilaul, par Ibid., par Regilaulud is the plural of regilaul. 145 Daitz, Ancient Song Recovered, Lippus, Baltic-Finnish Tradition of Runic Song, par, 3. 53

71 Like the verse itself, the meaning of the word regilaul has changed over time. When translated in modern Estonian, the word literally means sleigh-song. Yet, sleigh is not the original meaning of the regi syllable. Tormis notes that, according to Eesti keele etümoloogiline teatmik (Etymological Dictionary of the Estonian Language), the term regi verse refers to a Middle or Low German term meaning dancing song. 147 In addition, he points out that the Finnish Kansanmusiikki (Folk Music) identifies regelied as being well known in Middle Low German dialect. 148 This seems sensible, as this dialect was used extensively in the Baltic region during the Middle Ages. 149 Collection and Preservation of the Tradition While informal transcription of regilaul began before the nineteenth century, systematic collection of the tunes began in the middle of the nineteenth century in Finland and at the end of the nineteenth century in Estonia. Much of the work came about due to a strong nationalistic sentiment and desire for cultural preservation. Around the turn of the century in Finland, a group of scholars began gathering songs. While a few Finnish scholars also did field research in Estonia, the first Estonian folklorist, Oskar Kallas, began to collect regilaul in Estonia in Technological advances allowed scholars to make recordings of the tunes with wax cylinders after In many small Estonian villages, active use of the regilaul tradition survived all the way into the twentieth century. However, field collectors began to notice a decline in regilaul singing as early as the 1800s, as the tradition had begun to wane, or in some cases, disappear. Collection of the tunes continued from the 1950s to the 1970s, and these field recordings comprise the body of regilaul recordings available at the present time. Today, the traditional tunes are only performed in two remote parts of Estonia: 147 Tormis, Some Problems With That Regilaul, par Ibid., par Ibid., par Much of the information found in this section of the chapter is from Lippus, Baltic-Finnish Tradition of Runic Song. 54

72 Kihnu Island and Setumaa. Even in these cases, performances are more ethnographic in nature than an actual part of the natives everyday lives. Characteristics of Regilaul Text Regilaul texts have a number of distinctive characteristics. The first, which is thoroughly documented by Mari Sarv, is the presence of alliteration, the repetition of sounds found in the initial consonants of words. 151 The second, mentioned by Daitz, is frequent assonance, or the recurrence of similar vowel sounds. 152 A third is regularity throughout the structure of each line of text. In her article, Language and Poetic Metre in Regilaul, Mari Sarv describes how each line of regilaul contains eight syllables, made up of four trochees, or pairs of syllables with strong-weak accents. 153 Lippus describes the structure as eight syllables that usually form four long-short disyllabic feet. 154 A fourth characteristic, described by Tormis, is the repetitive nature of the text, often involving the reinforcement of information. 155 An example of a regilaul text with these characteristics is included below. 156 In the Estonian language, first syllables of words generally receive emphasis, and this text stress alternates throughout the remainder of the word s syllables. 157 Based on this rule, accented syllables in the regilaul text have been underlined. 151 Mari Sarv, Regilaul: Clearing the Alliterative Haze, Folklore 10 (1999): Daitz, Ancient Song Recovered, Mari Sarv, Language and Poetic Metre in Regilaul, Folklore 7 (1998): par Lippus, Baltic-Finnish Tradition of Runic Song, par Tormis, Some Problems with that Regilaul, par Example of regilaul is from Daitz, Ancient Song Recovered, Mimi S. Daitz, How to Pronounce Estonian: A Brief Guide for Singers and Conductors (Helsinki, Finland: Fennica Gehrman, 2003), par 1. 55

73 Of course, there are exceptions to these guidelines. Lines one through five, as well as ten and eleven, adhere to the trochaic principle described by Sarv. In lines six through nine, however, the eight syllables are most likely stressed in three groups instead of four (three plus three plus two). This irregularity illustrates what Lippus calls broken verses and results in alternative stress groupings. 158 The English translation shows the feature described by Tormis: the repetitive nature of the text, which serves to reinforce information. In the translation, the word broom has been underlined to illustrate this repetition. The words Sulev s and Kalev s are further examples of this. 1 Läksin metsast luuda tooma: I went to the forest for a broom 2 Hobeluuda oue alta, a silver broom from below the yard 3 kuldaluuda koppelista, a gold broom from the paddock 4 vaskiluuda vainiiulta, a copper broom from the field 5 tinaluuda teerajulta. a tin broom from the roadside. 6 Sain sinna Sulevimääle, I arrived at Sulev s hill 7 Sulevi-Kalevimääle. Sulev s, Kalev s hill: 8 See seisis Sulevipoega, there stood Sulev s son 9 Sulevi-Kalevipoega. Sulev s, Kalev s son, and he 10 Küsis multa suisa suuda, asked me for a kiss straight off 11 suisa suuda, kiuste kata. and for my hand wantonly. Music Regilaul texts are sung to music that has several distinguishing features. As outlined by Daitz, regilaul melodies rarely contain skips of more than an interval of a fourth, with skips of a third being the most frequently occurring. The melodies also have narrow ranges: typical regilaul tunes have a range of only a fourth or fifth, although melodies that span as much as a sixth or seventh are occasionally encountered. In addition, regilaul tunes contain repetition of single pitches and are made up of small melodic units. 159 Example 4.1 illustrates these melodic characteristics. 158 Lippus, Baltic-Finnish Tradition of Runic Song, par Melodic characteristics from Daitz, Ancient Song Recovered,

74 Example 4.1. A traditional regilaul melody & # & # & # 13 & # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Ui-nu-sin u - ne mä - e - le, ui - nu-sin u - ne-mä - e - le. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Pa - ju - pi - li puh-ku-mai-e, pa - ju-pil - li puh-ku-mai- e. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Sö-ni kui nei-du - sid ja - e - ti, sö-ni jui nei-du - sid ja - e - ti. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Löin ma kil-gil kül-je pih-ta, löin ma kil-gil kül-je pih- ta. Performance Practice According to Tormis, there are three primary concerns related to historical performance practice of regilaul. First, the folk tune would have typically been performed in call-and-response fashion where a leader would sing a verse, after which it would be repeated by another group of singers. Second, the duration of a particular syllable of sung text might not coincide with the stress of the trochaic pairs. In some situations, a stressed syllable may actually be held for a shorter amount of time than an unstressed syllable. This is due to the durational nature of the Balto-Finnic languages, where the length of a syllable can alter the meaning of a word. Finally, Tormis points out that regilaul has its roots in ritual, and would have been used primarily for those purposes, as opposed to everyday communication. 161 Lippus discusses some of the same performance-practice issues that Tormis references. She acknowledges that traditional performance typically involves call-andresponse singing. However, she notes, Most of the transcriptions and recordings are 160 Musical example from Diatz, Ancient Song Recovered, Performance issues from Tormis, Some Problems With That Regilaul,

75 made of solo performances, and goes on to say, Singing alone is by no means a new thing in the tradition. 162 She also discusses the rhythmic differences that occur from singing multiple texts with the same melody, noting, the structure of the verse limits the choice of rhythmic patterns in the melody; it defines the number of elements and their grouping in the pattern, but it cannot determine the one and only rhythmic pattern possible for singing this particular line. These relations are not those of a higher and lower level in one system, but those of two interacting systems (rhythmically regulated speech and music). 163 While attending a workshop on regilaul in Estonia for the purposes of this dissertation, the author noted another interesting characteristic related to the call-andresponse practice of performance. In this process, the caller does not simply sing eight syllables followed by the responder repeating the same pattern. Instead, there are two syllables of overlap between the caller and responder, creating a brief moment of sonic connection during the performance of these melodies. Example 4.2 illustrates this overlapping effect. Example 4.2. Overlapping aspect of regilaul call-and-response performance practice. & 2 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Ui-nu-sin u - ne mä-e- le, ui-nu-sin u - ne-mä-e-le. 2 & 4 Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ e- le. Ui-nu-sin u - ne mä-e- le, ui-nu-sin u - ne-mä-e-le. Conclusion Whatever the specific characteristics of regilaul, it is clear that Tormis felt strongly about its role in the preservation of Estonian national identity in the face of Soviet oppression. Also apparent is the deep sense of responsibility he feels to use these traditional melodies in his composition. He has said, I don t use folk melody, folk 162 Lippus, Baltic-Finnish Tradition of Runic Song, par Ibid., par

76 melody uses me. 164 While he does not incorporate regilaul in every work, aspects of the tradition find their way into many of them. Subsequent Chapters The following chapters will explore pieces that all speak, in various ways, to the themes of war and conflict inherent for so long in Estonian history. Many of the pieces will feature either regilaul or melodies and texts with similar characteristics as source material. All of works incorporate the themes of war and conflict in some way. For instance, Incantatio maris aestuosi is about a conflict between man and nature, while Tõmbtuul uses nature as a metaphor for external political struggle. Maarjamaa ballaad speaks of Estonia s conquering at the hands of foreign aggressors, and Varjele, Jumala, soasta is a prayer for protection against such an invasion. Piispa ja pakana recounts an altercation between a Christian missionary and a Finnish pagan, and Katkuaja mälestus uses the plague as a metaphor for foreign occupation. Both Jäta päike paistma! and Sõttaminek tell the tales of individuals who go to war. Finally, Ilmiantajan tarina tells a story of betrayal, which is used as a metaphor for Estonian political infighting during the period of independence. 164 Veljo Tormis, Estonian Music Information Center, =biograafia (accessed May 12, 2012), par

77 CHAPTER FIVE INCANTATIO MARIS AESTUOSI (INCANTATION FOR A STORMY SEA) General Information Table 5.1. General information regarding Incantatio maris aestuosi by Veljo Tormis Instrumentation TTBB a cappella Voicing Divisi Number of Range Voice Part Yes No Parts Lowest Highest T1 X 2 D 3 A 4 T2 X 2 C 3 E 4 B1 X 2 G 2 E b 4 B2 X 2 E b 2 E b 4 Language Latin (translated from Finnish) Text Source Kalevala, the Finnish national epic Publication Publisher Catalogue Number Ylioppilaskunnan Laulajat 218 Recordings Ensemble Album Title Performance Time Estonian National Male Choir Vision of Estonia I 5:55 Cantus There Lies the Home 7:42 Svanholm Singers Tormis:Works for Men s Voices 7:52 60

78 Commission and Premiere In 1996, two prominent Nordic male choruses jointly commissioned Tormis for a new work. The two ensembles, Orphei Dränger (OD) from Sweden and Ylioppilaskunnan Laulajat (YL) of Helsinki University in Finland, wanted a piece that could be used for a combined performance. Incantatio maris aestuosi (Incantation for a Stormy Sea) is the result of this commission. The piece was also written to commemorate the sinking of the cruise ship Estonia in the Baltic Sea in 1994, a tragedy that killed hundreds of people. Incantatio was premiered on April 20, 1996, in Tempere, Finland. 165 Text For the commission, Tormis chose a Finnish-language text from Kalevala. Concerned that YL would be favored given that the piece would be set in their native language, he decided to use a Latin translation of the text so that the two choruses would be on equal literary footing. The Latin version was provided by Tuomo Pekkanen. The text discusses the sea, a subject commonly used by Tormis. Musite mere laulud (Songs of the Ancient Sea) and Viimane laev (The Last Ship), both for male chorus, and Laevas lauldaske (Singing Aboard Ship), for mixed chorus, are other examples of Tormis s compositions based on this theme. Tormis even notes that his last name can be translated as stormy, asking with humor, Is it my very name that causes the sea to churn? 166 The story describes a conflict between man and the sea. The opening section paints the picture of a man in a boat in the midst of choppy waters. The man asks God for help in navigating the rough waves. The second section is a plea for wind and water to help power the boat on its journey and bring aid to the captain of the ship. The third section finds the wind beginning to blow from all directions, and the full magnitude of the storm arrives. The final section is a spell to calm the storm, asking the winds to 165 Veljo Tormis, notes to Veljo Tormis, Incantatio maris aestuosi (Helsinki, Finland: Ylioppilaskunnan Laulajat, 1996), Veljo Tormis, liner notes to Svanholm Singers, Tormis: Works for Men s Chorus, Sofia Söderberg Eberhard, conductor, Toccata Classics TOCC 0073, 2007, 5. 61

79 disperse and calm the ocean, while pleading for the boat s safety. Following is the Latin text in both word-for-word and poetic English translations, as well as a pronunciation guide using the International Phonetic Alphabet (IPA). 167 XVIII: Veni, Numen, nunc in navem 169 [vɛ.ni nu.mɛn nunk in na.vɛm] Come divinity now into ship (Come, God, into the ship now;) in carinam, Deus clemens, [in ka.ri.nam dɛ.us klɛ.mɛns] into ship, God merciful, (Merciful God, come into the ship) adiuves ut virum parvum [ad.iu.vɛs ut vi.rum par.vum] you help in order that man small (to help a little man) desque debili virtutem [dɛs.kwɛ dɛ.bi.li vir.tu.tɛm] and you give to a weak one strength (and give strength to a weak man) amplioribus in aquis, [am.pli.ɔ.ri.bus in a.kwis] greater in waters, (in these greater waters,) in his fluctibus immensis! 167 Both the word-for-word and poetic English translations are by Christopher Brunelle and are used with permission. The IPA pronunciation guide is by the author, according to the principles of Ecclesiastical Latin pronunciation set forth in John Moriarty, Diction: Italian, Latin, French, German, the Sounds and 81 Exercises for Singing Them (Farmington, MA: E. C. Schirmer Music, 1975). 168 The numbers interspersed throughout the text indicate the location in Kalevala from which the text is taken. 169 The text uses several standard synonymns for boat: navis, boat, carina, keel, linter, small boat, and puppis, rear deck (Brunelle, notes to translation). 62

80 [in is fluk.ti.bus i.mɛn.sis] in those waves huge! (in these huge waves!) XLII: Vente, cumala 170 carinam, [vɛn.tɛ ku.mu.la ka.ri.nam] wind, fill ship, ( Wind, fill the ship;) aqua, navem agitato, [a.kwa na.vɛm a.dʒi.ta.tɔ] water, ship drive, (water, drive the ship) opem ferto remiganti, [ɔ.pɛm fɛr.tɔ rɛ.mi.gan.ti] help bring to the one rowing, (bring aid to the rower) levamentum gubernanti [lɛ.va.mɛn.tum gu.bɛr.nan.ti] assistance to the one steering (and assistance to the captain) amplioribus in aquis, [am.pli.ɔ.ri.bus in a.kwis] greater in waters, (in these greater waters,) ubi pontus est apertus! [u.bi pɔn.tus ɛst a.pɛr.tus] where ocean is open! (where the sea is open! ) Transit temporis momentum, [tran.sit tɛm.pɔ.ris mɔ.mɛn.tum] Passes of time moment, (A moment of time passes;) 170 The Latin text in the score uses cunala, but this is most likely a misprint for what should be cumala (Brunelle, notes to translation). 63

81 interest haud longa mora. [in.tɛ.rɛst aud lɔŋ.ga mɔ.ra] comes between not long delay. (a delay, not at all long, elapses.) Iam supremus deus Ukko, 171 [i:am su.prɛ.mus dɛ.us u.kɔ] now highest god Ukko, (Now Ukko, the highest God,) ipse dominus aurarum, [ip.sɛ dɔ.mi.nus au.ra.rum] himself lord of breezes, (the very lord of the winds,) flatus iussit, ut afflarent, [fla.tus iu.sit ut a.fla.rɛnt] winds ordered to blow, (ordered the breezes to blow) saevos ventos, ut saevirent. [sɛ.vɔs vɛn.tɔs ut sɛ.vi.rɛnt] savage winds, to be savage. (and the wild winds to go wild.) Surgunt flatus ad afflandum, [sur.gunt fla.tus ad a.flan.dum] they arise winds in order to blow, (The breezes arise in order to blow) turbines ad saeviendum. [tur.bi.nɛs ad sɛ.vi.ɛn.dum] waterspouts in order to be savage (and the hurricanes arise in order to go wild.) Zephyrus flat violenter, [dzɛ.fi.rus flat vi.ɔ.lɛn.tɛr] west wind blows violently, (The west wind blows violently,) caurus ventus vehementer, [kau.rus vɛn.tus vɛ.ɛ.mɛn.tɛr] 171 In Finnish mythology, Ukko (Uko in Estonian mythology) is the god of sky, weather, crops (harvest) and other natural things. He is the most significant god in both Finnish and Estonian mythologies. 64

82 northwest wind furiously, (the northwest wind bellows furiously,) auster gravius anhelat, [au.stɛr gra.vi.us an.ɛ.lat] south more seriously breathes, (the south wind pants quite heavily,) foede stridet subsolanus, [fɛ.dɛ stri.dɛt sub.sɔ.la.nus] nastily whistles east, (the east wind whistles nastily,) eurus mugit malo more [ɛu.rus mu.dʒit ma.lɔ mɔ.rɛ] southeast bellows bad in a way (the southeast wind bellows in an evil way,) acer aquilo conspirat. [a.tʃɛr a.kwi.lɔ kɔn.spi.rat] sharp north blows conspiracy (and the sharp north wind adds its breath.) Aqua, filium vetato, [a.kwa fi.li.um vɛ.ta.tɔ] water, son refuse, ( Water, restrain your son;) unda, natum prohibeto, [un.da na.tum prɔ.i.bɛ.tɔ] wave, son prohibit, (wave, prohibit your son;) Ahto, 172 pelagus placato, [a.tɔ pɛ.la.gus pla.ka.tɔ] Ahto, ocean pacify, (Ahto, calm the ocean;) aquae, Vellamo, 173 catervas 172 In Finnish mythology, Ahto is the god of the depths and the giver of fish. 173 In Finnish mythology, Vellamo is the wife of Ahto and is goddess of the sea, lakes, and storms. 65

83 [a.kwɛ vɛ.la.mɔ ka.tɛr.vas] of water, Vellamo, gatherings (Vellamo, calm the throngs of water,) ne liquores super latus, [nɛ li.kwɔ.rɛs su.pɛr la.tus] lest liquids over side, (lest those waters be cast over the sides of the boat) intra costas conspergantur! [in.tra kɔ.stas kɔn.spɛr.gan.tur] between ship ribs they be sprinkled! (and between its ribs!) Surge, vente, caelum usque, [sur.dʒɛ vɛn.tɛ tʃɛ.lum us.kwɛ] arise wind to the sky all the way, (Arise, wind, up to the sky;) pete nubila suprema, [pɛ.tɛ nu.bi.la su.prɛ.ma] seek clouds highest, (seek out the highest clouds,) tuam stirpem, nationem, [tu.am stir.pɛm na.tsi.ɔ.nɛm] your offspring nation, (which are your offspring, your homeland,) et originem et ortum! [ɛt ɔ.ri.dʒi.nɛm ɛt ɔr.tum] and origin and arising! (and your origin and your source!) Lintrem ligneam ne vertas, [lin.trɛm li.ɲɛ.am nɛ vɛr.tas] boat wooden don t overturn, (Do not overturn the wooden vessel;) puppim pineam ne mergas! [pu.pim pi.nɛ.am nɛ mɛr.gas] deck of pine don t sink! (do not sink the pinewood ship! 66

