Laulupidu - The Main Concert
A weekend of festivity culminated with the main concert. Why is this second concert considered the main concert? Well, it is for sure the more popular concert of the two. By the time I got to reserve my tickets a few months prior, all the reservations for the seated section had long sold out. Thankfully, since I could get tickets for the seated section, I was quite content to experience Laulupidu from the back of the massive Song Festival Ground. It would give us a different perspective. And to be frank, seven hours of bench seating with no back support is not entirely enticing either. Our back was still sore from the opening night the evening prior.
The tram that sports the Laulupidu logo.
Laulupidu History Exhibit on the Freedom Square.
Luckily, the main concert did not start until 1 pm. That decision was probably necessary since we were exhausted from yesterday's concert. We decided to sleep a little bit and enjoyed the full breakfast buffet at the hotel. Also staying at the hotel were several Estonian Americans, who also appeared to be in the field of choral studies. According to the latest US Census, fewer than 30,000 Estonian Americans exist. Hearing them discussing their Lualupidu experiences was interesting. As much as I love anything Estonian, I do not know any Estonian personally.
To celebrate the contribution of ethnic Estonians across the world, a dance performance was organized at Freedom Square just across from the hotel. Since these dancers may not speak Estonian, the instruction in English featured many of the most well-known and fundamental Estonian dances. Although pale compared to the dance festival performances a few days ago, it was nevertheless a beautiful sight.
Same Place & Different Vibes
Since our tickets were for general admission only, we left early enough to arrive around noon to ensure we had a decent spot for the rest of the day. To get there, we opted for an Uber ride to the entry to the Song Festival Ground. Man, we were glad that we had the reservation. Unlike yesterday, the lines for tickets were long. We later learned that all tickets were sold out by mid-day, and many Estonians scaled the fence to sneak in to attend the last few hours of the concert, during which the most beloved songs were performed. Truth be told, I felt a little guilty about taking a spot away from an Estonian. But I took comfort that my love of Estonia was enough to compensate for it.
Gradually getting crowded on the song ground.
At €9, the general admission is universally accessible to all, which is vital for a national event. After grabbing a souvenir picnic blanket, we staked our ground at the far end of the festival. By then, the ground was already quite crowded. By then, my planned viewing spot was already taken. The spot I have been planning was at the back of the song field and next to the bronze statue of Gustav Ernesaks, a prominent figure in Laulupidu and the Singing Revolution. Not only does this statue occupy the best spot, but it is also the spot that guarantees you an appearance (or two) on national television. During many significant songs, such as Ernesaks’s Mu Isamaa On Minu Arm, the camera would inevitably pan to the statue. Wouldn’t that be the best souvenir one could wish for?
Massing of the crowd.
Cooking for the masses.
A big plate of food for €6,.
To get a decent patch of grass, we ventured a dozen meters away to claim our little spot. It was just enough space to stretch out and relax for seven or eight hours. I had a proper lunch with half an hour to spare before the concert started because we might have to wait until 9 pm before grabbing some food. I have not always been impressed with the food offerings at any festival or music venue. So, I was surprised by just how affordable and delicious the offerings were on the Song Festival Ground. Not only was the food varied and offered with near clinical efficiency, but it was also delicious. For €6, I got a big platter of grilled pork, potato, and sauerkraut. Estonian food may not enjoy the most stellar international reputation, but we have never had a bad meal in the country. From the logistic point of view, feeding a crowd of 130,000 in a country of 1.3 million was quite an amazing feat by itself.
Maa, Mida Armastan - Land That I Love
Just as I finished my lunch, the song field became jam-packed. It was no comparison to the day prior. Getting back to my spot took me twenty minutes, and I had to fight my way through the shoulder-to-shoulder crowd. By the time I got to the general area we staked out earlier, I could barely find Brian in the sea of people. People have begun to sneak in to occupy everything, even the last square inch of outstanding real estate. Before long, our little realm of peace and tranquility was suddenly replaced with the mass of humanity.
The massing of female choirs.
