To The Bards: The Choral Works of Estonian Composer Ester Mägi

Overview

Although the popularity of Arvo Pärt and Veljo Tormis have brought the awareness of Baltic music to a newlevel in the past few years, there is an immense amount of quality literature that the music community needs tohear, study, and perform. The choral works of Ester Mägi represent a genre of music that combines the traditionof folk-music style with the innovation and creativity of contemporary harmonies and voicings.

Ms. Mägi has drawn from the traditional Setu and folk melodies, but then has used those formulas as aspringboard to compose original melodies. This combination of compositional techniques brings life, newness,and vitality to the old traditions, which allows them to continue through the generations.

An overview of the history of Baltic choral music will allow the participant to understand the emotional aspectsof the importance of singing and choral music in this region. There will also be a survey of Ester Mägi’s choralworks, including an in-depth look at the text and compositional techniques of some of her benchmark pieces.

With the celebration of Ester Mägi’s 85th birthday in 2007, it is a fitting and wonderful opportunity to be able tobegin sharing the gift of her compositions, one of the greatest-kept secrets of the Baltic musical world.

I. Introduction and overview of Baltic Music HistoryA. Importance of singing in the culture

1. Use of singing to maintain cultural identity during occupationsi. Estonia invaded throughout history due to its ideal location for shipping and fishingii. Singing Revolution

II. Biographical overview of Ester MägiA. Born in Tallinn in 1922

1. Toompea neighborhood of Tallinni. Lived in house that was shared with ambassador’s quarters

a. First exposure to music was listening behind the window to the Czechambassador play piano

2. Father was craftsmani. Parents did not play musical instruments but encouraged children to play

a. Older sister wanted a piano and Ester would aurally memorize what hersister was playing and then tried to re-create it

b. Brother Paul is a director at the Estonian National Opera3. Dom Kirik nearby

i. Would hear organ music throughout the day from outside of the church4. Went to song festivals as a child

i. Fascinated with the composer Miina Härmaa. First well-known Estonian female composer

5. Began piano studies with her sisteri. Eventually studied with Karin Prii, who suggested that she enroll in the Tallinn

Conservatory6. Considers herself very reserved and private

i. Contracted scarlet fever when she was seven and feels that she hasn’t been the samesince

ii. Sad to be young during the wara. Took a big piece of happiness out of her life

iii. Believes in astrology and her place as a Capricorna. Persistentb. Ambitious

iv. Views herself as cool, stern, and businesslikea. Friendly, but not open

1. Few friends, but closei. Good musicians who have helped her “workshop” her piecesii. Tennis partnersiii. Never had composers as friends

v. Not a fighter or self-promotervi. Has strong desire for self-realization

a. Sincere composer1. Even technically challenging pieces have to go through a creator and be

part of an inspired thoughti. Superficial music can be beautiful, but does not go to your soul

a. Focus on the beauty of the soul during experimentation2. Everything that surrounds us leaves a mark in our lives

vii. Believes that her music reflects her being an introverta. Music does not open right awayb. First impression will change through the rehearsal process

1. Performers comment that it will take some time to get into the depthand the meaning of the piece

2. Mägi states, “If you explain your music too much, it takes away theopportunity from the listener to interpret their ideas based on theirown experiences. Only give a small hint through the title”(interview: Virve Normet)

B. Studied piano at Tallinn Conservatory from 1938-19461. Many teachers due to the war

i. Four total2. Injury to her hand forced her to stop piano studies and instead found interest in composition

i. Nerve damageii. Initially thought she could not stay in music due to this physical challengeiii. Had option to move to music science or compositioniv. Was temporarily moved to composition, but then applied to become a full member of

the departmenta. Wrote two pieces the night before to present at the exam

3. Studied with Mart Saar from 1946-1951i. Considered much more mature and able to think about intricate concepts more clearly

than colleaguesa. Had a natural logic about the harmonic development of a composition

ii. Studied literature to understand stylesa. Palestrina

4. Success of Trio for Piano (1950)i. Gained confidence as composer

C. Moscow Conservatory1. Very insecure time in her life

i. Wrote numerous drafts of all compositions due to challenges and insecuritya. Living conditions and study environment was not supportive

1. Would travel to Tallinn to compose2. Rented a “work room” in a private apartment to study

2. Post-graduate studies with Vissarion Shebalin

i. Mägi felt that these were her “finishing years” of schoola. Studies complimented and supplemented, but did not change, her foundational

technique or style1. Focus was on form

i. Did not interfere with Mägi’s established musical languageii. Graduated with two major scores in 1954

a. The cantata The Journey of Kalvipoeg to Finland1. First performance was not until 19612. Folk melodies on a grand scale3. Brave melodic and harmonic ideas for the time

i. Felt it was necessary to express the subject of the workb. Concerto for pianoc. From this time on, use of folk-style themes was decreasing

