We’ve had such a positive response to our article about choral singing in Estonia, featuring information about its Song Celebration and comments from Arvo Pärt, that we’ve been keen to hear more about the choral scene there. Ülo Krigul sings with the Estonian National Male Choir and offers some interesting insights into the strong grounding choral singing has in Estonia’s education system, news of the amazing festival where thousands of singers meet to make music together, and his thoughts on the Baltic bass sound.
In the UK, choral singing is enjoying a huge renaissance at the moment. What is happening in Estonia? Can you give us any examples?
Estonia, with its 1.3 million population, has more than 40,000 amateur choral singers in about 1360 choirs. Choral singing here has enjoyed continuous popularity with no dramatic ebbs nor flows. We speak of choral singing as a form of music making, but its social side is even more important here (remember the Singing Revolution in 1987-1991).
The most unique phenomenon in the Estonian choral movement is the tradition of our Song Celebrations (Laulupidu) launched in 1869. Every five years, almost all Estonian Choirs gather in Tallinn’s Song Festival Arena to sing in the 30,000 member joint choir and express the feeling that they belong together. Almost annually, we host choral festivals of different scale and Estonian choirs are eager to participate in festivals all over the world.
Which styles of choral writing do you think are engaging audiences (and performers) the most?
The absolute favourites for the singers and audiences alike are naturally the highlights of world classics. Folk music-based works enjoy similar popularity – either Estonian or world music. Veljo Tormis' vividly original music on the world arena serves as a good example. Crossing the borders between choral and pop music and the renaissance of sonorous, full-harmonized music in last few years, have brought larger audiences to concert venues and more singers to choirs. What matters is not so much the style but the way the composers deliver their message.
What is the usual route for singers in Estonia into choral singing? How far does the education system go into training young voices? Are there many young people singing in choirs or is it mostly a more mature scene?
In Estonia, musical education for 3-4 year olds starts at playschools and kindergartens. Generally, they have music classes once a week, while singing together plays an important role. The same pattern continues in elementary, basic and secondary schools where, in addition to regular music classes, we find children’s, youth and mixed choirs. A school without a choir here is considered an anomaly. As a rule, Estonian schools use relative Jo-Le-Mi (solfeggio) system, which is a newer, expanded version of the century old Kodály Method and considerably helps to develop sight-reading skills. Vocal technique does not receive equally systematic attention. In short, choral singing is popular with young people.
The age of singers in a choir depends largely on its priorities. When the main focus lies on social activities, peer policy is preferred. When the goal is making music, then you will find grandfathers and their granddaughters singing side by side.