84 Music Form Incantatio maris aestuosi is organized into five main sections. Several of the sections may further be divided into subsections, represented in the following table by subscripts. Table 5.2 illustrates the overall form and content of the piece. Table 5.2. Form and content of Incantatio maris aestuosi Section Measures Text Music A 1-14 Man asks God for help in navigating stormy waters B Plea for wind and water to help boat on its journey C A moment of time passes Ukko, the god of sky, orders the wind to blow C The wind begins to blow, increasing to a wild storm D Beginning of spell Asks for calm water D Continuation of spell Asks gods to calm water D Continuation of spell Warns of consequences if conditions do not calm Moderate tempo pp dynamic Melody in upper voices Whispered text in lower voices p dynamic Homophonic triads tied over bar line in upper voices Staggered upward melodic motion in lower voices Crescendo into section C Initial f dynamic with decrescendo to p Eighth-note chant-like melody in lower voices Quicker tempo Initial p dynamic with gradual crescendo to ff Staggered upward eighth-note motion in all voice parts Whistling effects in tenor parts Slow tempo fff homophonic chords in all voices p chant melodies in basses ff whispering effects A return to the original tempo p chant melodies in lower voices Whispering in upper voices Slow tempo f homophonic chords in all voices 67

85 Table 5.2 continued Section Measures Text Music E Continuation of spell Asks the wind to disperse and not overturn the ship A return to the original tempo p dynamic Homophonic triads tied over barline in lower voices Upward eighth-note melodic motion in 1 st tenors Whistling effects in 2 nd tenors Section A Section A comprises the first fourteen measures of music and sets the first main section of text, in which a man asks God for help in navigating stormy waters. Marked at a moderate tempo, the eighth note is the main rhythmic unit. At a pianissimo dynamic, the tenor voices introduce melodic material that is centered around E 3. The lower voices repeat the text in canon in the tone of a whisper, depicting an incantation (Example 5.1). Tormis explains the nature of an incantation as not yelling or threatening, and goes on to say an incantation is a very personal thing. 174 Example 5.1. Incantatio maris aestuosi, mm All excerpts Ylioppilaskunnan Laulajat and used with permission. 174 Veljo Tormis, interview by author, assisted by Allan Tamme, translated and transcribed by Helle Merilo, Toila, Estonia, July 7,

86 Section B Section B includes mm and contains the second main section of text, a plea for wind and water to help the boat on its journey. The upper voices sing alternating major and minor homophonic chords on the word vente, which translates to wind. Ties rhythmically displace the chords over the barline, creating the effect of uneasiness that one might experience before a storm. Though there are three beats per measure, the regularity of the barline is disrupted by the ties. In the lower voices, Tormis writes short melodic segments, each of which are comprised of ten eighth notes and generally move in an upward melodic direction. The melodies are derivative of regilaul, and Tormis indicates that he based the melodies throughout Incantatio on ones found in a collection of Karelian regilaul by Armas Launis. 175 As the section progresses, the eighth-note melodic segments are sung in canon between the baritones and bases, gradually splitting to three individual parts leading into section C. Example 5.2 illustrates the melodic material found in both the upper and lower voices in section B. Example 5.2. Incantatio maris aestuosi, mm Veljo Tormis, in Tormis, Incantatio Maris Aestuosi,

87 Section C Section C is divided into three smaller sections, the first of which depicts Ukko, the god of winds, ordering the breezes to blow. Tormis uses the lower voices to depict Ukko, and in mm , the regilaul performance practice of overlapping notes appears, as the baritone melody overlaps with the bass melody by two notes (Example 5.3). Example 5.3. Incantatio maris aestuosi, mm The second section of C shows the building of the storm. Over its course, the dynamics gradually increase from piano to fortissimo, and the tempo quickens. The musical material comprises ascending melodic fragments based on eighth notes. The entrances of these fragments are staggered between the voice parts by one beat. This cascading effect depicts the surging nature of the storm as it builds. Beginning in m. 83, Tormis writes staggered, random, descending whistling effects in the second tenor line. He describes the whistling as sounds of nature, but it is obvious that it specifically depicts the wind. 176 From mm , Tormis accompanies the whistling with the eighth-note motives set in parallel, diminished fifths, which invokes the image of a siren. As the storm becomes increasingly fierce in m. 99, the 176 Tormis, interview by author. 70

88 whistles turn upward in direction. The section culminates in m. 104 at the climax of the storm with a coordinated, upward glissando (Example 5.4). Example 5.4. Incantatio maris aestuosi, mm Section D Section D is divided into three small sections and portrays the first portion of the spell designed to calm the storm. Beginning in m. 105, Tormis utilizes a slow tempo, 71

89 homophonic texture, and triple-forte dynamic, along with whispering, incantation-like effects to show the casting of the spell (Example 5.5). The result is a powerful contrast to the polyphonic nature of the previous section. Example 5.5. Incantatio maris aestuosi, mm The second section of D involves a quickening the tempo, returning to the original pace of the piece. The eighth-note, regilaul-based melodic fragments return, this time in the bass and baritone lines. Tormis sets these melodic fragments against incantation-like whispering effects in the tenor line. The whispering is offset rhythmically from the sung portion by one beat, creating a canon-like effect. In the third and final section of D, the slow tempo and homophonic motion of the initial part of D returns, this time on the line, ne liquores super latus, which translates to lest those waters be cast over the sides of the boat. By utilizing the text in this manner, Tormis uses the music to emphasize the potentially dire consequences should the storm not dissipate. Section E Section E brings the work to a close, illustrating the calming of the wind and final quieting of the storm. Musically, Tormis brings back material from section B, utilizing the homophonic, rhythmically-displaced chords on the word vente. This time, however, the lower voices are given the material, while the first tenors sing eighth-note melodic fragments with upward melodic motion. In this section, the upward motion illustrates 72

90 calming and the return of the wind to the clouds, very much in contrast to the use of this material in section B. Tormis also reuses the whistling from section C to provide a soothing effect. The piece ends at a triple-piano dynamic with two short melodic fragments in the first tenor line, illustrating that the storm has finally reached its conclusion. 73

91 CHAPTER SIX TÕMBTUUL (CROSSWIND) General Information Table 6.1. General information regarding Tõmbtuul by Veljo Tormis Instrumentation TTBB a cappella Voicing Divisi Number of Range Voice Part Yes No Parts Lowest Highest T1 X - C # 3 G 4 T2 X - C # 3 E b 4 B1 X - C # 3 C 4 B2 X - F # 2 D 4 Language Estonian (with lyric English translation) Text Author Henrik Visnapuu Publisher Fennica Gehrman Publication ISMN Number M Recordings Ensemble Album Title Performance Time Estonian National Male Choir Vision of Estonia I 3:58 Svanholm Singers Tormis:Works for Men s Voices 4:13 74

92 Text The text of Tõmbtuul (Crosswind) is by Estonian poet, Henrik Visnapuu, a prominent writer during the early part of the twentieth century. After World War II and facing Soviet annexation of Estonia, Visnapuu fled to Germany, where he lived in displaced persons camps, later moving to the United States. 177 Through his poetry, Visnapuu was a voice for Estonia in the face of foreign oppression. According to Loorits, Visnapuu became a real prophet and a national poet of his people, serving as a beacon for the Estonian country in exile. 178 This particular poem, written while Visnapuu was in exile, uses wind and storms as a metaphor for the foreign entities that occupied Estonia throughout its history. In this text, the conflict lies between Estonia and its foreign occupiers. The second line, which translates to, We ve established a house in the way of storms, portrays Estonia as a dwelling in the path of foreign entities that seek to control it. Tormis states that Visnapuu writes about his homeland that forever remains buffeted by the winds in question. 179 Moreover, he infers an attitude of strength and defiance from the text, of which he says, sometimes the wind blows from the East, sometimes from the West, but we won t be broken. 180 Following is the Estonian text in both word-for-word and poetic English translations, as well as a pronunciation guide using IPA Edouard Roditi, Estonian Letters Today, Books Abroad 26 (1952): Oskar Loorits, I: Estonia s Intellectual Life in the Light of Her Literature, Books Abroad 29 (1955): Veljo Tormis, notes to Tõmbtuul (Crosswind) (Helsinki, Finland: Fennica Gerhman, 2006), inside front cover. 180 Tormis, interview by author. 181 The word-for-word translation is by Helle Merilo and is used with permission. The poetic translation is derived by the author from Merilo s word-for-word translation, in consultation with the translation by Krista Kaer in the liner notes to Veljo Tormis: Vision of Estonia I, Ants Soots, conductor, Alba Records NCD-17, The IPA pronunciation guide is by the author, transcribed according to the principles of Estonian pronunciation as set forth in Mimi S. Daitz, How to Pronounce Estonian: A Brief Guide for Singers and Conductors (Helsinki, Finland: Fennica Gehrman, 2003). 75

93 Tõmbtuul, oo tõmbtuul! [tɤmb.tu:l o: tɤmb.tu:l] Crosswind, oh crosswind! (Crosswind, oh crosswind!) Oleme tormide teele rajanud maja. [o.lɛ.me tor.mɪ.de te:.lɛ ra.ja.nud ma.ja] We ve of storms in the way of established a house. (We ve established a house in the way of storms.) Pagiseb, ulvab ja vilistab üle raja [pa.gɪ.seb ul.vab ja vi.lɪs.tab y.lɛ ra.ja] They gust, howl and whistle over our path (They gust, howl, and whistle over our path.) tõmbtuul, oo tõmbtuul! [tɤmb.tu:l o: tɤmb.tu:l] crosswind, oh crosswind! (Crosswind, oh crosswind!) Kuhu põgeneb metsloom ja linnuke puul? [ku.hu pɤ.gɛ.neb mets.lo:m ja lin.nu.kɛ pu:l] To where take refuge wild animals and birds in the trees? (Where can the wild animals and birds take refuge?) Varjule inimen tõttab tuule eest kuhu? [var.ju.le i.nɪ.men tɤt.tab tu:.lɛ e:st ku.hu] To shelter a person hastens wind from to where? (Where can a person find shelter from the wind?) On see ju tuninginud läbi hammaste suhu? [on se: ju tu.nɪŋ.gi.nud læ.bɪ ham.mas.te su.hu] Has it now forced through teeth into the mouth? (Has it forced its way through the teeth and into the mouth?) Tõmbtuul, suur tõmbtuul! [tɤmb.tu:l su:r tɤmb.tu:l] Crosswind, strong crosswind! (Crosswind, strong crosswind!) Sajandi ühe läänest itta vuhised. [sa.jan.di y.hɛ læ:.nɛst it.ta vu.hɪ.sed] Century for a from the West to the East roared. (From the West to the East, you roared for a century.) 76

94 Hirmsa jõuga idast läände nüüd tuhised. [hirm.sa jɤu.ga i.dast læ:n.dɛ ny:d tu.hɪ.sed] Frightful with strength from the East to the West now sough. (Soughing frightfully and with strength from the East to the Eest.) Tõmbtuul, tõmbtuul! [tɤmb.tu:l tɤmb.tu:l] Crosswind, crosswind! (Crosswind, crosswind!) Vaadake oksi Maarjamaa puul! [va:.da.ke ok.sɪ ma:r.ja.ma: pu:l] Look at the branches of Estonian trees! (Look at the branches of Estonian trees!) Kuhu need paindund! Kaksiti rühib! [ku.hu ne:d pain.dund kak.sɪ.ti ry.hɪb] To where they bent! In two different ways to strive for! (How they are bent! They strive in two different ways!) Kõik, mis on ird, tuul endaga pühib. [kɤik mis on ird tu:l en.da.ga py.hɪb] All, which is loose, wind with itself scatters. (The winds take and scatter all that is loose.) Tõmbtuul, oo tõmbtuul! [tɤmb.tu:l o: tɤmb.tu:l] Crosswind, oh crosswind! (Crosswind, oh crosswind!) Music Form Tormis uses a ritornello as the primary structural element in Tõmbtuul. The ritornello, which comprises the text, Crosswind, oh crosswind, is heard six times throughout the work, amid five verses that include varying musical material. Table 6.2 illustrates the overall form and content of the piece. 77

95 Table 6.2. Form and content of Tõmbtuul Section Measures Text Music R Crosswind, oh crosswind Allegro tempo ff dynamic Minor triads in parallel motion comprise upper three voices Upward glissando in bass V Our house is in the way of storms The storms rage Not quite as loud Triplet as main rhythmic unit Parallel homophonic chords R Same as R 1 Same as R 1 V Same as V 1 Same as V 1, except with a decrescendo at end instead of a crescendo R Same as R 1 p dynamic Bass part one octave lower than in R 1 and R 2 Introduction of half-step quarter-note motive in bass V Where can we take refuge from the wind? Is the wind already within? p dynamic Half-step quarter-note motive in bass Triplet as main rhythmic unit R Crosswind, strong crosswind pp dynamic Upward glissando now in 1st tenor Minor triads in parallel motion now in lower three voices Half-step quarter-note motive in 1st tenor V The wind has roared for centuries, blowing frightfully from east to west Alternation of pp and ff dynamics Half-step quarter-note motive in 1st tenor Triplet as main rhythmic unit R Crosswind Higher tessitura Octave glissandi on minor triads in upper three voices V Estonian trees are bent in two different ways The winds scatter all loose items Initially slower, then accelerating to the original tempo ff dynamic Shorter melodic fragments 78

96 Table 6.2 continued Section Measures Text Music R Same as R 1 Extended ritornello Gradual decrescendo from f to pp Ritornelli All of the ritornelli sections found in Tõmbtuul contain generally the same musical material, save for subtle differences in each iteration. The first notable feature is the presence of minor triads, which move in parallel motion by half step. The opening ritornello (R 1 ) begins on a g-minor triad, moves up by one half step, and subsequently moves down by two half steps, ending on an f-sharp-minor triad, one half step lower than it began. This motion occurs in the upper three voices. With these elements, Tormis paints a picture of ominous winds that move in either direction. The second prominent feature is the presence of glissandi, which, in R 1, are sung by the basses and move upward over the range of a perfect fifth. The glissandi outline G minor, which creates dissonance with the triadic movement in the upper voices. Overall, the resulting effect is one of clashing and opposing interests. Example 6.1 shows these two musical features. Example 6.1. Tõmbtuul, mm All excerpts Fennica Gerhman, Oy, Helsinki and used with permission. 79

97 Tormis alters subsequent ritornelli for musical variety and to serve the overall pacing of the work. While R 2 is an exact replica of R 1, the dynamic of R 3 changes to piano, and the bass part is positioned an octave lower than before. In addition, Tormis introduces a motive comprised of quarter notes that alternate back and forth on two pitches that are one half step apart. This new motive is sung by the basses. In R 4, the dynamic has changed to pianissimo, and the musical material once present in the upper voices has moved. The lower three voices now sing the parallel minor triads, while the first tenors sing the glissandi and the half-step quarter-note motive. In R 5, Tormis combines some of the previous musical material at a fortissimo dynamic, whereby the upper three voices sing parallel minor triads that also incorporate glissandi (Example 6.2). R 6 is a mixture of the variations found in R 3 and R 5, and adds a diminuendo through repetition of musical material, culminating with a pianissimo dynamic on an a-flat-minor chord with an added D 3 in the bass. Example 6.2. Tõmbtuul, mm Verses Tormis uses triplets as the primary rhythmic unit throughout all verses. These triplets are generally used in conjunction with triads that move in parallel, homophonic motion. Overall, they give a sense of urgency and forward momentum to the music. Example 6.3 shows a portion of verse one (V 1 ) and illustrates Tormis s use of these parallel-motion, triadic-triplet figures. 80

98 With this general feature as the foundation, Tormis varies elements of subsequent verses. Verse two (V 2 ) is an exact musical copy of V 1, except that the final measure contains a decrescendo instead of a crescendo. Verse three (V 3 ) features the reintroduction of the half-step quarter-note motive that first appeared in R 3 in the bass voices. This serves as accompaniment to short, triplet fragments on the text, Ku-hu, which translates to where. These short fragments paint a picture of breathless desperation, as the author seeks to find shelter from the conflicting winds (Example 6.4). Example 6.3. Tõmbtuul, mm Example 6.4. Tõmbtuul, mm

99 In V 4, which depicts the furious nature of the winds, Tormis rearranges the musical material. The half-step quarter-note motive once present in the bass line is now in the first tenor line. The parallel-motion triadic-triplet movement is given to the lower three voices instead of the upper three. In mm , Tormis paints a wind increasing in intensity at a fast pace, which culminates in an arresting moment. To do this, he writes a dramatic crescendo from piano to fortissimo and employs ascending, triadic triplets on the text, tuhised, which translates to sough, or more informally, rumble (Example 6.5). Example 6.5. Tõmbtuul, mm The text of V 5 discusses how a tree is being whipped in multiple directions and how items are being scattered about. 182 Tormis portrays this by combining previous musical material with tempo changes to create a climactic, fortissimo moment. For additional musical emphasis, he marks the section Piu largamente. Tormis adds further stress by repeating each line of text and corresponding musical passage. The final statement is sung three times, giving it the greatest emphasis. 182 In this case, the tree is a metaphor for the Estonian people, who the author feels are being battered by conflicting interests. 82

100 CHAPTER SEVEN MAARJAMAA BALLAAD (BALLAD OF MARY S LAND) General Information Table 7.1 General information regarding Maarjamaa ballaad by Veljo Tormis Instrumentation TTBB a cappella Voicing Divisi Number of Range Voice Part Yes No Parts Lowest Highest T1 X 4 G 3 A b 4 T2 X 2 C 3 G b 4 B1 X 2 A b 2 E b 4 B2 X 2 C 2 E b 4 Language Estonian Text Author Jaan Kaplinski Publisher Fennica Gehmran Publication ISBN-13 Number M Recording Ensemble Album Title Performance Time Estonian National Male Choir Vision of Estonia II 5:13 83