1. Began to write with more of a national style, rather than folk-songinfluence

D. Tallinn State Conservatory1. Lecturer of analysis and polyphony

i. 1954-1957a. Composing while teaching

1. Keeping updated and aware of compositional trends while staying trueto foundation of the pasti. New techniques married with folk song melodies or nationalistic

elementsE. Musical influences

1. Mart Saari. Considered her biggest influence

a. First studied with him out of necessity1. Only space available at the time and Mägi considered herself temporary

b. Found that his personality and style of teaching suited her well1. Slow and methodical2. Began to love creating something out of just ideas

c. Taught and directed Mägi’s attention to nationalistic style and folk music genre1. Four expeditions to collect folk melodies

i. Yearning to understand style and heritage, not to duplicate exactmelodies

ii. One of the founders of the Estonian national music stylea. Polyphonic treatment of archaic melodiesb. Writing in the style of the archaic melodies, but not needing to use them as a

primary source2. Influenced by trends and developing compositional techniques through the years

i. Ability to understand and apply concepts while still keeping her individuality andtraditionsa. Felt complimented when told that her recent compositions sound as if a

younger person had written themb. Strives to be modern and progressive in her creative work

1. Both content and instrumentation2. Never been driven by anything other than her internal wishes to be more

advanced and to createii. Elder composers were presenting their last powerful pieces when Mägi was in her 20s

and 30sa. Artur Kapp

b. Cyrillus Kreekc. Heino Eller

iii. Up-and-coming Estonian composers during this time (1950s)a. Gustav Ernesaksb. Edgar Arro

iv. Listened to Brahms and Chopina. Feeling of honesty in Brahms’ workb. “let the music go through me and not think of how it is constructed” (interview:

Virve Normet)F. Societal and governmental restrictions

1. At the end of the 1950s, the trend in composition was towards contradicting the national-romantic stylei. Assignment to rebuild the country

a. Compose music that everyone can understand and relate to1. Not highbrow

ii. Majority of Estonian composers were educated in Soviet conservatoriesa. Required to belong to Eeesti NSV Heliloojate Liit

1. Estonian Soviet Socialist Republic Composers Unionb. Blurred lines and restrictions for what was considered Nationalistic

1. Estonian nationalistic themes were acceptable as long as they did notpresent any threat to the government

c. Compositional trends between 1959-19631. Composers leave behind scholastic traditions

i. Pärtii. Sinkiii. Margusteiv. Tormis

a. Embracing neo-classical, dodecaphony, serialism, andexpressionism

b. After the war, it was demanded that music be generallyoptimistic and “problem-solving”

c. Show everyday life through art, such as tragedy,depression, happiness, and fulfillment

2. Accepted into the Estonian Composers Unioni. After graduation from conservatoryii. Only three women at the time

a. Believes that you should judge the value of a composer based on their work,not their gender1. Interested in difference between compositional styles of men and

women, but feels that the research needs to be from neutral personG. Genres

1. Only stage music missing from major genresi. Asked to compose an opera on the subject of Tammsaares’ text “The Kõrbaja Farmer”

and accepted, but found out soon after she accepted that there was anothercomposer already writing on that subject, so she abandoned ita. Orchestralb. Chamber music

1. Woodwind ensemble2. String quartet3. Piano, clarinet, and chamber orchestra4. Piano, clarinet, flute, and cello

5. Flute, violin, and viola6. Violin and guitar7. Guitar and cello8. Saxophone ensemble9. Violin, vibraphone, and guitar

c. Voice1. With guitar and cello2. With harp3. With orchestra4. With flute and guitar5. With piano6. With flute, violin, and guitar

d. Organ music1. With cembalo

e. Solo instrument1. Cello2. Piano3. Violin4. Trumpet5. Flute6. Clarinet7. Oboe8. Horn

f. Choral1. Mixed choir2. Men’s choir3. Women’s choir4. Children’s choir5. Boy’s choir

a. Organ accompanimentb. Orchestra accompaniment

H. Compositional Technique1. Chose forms that would keep music fresh

i. Tried to not repeat forms very oftenii. Constantly taking small bits from all that she experiences and internalizes them

a. Comes out in new compositions2. New ensembles and combinations of instruments

i. Would be inspired by hearing performers at concerts and wanted to write for thema. Variations of pieces already composed with new instrumentation when inspired

by something she had heard3. New genres4. Painfully slow composer

i. Pieces have to satisfy her completely before she will release them to the publica. “I keep the piece with myself and I listen again and again and then there is an

explosion of thought and I am embarrassed about what I have written andI have to fix it. There needs to be time between creation and presentationto understand each piece fully.” (interview: Virve Normet)

b. Music is something that you have to personally experiencec. Revision common

1. Known throughout music community for numerous revisions5. Two identities: composer and teacher

i. Composing had always been a secondary job, with main employment being asprofessor at Tallinn Conservatorya. Taught classes in the morningb. Composed on evenings and weekends