One thing to note about Laulupidu was that different singing groups organized the concert. First up was the Children’s Choir, comprised of 5,553 singers from 166 choirs. The first song that caught our ear was the Maa, Mida Armastan (Land That I Love). The song was written specifically for this edition of Laulupidu, with the lyrics based on a well-known poem by Hando Runnel. The song was written by Rasmus Puur, who, at the age of 28, became the youngest composer ever to have his works performed at Laulupidu.
Despite being performed by the children’s choir, the music had a powerful sense of majesty. This would have made a fitting closing song for movie franchises like Hunger Games or Lord of the Rings. And like so many other songs in the festival, this was repeated upon popular demand. The encore performance of the song was particularly exciting. The composer, Maarja Soone, joined the conductor on the conductor podium. An accomplished conductor in his own right, he was greeted like a rock star. Although I am sure joint conducting was a nightmare for the orchestra, the song was bursting with energy and enthusiasm.
Following the children’s choirs, the program moved on to the wind orchestras. Although described as a choral festival, a portion of the program is reserved for instrumental ensembles. And it was obvious that they were not the most popular part of the program. On the other hand, these are the perfect downtime for a bathroom break, grabbing a snack, taking a nap, or getting to know your Laulupidu neighbors better.
Given this was an 8-hour concert, a nap between the songs was warranted.
Estonian cultural nationalism.
The weather in Tallinn was quite varied. It was perfect for the main concert in between sunny and completely overcast. As much as I would love a bright blue sky, the exposure to the sun could be grueling. On the other hand, the partly overcast sky made it quite a sleepy environment. As much as we wanted to grab a few snacks here and there, battling the never-ending stream of the crowd just seemed too intimidating. Amazingly, we both took only one bathroom break during the 8-hour concert.
The next song that really mesmerized me was Ilmaratas (The Sun) by the female choir. The piece was written by folk singer Henry Laks and conducted by Raul Talmar. Performed n a cappella style, the piece was only accompanied by a small ensemble of drums. It was one of those songs that really reminded me of the ancient rituals and pagan past. Appropriately, the lyrics spoke of the movement of the sun across the landscape and how the sun brings joy to one’s heart. The beauty of the piece was just stunning and was easily my top three favorite songs in the whole festival.
Kergotamine - Folk Song From Seto Region
Of course, not all songs on today’s program were so serious. Just a few songs after Ilmaratas was the song Kergotamine. It was written based on traditional folk songs from the Seto region in southeast Estonia. The Setos are a unique ethnic group with a distinct language and cultural tradition. And unlike other Estonians, the Setos practice Orthodox Christianity and their own unique dances. The song was written as a collective synthesis of various Seto folk songs and was sung in the Seto language, which is extra special. But the very best part of the song was the accompanying choreography, which was simple but energetic.
Afterward, I read that Kersti Kaljulaid, the President of Estonia, joined the choir on stage and sang Kergotamine, making her the first incumbent head of state to perform at Laulupidu. For this song festival, she was part of the choir of Filiae Patriae, which Kaljulaid joined during her time at the University of Tartu. Filiae Patriae is also the oldest sorority in the country. In a later interview, she explains that Laulupidu represents Estonian nationalism in its “brightest, friendliest” form:
“This is this positive nationalism, I am deeply in the soul, as we all are, an Estonian nationalist. “We will come together and sing. Of course, a song festival is not a cosmopolitan event, a song festival is a place where we confirm that we Estonians belong together.”
Like nearly all the songs today, the song was repeated by popular demand. But before that, the master of the ceremony announced that this was the birthday of conductor Külli Kiivet. An impromptu happy birthday song broke out among all the choirs on the stand. I could hardly think of a better way to celebrate a special day than having the world’s largest choir singing a birthday song for you.