101 Text The term, Mary s Land, refers to thirteenth-century Estonia, when the country was being conquered by religious crusaders, also known as the Sword Brethren, or the Order of the Knights of Christ. According to Daitz, Mary, the Queen of Heaven, was the patroness of the knights order and Estonia came to be called Maarjamaa, Mary s Land. 183 Thus, Mary s Land is synonymous with the idea of a conquered people. The text of Maarjamaa ballaad (Ballad of Mary s Land) was written by Estonian poet, Jaan Kaplinski. Born in 1941, he experienced firsthand the occupation of Estonia by the Soviets. When Kaplinski was five years old, Soviet security police (NKVD) captured his Polish father and sent him to a labor camp, where he later died. This experience was formative in Kaplinski s philosophical development, and he became an important intellectual voice in opposition to the Soviet occupation. This was manifested through his writing, and helped earn him a place in the Estonian parliament from Kaplinski s poem issues a stark warning about the dangers of foreign occupation. According to Tormis, the text talks about the conquest by the Crusaders in the thirteenth century, when our fortresses were being attacked by a people that spoke a different language. 185 In addition, the text is powerful when taken in the context of a Soviet-occupied Estonia in 1969, the year in which Tormis wrote the piece. Tormis notes that it draws a parallel to [Estonia in 1969]. Who is attacking us today? We hear a foreign language. 186 Following is the Estonian text in both word-for-word and poetic English translations, as well as a pronunciation guide using IPA Daitz, Ancient Song Recovered, Biographical information about Jaan Kaplinski is from Jaan Kaplinski, personal website, (accessed May 16, 2012). 185 Veljo Tormis, interview by author. 186 Ibid. 187 The word-for-word translation is by Helle Merilo and is used with permission. The poetic translation is derived by the author from Merilo s word-for-word translation and the published translation in the score, by Enn Soosaar. The IPA pronunciation guide 84

102 Ei jõua! [ei jɤu.a] Can t do it anymore! (You can t do it anymore!) Ei jõua Sakala 188 nõtkub variseb Nurmekund 189 [ei jɤu.a sa.ka.la nɤt.kub va.rɪ.seb nur.mɛ.kund] Can t do it anymore Sakala sways falls Nurmekund (You can t do it anymore: Sakala sways, Nurmekund falls) pea kohal söönud kaarnaid jalge all nõgist lund [pea ko.hal sø:.nud ka:r.naɪd jal.gɛ al: nɤ.gɪst lund] head above devoured ravens your feet under with nettles snow (Devoured ravens above your head, snow with nettles under your feet) Rävälä 190 kõrgelt kantsilt silmisse kilgendab merd [ræ.væ.læ kɤr.gɛlt kant.sɪlt sil.mɪs.se kil.gɛn.dab merd] Rävälä from the high bulwark into your eyes shines the sea (The sea shines into your eyes from the high bulwark of Rävälä,) liig suur ja võõras linn ja sina liig võõrast verd [li:g su:r ja vɤ:.ras lin: ja si.na li:g vɤ:.rast verd] too large and foreign city and you of too foreign blood (The city too large and foreign, you of too foreign blood) ja Oandi sa oled Otepääl 191 seisatad voogaval teel [ja oan.di sa o.lɛd o.tɛ.pæ:l sei.sa.tad vo:.ga.val te:l] and Oandi you are at Otepää standing on the flowing road (and Oandi, you are standing on the flowing road at Otepää,) is by the author, transcribed according to the principles of Estonian pronunciation set forth in Mimi S. Daitz, How to Pronounce Estonian. Estonia. 188 An ancient Estonian county, covering what is now the southwestern portion of 189 An acient independent country, located in what is now central Estonia. Estonia. 190 An ancient Estonian county, covering what is now the northwestrn portion of 191 A rural town in southern Estonia. 85

103 mäel taovad vasarad kive ja kostab võõras keel [mæel tao.vad va.sa.rad ki.vɛ ja kos.tab vɤ:.ras ke:l] on the hill are beating sickles rocks and is heard a foreign language (Sickles are beating rocks on the hill; a foreign language is heard) üle mere ja latvade näed all kaovad nimed ja maad [y.lɛ me.rɛ ja lat.va.dɛ næed al: kao.vad ni.mɛd ja ma:d] over the sea and tree-tops you see below disappearing names and land (Over the sea and treetops, you see the names and the land disappearing below,) vaata Alutagust 192 ja Vaigat 193 kuni veel saad [va:.ta a.lu.ta.gust ja vai.gat ku.ni ve:l sa:d] look at Alutaguse and Vaiga until still can (Look at Alutaguse and Vaiga as long as you can) üks kotka kiljatus ühe ühepäeviku lend [yks kot.ka kil.ja.tus y.hɛ y.hɛ.pæe.vɪ.ku lend] one eagle scream, one mayfly flight, (the scream of an eagle, the flight of a mayfly) kui unustad laulu ja keele kas mäletad iseend [kui u.nu.stad lau.lu ja ke:.lɛ kas mæ.lɛ.tad i.sɛ:nd] if you forget your song and your language do you remember yourself? (If you forget your song and your language, do you remember yourself?) oota veel järved kaovad ja rannik kerkib veest [o:.ta ve:l jær.vɛd kao.vad ja ran.nɪk ker.kɪb ve:st] wait awhile the lakes are disappearing and the coast rises out of the sea (wait awhile: the lakes are disappearing and the coast rises out of the sea) soolane vesi sööb silmad peast ja südame seest [so:.la.nɛ ve.sɪ sø:b sil.mad peast ja sy.da.mɛ se:st] salty water is eating eyes from your head and your heart from within (The salty water is eating your eyes from your head and your heart from within) soolase vee põhjas magad ülal tümiseb jää [so:.la.sɛ ve: pɤx.jas ma.gad y.lal ty.mɪ.sɛb jæ:] salty water at the bottom of you sleep above rumbles ice 192 An area in northeast Estonia 193 An ancient Estonian county, in what is now eastern Estonia 86

104 (You sleep at the bottom of salty water, and ice rumbles above) piiramismasinaid veetakse Saarde 194 üle su pää [pi:.ra.mis.ma.si.naɪd ve:.tak.sɛ sa:r.dɛ y.lɛ su pæ:] testudos 195 are being dragged to Saaremaa over your head (testudos are being dragged to Saaremaa over your head) Ei jõua [e:i jɤu.a] Can t do it anymore (You can t do it anymore ) Form Music Maarjamaa ballaad is organized into three main sections. Section B is divided into three subsections, indicated by subscript. Section C is divided into two subsections. Table 7.2 illustrates the overall form and content of the piece. Table 7.2. Form and content of Maarjamaa ballaad Section Location Text Music A 1-1 through 5-2 B through 5-4 You can t do it anymore Devoured ravens above Sea shines into your eyes City too large, you too foreign You are standing on the road Fast tempo ff dynamic, gradually decreasing to pp Sustained cluster chords on you can t anymore Short melodic fragments sung in parallel harmony of thirds Slower tempo Short melodic fragments generally in parallel motion with harmony of thirds 194 Estonia s largest island, located off of the west coast of its mainland 195 Shields used by soldiers standing in extremely close proximity that, when used by each soldier, form a nearly continuous, protective barrier over the top and sides of a group of individuals. 87

105 Table 7.2 continued Section Location Text Music B through 14-2 B through 16-1 C through 16-3 C through 23-2 Sounds of an approaching intruder You see your country disappearing Look at your cities while you still can You can t do it anymore Scream of eagle, flight of mayfly If you forget your culture, do you remember yourself? Wait awhile Lakes disappear and the coast rises out of the sea Salty water eating your eyes and heart You sleep at the bottom of the water Testudos are dragged over your head You can t do it anymore pp dynamic with gradual crescendo to ffff Staggered entrances of eighthnote-based motives that gradually rise in pitch 1 st tenor with longer note values sings soli melodies over the rest of the parts ffff cluster chords in all voices on you can t do it anymore Short melodic fragments generally in parallel motion with harmony of thirds Tranquillo section with slower tempo p dynamic with gradual crescendo to f Half-note and quarter-note duration homophonic chords that gradually rise by half step f dynamic gradually decreasing to pppp Eighth-note melodic fragments descending by half step Note: As Maarjamaa ballaad is not written with traditional measures, the location of musical sections and examples are given in the following format: [page number system number]. Section A Maarjamaa ballaad begins in an arresting manner. On the text, ei jõua, which translates to, you cannot anymore, the tenors immediately ascend by a leap of an octave and sustain a four-note cluster chord consisting of two half steps and one whole step, all at a fortissimo dynamic. This overt dissonance is rare in Tormis s music, especially at 88

106 the beginning of a piece. When asked about this by the author, Tormis replied that he was painting a picture that creates in the listener the will to resist, no doubt referring to the strength necessary to resist Soviet occupation. 196 These sustained dissonances are reminiscent of air raid sirens. Underneath the continuous pitches in the tenor lines, the basses and baritones sing short, unmeasured melodic fragments made up of eighth notes. Separated by brief eighth or quarter-note rests, these short outbursts paint the picture of a rage-filled tirade against foreign occupation. Example 7.1 illustrates these musical features. Example 7.1. Maarjamaa ballaad, 1-1 through 1-2. All excerpts Fennica Gehrman Oy, Helsinki and used with permission. 196 Veljo Tormis, interview by author. 89

107 As section A progresses, the dissonant, sustained, ascending tenor motive appears repeatedly with little variation. It occurs at 2-3 with all voices, 197 including the basses and baritones, and the sustained passage that follows contains downward glissandi and diminuendi to a piano dynamic (Example 7.2). At 4-2, 4-3, and 5-1, Tormis writes the motive for the tenor voices again, this time at a piano dynamic. The short melodic fragments, originally appearing only in the lower voices, are passed around to the tenors throughout the remainder of the section. Example 7.2. Maarjamaa ballaad, 2-3. Section B If Section A depicts air raid sirens, section B aurally illustrates the sound of Russian aircraft. Tormis confirms this, saying, In the music, I was trying to replicate 197 As Maarjamaa ballaad is not written with traditional measures, the location of musical sections and examples are given in the following format: [page number system number]. 90

108 Russian planes. I don t think people recognized this, but that is what I was thinking. 198 After a couple of brief melodic fragments sung by the first tenors, the buzzing sounds of aircraft are depicted by eighth-note motives that gradually ascend by half step. These motives begin in low range and are sung by the basses. The rest of the voice parts, with the exception of the first tenors, gradually join the other voices. The text during this passage is mäel taovad vasarad kive ja kostab õõras keel, which translates to, sickles are beating rocks on the hill; a foreign language is heard. Because the vocal entrances are stressed, the individual words of the text occur at different times, creating a low, rumbling cacophony of sound that depicts the beating of rocks. Above this rumbling, the first tenors sing insistent melodies comprised of longer note values that are sung at a forte dynamic. This tenor line creates the effect of a cantus firmus, where longer note values overlay shorter, polyphonic motives. Example 7.3 illustrates these musical features described above. Example 7.3. Maarjamaa ballaad, Veljo Tormis, interview by author. 91

109 As section B progresses, the polyphonic rumbling gradually increases in both dynamic and pitch, and all of the parts eventually coalesce on a unison D 4 at Concurrently, the melodies sung by the first tenors gradually increase in pitch. These two features combine to create a powerful effect. The climax of the section occurs at the pickup to 15-1, when all the voices sing the ascending cluster motive from section A at a quadruple-forte dynamic (Example 7.4). Tormis concludes section B with a few short, melodic segments sung in parallel motion in intervals of a third. This brief section contains what might be the most haunting moment of the entire text: kui unustad laulu ja keele kas mäletad iseend, which translates to, If you forget your song and your language, do you remember yourself? This is set at a piano dynamic in the bass voices while all other musical activity has ceased, creating a chilling effect for the listener. Example 7.4. Maarjamaa ballaad, 14-2 through

110 Example 7.4 continued. Section C Section C begins with text about the coast rising out of the sea, a metaphor for impending enemy encroachment. To depict this image of rising, Tormis sets two systems in quarter-note and half-note homophonic motion in which the upper three voices slowly increase their pitch by half step. This is set concurrently with a dynamic increase from piano to forte (Example 7.5). The remainder of section C consists predominately of eighth-note figures characterized by downward melodic motion by half step. At times, the figures are staggered, creating a polyphonic effect. Over the course of the section, the musical material gradually decreases in both dynamic and pitch, depicting the image of falling to sleep, which is appropriate given that the text of this section contains the line, soolase vee põhjas magad ülal tümiseb jää, which means, you sleep at the bottom of salty water, and ice rumbles above. In the text, Kaplinski implores Estonians to remain vigilant to the possibility of encroachment by the Soviets (ice rumbling above) and to not ignore (sleep through) the systematic neutering of their culture. Tormis concludes with a cluster chord at a quadruple-piano dynamic, the same motive that opened the piece. Set above a sustained 93

111 C 2 in the basses, the piece ends ominously, a chilling warning about the dangers of Soviet oppression (Example 7.6). Example 7.5. Maarjamaa ballaad, 16-2 through

112 Example 7.6. Maarjamaa ballaad,

113 CHAPTER EIGHT VARJELE, JUMALA, SOASTA (GOD, PROTECT US FROM WAR) General Information Table 8.1. General information regarding Varjele, Jumala, soasta by Veljo Tormis Instrumentation TTBB with tam-tam Voicing Divisi Number of Range Voice Part Yes No Parts Lowest Highest T1 X - A 3 B b 4 T2 X - C # 3 F # 4 B1 X - A 2 D b 4 B2 X - F # 2 C 4 Language Finnish (with lyric Latin translation) Text Source Kanteletar, a collection of Finnish lyric poetry Publication Publisher ISMN Number Fennica Gehrman Recordings Ensemble Album Title Performance Time Estonian National Male Choir Vision of Estonia II 5:50 Cantus against the dying of the light 6:12 96

114 Text The text for Varjele, Jumala, soasta (God, Protect Us from War) comes from Kanteletar, a collection of Finnish lyric poetry. Besides Kalevala, Kanteletar is the most famous collection of this type of Finnish verse. Both publications were collected and compiled by Elias Lönnrot, a Finnish physician who was interested in Finnish oral poetry. John Alphonso-Karkala describes Lönnrot as a man who had the genius enough to transcend the limits of his medical profession to become a folklorist. 199 Containing about 750 lyric poems, Kanteletar is divided into three parts. Part one contains songs for men and women, part two contains songs for either women or men, and part three contains ballads and romances. 200 This particular text is a simple prayer asking God for protection from war and all its elements, including iron, swords, guns, rifles, and battlefields. Tormis indicates that the piece was written in 1984 as a response to the Soviet war in Afghanistan. 201 Because of this war, Estonians were frightened that some of their own countrymen might be conscripted into service for the Soviet army. This piece embodies the Estonian fear of being forced into a remote war. Following is the Finnish text in both word-for-word and poetic English translations, as well as a pronunciation guide using IPA. 202 Varjele, vakainen Luoja, [var.jɛ.lɛ va.kai.nɛn luo.ja] Protect, steadfast Creator, (Protect, steadfast Creator,) 199 John B. Alphonso-Karkala, Transformation of Folk Narratives into Epic Composition in Elias Lönnrot's Kalevala, Jahrbuch für Volksliedforschung 31 (1986): Charles J Billson, Folk-Songs Comprised in the Finnish Kalevala, Folklore, 6 (December, 1895): Tormis, interview by author. 202 The word-for-word translation is by Daniel Karvonen and is used with permission. The poetic translation is derived by the author from Karvonen s word-forword translation and the published translation in the score, by Kaja Kappel. The IPA pronunciation guide is derived by the author from a recording in which Daniel Karvonen speaks the text. 97

115 kaitse, kaunoinen Jumala [kait.sɛ kau.noi.nɛn ju.ma.la] protect, beautiful God (protect, beautiful God) kavioista vainovarsain, [ka.vi.ois.ta vai.no.var.sain] hooves from enemy foals (from the hooves of enemy foals,) sorkista sotahevosten, [sor.kis.ta so.ta.hɛ.vos.tɛn] cloven hooves from war horses (from the cloven hooves of war horses,) rauan valkian varasta, [rau.an val.ki.an va.ras.ta] iron s fire s by means of (from the fire of the iron,) terän tuiman tutkaimesta, [tɛ.ræn tui.man tut.kai.mɛs.ta] blade s harsh s point from (from the harsh point of the blade,) tykin suuren suun e estä, [ty.kin su:.rɛn su:n ɛ.ɛs.tæ] cannon s large s mouth s front from (from the front of the large mouth of the cannon,) rautakirnujen kiasta, [rau.ta.kir.nu.jɛn ki.as.ta] iron churns mouth from (from the mouth of churning iron,) suurilta sotakeoilta, [su:.ril.ta so.ta.kɛ.oil.ta] large from war fields from (from the large war fields,) uron tappotanterilta, [u.ron tap.po.tan.tɛ.ril.ta] hero s killing fields from (from the killing fields of the hero,) 98

116 varjele vahingon teiltä, [var.jɛ.lɛ va.hiŋ.gon tɛil.tæ] protect harm s roads from (protect from the roads of harm,) kaitse kaikista pahoista! [kait.sɛ kai.kis.ta pa.hois.ta] protect all from evils from (protect from all evils,) Varjele, vakainen Luoja, [var.jɛ.lɛ va.kai.nɛn luo.ja] Protect, steadfast Creator, (Protect, steadfast Creator,) kaitse, kaunoinen Jumala [kait.sɛ kau.noi.nɛn ju.ma.la] protect, beautiful God (protect, beautiful God) Music Form Varjele, Jumala, soasta is organized into four main sections. Sections A, B, and C comprise a gradual buildup to section D, the climax of the piece. Section E closes the work. Table 8.2 illustrates the overall form and content of the piece. Table 8.2. Form and content of Varjele, Jumala, soasta Section Measures Text A 1-52 Protect us, God From enemies foals and the war horse From iron and swords From guns and rifles From battlefields and slaughter From harm and evil Music Fast tempo pp dynamic Eighth-note melodic motive centered around B 2 in lower voices Similar melodic motive sung on aa in upper voices Sixteenth-note rapid-fire motive introduced in m. 41 sung by lower voices 99

117 Table 8.2 continued Section Measures Text Music B Protect us, God Sixteenth-note rapid fire motive sung in all voices Gradual crescendo from p to ff C Protect us, God Eighth-motive originally introduced by basses in section A sung by all voices in homophonic texture Crescendo from ff to fff Extended tam-tam roll D Aa ffff dynamic with gradual decrescendo to p Homophonic harmonization of neutral-syllable motive introduced by tenors in section A E Protect us, God Generally p dynamic with brief interspersions of mf passages Neutral-syllable motive alternates in all voice parts Sixteenth-note rapid fire motive returns at ppp dynamic at end Section A Section A introduces the three motives that comprise all of the musical material found in Varjele, Jumala, soasta. The first of the three motives (motive a) appears in the bass part in m. 1. Used as accompaniment for the entire text of the piece, the motive is eight notes in duration, centered on B 2, and involves two neighbor tones, C 3 and A 2. The melody is not specifically regilaul, but Tormis composed it to be similar to regilaul in terms of its melodic construction. It is set in homophonic texture against the baritone part, which sings only the pitch B 2. Example 8.1 illustrates motive a. In m. 5, Tormis introduces the second motive (motive b), which is derivative of motive a. Sung by the tenors, it is nearly identical to its predecessor, with only a few notable differences: (1) the melody is sung on the neutral syllable aa, or [a] in IPA, as opposed to text; (2) this melody stops one note short of the earlier one, ending on an A 3 100