1. Carried compositions with her wherever she wenti. Inspired at any time

a. Random and unpredictablec. Would take ideas and write at the piano

1. No need to play everything2. Helped with concentration and focus to sit at the piano

i. Early trainingii. Greatly admired composers who can sit at a table and compose

III. The Choral WorksA. Compositions known for sensitivity to text and strong sense of form

1. Clear influences from Saar and DebalinB. Commissions

1. Uncomfortable with restrictions and State requirementsi. Special themes or demands for specific events

a. Felt she could not complete the work in the small amount of time givenC. Overview of repertoire

1. Majority are unaccompanied2. Form

i. Strong logical progressions and establishment of forma. Laconic approach

1. Concise and to the point2. Minimal repetition of text

b. Careful elaboration of facture1. Thought through and experimented with processes before implementing

them into composition2. Very methodical

ii. Folk song influencesa. Setu “call and response” style

1. Developed from folk song collection excursions in 1980s2. Use of fis-g-b

b. Uses folk songs as inspiration, but creates own melodies1. Major difference between Mägi and Tormis and Kreek2. Connection of two folk melodies to create an original melody3. Listening and score study examples

iii. Texta. Poets

1. Nationalistic in nature2. Major influence of melodies and form

i. Listening and score study examplesiv. Voicings

a. Sensitivity to subtle timbresb. Varied voicings and types of ensembles

1. Wrote for “what she hears” so she will add voice parts when neededi. Listening and score study examples

v. Tonal languagea. Varied throughout life

1. Dorian considered favorite mode2. Enjoyed using raised 6th and subdominant harmonies3. Plagal cadences common

i. Used to represent heroismb. Harmonic thinking widened from folk songs in 1957 with Tormilind (Storm

Bird)1. 7ths and 2nds added to harmonic function2. Text painting and affect

i. Use of plagal harmony to deepen the mood of the sea during astorm

c. Variation of folk melody1. Kullerkupud (Globe Flower)

i. Polyphonicii. Strict canonic voice pairingsiii. Linear movement with paired quintetsiv. Frequent use of quartal harmonies

d. Use of canons1. Each voice can sing the main melody2. Need to try and retain the maximum joy and pleasure of each folk

melodyi. Like technique of Tormis

vi. Examples

IV. Access to these worksA. Contact information, listening examples, and how to acquire scores, translations, and pronunciation

assistance1. Estonian Music

i. www.estonianmusic.comii. SPMuusikaprojekt

a. Sven Pederson1. info@spmuusika.ee2. 372 641 8315

2. Estonian National Library / Eesti Rahvusraamatukogui. www.nlib.eeii. nlib@nlib.eeiii. Tõnismaägi 2, 15189 Tallinn

a. Aurika Gergelziu1. aurika@nlib.ee

3. Estonian Music and Theatre Museum / Eeesti Teatri-ja Muusikamuuseumi. www.tmm.eeii. info@tmm.eeiii. Müürivahe 12, 10146 Tallinniv. 372 64 46 407

4. Estonian Composers Union / Eesti Heliloojate Liiti. www.helilooja.ee

a. Ülo Krigul5. Estonian Music Information Center / Eesti Muusika Infokeskus

i. www.emic.kul.ee/emika. Mariliis Volkonen

Works Consulted

Kangron, Tõnu. Eesti NSV 1990. a. üldlaulupeo laule segakoorile. Tallinn: Eesti Raamat, 1988.

Kiilaspea. A. Eesti rahvaviise segakoorile. Tallinn: Eesti Riiklik Kirjastus, 1951.

Kuusk, Priit and Mare Põldmäe. Who is Who in Estonian Music. Tallinn, Estonia: Estonian Encyclopedia Publishers, 2004.

Mägi, Ester. Koorilaule. Tallinn: SPMuusikaprojekt Muusikakirjastus, 2005.

Oja, E. Eesti NSV 1990. a . üldlaulupeo laule meeskoorile. II. Tallin: Eesti Raamat, 1989.

_______. Eesti XXII Üldlaulupeo naiskoori laulud. Tallinn: Muusika, 1993.

Oja, O. Eesti heliloojate meeskoorilaule. Tallinn: Eesti Raamat, 1969.

_______. Laule meeskoorile. Tallinn: Eesti Raamat, 1982.

Ratassepp, A. Rahvaste laule meeskoorile. Tallinn: Eesti Riiklik Kirjastus, 1961.

Siiak, H. Pealkiri Eesti NSV 1990.a. üldlaulupeo laule seagkoorile, II. Tallin: Eesti Raamat, 1989.

Subin, T. , ed. Kaheksa eesti tänase muuika loojat. Tallinn: Kirjuastus Eesti Raamat, 1979.

Sööt, A. Eesti NSV 1990.a. üdlaulupeo laule naiskoorile. Tallinn: Eesti Raamat, 1988.

Velmet, A. Laule naiskooridele. Tallinn: Eesti Riiklik Kirjastus, 1956.

Üleoja, A. Koolikooride laule. Tallinn: Eesti Raamat, 1980.