Spordimeeste Laul - The Sportsmen’s Song
For Brian, one of the favorites from the concert is the song Spordimeeste Laul (Sportmen’s Song') by the boy choir. The boys' choirs were the most adorable of all the performers since they were awkward and innocent. The music was straight out of the repertoire of the Estonian children's musical Detective Lotte. Lotte, a popular children's book character, is often called Estonia’s answer to Finland’s Moomins. Musically, the song was dominated by cheerful melody and rhythmic brass lines. Like Kergotamine, it came with awesome choreography, joined by the accompanying men’s choir on stage. These choreographed moves were well known enough that many young girls in the audience stood up to dance to the song. It was among the best memories we had.
The conductor, Lydia Rahula, was also a memorable character. Sporting her trademark ruby red hair, she was a perfect conductor for such a fun song. Weeks afterward, Brian found himself humming this song without remembering the title. We decided to track down a clip from the original musical and were surprised that it was a goofy original song. Brian was disappointed after reading the English translation of the lyrics. It was not as profound as he first imagined.
Ära Mind Lahti Lase - Hold On To Me
One of the most encouraging aspects of Laulupidu was the engagement of Estonian youth. While one would think choral festivals tend to attract an older audience and participants, Laulupidu’s youthful energy was palpable. Surveying the Song Festival Ground, we saw twice as many young people as seniors. While the longevity and cultural continuity of Laulupidu has long been a subject of debate and concern within Estonia, the popularity of this national event is undisputed. What excited me was the inclusion of young composers and conductors such as Rasmus Puur and Pärt Uusberg. And very often, many of the songs by these young artists were some of the best.
This final song of the mixed choirs was one of them. Written by 33-year-old Jazz musician Kadri Voorand, Ära Mind Lahti Lase (Hold On To Me) conveys the joy of singing so brilliantly. At the song's start, the light and airy melody brought a smile to all the faces, from the audience, singers, and even the orchestra members. It is undoubtedly the most joyous piece of music of this Laulupidu.
I later found a video of Voorand’s original recording, and the difference in mood is amazing. Indeed, it is part of the fun to discover how the interpretation of a song is transformed from a solo performance to the mass choir. I can’t help thinking just what other pieces of music we wish could be performed by this mass choir here (or elsewhere).
It Is Time For Tuljak Again!
Ühendkoor, the combined choir, was the last segment of the Laulupidu program. It was a gathering of all the singers under the Song Arch and signified the performance of Estonia’s favorite songs was imminent. At this moment, almost all Estonians began to stand and waited eagerly. It was only the second time that all the choirs were gathered during two days of concerts (the other being the opening song of Koit and the Estonian National Anthem). For many, these final few songs captured the spirits of Laulupidu.
Tuljak, the namesake of this blog, was the first song of the combined choir. As mentioned in my previous post, Tuljak has the customary finale for Tantsupidu and has always been a crowd favorite. Conducted by Ants Üleoja, Tuljak was first performed at Laulupidu in 1928 and has been in the program since 1980. Üleoja also enjoyed the great prestige of conducting this song at every song festival since the 1980s. Tuljak’s popularity is partly attributed to the popularity of the dances, but I believe the real draw is its unique cadence and folkloric quality. It is also one song that always unit the dance and song festival participants.
Now, Tuljak is not at all an easy choral piece. The song is fast-paced and filled with overlapping melodies and tongue-twisting lyrics. At Tantsupidu, the piece was performed by the vocal ensemble Estonian Voices and was a perfect introduction to this unique song. In comparison, the choral version seems somewhat clunky and awkward. It is said that singers love to sing but not to rehearse it. The a cappella performance only added to the difficulty. Nevertheless, the singers embraced the challenge. Without a doubt, watching our neighbor dancing to Tuljka was a definite highlight!
Stop Lasnamäe?
Although Laulupidu played a critical role in the political history of Estonia, the festival today is an apolitical event organized by the non-profit foundation with financial assistance from the national government. As a national treasure, the song festival aims to elevate itself above the partisan politics of the day. During the four-day festivity, there were relatively few speeches by political leaders. Besides opening remarks by the president and the prime minister, the only other speeches were by the Minister of Culture, Tõnis Lukas.
The great gathering.