118 instead of returning to B 3, where it began; (3) the tenors divide halfway through the motive, with the first tenors holding a C 4, creating the interval of a minor third with the second tenors. Example 8.2 shows motive b. Example 8.1. Varjele, Jumala, soasta, mm All excerpts Fennica Gehrman Oy, Helsinki and used with permission. Example 8.2. Varjele, Jumala, soasta, mm These two motives are sung throughout section A, either simultaneously or in isolation, in measures of 5/4 time. Tormis alternates the motives, creating a hypnotic effect. Accompanying the melodies are simple pianissimo tam-tam strikes, held for long durations. According to Tormis, the tam-tam represents the ominous threat of war. He notes, The tam-tam is always menacingly in the background. 203 At m. 40, Tormis introduces a third motive (motive c). Unlike motive a, which is used for the entire text of the piece, motive c is only sung to the text, Varjele, vakainen Luoja, or Protect, steadfast creator. The motive is predominately comprised of accented sixteenth notes, which repeat the interval of a minor third in rapid-fire 203 Tormis, interview by author. 101

119 succession. This creates a machine-gun-like effect, providing the listener with a vivid picture of the violence of war. Example 8.3 shows motive c. Example 8.3. Varjele, Jumala, soasta, mm , bass and baritone line. Section B Beginning at m. 53, after measures during which the tam-tam disappears from the score, Tormis brings the instrument back with a solo strike at a piano dynamic, the first time the tam-tam is heard by itself in the piece. Following the tam-tam strike, Tormis writes five iterations of motive c, now joined by three and four-part harmony. With each repetition, the dynamic level increases, beginning at piano and ending at fortissimo. In addition, both the pitch level and amount of dissonance increase with each repetition, culminating in a four-note cluster chord in mm (Example 8.4). Example 8.4. Varjele, Jumala, soasta, mm Section C Section C begins with another solo strike of the tam-tam, this time at a forte dynamic. Like Section B, Tormis uses a four-part harmonization of a previous motive as musical material. This time, it is motive a, which he sets at a fortissimo dynamic in all voice parts. Underneath the voices, Tormis writes an extended tam-tam roll that slowly 102

120 increases in dynamic level and culminates in an overwhelming crescendo in m. 69. In the score, Tormis indicates that the tam-tam crescendo should be loud enough so that it overpowers the subsequent entrance of the voices. In an interview with the author, Tormis lamented that performances don t often achieve this effect. He notes, In the end we have a great culmination, which performers often aren t able to accomplish. This strike should drown out the choir. When the choir comes in here, it shouldn t be heard. 204 Example 8.5 shows Tormis s alteration of motive a and the enormous tam-tam crescendo. Example 8.5. Varjele, Jumala, soasta, mm Ibid. 103

121 Section D Section D, the climax of the piece, is an outpouring of emotion against the idea of war. Like the two previous sections, it features a homophonic harmonization of a previous motive, which this time is motive b. The chorus sings homophonic chords on aa, beginning in A major and changing harmonically through movement of half steps and whole steps. Over the course of the section, the dynamic gradually decreases to piano, and the pitch level also gradually lowers. As mentioned in the analysis of section C, the initial chorus entrance in m. 90 should be completely drowned out by the tam-tam. Example 8.6 shows this entrance and first phrase of section D. Example 8.6. Varjele, Jumala, soasta, mm Section E The final section of Varjele, Jumala, soasta features repetitions of motives b and c, and brings the piece to a close. In the last two measures, Tormis brings back two repetitions of the four-part harmonization of motive c, this time set in in a low pitch range and at a triple-piano dynamic. The final marking in the piece is a fermata over a breath mark, indicating that the ending should create the effect of holding one s breath. Example 8.7 shows the final two measures of the piece. 104

122 Example 8.7. Varjele, Jumala, soasta, mm

123 CHAPTER NINE PIISPA JA PAKANA (THE BISHOP AND THE PAGAN) General Information Table 9.1 General information regarding Piispa ja pakana by Veljo Tormis Instrumentation TTBB chorus, two countertenor soloists, and tenor soloist Voicing Divisi Number of Range Voice Part Yes No Parts Lowest Highest T1 X - C 3 A b 4 T2 X - C 3 F 4 B1 X - B b 2 E b 4 B2 X - C 2 D b 4 CT1 (solo) X - C 4 F 5 CT2 (solo) X - G 3 C 5 T (solo) X - C 3 B b 4 Language Latin & English (soloists) Finnish (chorus) Text Source Seq. of St. Henry, trans. Tuomo Pekkanen Finnish regilaul, adap. Sakari Puurunen Publication Publisher ISMN Number Fennica Gehrman Recordings Ensemble Album Title Performance Time The King s Singers Sermons and Devotions 9:08 Estonian Phil. Ch. Choir Litany to Thunder 10:03 Svanholm Singers Tormis:Works for Men s Voices 10:05 106

124 Genesis and Commission In 1991, Veljo Tormis was writing an opera to a play by Eino Leno. A heart attack that he suffered in July of that same year made it unfeasible for him to finish the work. While in recovery the following year, he spent time in Lohusalu, a seaside town near Tallinn. It was there that he recycled the first scene of the opera into Piispa ja pakana, which had been commissioned by the music festival, Musik-Biennale Berlin. The new work was premiered by The King s Singers on March 18, Composed for six-part male vocal ensemble consisting of two countertenors, a tenor, two baritones, and a bass, this original version remains unpublished. The present, published version was arranged by Tormis for male chorus, two solo countertenors, and solo tenor. 205 Text The text of Piispa ja pakana (The Bishop and the Pagan) is unique, as it tells two versions of the same historical event. Lucy A. Cross explains, The story of The Bishop and the Pagan, drawn from musical documents and folklore, tells of the death of the British warrior and Christian Missionary Bishop Henry at the hands of the Finnish peasant farmer Lalli near the small town of Turku (Åbo) in the winter of By a fortunate and unusual historical circumstance, the viewpoints of both sides have been preserved: a written Latin Gregorian chant, The Sequence of Saint Henry, documents the British Christian side, and numerous folk songs represent the event as seen by the Finnish pagan. 206 As one might expect, the events are viewed quite differently depending on the account. From the British Christian perspective, Bishop Henry is a martyr for the righteous cause of Christian proliferation, while the Finnish pagans view him as an intruder trying to impose foreign values on the Finnish people. Tormis sums up the Finnish perspective, saying, It is against a foreign intruder. I am the pagan, I want to live in the woods, by myself, live my own life. Along comes a bishop who wants to 205 Information about the genesis and commission is from Daitz, Ancient Song Recovered, Lucy A. Cross, liner notes, The King s Singers, Sermons and Devotions, BMG Classics RCA Victor Red Seal , 1996,

125 teach me about Christianity. I don t need it, and I don t want it. 207 Following are the Latin and Finnish texts in both word-for-word and poetic English translations, as well as a pronunciation guide using IPA. 208 I. The sequence of Saint Henry Coetus noster laetus esto [tʃɛ.tus nɔs.tɛr lɛ.tus ɛs.tɔ] group our happy let it be (Let our company be joyful;) pro Henrici sacro festo [prɔ ɛn.ri.tʃi sak.rɔ fɛs.tɔ] for of Henry sacred feast day (on the holy feast day of Henry) est laetandi causa praesto [ɛst lɛ.tan.di kau.sa prɛ.stɔ] it is of rejoicing for the sake present (the assembly of the leader is present for the sake of rejoicing.) praesulis celebritas. 209 [prɛ.su.lis tʃɛ.lɛ.bri.tas] of the leader fame. Quem elegit, quem dilexit, [kwɛm ɛ.lɛ.dʒit kwɛm di.lɛ.ksit] whom it chose whom it loved, 207 Tormis, interview by author. 208 For the Latin text, both the word-for-word and poetic translations are by Christopher Brunelle and used with permission. The IPA pronunciation guide is by the author, according to the principles of Ecclesiastical Latin pronunciation set forth in Moriarty, Diction: Italian, Latin, French, German. For the Finnish, the word-for-word translation is by Daniel Karvonen and is used with permission. The poetic translation is derived by the author from Karvonen s word-for-word translation and the published translation in the score, by Kaja Kappel. The IPA pronunciation guide is derived by the author from a recording in which Daniel Karvonen speaks the text. 209 Celebritas can indeed mean fame or celebrity, but praesto means present, and the fame of the leader is present for the sake of rejoicing is meaningless; hence celebritas must have its original meaning. It s a synonym here for coetus, group, gathering, assembly, or crowd (Brunelle, notes to translation). 108

126 (Divine benevolence chose him, loved him,) quem ornavit, quem provexit, [kwɛm ɔr.na.vit kwɛm prɔ.vɛ.ksit] whom it adorned whom it promoted, (adorned him, promoted him,) in sublime quem erexit [in su.bli.mɛ kwɛm ɛ.rɛ.ksit] on high whom it raised (and raised him on high.) divina [di.vi.na divine benignitas. bɛ.ni.ɲi.tas] kindness. Ortus in Britannia, [ɔr.tus in bri.ta.ni.a] having arisen in Britain (Born in Britain,) pollens Dei gratia, [pɔ.lɛns dɛ.i gra.tsi.a] being strong of God by the grace, (powerful by the grace of God,) suprema providentia [su.prɛ.ma prɔ.vi.dɛn.stja] heavenly be means of providence (through heavenly providence) pontifex efficitur. [pɔn.ti.fɛks ɛ.fi.tʃi.tur] priest he is made. (he is made a priest.) Clarus in Upsalia, [kla.rus in up.sa.li.a] famous in Upsala, (Renowned in Upsala,) demum pro iustitia [dɛ.mum prɔ iu.sti.tsi.a] finally on behalf of justice 109

127 (fighting in Finland for justice,) decertans in Finlandia [dɛ.tʃɛr.tans in fin.lan.di.a] fighting in Finland pugil 210 Christi moritur. 211 [pu.dʒil kri.sti mɔ.ri.tur] boxer of Christ he dies. (he dies as a boxer for Christ.) Miris signis et variis [mi.ris si.ɲis ɛt va.ris] wondrous by means of signs and varied (Through wondrous signs and various portents) sanctum suum prodigiis [saŋk.tum su.um prɔ.di.dʒi.is] holy man his by means of miracles declarant venerabilem [dɛ.klɛ.rant vɛ.nɛ.ra.bi.lɛm] he declares to be worshiped (the true God declares that his saint is to be praised,) Deus verus, quem coluit, [dɛ.us vɛ.rus kwɛm kɔ.lu.it] God true whom he cherished, (for Henry worshiped God,) amavit atque docuit [a.ma.vit at.kwɛ dɔ.ku.it] he loved and taught 210 Pugil does in fact mean boxer. It would also be fine to say gladiator, since that s a more standard Christian metaphor, but this text s metaphor is even sharper (Brunelle, notes to translation). 211 The grammar of the fourth stanza is ambiguous: it could mean that God fostered Henry or that Henry fostered God. But, colendum, needing to be worshiped/fostered, shows that it must be Henry as the grammatical subject here, teaching everyone that the true God must be worshiped. In other words, Henry taught people to love and worship God just as Henry loved and worshiped God himself (Brunelle, notes to translation). 110

128 (loved him, and taught him) colendum et amabilem. [kɔ.lɛn.dum ɛt a.ma.bi.lɛm] to be cherished and beloved. (that God should be worshiped and loved.) Martyr Dei, iam laborum [mar.tir dɛ.i iam la.bɔ.rum] martyr of God now of labors (Martyr of God, through the payment of your labors) et mercede tormentorum [ɛt mɛr.tʃɛ.dɛ tɔr.mɛn.tɔ.rum] and payment of torments (and your torments) summo bono sine metu [su.mɔ bɔ.nɔ si.nɛ mɛ.tu] highest good without fear (you now enjoy without fear) et Sanctorum fruens coetu [ɛt saŋk.tɔ.rum fru.ɛns tʃɛ.tu] and of the Saints enjoying group (the highest good and the company of the Saints) in aeterna gloria. [in ɛ.tɛr.na glɔ.ri.a] in eternal glory (in eternal glory;) Te laudantem nostrum coetum [tɛ lau.dan.tɛm nɔ.strum tʃɛ.tum] you praising our group (grant that our company, praising you) et in tua laude laetum [ɛt in tu.a lau.dɛ lɛ.tum] and in your praise happy (and rejoicing in your praise,) fac in coetu Angelorum 111

129 [fak in tʃɛ.tu an.dʒɛ.lɔ.rum] make in group of the Angels (may enjoy everlasting happiness) sempiterna [sɛm.pi.tɛr.na everlasting (in the company) beatorum bɛ.a.tɔ.rum] blessed perfrui laetitia. [pɛr.fru.i lɛ.ti.sti.a] to enjoy happiness. (of the blessed Angels.) Amen. [a.mɛn] Amen. (Amen.) II. Ancient Finnish regilaul Sata miestä miekatonta, [sa.ta miɛs.tæ miɛ.ka.ton.ta] A hundred men swordless, (A hundred swordless men,) tuhat miestä miekallista, [tu.hat miɛs.tæ miɛ.kal.lis.ta] a thousand men sworded, (a thousand sworded men,) kaikki miehet vaaran alta, [kaik.ki miɛ.hɛt va:.ran al.ta] all men hill s under from, (all the men from under a hill,) mullan mustan sisältähe. [mul.lan mus.tan si.sæl.tæ.hɛ] earth s black s inside from. (from inside the black earth.) Minä laulan Turun miehen, [mi.næ lau.lan tu.run miɛ.hɛn] 112

130 I sing to Turku s 212 man, (I sing to the man of Turku,) pahan pieksän paavin papin, [pa.han piɛk.sæn pa:.vin pa.pin] evil I thrash Pope s priest, (I thrash the Pope s evil priest,) sylen syöksen tuuran vartta, [sy.lɛn syøk.sɛn tu:.ran vart.ta] I spit I belch out the ice pick s handle, (I spit out the ice pick s handle,) kirvehellä [kir.vɛ.hel.læ axe with (with an axe I tickle!) kutkuttelen! kut.kut.tɛ.lɛn] I tickle! Minun veljeni Henrikki, [mi.num vɛl.jɛ.ni hɛn.rik.ki] My brother Henry, (My brother Henry,) älä mene maalle Suomen! [æ.læ mɛ.nɛ ma:l.lɛ suo.mɛn] do not go land to Finland s! (do not go to the land of Finland!) Kyll on sinne monta mennyt, [kyl: on sin.nɛ mon.ta mɛn.nyt] Certainly has there to many gone, (Certainly many have gone to there,) mutt ei ole jälleen tullut [mut: ɛi o.lɛ jäl.lɛ:n tul.lut] but not has again come (but have not come again,) eikä paljo palannut. [ɛi.kæ pal.jo pa.lan.nut] not and many returned. (and not many returned.) 212 Turku is a city on the southwest coast of Finland. 113

131 Minä, minä, minä [mi.næ mi.næ mi.næ] I, I, I (I, I, I) manaan, minä manaan! [ma.na:n mi.næ ma.na:n] curse, I curse! (curse, I curse!) Sen Turku minusta saapi, [sɛn tur.ku mi.nu.sta sa:.pi] That Turku me from gets, (That is what Turku gets from me,) pajattaapi paavin pappi, [pa.jat.ta:.pi pa:.vin pap.pi] babbles on the Pope s priest, (the Pope s priest babbles on,) kiittelevi Ristin Kiesus. [ki:t.tɛ.lɛ.vi ris.tin kiɛ.sus] thanks the Cross Jesus. (thanks to Jesus of the Cross.) Sen Turku saapi! [sɛn tur.ku sa:.pi] That Turku gets! (That is what Turku gets!) Tapan, tapan, minä tapan! [ta.pan ta.pan mi.næ ta.pan] I kill, I kill, I will kill! (I ll kill, kill, kill!) Music Form Piispa ja pakana is organized into five main sections. Section A is divided into two subsections (indicated by subscript), section B is divided into four subsections, section D is divided into three subsections, and section E is divided into three subsections. Throughout the work, the chorus sings the Finnish text and represents the 114

132 persepctive of the Finnish peasant, while the tenor and countertenor soloists sing the Latin and English texts, presenting the view of British Christians. Table 9.2 illustrates the overall form and content of the piece. Table 9.2. Form and content of Piispa ja pakana by Veljo Tormis Section Reh.Nos. Text Music A (Latin) Let us be joyful on the feast day of Henry The assembly of the leader is present for the sake of rejoicing Divine benevolence chose and loved him and raised him on high A (Latin) Born in Britain, powerful by God through heavenly providence he is made priest Renowned in Upsalia, fighting for justice in Finland, he dies for Christ B (Finnish) A hundred swordless and a thousand sworded men All the men from under a hill, from inside the black earth B (Finnish) From inside the black earth (Latin) Through wondrous signs God declares that his saint is to be praised Chant melody in solo tenor Solo countertenors added to chant melody in parallel organum Chorus bass notes of long duration on hum Chorus baritone and tenor joins chorus bass accompaniment with open harmonies Same material as A 1 Tempo increases from 84 to 92 Tempo increases to 100 Harmonized Finnish regilaul melodies in chorus lower three voices Overlapping as per regilaul performance practice with sustained pitches on ah in chorus 1 st tenor part Tempo increases to 104 Three-part chant organum in solo voices Finnish regilaul harmonization in lower three chorus parts overlapping with staccato eighth notes in 1 st tenor 115

133 Table 9.2 continued Section Reh.Nos. Text Music B (Latin) Henry loved and worshiped God, and taught that God should be worshiped and loved (Finnish) I sing to the man of Turku B (Finnish) I sing to the man of Turku, thrash the Pope s priest, spit the ice pick s handle, tickle with an axe Tempo increases to 108 Same material as B 2 Finnish regilaul sung by chorus 1 st tenors and basses in alternation Sustained homophonic accompaniment figure on he in other chorus parts C Same as B 4 Dissonant cluster chords gradually rising in pitch in chorus parts Dissonant, sustained, homophonic cluster chords on ah in solo voices D (English) My brother, dearest Henry, don t depart for Finland, many men have gone and vanished, few have safely come again (Finnish) I D (Finnish) I sing to the man of Turku, thrash the Pope s priest, spit the ice pick s handle, tickle with an axe That is what Turku gets, the Pope s priest babbles on, thanks to Jesus of the Cross Tempo increases to 116 Dissonant, homophonic cluster chords on durations of sixteenth notes and eighth notes in solo voices Short, sixteenth-note interjections of homophonic cluster chords in chorus parts Dissonant, ff, four-part, clusterchord harmonization of regilaul melody in chorus parts Dissonant, ff, sustained cluster chords on ah in solo voices 116

134 Table 9.2 continued Section Reh.Nos. Text Music D (Finnish) I ll kill E (Latin) Martyr of God, through the payments of labors and torments you enjoy the highest good and company of saints in eternal glory E (Latin) Grant that our company, praising you and rejoicing, may enjoy everlasting happiness in the company of angels (Finnish) I sing to the man of Turku E (Finnish) I sing to the man of Turku A hundred swordless men, a thousand sworded men, all men from under a hill, from inside the black earth I thrash the Pope s evil priest That is what Turku gets from me (Latin) Grant that our company, praising you and rejoicing, may enjoy everlasting happiness in the company of angels Dissonant, fff, sixteenth note interjections in chorus parts Upward glissando signifying the kill in chorus parts Dissonant, ff, sustained cluster chords on ah in solo voices Gradual rallentando and diminuendo Tempo slows to 80 Chant melody in solo tenor Solo countertenors added to chant melody in parallel organum Homophonic open harmonies in chorus parts on oh and hum Tempo increases to 96 Parallel organum based on chant melody in solo voices Combination of open harmonies on nonsense syllables and accented eighth-note motives in chorus parts Tempo increases to 104 Alternation of regilaul harmonization in lower three chorus parts with regilaul melody in 1 st tenor Dissonant, four-part harmonization of regilaul melody beginning at reh. 68 Parallel organum based on chant melody in solo voices beginning at reh

135 Table 9.2 continued Section Reh.Nos. Text Music F (Latin) In eternal glory Amen Tempo decreases to 76 Parallel organum based on chant melody in solo voices Eighth-note interjections of homophonic chords on hum Note: Because Piispa ja pakana contains extensive rehearsal numbers already present in the published score, they are used as location references in place of measure numbers. Section A Throughout Piispa ja pakana, Tormis uses Gregorian chant melodies in the solo voices to represent the British Christians. This musical material is featured prominently in section A. Tormis begins the entire work with a solo chant melody in the tenor line and adds a solo countertenor voice in parallel organum set at the interval of a perfect fifth above the melody at reh. 5, 213 creating a duet texture. He adds another solo countertenor a perfect fourth above the first countertenor at reh. 9, resulting in open, three-part organum. The text for the chant harmonization is in Latin, one in laudatory praise of Bishop Henry. Tormis accompanies the chant harmonization with long, sustained pitches on hum, in the chorus. The number of parts in the chorus accompaniment correlates with the number of solo voices that sing the chant lines. For example, only the chorus basses accompany the opening solo chant. When the second soloist is added, the chorus baritones join the basses. Finally, when the third soloist is added, Tormis adds a unison tenor line to the chorus parts, creating a three-part accompaniment for the three-part chant harmonization. The accompaniment harmonies are generally open in structure, consisting predominately of intervals of fourths and fifths, which match the open 213 Because Piispa ja pakana contains extensive rehearsal numbers already present in the published score, they are used as location references in place of measure numbers. 118

136 harmonies of the chant harmonization. Example 9.1 illustrates the three-part chant harmonization and three-part chorus accompaniment. Example 9.1. Piispa ja pakana, reh All excerpts Fennica Gehrman Oy, Helsinki and used with permission. Section B Beginning in section B at reh. 21, Tormis musically introduces the Finnish perspective through the use of Finnish regilaul. Tormis harmonizes the regilaul melody in the lower three chorus parts, set against a sustained ah in first tenors (Example 9.2). Example 9.2, Piispa ja pakana, reh

137 As is typical, each regilaul melody is comprised of predominantly eighth-note durations and is eight notes in length, corresponding with the number of syllables in each line of regilaul text. The low tessitura of the regilaul harmonization creates a sense of foreboding danger. Beginning in B 2 at reh. 25, the chorus parts change. The lower three voices sing the regilaul harmonization, but sustain the final note of the melody underneath a singlenote staccato motive in the first tenor. These altered chorus parts are set amid a reintroduction of the chant melodies in the solo voices, the first time the two different languages are sung at the same time. Example 9.3 shows this juxtaposition. Example 9.3, Piispa ja pakana, reh. 26. Tormis marks the chorus parts of subsection B 4 with the term, cantabile robusto, meaning, strongly sung, and directs the chorus to sing through the teeth. These instructions serve to create an increasing sense of anger. In this subsection, the first tenors and basses alternate singing the regilaul melody, accompanied by the other three voices with sustained chords on he (Example 9.4). 120

138 Example 9.4. Piispa ja pakana, reh Section C Section C primarily features the Finnish perspective, incorporating an increased sense of violent agitation toward Bishop Henry. In the chorus parts, Tormis sets the regilaul text to repeated, accented, dissonant, eighth-note cluster chords. The text describes what the Finnish peasant intends to do to the priest, namely thrash, spit, and tickle him with an ice pick. Over the course of the section, the chords gradually rise in both pitch level and dynamic. Above the chorus parts, the soloists sing sustained, dissonant chords on ah, creating a sense of alarm. Example 9.5 illustrates these musical features. 121

139 Example 9.5, Piispa ja pakana, reh. 36. Section D In section D, the increased aggression of the Finnish peasant results in frightened concern for Bishop Henry. Beginning at reh. 42, the soloists sing an English text warning of the dangers that may result from travel to Finland: My brother, dearest Henry, do not depart for Finland many a man has gone and perished! Tormis sets this text with closely-voiced cluster chords of eighth-note and sixteenth-note durations at a fortissimo dynamic. This creates a sense of heightened alarm, and is accompanied by dissonant, violent sixteenth-note interjections in the chorus parts (Example 9.6). Example 9.6. Piispa ja pakana, reh

140 In subsection D 2 at reh. 48, the soloist ah, motives from section C return, this time at a higher dynamic level and with glissandi, further amplifying the feeling of terror. The chorus parts continue to harmonize the regilaul melody with dissonant cluster chords, this time at higher pitch levels. Example 9.7. Piispa ja pakana, reh At reh. 50 in subsection D 3 and after much anticipation, Tormis depicts the killing of Bishop Henry by the Finnish peasant. On the text, Minä tapan, which translates to, I kill, he writes accented, sixteenth-note chords consisting of two pitches one half step apart. A large, upward-moving glissando in the chorus parts depicts the motion of the ice 123

141 pick. 214 The return of the dissonant ah chords in the solo voices sounds an alarm of death. Example 9.7 illustrates Tormis s musical depiction of the murder. Example 9.8. Piispa ja pakana, reh Section E After the murder, Tormis reintroduces musical material from section A, bringing back the chant organum in the solo voices, and the open, sustained accompaniment figures on hom in the chorus parts. While the music is similar to what is found in 214 Tormis, interview by author. 124

142 section A, the text changes, acknowledging Bishop Henry s death and wishing him everlasting happiness in the company of the blessed angels. Other earlier musical material returns throughout the remainder of section E, including the still-agitated regilaul harmonization. Through this, Tormis depicts the residual resentment toward British Christianization that remained in Finland long after this particular event. Section F The final section of Piispa ja pakana brings the piece to an unsettled close. Chant harmonization of the text, Amen, in the solo voices signals the end of an unfortunate and gruesome story. Soft eighth-note punctuations on hum in the chorus leave a soft but strong warning against those who wish to impose their culture on the Finnish people. Example 9.8 contains the final two systems of the piece. 125

143 CHAPTER TEN KATKUAJA MÄLESTUS (PLAGUE MEMORY) General Information Table General information regarding Katkuaja mälestus by Veljo Tormis Instrumentation Two TTBB choruses and tenor soloist Voicing Divisi Number of Range Voice Part Yes No Parts Lowest Highest Ch1 T1 X - D 3 G 4 Ch1 T2 X - D 3 G 4 Ch1 B1 X - G 2 D 4 Ch1 B2 X - D 2 D 4 Ch 2 T1 X - D 3 G 4 Ch 2 T2 X - D 3 G 4 Ch 2 B1 X - G 2 D 4 Ch 2 B2 X - F 2 D 4 T (solo) X - D 4 B b 4 Language Estonian Text Source Traditional Estonian regilaul Publisher Fennica Gehrman Publication ISMN Number M Recording Ensemble Album Title Performance Time Estonian National Male Choir Vision of Estonia III 6:43 126

144 Genesis Tormis composed Katkauja mälestus (Plague Memory) in 1974 for a concert honoring the three conductors in the history of the Estonian National Male Choir. The concert also celebrated the ensemble s thirtieth anniversary. This particular piece is dedicated to conductor Olev Oja. Another Tormis composition, Laulja (The Singer), was written for the founding conductor of the Estonian National Male Choir, Gustav Ernesaks. 215 Text The text for Katkuaja mälestus, compiled by the Estonian poet Jaan Kaplinski, 216 originates from two sources. The first is Estonian regilaul, which recounts an Estonian folk legend. The text references the young, female inhabitants of Mäla and their attempts to ward of illness and avoid the plague by walking into the sea, allowing the water to rise all the way up to their necks. 217 The second source is original poetry by Kaplinski that draws a parallel between the Mäla folk legend and Estonia s predicament while under the control of the Soviet Union. In the text, Kaplinski writes, tõbi meile tõusenekse, katku meile kaldunekse, which translates to illness arises among us, plague is inclined towards us. According to Tormis, the plague refers to the Soviet Union: This song is a memory of the plague, but actually we are currently suffering under this illness, the red plague Information on the genesis of the piece from Urve Lippus, liner notes, Estonian National Male Choir, Veljo Tormis: Vision of Estonia II, Ants Soots, conductor, Alba Records NCD-20, For biographical information on Jaan Kaplinski, please refer to chapter 7. Estonia. 217 A village on the Estonian island of Muhu, off the west coast of mainland 218 Tormis, interview by author. 127

145 In the full text below, words within angle brackets are regilaul text. Words outside are Kaplinski poetry. Following is the Estonian text in both word-for-word and poetic English translations, as well as a pronunciation guide using IPA. 219 <Tuletage, Tusti 220 neiud, [tu.lɛ.ta.gɛ tus.tɪ nei.ud] <Recall, of Tusti maidens, (<Recall, maidens of Tusti,) mäletage, Mäla neiud, [mæ.lɛ.ta.gɛ mæ.la nei.ud] remember, of Mäla maidens, (remember, maidens of Mäla,) Rässa 221 ranna neidisida! [ræs.sa ran.na nei.dɪ.si.da] Rässa shores (from) maidens! (maidens from Rässa shores!) Ne läksid meeleni merese, [ne læk.sɪd me:.lɛ.ni me.rɛ.se] They went up to their heads into the sea, (They went into the sea up to their heads,) kaelani kalakojase, [kae.la.ni ka.la.ko.ja.se] up to their necks into the home of fish, (up to their necks into the home of fish,) labaluini lainedese.> [la.ba.lui.nɪ lai.nɛ.de.sɛ] up to their feet into the waves.> (into the waves up to their feet.>) 219 The word-for-word translation is by Helle Merilo and is used with permission. The poetic translation is derived by the author from Merilo s word-for-word translation and the published translation in the score, by Kristin Kuutma. The IPA pronunciation guide is by the author, transcribed according to the principles of Estonian pronunciation set forth in Mimi S. Daitz, How to Pronounce Estonian. coast. coast. 220 A village on the Estonian island of Muhu, off of mainland Estonia s west 221 A village on the Estonian island of Muhu, off of mainland Estonia s west 128

146 Rohkem ei mäleta. [rox.kɛm ei mæ.lɛ.ta] More no remember. (Remember no more.) Meine mäletame rohkem. [mei.ɛ mæ.lɛ.ta.mɛ rox.kɛm] We remember more. (We remember more.) tõbi meile tõusenekse [tɤ.bɪ mei.lɛ tɤu.sɛ.nek.sɛ] illness among us arises (illness arises among us) katku meile kaldunekse [kat.ku mei.lɛ kal.du.nek.sɛ] plague towards us is inclined (plague is inclined towards us) nopib nooremad seasta [no.pɪb no:.rɛ.mad se.as.ta] picks out the younger ones among us (picks out the younger ones among us) käänab lapsed kätkiesta [kæ:.nab lap.sɛd kæt.kɪ.es.ta] snatches children from cradles (snatches children from cradles) imejad ema sülesta [i.mɛ.jad e.ma sy.lɛs.ta] breast-suckers mother from lap of (breast-suckers from mother s lap) <Tuletage, Tusti neiud, [tu.lɛ.ta.gɛ tus.tɪ nei.ud] <Recall, of Tusti maidens, (<Recall, maidens of Tusti,) mäletage, Mäla neiud, [mæ.lɛ.ta.gɛ mæ.la nei.ud] remember, of Mäla maidens, (remember, maidens of Mäla,) 129

147 Rässa ranna neidisida!> [ræs.sa ran.na nei.dɪ.si.da] Rässa shores (from) maidens!> (maidens from Rässa shores!>) Rohkem ei mäleta. [rox.kɛm ei mæ.lɛ.ta] More no remember. (Remember no more.) Meine mäletame rohkem. [mei.ɛ mæ.lɛ.ta.mɛ rox.kɛm] We remember more. (We remember more.) Kuhu pean mina minema [ku.hu pean mi.na mi.nɛ.ma] where should I go (Where should I go) kuhu veerema viletsa [ku.hu ve:.rɛ.ma vi.lɛt.sa] where roam a miserable one (Where should a miserable one roam) lähen laia laane poole [læ.hɛn lai.a la:.nɛ po:.lɛ] I go wide forest towards (I go towards the wide forest) kargan kõrge kõnnu poole [kar.gan kɤr.gɛ kɤn.nu po:.lɛ] I shall jump high wilderness towards (I shall jump towards the high wilderness) rappa rambete vahele [rap.pa ram.bɛ.te va.he.lɛ] in a swamp sodden logs in between (in between sodden logs in a swamp) oh seda taudi takkuspüksi [ox se.da tau.dɪ tak.kus.pyk.sɪ] oh this pest in fray trousers 130

148 (oh this pest in fray trousers) oh seda katku kahkisilma [ox se.da kat.ku kax.kɪ.sil.ma] oh this plague with bleak eye (oh this plague with bleak eye) kãib küla katukseid mööda [kæib ky.la ka.tuk.seid mø:.da] walks village rooftops along (walks along village rooftops) luusib laia laanta mööda [lu:.sɪb lai.a la:n.ta mø:.da] prowls wide forests along (prowls along wide forests) keksib kõrget kõndu mööda [kek.sɪb kɤr.gɛt kɤn.du mø:.da] hops high wilderness along (hops along high wilderness) korjab kõrvest kargulised [kor.jab kɤr.vɛst kar.gu.li.sɛd] picks from the wilderness the runaways (picks the runaways from the wilderness) võtab pagejad võsasta [vɤ.tab pa.gɛ.jad vɤ.sas.ta] takes fugitives from thicket (takes fugitives from thicket) <Tuletage, Tusti neiud, [tu.lɛ.ta.gɛ tus.tɪ nei.ud] <Recall, of Tusti maidens, (<Recall, maidens of Tusti,) mäletage, Mäla neiud, [mæ.lɛ.ta.gɛ mæ.la nei.ud] remember, of Mäla maidens, (remember, maidens of Mäla,) Rässa ranna neidisida!> [ræs.sa ran.na nei.dɪ.si.da] Rässa shores (from) maidens!> 131

149 (maidens from Rässa shores!>) oh sina meri meeleline [ox si.na me.rɪ me:.lɛ.li.nɛ] oh you sea sensual (oh you sensual sea) ulguvesi veerelikku [ul.gu.ve.sɪ ve:.rɛ.lik.ku] open waters rolling (rolling, open waters) kas sina peidad pagejada [kas si.na pei.dad pa.gɛ.ja.da] do you hide the fugitive (do you hide the fugitive) katad minda kargajada [ka.tad min.da kar.ga.ja.da] cover me a runaway (cover me, a runaway) võtad varjule viletsa [vɤ.tad var.ju.lɛ vi.lɛt.sa] give shelter to a miserable one (give shelter to a miserable one) küll mina peidan küll mina katan [kyl: mi.na pei.dan kyl: mi.na ka.tan] shall I hide shall I cover (I shall hide, I shall cover) peidan sinda pagejada [pei.dan sin.da pa.gɛ.ja.da] I ll hide you the fugitive (I ll hide you, the fugitive) katan sinda kargajada [ka.tan sin.da kar.ga.ja.da] I ll cover you the runaway (I ll cover you, the runaway) võtan varjule viletsa [vɤ.tan var.ju.le vi.lɛt.sa] 132

150 I ll take to shelter a miserable one I ll take a miserable one to shelter) tule minu turja peale [tu.lɛ mi.nu tur.ja pea.lɛ] come my nape of the neck onto (come onto the nape of my neck) astu minu abu peale [as.tu mi.nu a.bu pea.lɛ] step my waist onto (step onto my waist) kõnni õigele õlale [kɤn.ni ɤi.gɛ.le ɤ.la.le] walk to the right onto my shoulder (walk onto my right shoulder) <Tuletage, Tusti neiud, [tu.lɛ.ta.gɛ tus.tɪ nei.ud] <Recall, of Tusti maidens, (<Recall, maidens of Tusti,) mäletage, Mäla neiud, [mæ.lɛ.ta.gɛ mæ.la nei.ud] remember, of Mäla maidens, (remember, maidens of Mäla,) Rässa ranna neidisida! [ræs.sa ran.na nei.dɪ.si.da] Rässa shores (from) maidens! (maidens from Rässa shores!) Ne läksid meeleni merese, [ne læk.sɪd me:.lɛ.ni me.rɛ.se] They went up to their heads into the sea, (They went into the sea up to their heads,) kaelani kalakojase, [kae.la.ni ka.la.ko.ja.se] up to their necks into the home of fish, (up to their necks into the home of fish,) labaluini [la.ba.lui.nɪ lainedese.> lai.nɛ.de.sɛ] 133