Following Tuljak, the minister gave a five-minute remark. As non-Estonians, we listened on and joined in with applause whenever it seemed appropriate. It was not until a few days later that we read that Lukas’s remark generated much controversy among Estonians. He praised the song festival tradition and decried the possible residential development around the Song Festival Field (Lauluväljak). He went on to proclaim that Estonians will soon one day sing “Stop Lasnamäe” again. Lasnamäe is the largest residential district in Tallinn and borders the Lauluväljak. This district is characterized by its Soviet-era housing blocks and is home to the city’s large ethnic Russian minority. The phrase “Stop Lasnamäe” is commonly interpreted as an overt verbal slight against Estonians of Russian descent.
To respond to the uproar, the organizing committee published a press statement to clarify that the minister’s state does not reflect the position of Laulupidu. Indeed, they stressed that the minister is only expected to provide a remark to thank the participation of all singers and dancers. Of course, the minister later claims that he was merely trying to protect this sacred ground to preserve the possibility of future expansion. We do feel funny that we inadvertently applauded the speech by a nationalist politician.
Ilus Oled, Isamaa - You Are Beautiful, Fatherland
Perhaps one of the most anticipated songs on the program is the performance by Tõnis Mägi. A well-known figure in Estonian Rock, Mägi achieved fame quite early in his career with his song Olimpiada-80 for the 1980 Moscow Olympics, a game for which Tallinn was the venue for the sailing competition. He attained great acclaim within the Soviet Union before returning to Estonia to contribute numerous works that helped to ignite the Singing Revolution of the 1990s.
Mägi’s song, Ilus Oled, Isamaa (You Are Beautiful, Fatherland), is one of the few songs I had already known before the program announcement of the 2019 Laulupiudu. I first learned this song from a video of the Eleventh Youth Song Festival (XI Noorte Laulupidu) in 2011. Like Ära Mind Lahti Lase, this song radiates positivity and happiness. The lyric speaks of the simple pleasure of the Estonian landscape. There was no mention of conflict or struggle, just the serenity of nature. Indeed, Mägi said in a later interview that he was surprised and delighted that this simple and apolitical song was selected from his large repertoire of work.
The song was repeated by popular demand, and the crowd was ecstatic that Mägi had taken the podium to sing for them. Sporting his trademark shaggy silver hair, he exudes the rocker vibe. I would not say he is the best singer, especially with this mass choir. However, the passion of his voice and the response he solicited from the crowd made the program's climax easy. I go back to the video of this often whenever I want a little dose of Laulupidu magic now and then.
Igaviku Tuules - In the Wind of Eternity
After the exuberance and passion of the previous song, the program shifted toward a much more cerebral piece, Igaviku Tuules (In the Wind of Eternity). The song was composed by 33-year-old composer Pärt Uusberg and is loosely based on the oral tradition of runosong. He told the distinction as the only conductor who conducts his own composition, which was written specifically for this Laulupidu. It is reminiscent of his song Õhtu Ilu, a marquee song in the most recent youth song festival in 2017. Indeed, that was really when I first started learning about Uusberg’s works.
For Estonians, the song holds specific significance because of the lyrics by 19th-century poets Kristjan Jaak Peterson and Juhan Liiv. They are both the towering figures during Estonia’s national awakening period. In particular, Peterson was considered the creator of Estonian literature, and his birthday, March 14th, was even declared Mother Tongue Day. Amazingly, he achieved such historical prominence despite his extremely short-lived career; Peterson died from tuberculosis at the young age of 21.
Our ‘neighbor’ for the 7-hour concer.
More than six minutes in length, the song is perhaps the longest piece in the festival. The layering melody and lyrics brought a feeling of both unity and spirituality. However, not a religious nation by all accounts, a sense of faith in the country and love for each other permeates the crowd around the Song Festival Ground. Musically, it was perhaps the most transcendent piece in the program. I only realized that Igaviku Tuules was the background music played throughout this festival. Whenever there was a change in choirs or ceremonial events, the melody of this piece came on.