151 up to their feet into the waves.> (into the waves up to their feet.>) meri nad võttis meri jättis [me.rɪ nad vɤt.tɪs me.rɪ jæt.tɪs] the sea them took the sea kept them (the sea took them, the sea kept them) kalavesi kaasa võttis [ka.la.ve.sɪ ka:.sa vɤt.tɪs] fishwaters along took them (fishwaters took them along) meri pani nad mehele [me.rɪ pa.nɪ nad me.hɛ.le] the sea put them to suitors (the sea found them suitors) kui sina tuled Tusti teeda [kui si.na tu.lɛd tus.tɪ te:.da] when you come Tusti road by (when you come by Tusti road) kui sina liigud Lalli 222 teeda [kui si.na li:.gud lal.lɪ te:.da] when you come Lalli road by (when you come by Lalli road) veered Võiküla 223 vahele [ve:.rɛd vɤi.ky.la va.hɛ.le] roam Võiküla inside (roam inside Võiküla) vaastad väina vee poole [va:s.tad væi.na ve: po:.lɛ] look sound water towards (look towards the sound of water) coast. coast. 222 A village on the Estonian island of Muhu, off of mainland Estonia s west 223 A village on the Estonian island of Muhu, off of mainland Estonia s west 134

152 sead silmad sõmera poole [sead sil.mad sɤ.mɛ.ras po:.lɛ] set eyes sand towards (set your eyes towards the sand) mis seal laines liikelekse [mis seal lai.nɛs li:.kɛ.lek.sɛ] what there in the waves is moving (what is moving in the waves there) mis seal vahus vilkelekse [mis seal va.hus vil.kɛ.lek.sɛ] what there in the foam is flickering (what is flickering in the foam there) mis seal sõmeras sädeleb [mis seal sɤ.mɛ.ras sæ.dɛ.leb] what there in the sand is sparkling (what is sparkling in the sand there) Ellu helmed Reedu rõhud [el.lu hel.mɛd re:.du rɤ.hud] Ellu s beads Reedu s copper chains 224 (Ellu s beads, Reedu s copper chains) Kaie kahed kaelakorrad [kai.ɛ ka.hɛd kae.la.kor.rad] Kaie s two necklaces (Kaie s two necklaces) Ingli ihu see ilusa [iŋg.lɪ i.hu se: i.lu.sa] Ingel s body it beautiful (Ingel s beautiuful body) <Tuletage, Tusti neiud, [tu.lɛ.ta.gɛ tus.tɪ nei.ud] <Recall, of Tusti maidens, (<Recall, maidens of Tusti,) translation). 224 The copper chains are worn attached the back of a belt (Merilo, notes to 135

153 mäletage, Mäla neiud, [mæ.lɛ.ta.gɛ mæ.la nei.ud] remember, of Mäla maidens, (remember, maidens of Mäla,) Rässa ranna neidisida!> [ræs.sa ran.na nei.dɪ.si.da] Rässa shores (from) maidens!> (maidens from Rässa shores!>) Form Music Katkuaja mälestus is organized according to source of text. The tenor soloist sings all of the traditional folk texts, while Choir I sings all of Kaplinski s texts. Choir II sings no text at any point; they simply provide harmonic accompaniment on neutral syllables. Table 10.2 illustrates the overall form and content of the piece. Table Form and content of Katkuaja mälestus by Veljo Tormis Section Measures Text Music Intro 1-4 Mm (Choir II) Unison mm on D 3 Unison splits to chord made up of D 3 and two neighbor tones, resolves back to unison A 5-8 (Tenor solo) Remember, maidens of Muhu island, they went into the sea up to their necks B 9-12 (Tenor solo) Remember no more (Choir I) We remember more C (Choir I) Illness arises, plague comes, picks out younger ones, snatches children (Tenor solo) Regilaul melody (Choir II) Same as Intro (Tenor solo and Choir I) Spoken intonation of text (Choir II) Unison mm on D 3 (Choir I) Regilaul melody in bass line (Choir II) Unison mm on D 3 136

154 Table 10.2 continued Section Measures Text A (Tenor solo) Remember, maidens of Muhu Island B (Tenor solo) Remember no more (Choir I) We remember more D (Choir I) Where should I go, I go towards nature, oh the plague comes through the wilderness, takes runaways and fugitives A (Tenor solo) Remember, maidens of Muhu Island Music (Tenor solo) Regilaul melody (Choir II) Union mm on D 3 (Tenor solo and Choir I) Spoken intonation of text (Choir II) Unison mm on D 3 (Choir I) Regilaul melody harmonized in two parts, then three parts (Choir II) Unison and octave mm on D (Tenor solo) Regilaul melody (Choir II) Octave mm on D Intro Uu (Choir II) Octave uu on D in tenors Lower voices alternate between octave D and alternative harmonies E (Choir I) Oh, sea, protect me I will protect you, come to me Dynamics gradually increase from mf to ff, then gradually decrease back to pp (Choir I) Regilaul melody, first in unison, then harmonized in two parts, four parts, and two parts Brief interjection of dissonant chords on aa in mm (Choir II) Chords on uu, then oo, then aa, gradually increasing in tessitura, then gradually decreasing in tessitura 137

155 Table 10.2 continued Section Measures Text F (Tenor solo) Remember, maidens of Muhu Island Music (Tenor solo) Regilaul melody, sung a perfect fourth higher than previously (Choir I) Dissonant chords on aa (Choir II) Octave G on aa Note: When numbering measures, repeated measures were only counted once. Introduction In the introduction, Tormis writes accompaniment motives that invoke the image of the sea. He begins Katkuaja mälestus on a pianissimo, unison D 3 sung by Choir II. The pitches are sung with a dynamic swell on each note, conjuring the image of the sea waves that serve as a source of healing in the text. The lower voices split from the unison and move to neighbor pitches, creating a cluster chord, and then move back to the unison. This alternation between unison and harmony is featured throughout the entire work and creates a rocking sensation that, once again, depicts the ocean. All of this is reinforced by the 5/4 time signature, which, through its slight irregularity, creates a sense of uneasiness similar to what one feels while on a boat at sea. Section A In Section A, Choir II continues to sing the musical material from the introduction, above which Tormis adds a solo tenor voice. The tenor sings the folk text that tells of the maidens of Muhu Island, who ventured into the sea to ward off illness. The text is set to a regilaul melody from the west coast of Estonia, which is comprised of eight eighth notes and descends in stepwise motion over the interval of a perfect fourth. Tormis instructs the soloist to sing in falsetto and imitate the sound of a folk singer. Example 10.1 illustrates the musical material present in the introduction and section A. 138

156 Example Katkuaja mälestus, mm All excerpts Feinnica Gehrman Oy, Helsinki and used with permission. Section B Section B involves the text that specifically draws the parallel between the old folk story and Estonia s predicament under Soviet rule. The first line, Rohkem ei mäleta, or, Remember no more, expresses the hope Kaplinski had for Estonia: that it would be free of the memory of the plague, or free from Soviet rule. However, the second line, Meine mäletame rohkem, or, We remember more, indicates that the situation is not as Kaplinski had hoped. The plague of Soviet Russia still remains, infecting the people of Estonia. Musically, Tormis presents the text with unpitched speaking. The solo tenor incants the first line, and Choir I answers by speaking the second line. Underneath the incantation, Choir II hums a unison D 3. The sparseness of the unison combined with the speaking draws special musical attention to this pivotal text. Example 10.2 shows section B. 139

157 Example Katkuaja mälestus, mm Sections C and D Sections C and D feature Kaplinski s text, and Choir I assumes the melodic material to which the text is set. The regilaul melody in section C is written as a unison bass line in an extremely low tessitura. This low range highlights the sinister quality of the text, which describes how the plague preys on young children (Example 10.3). Accompanying the melody is a unison D 3 sung by Choir II. 140

158 Example Katkuaja mälestus, mm After a brief return of the musical material of section A, section D continues to build upon material presented in section C. Beginning in m. 19, the melody moves to the baritone and is harmonized by the basses, creating two-part harmony in homophonic motion. In m. 21, Tormis adds the tenors, resulting in three-part harmony. The general harmonic structure of each of the melodic segments begins with greater density and gradually reduces to a simpler texture. For example, the two voices that begin with the interval of a seventh finish in unison, and the three-part harmony ends on a two-part interval of a perfect fifth. Section E After a brief return to the music of section A and the introduction, Tormis writes the most dramatic section of the piece. In the first lines, Kaplinski asks the sea for protection from the plague, which Tormis sets with repetitive, harmonized regilaul melodies in Choir I that gradually increase in both tessitura and dynamic level. The material for Choir II also increases in both dynamic and tessitura, and seems to accompany Choir I. The effect creates an overall feeling of desperation, and at the 141

159 climax, Tormis writes a cry for help in the form of an intensely-fortissimo aa set in a high tessitura, which is sung by both choirs. Example 10.4 shows this climax. Following this dramatic moment, the text switches to the perspective of the sea, which answers that it will provide shelter for those affected by the plague. From this point forward, the musical process reverses itself, as Tormis gradually decreases the dynamic and pitch level of both the regilaul melodies in Choir I and the accompaniment harmonization in Choir II. Example Katkuaja mälestus, mm

160 Section F In the final section of Katkuaja, the solo tenor returns to sing the folk text one final time. In this instance, the pitch of the solo is moved up by a perfect fourth, so that the soloist begins on a high B-flat and descends to an F. The unison accompaniment heard in the A sections is replaced by dissonant harmonies consisting of pairs of perfect fourths. Both the higher range of the soloist and the increased complexity of the harmonic accompaniment leave listeners with an ominous impression, as if Tormis is regretfully saying that the memory of the plague, supposed to have been long gone, lingers on through the presence of Soviet occupation. Example 10.5 shows section F. Example Katkuaja mälestus, mm

161 CHAPTER ELEVEN JÄTA PÄIKE PAISTMA! (LET THE SUN SHINE!) General Information Table General information regarding Jäta päike paistma! by Veljo Tormis Instrumentation TTBB chorus a cappella Voicing Divisi Number of Range Voice Part Yes No Parts Lowest Highest T1 X - F 3 G 4 T2 X - F 3 E b 4 B1 X - B b 2 C 4 B2 X - B b 2 B b 3 Language Estonian (with English lyric translation) Text Source Kalevipoeg, the Estonian national epic Publisher SP Muusikaprojekt Publication Catalogue Number SPM 2802 (Part of a collection; score available separately) Recording Ensemble Album Title Performance Time Estonian National Male Choir Vision of Estonia II 1:50 144

162 Text The text for Jäta päike paistma! (Let the Sun Shine!) is from Kalevipoeg, the Estonian national epic. As was discussed in chapter 2, the publication of Kalevipoeg, written by F. R. Kreutzwald, was an important moment in Estonian cultural history. The story s protagonist, a character bearing the same name, was a warrior. Guntis Šmidchens describes Kalevipoeg as an extraordinarily large and strong man who built Estonia in its Golden Age: He swims across the gulf to Finland to purchase a great sword; he becomes king after winning a stone-throwing contest with his brothers; he sails to the ends of the earth; builds a fortress; fights witches, sorcerers, and the devil; and leads the Estonians in a defensive war against foreign invaders. 225 For all his strength and affinity for battle, Kalevipoeg is like the protagonists of other Baltic national epics, who, through a series of adaptations, lost many of their violent characteristics and became more human. 226 This text reflects Kalevipoeg s accommodation of less violent attributes, and thus, Tormis views Jäta päike paistma! as pacifist work. 227 For instance, as he rides into battle, Kalevipoeg is implored to leave the weak unslain, the dear boys untouched, and the children s fathers unfelled. According to the passage, the result of these humanistic acts will be to have neither maidens with tearful eyes nor orphans left in pain. Kalevipoeg s conversion to a more benevolent warrior reflects Kreutzwald s pacifist views, as well as those of many Estonians, who have long used peaceful resistance as a means of protest. Because of this, Jäta päike paistma! is important as it reflects an entire history of Estonian sentiment toward war and violence. Following is the Estonian text in both word-for-word and poetic English translations, as well as a pronunciation guide using IPA Guntis Šmidchens, National Heroic Narratives in the Baltics as a Source for Nonviolent Political Action, Slavic Review 66 (2007): Ibid., Tormis, interview by author. 228 The word-for-word translation is by Helle Merilo and is used with permission. The poetic translation is derived by the author from Merilo s word-for-word translation 145

163 Kalevipoeg, poisikene, [ka.lɛ.vi.pɔɛg poi.sɪ.ke.nɛ] Kalevipoeg, dear lad, (Kalevipoeg, dear lad,) tahad minna taevateeda: [ta.had min:na tae.va.te:.da] if you want to go the road to heaven: (if you want to walk the road to heaven:) ära tähissa takista, [æ.ra tæ.hɪs:sa ta.kɪs.ta] don t the stars hinder, (don t let the stars hinder you,) ära kuussa komistele, [æ.ra ku:s.sa ko.mɪ.ste.lɛ] don t into the moon stumble, (don t stumble on the moon,) ära puutu päikesesse! [æ.ra pu:.tu pæi.kɛs.es.sɛ] don t touch the sun! (don t touch the sun!) Jäta päike paistemaie, [jæ.ta pæi.kɛ pais.tɛ.mai.ɛ] Leave the sun shining, (Leave the sun shining,) kuu kuma andemaie, [ku: ku.ma an.dɛ.mai.ɛ] the moon gleam to give, (the moon gleaming,) tähed teeda näitamaie! [tæ.hɛd te:.da næi.ta.mai.ɛ] the stars the way to show us! (the stars to show us the way!) Kalevipoeg, poisikene, and a published translation by Kristin Kuutma. The IPA pronunciation guide is by the author, transcribed according to the principles of Estonian pronunciation set forth in Mimi S. Daitz, How to Pronounce Estonian. 146

164 [ka.lɛ.vi.pɔɛg poi.sɪ.ke.nɛ] Kalevipoeg, dear lad, (Kalevipoeg, dear lad,) Tahad minna põrguteeda: [ta.had min.na pɤr.gu.te:.da] if you want to go the road to hell: (if you want to walk the road to hell:) ära hukka põrgu uksi, [æ.ra huk.ka pɤr.gu uk.sɪ] don t destroy hell s doors, (don t destroy hell s doors,) värista põrgu väravaid! [væ.rɪ.sta pɤr.gu væ.ra.vaid] shake hell s gates! (or shake hell s gates!) Jäta seisma põrgu seinad, [jæ.ta seis.ma pɤr.gu sei.nad] Leave standing of hell the wall, (Leave hell s walls standing,) jäta uksed hukkamata, [jæ.ta uk.sɛd huk.ka.ma.ta] leave the doors unbroken, (leave the doors unbroken,) väravad väristamata! [væ.ra.vad væ.rɪs.ta.ma.ta] the gates unshaken! (the gates unshaken!) Kalevipoeg, poisikene, [ka.lɛ.vi.pɔɛg poi.sɪ.ke.nɛ] Kalevipoeg, dear lad, (Kalevipoeg, dear lad,) lähed sõtta sõitemaie, [læ.hɛd sɤt.ta sɤi.tɛ.mai.ɛ] to go to battle as you ride, (as you ride into battle,) vaenuteeda veeremaie: 147

165 [vae.nu.te:.da ve:.rɛ.mai.ɛ] on the roads of enemies where you ramble: (where you ramble on roads of enemies:) jäta nõdrad nottimata, [jæ.ta nɤd.rad not.tɪ.ma.ta] leave the weak unslain, (leave the weak unslain,) poisikesed puutumata, [poi.sɪ.ke.sɛd pu:.tu.ma.ta] the dear boys untouched, (the dear boys untouched,) laste isad langemata! [las.tɛ i.sad laŋ.gɛ.ma.ta] children s fathers not felled! (the children s fathers unfelled!) Siis ei leski leinamaie, [si:s ei les.kɪ lei.na.mai.ɛ] Then no widows will be mourning, (Then no widows will be mourning,) piiga silmi pisaraille, [pi:.ga sil.mɪ pi.sa.rail.lɛ] maidens eyes tearful, (maidens with tearful eyes,) vaeseid-lpsi valu sisse. [vae.sɛɪd lp.sɪ va.lu sis.sɛ] orphans pain left in. (orphans left in pain.) Kalevipoeg, poisikene! [ka.lɛ.vi.pɔɛg poi.sɪ.ke.nɛ] Kalevipoeg, dear lad! (Kalevipoeg, dear lad!) 148

166 Music Form Jäta päika paistma! is comprised of three verses, which contain nearly identical musical material. The music of each subsequent verse is pitched down one whole step from the previous. A brief coda concludes the piece. Table 11.2 shows the overall form and content of Jäta päika paistma! Table Form and content of Jäta päika paistma! by Veljo Tormis Section Measures Text V Kalevipoeg, if you want to go to heaven, don t let the stars hinder you, don t stumble on the moon, don t touch the sun Leave the sun shining, moon gleaming, and stars to show the way V Kalevipoeg, if you want to go to hell, don t destroy its doors or shake its gates Leave hell s walls standing, the doors unbroken, and the gates unshaken V Kalevipoeg, as you ride into battle, where you ramble on enemy s roads, leave the weak unslain, the dear boys untouched, the children s fathers unfelled Then no widows will be sad, no maidens with tearful eyes, no Music Key of G major Galloping rhythmic motive, begins in basses, joined by baritones, then 2 nd tenors, then 1 st tenors Alternation of small chorus and large chorus Irregular, changing meter Repeated musical phrases Key of F major Similar musical material Pitched one whole step lower than V 1 Key of E b major Similar musical material Pitched one whole step lower than V 2 orphans left in pain. Coda Kalevipoeg, dear lad Galloping rhythmic motive, begins in 1 st tenors, joined by 2 nd tenors, then baritones, then basses Repeated galloping motive on cluster chord in high tessitura 149

167 Verses Jäta päike paistma begins with a rhythmic motive that is featured throughout the piece. This motive is a sixteenth-eighth-sixteenth combination followed by five eighth notes. The first three notes contain accents, while the following five are marked with staccatos. The combined effect of these characteristics creates the image of a galloping horse, aiding the listener in imagining Kalevipoeg gallantly riding on a large stallion. Tormis first gives this galloping motive to the basses and adds voice parts in ascending order at each subsequent measure, gradually building into a four-part texture. Example 11.1 shows Tormis s use of this galloping motive. Example Jäta päike paistma!, mm All excerpts SP Muusikaprojekt and used with permission. Another characteristic of verses is the use of a small chorus, coro piccolo, to provide a contrast with the full chorus, coro grande. By using this smaller ensemble, Tormis employs a technique from Baroque music, where a smaller group of concertists would provide contrast to the full ensemble, the ripienists. In Jäta päike paistma!, the coro piccolo and coro grande are employed in a call-and-response format. Tormis s use of the coro piccolo helps to portray the text, in which Kalevipoeg s sword speaks to him, 150