After the encore performance, there was an appreciation ceremony beneath the orchestra platform. One by one, each conductor was called upon to raucous cheers from the crowd. Then, each was given a massive wreath around the neck. This was just among the many traditions carried down throughout the generations.
Ta Lendab Mesipuu Poole - He Flies Toward The Beehive
Although Igaviku Tuules was repeated by popular demand, I did feel like the audience was anxious for the next song, a legitimate crowd favorite: Ta Lendab Mesipuu Poole (He/She Flies Toward The Beehive); it is among the very few songs that have been the mainstay of Laulupidu program since 1999. Numerous public surveys consistently rank it as the most popular song in Estonia. For me, the best measurement of its popularity was how many Estonians had their phones out to record the song while singing along with the mass choir.
Commonly referred to as the “Homing Bee” song, the lyric by Juhan Liiv speaks of one’s desire for one’s homeland despite all of its hardship. The song spoke dearly to many Estonians who emigrated abroad during the five decades of Soviet occupation. After the resolution of the Soviet Union, the song continued to be a love song for the Estonian diaspora. Liiv’s lyrics even grace the wall of the newly inaugurated Memorial for the Victims of Communism nearby. Noted Estonian composer Veljo Tormis once said that he only wished the world could see the faces of singers as they sing Ta Lendab Mesipuu Poole, and I could not agree more. As you watch the song's video, it is obvious that many singers and audience members tried hard to hold back their tears. I could only imagine the emotion of an Estonian ex-pat might experience when singing this song.
[ESTONIAN]
Ta lendab lillest lillesse,
ja lendab mesipuu poole;
ja tõuseb kõuepilv ülesse –
ta lendab mesipuu poole.
Ja langevad teele tuhanded;
veel koju jõuavad tuhanded
ja viivad vaeva ja hoole
ja lendavad mesipuu poole!
Hing, oh hing, sa raskel a’al –
kuis õhkad isamaa poole;
kas kodu sa, kas võõral maal –
kuis ihkad isamaa poole!
Ja puhugu vastu sull’ surmatuul
ja lennaku vastu sull’ surmakuul:
sa unustad surma ja hoole
ning tõttad isamaa poole!
Hing, oh hing, sa raskel a’al –
kuis õhkad isamaa poole;
kas kodu sa, kas võõral maal –
kuis ihkad isamaa poole!
[ENGLISH TRANSLATION]
He flies from flower to flower
and flies toward the beehive;
and the lightning clouds are rising –
Yet he flies toward the beehive.
And thousands go down;
thousands are coming home
and will endure hard work and care
and fly to the beehive!
Soul, oh soul, oh when the times are hard –
How you desire to be in your fatherland;
whether you’re home or in a foreign land –
you want to be in your fatherland!
And death’s wind might be blowing against you
and a bullet of death might be coming towards you:
you forget about death and care
and hurry to your fatherland!
Soul, oh soul, oh when the times are hard –
How you desire to be in your fatherland;
whether you’re home or in a foreign land –
you want to be in your fatherland
This performance also holds special significance as Vaike Uibopuu conducted it. Dressed in a festive dress of Saaremaa, she provided a presence and warmth like a big Estonian grandmother. Not only did she conduct the premiere of Ta Lendab Mesipuu Poole in 1993, but she was also the first woman to become the artistic manager of Laulupidu back in 1985. We were witnessing a tiny slice of Estonian history on stage here.
Mu Isamaa On Minu Arm - Land of My Father, The Land of That I Love
Without any hesitation, Estonians would tell you that the most respected tradition of Laulupidu is that the official program always ends with a performance of Mu Isamaa On Minu Arm. The history of this patriotic song was synonymous with the struggle to preserve Estonian identity throughout the Soviet occupation. At the very first Laulupidu in the Soviet era, composer Gustav Ernesaks wrote a brand new melody to a beloved poem by 19th-century poet Lydia Koidula. But unlike the rest of the program, this song was sung in Estonian, not Russian. For whatever reason, the Soviet censor allowed the song on the program. Although Koidula’s poem did not explicitly comment on foreign occupation, its words in the context of a Soviet-controlled song festival were not only a love song to Estonian land but also a pubic defiance against Moscow.