168 instructing Kalevipoeg in the ways of a more pacifistic means of battle. The coro piccolo represents the sword, while the coro grande denotes the giant Kalevipoeg nodding in agreement with the sword. Example 11.2 shows the interaction between the coro piccolo and the coro grande. Example Jäta päike paistma!, mm Tormis makes only minor alterations to verses 2 (V 2 ) and 3 (V 3 ). Verse 1 (V 1 ) is in G major, but the keys change by means of direct modulation in subsequent verses. V 2 is in F major, one whole step lower than V 1, and V 3 is in in E-flat major, one whole step lower than V 2. Tormis employs both the coro piccolo and coro grande in V 2, but uses the full chorus for the entirety of V 3. Coda At the beginning of the coda, Tormis once again employs the galloping motive, this time centered on B flat and given to the first tenors. The texture thickens when the voices are added in descending order, in contrast to what occurred in verse 1. Tormis brings the piece to a close with four measures of the galloping motive on a four-part 151

169 cluster chord. A half rest on beat one displaces the rhythm in the final three measures, adding enough rhythmic variation to conjure the image of the horse springing away to new adventures. Example 11.3 shows the final four measures of the piece. Example Jäta päike paistma!, mm

170 CHAPTER TWELVE SÕTTAMINEK (GOING TO WAR) General Information Table General information regarding Sõttaminek by Veljo Tormis. Instrumentation TTBB chorus a cappella Voicing Divisi Number of Range Voice Part Yes No Parts Lowest Highest T1 X - F 3 F 4 T2 X - F 3 C 4 B1 X - C 3 C 4 B2 X - G 2 G 3 Language Estonian (with English lyric translation) Text Source Traditional Estonain regilaul Publisher SP Muusikaprojekt Publication Catalogue Number SPM 2802 (Part of a collection; score available separately) Recording Ensemble Album Title Performance Time Estonian National Male Choir Vision of Estonia III 2:36 153

171 Text The text of Sõttaminek (Going to War) is from the Estonian folk tradition and is an old regilaul text. It speaks to an aspect of war not often discussed, namely the grief felt by family members left at home. In the text, the youngest of five brothers goes off to war, where his superior officer questions him, asking about his family that he left at home. The young man describes each of his male family members, stating that his father works on a carriage and that his brother prepares poles. When he describes the work of the females in his family, the focus of the text turns to the intense sorrow and grief felt by those remaining at home. To illustrate this, the young man describes his mother, who, while knitting, cries so many tears that there are likely more drops of tears than those threads of yarn in the cloth. The following is the Estonian text, word-for-word and poetic translations into English, and an IPA pronunciation guide. 229 Meid oli viisi velitsida. [meid o.lɪ vi:.sɪ ve.lɪt.si.da] We were five brothers. (We were five brothers.) Kellel kõrda sõtta minnä, [kel.lɛl kɤr.da sɤt.ta min.næ] Whose turn to war to go, (Whose turn to go to war,) kellel kõrda kodu jäädä? [kel.lɛl kɤr.da ko.du jæ:.dæ] whose turn at home to stay? (whose turn to stay at home?) Noorel kõrda sõtta minnä, [no:.rɛl kɤr.da sɤt.ta min.næ] Young one s turn to war to go, (Young one s turn to go to war,) 229 The word-for-word translation is by Helle Merilo and is used with permission. The poetic translation is derived by the author from Merilo s word-for-word translation and a published translation by Kristin Kuutma. The IPA pronunciation guide is by the author, transcribed according to the principles of Estonian pronunciation set forth in Mimi S. Daitz, How to Pronounce Estonian. 154

172 vanal kõrda kodu jäädä. [va.nal kɤr.da ko.du jæ:.dæ] old one s turn at home to stay. (old one s turn to stay at home.) Imä opas kotust minnen: [i.mæ o.pas ko.tust min.nɛn] Mother gave advice from home when I left: (Mother gave advice when I left from home:) Kui sa üle Koiva läät, [kui sa y.lɛ koi.va læ:t] When you across Koiva (river) go, ( When you go across the Koiva River,) ärä sa joogu Koiva vettä, [æ.ræ sa jo:.gu koi.va vet:tæ] don t you drink Koiva (river) water, (don t drink the Koiva water,) Koiv om täüsi koolja luida. [koiv om tæy.sɪ ko:l.ja lui.da] Koiva is full of corpse bones. (Koiva is full of corpse bones.) Kui sa üle Narva läät, [kui sa y.lɛ Nar.va læ:t] When you across Narva (river) go, (When you go across the Narva River,) ärä sa joogu Narva vettä, [æ.ræ sa jo:.gu nar.va vet:tæ] don t you drink Narva (river) water, (don t drink the Narva water,) Narv on täüsi naiste päidä. [narv on tæy.sɪ nais.tɛ pæi.dæ] Narva is full of women s skulls. (Narva is full of women s skulls. ) Kui iks sõtta peräle saie, [kui iks sɤt.ta pe.ræ.le sai.ɛ] When one war field of reaches, (When I reached the field of war,) naksi ülemb küsümäie: 155

173 [nak.sɪ y.lɛmb ky.sy.mæi.ɛ] started my superior to ask: (my superior started to ask:) Midä tööd jäi esä tegemä? [mi.dæ tø:d jæi e.sæ te.gɛ.mæ] What work remained behind your father to do? ( What work remained behind for your father to do? ) Esä jäi tõlda tegemäie. [e.sæ jæi tɤl.da te.gɛ.mæi.ɛ] Father remained a carriage working on. ( Father remained working on a carraige. ) Midä tööd jäi veli tegemä? [mi.dæ tø:d jæi ve.lɪ te.gɛ.mæ] What work remained behind your brother to do? ( What work remained behind for your brother to do? ) Veli jäi vehmrid valmistama. [ve.lɪ jæi vexm.rɪd val.mɪs.ta.ma] Brother remained behind poles (for a wagon or windmill) to prepare. ( Brother remined behind to prepare poles. ) Mida jäi imä tegemä? [mi.da jæi i.mæ te.gɛ.mæ] What remained behind your mother to do? ( What remained behind for your mother to do? ) Imä jäi kangast kudamaie. [i.mæ jæi kaŋ.gast ku.da.mai.ɛ] Mother remained behind a cloth to weave. ( Mother remained behind to weave a cloth.) Inämb om sääl itku vettä, [i.næmb om sæ:l it.ku vet.tæ] Likely is there more drops of tears, (There are likely more drops of tears,) kui neid kanga langakesi. [kui neid kaŋ.ga laŋ.ga.ke.sɪ] than those in cloth threads of yarn. (than those threads of yarn in the cloth. ) Mida jäi sõsar tegemä? [mi.da jæi sɤ.sar te.gɛ.mæ] 156

174 What remained behind your sister to do? ( What remained behind for your sister to do? ) Sõsar jäi kinnast kudamaie. [sɤ.sar jæi kin.nast ku.da.mai.ɛ] Sister remained behind mittens to knit. ( Sister remained behind to knit mittens.) Inämb om sääl itku vettä, [i.næmb om sæ:l it.ku vet.tæ] Likely is there more drops of tears, (There are likely more drops of tears,) kui neid kinda kirjakesi. [kui neid kin.da kir.ja.ke.sɪ] than those in mittens patterns. (than patterns in those mittens. ) Music Form Sõttaminek is organized into four main sections, followed by a brief coda, which concludes the piece. Table 12.2 shows the overall form and content of the piece. Table Form and content of Sõttaminek Section Measures Text A 1-16 We were five brothers, whose turn to go to war, whose turn to stay at home? Young one s turn to go to war, old one s turn to stay at home B Mother gave advice when I left home When you cross the Koiva River, don t drink the water, Koiva is full of corpse bones When you go across the Narva River, don t drink the water, Narva is full of women s skulls Music p dynamic Ta, ta accompaniment in lower voices, staccato eighth notes alternating with eighth rests Regilaul melody in tenors Gradual crescendo Regilaul melody in tenors, eighth-note syllabification Regilaul text in lower voices, set to two-part, quarter-note harmonies 157

175 Table 12.2 continued Section Measures Text C When I reached the field of war my superior started to ask What work remained behind for your father to do? Father remained behind to work on a carriage What work remained behind for your brother to do? Brother remained behind to prepare poles D What remained behind for your mother to do? Mother remained behind to weave a cloth, there are likely more tears than threads of yarn in the cloth What remained behind for your sister to do? Sister remained behind to knit mittens, there are likely more tears than patterns in those Music ff and f dynamics Regilaul melodies in lower voices depict superior Regilaul melodies in tenor voices depict youngest brother Ta, ta accompaniment f dynamic with gradual decrescendo Regilaul melodies in lower voices depict superior Regilaul melodies in tenor voices depict youngest brother Sustained oo accompaniment figures mittens Coda pp dynamic Two-part, sustained oo in l ower voices Sustained oo in 1 st tenors Ta, ta staccato, eighth-note motive in 2 nd tenors Section A Section A introduces the musical material that serves as the basis for the piece and sets the narrative discussing which child will go off to war. It opens with an accompaniment figure based on the syllable ta on the pitch C 3. The syllables are sung on staccato eighth notes at a piano dynamic, and are joined for the first eight measures by a simple hum in the bass section on the same pitch. Eventually, in m. 9, the basses hum gives way to the staccato ta figure, which joins the baritones. This accompanies an 158

176 eighteenth-century regilaul melody from the Czarist era. 230 The melody spans the range of a perfect fourth and is centered around G. Example 12.1 shows the eighteenth-century regilaul melody and the accompanying ta figure. Example Sõttaminek, mm All examples SP Muusikaprojekt and used with permission. Section B Section B depicts the advice from the boy s mother. To portray more feminine, motherly qualities, Tormis gives the regilaul melody to the tenors and sets it with a more subtle, sustained accompaniment in the lower voices. However, the comforting nature of the mother s counsel gradually yields to increased trepidation as the text begins to focus on those who have died in battle. The mother warns the son that the rivers are full of corpse bones and women s skulls. Tormis depicts this increased anxiety through a gradual crescendo, which raises the dynamic level from piano to fortissimo. Example 12.2 shows the musical material of section B. Section C Section C is the first of two sections that depict the young man s conversation with his superior officer. In this section, the officer asks questions about the vocations of 230 Tormis, interview by author. 159

177 Example Sõttaminek, mm the male members of his family that he has left behind. The young man answers the questions, describing what their various trades are. Throughout this section, Tormis varies the voice parts that are given the regilaul melodies according to the character being depicted in the story. He sets the superior officer s questions by placing the regilaul melody in the lower voices, and sets the young man s answers by writing the melody in the upper voices. Example 12.3 shows the various placements of the regilaul melody. 160

178 Example Sõttaminek, mm Section D In section D, the superior officer asks about the female family members left behind by the young man, whose departure has caused them great anguish. As before, the superior officer s questions are presented by regilaul in the lower voices, while the young man s answers are set in the tenor voices. To accompany these passages, Tormis brings back the more gentle, feminine quality heard earlier, this time through sustained, two-part chords on oo (Example 12.4). Over the course of the section, Tormis writes a gradual diminuendo, which aids in portraying the tears of the female family members as they weave and knit. 161

179 Example Sõttaminek, mm Coda In the coda, Tormis continues the sorrowful quality established in section D. Both of the accompaniment figures featured throughout the piece, the ta and the hum, combine at a pianissimo dynamic with a pair of descending glissandi to leave the listener with a sense of frightened sadness. Example 12.5 shows the last two systems of the piece. 162

180 Example Sõttaminek, mm

181 CHAPTER THIRTEEN ILIMIANTAJAN TARINA (STORY OF A BETRAYER) General Information Table General information regarding Ilmiantajan Tarina by Veljo Tormis Instrumentation TTBB chorus a cappella Voicing Divisi Number of Range Voice Part Yes No Parts Lowest Highest T1 X 2 D 3 B b 4 T2 X 2 F 3 E 4 B1 X 2 A 2 E b 4 B2 X 2 C 2 C 4 Language Estonian (with Latin lyric translation) Text Author Eino Leino Publisher Fennica Gehrman Publication IMSN Number M Recording Ensemble Album Title Performance Time Estonian National Male Choir Vision of Estonia I 6:47 164

182 Text The text of Ilmiantajan tarina (Story of a Betrayer) is a poem by Eino Leino, a Finnish poet active in the early part of the twentieth century. Leino deeply valued Finland s folk roots. In fact, several collections of his poetry are modeled in style after Kalevala, the Finnish national epic. The following quote demonstrates his passion for the Finnish literary folk tradition: To honor the Kalevala is to us Finns the same as honoring one s own deepest being; to come to know the Kalevala is the same as knowing the wellspring of one s own spirit; to rejoice over the Kalevala is the same as rejoicing over the swelling, streaming sunshine of one s own breast, over faith in life, and over fulfillment. If a Finn does not care to read the Kalevala, then that testifies that he does not care to glance at the pages of his own book of destiny; if a Finn does not like the Kalevala, then that testifies that he does not like anything or anybody, for only one who loves his own primeval self can radiate love around him. But if a Finn ridicules the Kalevala, then that is a sin against the Holy Ghost. 231 Given this sentiment, it is not surprising that the text of Ilmiantajan tarina is written in the style of regilaul. Most of the individual lines contain eight syllables of text. Many others include examples of alliteration and assonance, all characteristics of Estonian and Finnish folk poetry. The text of Ilmiantajan tarina tells the story of Räikkö, a man who betrays his village by revealing its location to an enemy. According to Tormis, Räikkö has betrayed his tribe under pressure of violence and anguish: he has told the enemy the way to his native village. Only Räikkö s house has remained in the burnt-down village, only his family [has remained] intact. Doubts [among the inhabitants of the village] keep growing until Räikkö s own wife calls him openly a betrayer. The weight of the blame makes the man sentence himself to death. He leaves home and disappears in the woods with eternal night in his eyes. 232 Given this horrific act, it is appropriate that Leino s original poem, Räikkö räähkä, possesses a disdainful curse name. For the purposes of this study, Daniel Karvonen has translated räähkä as the wretch. 231 Eino Leino, in William A. Wilson, The Kalevala and Finnish Politics, Journal of the Folklore Institute 12 (1975): Veljo Tormis, notes to Veljo Tormis, Imiantajan tarina (Helsinki, Finland: Fennica Gehrman, 2004). 165

183 Tormis wrote Ilmiantajan tarina in 1989, amid a renewed surge in favor of Estonian independence. Political conflict among Estonian politicians was rife during this time. Some politicians aligned themselves with the Soviet regime, while others were loyal to the idea of an independent Estonia. Tormis thought Leino s story of betrayal had special resonance during this period, as he felt that some Estonian politicians had betrayed the cause of a free Estonia. He said, I thought [this story] was just like our officials, 233 and added that Estonians had a need for moral self-purification. 234 The following is the Finnish text, word-for-word and poetic translations into English, and an IPA pronunciation guide. 235 Tuo turilas, Räikkö räähkä, [tuo tu.ri.las ræik.kø ræ:h.kæ] That cockchafer, 236 Räikkö the wretch, (That cockchafer, Raikkö the wretch,) neuvoi tien viholliselle, [nɛu.voi tiɛn vi.hol.li.sɛl.lɛ] showed the way enemy to, (showed the way to the enemy,) kahden kallion lomasta, [kah.dɛn kal.li.on lo.mas.ta] two s boulders gap from, (from a gap between two boulders,) syksy-yönä hiljaisena; [syk.sy yø.næ hil.jai.sɛ.na] autumn night on quiet on; (on a quiet autumn night;) 233 Tormis, interview by author. 234 Tormis, notes to Tormis, Iljiantajan tarina. 235 The word-for-word translation is by Daniel Karvonen and is used with permission. The poetic translation is derived by the author from Karvonen s word-forword translation and the published translation in the score, by August Aniist and Hasso Krull. The IPA pronunciation guide is derived by the author from a recording in which Daniel Karvonen speaks the text. 236 A kind of beetle (Karvonen, notes to translation). 166

184 teki sen henkensä hädässä. [tɛ.ki sɛn hɛŋ.kɛn.sæ hæ.dæs.sæ] did it life his emergency in. (he did it out of concern for his life.) Polttivat kylän poroksi, [polt.ti.vat ky.læn po.rok.si] Burned village ashes to, (They burned the village to ashes,) surmasivat suuren kansan. [sur.ma.si.vat su:.rɛn kan.san] slew the great people. (slew the great people.) Yks on pirtti polttamatta, [yks on pirt.ti polt.ta.mat.ta] One is house unburned, (One house is unburned,) se on pirtti Räikön räähkän. [sɛ on pirt.ti ræi.køn ræ:h.kæn] it is house Räikkö s wretch s. (it is the house of Räikkö the wretch.) Tuli toisen päivän ilta. [tu.li toi.sɛn pæi.væn il.ta] Came second day s evening. (The second day s evening came. ) Palasi paennehetkin [pa.la.si pa.ɛn.nɛ.hɛt.kin] Returned fled also, (Those who had fled returned,) yksi sieltä, toinen täältä, [yk.si siɛl.tæ toi.nɛn tæ:l.tæ] one there from, another here from, (one from there, another from here,) kurkistellen, kuuristellen, [kur.kis.tɛl.lɛn ku:.ris.tɛl.lɛn] peering, crouching down, (peering, crouching down,) 167

185 puita, pensaita, pälyen [pui.ta pɛn.sai.ta pæ.ly.ɛn] trees, bushes, furtively glancing (trees, bushes, furtively glancing) ruumiille veristetyille, [ru:.mi:l.lɛ vɛ.ris.tɛ.tyil.lɛ] bodies at bloodied at, (at the bloodied bodies,) raunionille rakkahille. [rau.ni.oil.lɛ rak.ka.hil.lɛ] ruins at dear at. (at the dear ruins.) Räikkö pirttinsä ovella [ræik.kø pirt.tin.sæ o.vɛl.la] Räikkö house his door at (Räikkö stood at the door of his house) katselevi, kuuntelevi. [kat.sɛ.lɛ.vi ku:n.tɛ.lɛ.vi] looks, listens. (looking, listening.) Mitä etsit vanha vaimo? [mi.tæ ɛt.sit van.ha vai.mo] What look for you old wife? ( What are you looking for, old wife? ) Etsin kullaista kotia, [ɛt.sin kul.lais.ta ko.ti.a] Look for I dear home, ( I m looking for my dear home,) löysin suitsevat kypenet. [løy.sin suit.sɛ.vat ky.pɛ.nɛt] found I smoking embers. (I found smoking embers. Räikkö pirttinsä ovella [ræik.kø pirt.tin.sæ o.vɛl.la] Räikkö house his door at 168

186 (Räikkö stood at the door of his house) kalpeana, [kal.pɛ.a.na pale as, (pale, wan.) kelmeänä. kɛl.mɛ.æ.næ] wan as. Mitä katsot kuoma kulta? [mi.tæ kat.sot kuo.ma kul.ta] What look at you dear friend? ( What are you looking at dear friend? ) Katselen veristä veistä, [kat.sɛ.lɛn vɛ.ris.tæ vɛis.tæ] Look at I bloody knife, ( I m looking at the bloody knife,) liekö veikon, liekö langon. [liɛ.kø vɛi.kon liɛ.kø laŋ.gon] might it be brother s, might it be brother-in-law s. (might it be brother s, might it be brother-in-law s. Räikkön poika portahalla [ræik.køn poi.ka por.ta.hal.la] Räikkö s son steps on (Räikkö s son on the steps) itkeä vetistelevi. [it.kɛ.æ vɛ.tis.tɛ.lɛ.vi] to cry weeps. (weeps and cries.) Mitä itket poika parka? [mi.tæ it.kɛt poi.ka par.ka] What cry you boy poor? ( What are you crying about, poor boy? ) Itken orhia iloista, [it.kɛn or.hi.a i.lois.ta] Cry I stallion joyful, ( I m crying for my joyful stallion,) 169

187 löysin tiuvun tien ohesta. [løy.sin tiu.vun tien o.hɛs.ta] found I bell road s side from. (I found a bell on the side of the road. ) Piili Räikkö pirttihinsä, [pi:.li ræik.kø pirt.ti.hin.sæ] Hid Räikkö house into his, (Räikkö hid in his house,) telkes ukset, sulki salvat, [tɛl.kɛs uk.sɛt sul.ki sal.vat] bolted doors, closed bars, (bolted the doors, closed the bars,) istui pankkonsa perälle. [is.tui pank.kon.sa pɛ.ræl.lɛ] sat bench his back to. (sat at the end of his bench.) Mitä tyttöni murehit? [mi.tæ tyt.tø.ni mu.rɛ.hit] What girl my grieve you? ( What are you grieving about, my girl? ) Miestä kaunoista murehin, [miɛs.tæ kau.nois.ta mu.rɛ.hin] Man beautiful grieve I, ( I grieve my beautiful man,) syytä syntymättömäni. [sy:.tæ syn.ty.mæt.tø.mæ.ni] reason of unborn my. (because of my unborn child. ) Kuului jo salainen kuiske, [ku:.lui jo sa.lai.nɛn kuis.kɛ] Heard already secret whisper, (A secret whisper was already heard,) sisiliskona [si.si.lis.ko.na lizard as sihisi, si.hi.si] hissed, 170

188 (hissed like a lizard,) viikon vierren kyynä kulki, [vi:.kon viɛr.rɛn ky:.næ kul.ki] week s going by adder as went, (a week s going by as an adder went,) kuun mennen karhuna mörisi: [ku:n mɛn.nɛn kar.hu.na mø.ri.si] moon s going bear as growled: (the moon s going as a bear growled:) Yks oli pirtti polttamatta, [yks oli pirt.ti polt.ta.mat.ta] One was house unburned, ( One house was unburned,) miksi pirtti Räikön räähkän? [mik.si pirt.ti ræi.køn ræ:h.kæn] why house Räikkö s wretch s? (why is it the house of Räikkö the wretch? ) Räikön vaimo valkeuinen [ræi.køn vai.mo val.kɛ.ui.nɛn] Räikkö s wife white (Räikkö s pale wife) se sanan sanovi julki: [sɛ sa.nan sa.no.vi jul.ki] it word says public (she says the word publicly:) Näytti tien viholliselle, [næyt.ti tiɛn vi.hol.li.sɛl.lɛ] Showed way enemy to, ( He showed the way to the enemy,) neuvoi Räikkö piilopirtit. [nɛu.voi ræik.kø pi:.lo.pir.tit] advised Räikkö secret houses. (Räikkö advised of secret houses. ) Räikkö röyhkeä ärähti: [ræik.kø røyh.kɛ.æ æ.ræh.ti] 171

189 Räikkö impudent snarled: (Räikkö impudently snarled:) Sen varsin valehteletkin! [sɛn var.sin va.lɛh.tɛ.lɛt.kin] That especially lie you also! ( That especially you lie!) Vai onko näkijä ollut? [vai on.ko næ.ki.jæ ol.lut] Or has witness been? (Or has there been a witness? ) Vaimo valkea todisti: [vai.mo val.kɛ.a to.dis.ti] White wife affirmed: (The pale wife affirmed:) On ollut näkijät vankat, [on ol.lut næ.ki.jæt vaŋ.kat] Has been witnesses robust, ( There have been robust witnesses,) tähdet katsoi, kuuhut kuuli. [tæh.dɛt kat.soi ku:.hut ku:.li] stars watched, moons heard. (the stars watched, the moons heard. ) Ei evännyt enempi Räikkö, [ɛi ɛ.væn.nyt ɛ.nɛm.pi ræik.kø] Not denied longer Räikkö, (Räikkö denied no longer,) hartiat alas jysähti, [har.ti.at a.las jy.sæh.ti] shoulders down fell, (his shoulders fell down,) tunsi ilmi tullehensa: [tun.si il.mi tul.lɛ.hɛn.sa] knew open came his: (he knew himself discovered:) otti köyden orren päältä, 172

190 [ot.ti køy.dɛn or.rɛn pæ:l.tæ] took rope beam s top from, (he took a rope from a beam,) poikki permannon käveli, [poik.ki pɛr.man.non kæ.vɛ.li] across floor walked, (walked across the floor,) astui raskaasti tuvasta [as.tui ras.ka:s.ti tu.vas.ta] stepped heavily cottage from (stepped heavily from the cottage) siltapalkin painuessa. [sil.ta.pal.kin pai.nu.ɛs.sa] floorboard s pressing. (pressing the floorboards.) Kääntyi hän ovessa kerran: [kæ:n.tyi hæn o.vɛs.sa kɛr.ran] Turned he door in once: (He turned once in the door:) Vaimo, anna anteheksi, [vai.mo an.na an.tɛ.hɛk.si] Wife, give forgiveness, ( Wife, give forgiveness,) kun sen tein, sinua muistin. [kun sɛn tɛin si.nu.a muis.tin] when it did I, you of remembered I. (I did it thinking of you. ) Luoja armon antakohon. [luo.ja ar.mon an.ta.ko.hon] Lord mercy may grant. ( May the Lord grant mercy. ) Painoi kiinni pirtin uksen. [pai.noi ki:n.ni pir.tin uk.sɛn] Pressed shut cottage s door. (He pressed shut the door of the cottage. ) 173

191 Seisahti etehisessä, [sɛi.sah.ti ɛ.tɛ.hi.sɛs.sæ] Stopped porch on, (He stopped on the porch,) siitä siirsihe pihalle, [si:.tæ si:r.si.hɛ pi.hal.lɛ] it from moved yard to, (from it he moved to the yard,) pihalta veräjän suulle, [pi.hal.ta vɛ.ræ.jæn su:l.lɛ] yard from gate s mouth to, (from the yard to the opening of the gate,) veräjältä kaivotielle, [vɛ.ræ.jæl.tæ kai.vo.tiɛl.lɛ] gate from well path to, (from the gate to the path to the well,) kaivotieltä korpitielle; [kai.vo.tiɛl.tæ kor.pi.tiɛl.lɛ] well path from forest path to; (from the path to the well to the forest path;) silmässänsä yö ikuinen, [sil.mæs.sæn.sæ yø i.kui.nɛn] eyes in his night eternal, (in his eyes eternal night,) mielessänsä murhe mykkä. [miɛ.lɛs.sæn.sæ mur.hɛ myk.kæ] mind in his grief mute. (in his mind mute grief.) Kääntyi mies rajassa metsän. [kæ:n.tyi miɛs ra.jas.sa mɛt.sæn] Turned man border in woods. (The man turned at the border of the woods. ) Näki hän kullaisen kotinsa, [næ.ki hæn kul.lai.sɛn ko.tin.sa] Saw he dear home his, (He saw his dear home,) 174

192 kuuli hän kesäiset äänet, [ku:.li hæn kɛ.sæi.sɛt æ:.nɛt] heard he the summer sounds, (he heard the summer sounds,) savun saunasta sinisen, [sa.vun sau.nas.ta si.ni.sɛn] smoke sauna from blue, (the blue smoke from the sauna,) karjankellojen kilinän, [kar.jaŋ.kɛl.lo.jɛn ki.li.næn] cowbells tinkling, (the tinkling of cowbells,) kaivovintin vingahduksen, [kai.vo.vin.tin viŋ.gah.duk.sɛn] well bucket pole s squeaking, (the squeaking of the well bucket pole,) tuvan uksen aukeavan, [tu.van uk.sɛn au.kɛ.a.van] cottage s door opening, (the opening of the cottage door,) emon aittahan menevän. [ɛ.mon ait.ta.han mɛ.nɛ.væn] mother s shed into going. (mother going to the shed.) Sydän kiertyi synkän miehen, [sy.dæn kiɛr.tyi syn.kæn miɛ.hɛn] Heart twisted gloomy s man s, (The heart of the gloomy man twisted,) elo kaunis kangastihe, [ɛ.lo kau.nis kaŋ.gas.ti.hɛ] life beautiful reflected, (a beautiful life was reflected,) askar autuas inehmon [as.kar au.tu.as i.nɛh.mon] work blessed person s (the blessed work of a person) 175

193 maan kovalla kannikalla; [ma:n ko.val.la kan.ni.kal.la] earth s hard on crust on; (on the earth s hard crust;) seisoi hetken, katsoi kaksi, [sɛi.soi hɛt.kɛn kat.soi kak.si] stood a moment, looked two, (he stood a moment, looked two,) metsän korpehen katosi. [mɛt.sæn kor.pɛ.hɛn ka.to.si] forest s wilds into disappeared. (disappeared into the wilds of the forest.) Music Form Ilmiantajan Tarina is organized into seven main sections, which generally correspond with sections of the text. Additionally, Tormis writes a coda, which is composed entirely without text and sung on aa. Table 13.2 shows the overall form and content of the piece. Table Form and content of Ilmiantajan Tarina Section Measures Text A 1-32 Räikkö the wretch showed the way to the enemy from a gap between two boulders on a quiet autumn night out of concern for his life They burned the village to ashes, slew the great people One house was unburned, it is the house of Räikkö Music Brief passage of spoken text Introduction of motive a in bass line of mm. 5-6 Motive a: six eighth notes and two quarter notes, descending by half step, then outlining a diminished fifth Motive a: harmonized by varying number of voices, accompanied by cluster chords on aa 176

194 Table 13.2 continued Section Measures Text B The second day s evening came those who had fled returned, peering at the bloodied bodies and dear ruins Räikkö stood at the door of his house, looking, listening, What are you looking for, wife? I m looking for my dear home, I found smoking embers Räikkö stood at the door of his house, pale, wan, What are you looking for, dear friend? I m looking for the bloody knife, might it be brother s, might it be brotherin-law s Räikkö s son weeps and cries. What are you crying about, poor boy? I m crying for my stallion, I found a bell on the side of the road Räikkö hid in his house, bolted the doors, sat at the end of his bench. What are you grieving about, my girl? I grieve my beautiful man because of my unborn child C A secret whisper was heard, hissed like a lizard, a week s going by as an adder went, the moon s going as a bear growled One house was unburned, why is it the home of Räikkö the wretch? Music Introduction of motive b in baritone line of mm Motive b: sixteenth note and dotted-eighth note, followed by four eighth notes and two quarter notes, outlining interval of a minor third. Harmonized variants of motive a introduced in mm , continued throughout the section in alternation with motive b Last syllable of motives, typically [a], sustained underneath subsequent musical material as accompaniment Quasi-whispering vocal technique, beginning in m. 91, with gradual crescendo from pp to f pp staccato depicts question of unburned house, mm Sustained D 2 and A 2 in mm show realization of Räikkö s guilt 177

195 Table 13.2 continued Section Measures Text D Räikkö s wife said publicly: He showed the way to the enemy, advised of secret houses. Räikkö snarled, You lie! Or has there been a witness? The wife affirmed: Here have been robust witnesses, the stars watched, the moon heard. E Räikkö denied no longer, the shoulders fell, he knew himself discovered He took a rope from a beam, walked across the floor, stepped heavily from the cottage, pressing the floorboards He turned in the door: Wife, give forgiveness, I did it thinking of you. May the Lord grant you mercy Music Wife s accusation, mm , shown by p fragments of motives a and b, accompanied by p, sustained aa Räikkö s denial, mm , shown by ff, accented cluster chords Wife s proof, mm shown by same musical material as accusation Räikkö s admittance of guilt, mm , shown by variations of motive b, sung by the basses and accompanied by upper three voices singing sustained minor triads on aa Räikkö s statement to wife, mm , shown by chromatic harmonization of motive a in lower voices and accompanied by sustained pitches on aa Wife s statement, mm , shown by motive a in tenors and motive b in lower three voices, accompanied by sustained pitches on oo 178

196 Table 13.2 continued Section Measures Text F He pressed shut the door of the cottage, stopped on the porch, moved to the yard, moved to the opening of the gate, moved to the path to the well, moved to the forest path In his eyes eternal night, in his mind mute grief He turned at the border of the woods G He saw his dear home, he heard the summer sounds, the blue smoke from the sauna, the tinkling of cowbells, the squeaking of the well-bucket pole, the opening of the cottage door, mother going to the shed The heart of the gloomy man twisted, a beautiful life was reflected, the blessed work of a person on earth He stood a moment, looked, disappeared into the forest Music Act of leaving the house, mm , shown by motive a in 1 st tenors, accompanied by sustained minor triads on oo Act of walking away from the house, mm , shown by four-part harmonization of motive b, with two crescendos from p to f. State of eyes and mind, mm , shown by ff, then p accented, four-part harmonization of first four notes of motive a Reflection on life, mm , shown by four-part, chromatic harmonization of motive a, with gradual crescendo from pp to ff Disappearance into forest, mm , shown by ff motive b in octaves Coda Aa Suicide shown by parallel, fully-diminished seventh chords in downward melodic motion, with gradual decrescendo from ff to pp Section A Despite its hefty length (252 measures long and seven minutes in duration), the bulk of the musical material found in Ilmiantajan tarina is derived from two primary 179

197 melodic motives, one of which is introduced in section A. This melody, motive a, first appears at m. 5 in the bass line (Example 13.1) and is made up of six eighth notes followed by two quarter notes. 237 The melody initially descends by half step and then outlines the interval of a diminished fifth. Both the downward motion and prominence of the tritone interval help to create the sense of foreboding evil that permeates the entire work. Example Ilmiantajan tarina, mm. 5-6, bass line. All excerpts Fennica Gehrman Oy, Helsinki and used with permission. Overall, the music of section A musically depicts the tragedy of the village being burned by the intruders. The section begins with the lower voices singing a fragment of what will become motive b. The tenors respond, presenting the same text with menacing speech. Throughout section A, motive a is sung by the basses and accompanied by the upper three voices, who sing dissonant cluster chords on aa. In m. 25, Tormis harmonizes motive a with a homophonic texture, a practice that will occur frequently throughout the rest of the piece. Example 13.2 shows the accompanying cluster chords, as well as the harmonization of motive a. Section B Section B depicts the villagers discovery of the destruction. Beginning in m. 33, Tormis introduces motive b, initially sung by the baritones. This motive is comprised by the rhythm of a sixteenth note and a dotted-eighth note, followed by four eighth notes and 237 In this particular instance, the final quarter note has been written as an eighth note and an eighth rest, but the effect remains the same. 180

198 two quarter notes, outlining the interval of a minor third (Example 13.3). The baritones sing motive b throughout the section in alternation with a harmonized, chromatic variant Example Ilmiantajan tarina, mm Example Ilmiantajan tarina, mm , baritone line. of motive a, which appears for the first time in mm Throughout the section, the final syllables of the melodic motives are sustained, typically on an [a] vowel, in order to provide accompaniment for the ensuing melodic material. The sustained [a] vowels portray the villagers standing in bewildered horror, mouths gaping open, as they survey the damage to their homes. Example 13.4 shows motive b, the sustained [a] vowel, and harmonized variant of motive a. 181

199 Example Ilmiantajan tarina, mm Section C Section C represents the villagers realization of Räikkö s treason. It begins with a four-part, harmonized variant of motive a. Tormis writes poco sussurrando, or a little spoken, over this passage (Example 13.5). Performed correctly, this creates a breathy, speech-like quality to the vocalism, an effect that depicts the lizard-like hissing referenced in the text. The passage begins at a pianissimo dynamic at m. 91 and gradually increases to forte at m. 98. It culminates with more sustained cluster chords on an aa that serve as accompaniment to motive b, which appears in the bass section in mm Section D In section D, Tormis illustrates Räikkö s indictment by his own wife. Each line uttered by Räikkö s wife is introduced by text sung on motive b, while her spoken dialogue is set to motive a. Tormis depicts Räikkö s emphatic denial of his wife s accusations with accented, fortissimo cluster chords (Example 13.6). 182

200 Example Ilmiantajan tarina, mm Section E In section E, Räikkö admits his guilt. Tormis utilizes the dotted-eighth-sixteenth melodic fragment from motive b, sung by the basses in a repetitive fashion at increasingly higher pitch levels. Accompanying this motive are sustained minor triads on aa in the upper three voices, which gradually crescendo and decrescendo from piano to fortissimo (Example 13.7). Räikkö s final exchange with his wife, in mm , is set at a piano dynamic and marked sostenuto, which helps to portray the tenderness of the moment. 183

201 Example Ilmiantajan tarina, mm Example Ilmiantajan tarina, mm Section F Räikkö s final departure from his home is mostly depicted by a four-part, homophonic harmonization of the first half of motive b. This fragment is used in a repetitive, cyclical fashion, and gradually increases in dynamic and tessitura (Example 13.8). At m. 195, the eternal night in Räikkö s eyes is shown by fortissimo, accented 184

202 cluster chords, repeated for emphasis at a lower tessitura and piano dynamic beginning at m Example Ilmiantajan tarina, mm Section G Near the end of the piece, Räikkö pauses to look at his home and recalls the memories of his time there. Tormis reuses the harmonized, chromatic variant of motive a to show this scene. The music gradually decreases in tessitura but increases in dynamic level. At m. 221, the tragedy of the story comes to a climax: Räikkö s heart twists, a painful image that Tormis sets using motive a at a fortissimo dynamic and pesante articulation. Coda The coda, a powerful series of descending, fully-diminished seventh chords that move in parallel motion on an aa, is an arresting moment (Example 13.9). When asked what this final section is intended to illustrate, Tormis answered bluntly: It means suicide. That is their fate. That is the fate of a betrayer. 238 Thus, this heartbreaking 238 Tormis, interview by author. 185

203 story ends with the ultimate tragedy: a person so overcome by grief that he takes his own life. Example Ilmiantajan tarina, mm