The final few songs are always the festival's highlight.
The flame was extinguished at the end of Mu Isamaa On Minu Arm.
After the 1947 premier, the authority decided the nationalist undertone was unacceptable and banned it from the next Laulupidu. To stamp out any escalation of nationalist fervor, the authority implemented several changes. For the first time, the authorities forbade the wearing of Estonian national costumes. The program was entirely in Russian and filled with songs singing the praises of a new socialist republic. At the end of the official program, the crowd and the singers began to chant, “Mu Isamaa On Minu Arm! Mu Isamaa On Minu Arm!’ So, the choir began to sing the song without a conductor. The organizers instructed the brass band to drown out the choir.
Despite the brass band’s efforts, the singing persisted. Eventually, the authority allowed Gustav Ernesaks to come up to conduct his song, which was encored several times by popular demand. Since the national anthem of the Republic of Estonia was banned by the Soviet authority, Mu Isamaa On Minu Arm instantly became the unofficial anthem of the Estonian people. Paradoxically, Gustav Ernesaks also wrote the Anthem of the Estonian Soviet Socialist Republic (ENSV). But like so much about the Soviet Union, reading between the lines and working both in and outside the Soviet system became the norm for many artists. Today, not only was this song the ending of Laulupidu, but it was also the end of many of the country’s regional and local choral festivals.
This year, the honor of conducting this pivotal song fell onto Olev Oja, a contemporary of Ernesaks. The song consists of three stanzas, each with a slightly different mood. The song started solemnly, with the second stanza striking a defiant posture. Finally, the third stanza begins with sorrow and quietness before ending the song with pride and joy. Singing along with the Estonians was a great feeling and a privilege. As the song concluded, the festival flame was extinguished, along with the final note. Although I knew ahead of time that this was the last song, the absence of flame nevertheless brought me a sense of melancholy,
After-Program Celebrations
As Mu Isamaa On Minu Arm concludes the official program, the after-program songs were just highly anticipated by Estonians. A few days before the concert, the music for the after-program was circulated among the choir. But because these songs were well-known to all Estonians, little rehearsal was necessary. The first of these songs was Ärkamise Aeg (Awakening Time), an emotional song filled with pain and joy. The song talked about how this land is full of laughter and tears, and Estonian land is deep in the hearts of all Estonians. As a non-Estonian, this song emotionally affected me, similar to Auld Lang Syne.
Credit: Eesti Rahvusringhääling (ERR).
The next “demanded” song was Laul Põhjamaast (Song of the Nordic Land). As I mentioned in the previous post, it is a song frequently floated as a potential replacement for the national anthem, which was not particularly popular. Afterward, the crowd began to chant Üksi Pole Keegi, the marquee song of this Laulupidu. However, the song was not accompanied by a soloist this time around. This song undoubtedly came to represent this edition of Laulupidu. Indeed, on our way back to Tallinn a little later, a group of Estonian singers continued singing this song along the Narva Highway.
Sadly, all great things must come to an end.
Finally, an impromptu performance of Kungla Rahvas (Song of Kungla People), a song that was performed the day prior. It was a beautiful way to end this Laulupidu. As people sang, a sea of flags, flowers, and caps moved with the rhythm to create a canvas of happy Estonians. In the end, we were grateful to witness such a joyful event. This was genuinely the most amazing cultural experience I have ever partaken. Words could not explain how I felt. Estonia touched our hearts, and sharing my experience at this Laulupidu is the best way to express my thanks to the Estonian people.
I wish to attend all three Baltic nations' song and dance festivals over the next few years. I should switch my obsession to the Lithuanian Song Festival (Lietuvas Dziesmu Svētki), which is currently scheduled for the summer of 2022. Vilnius and Kaunas, I shall see you in a few years. As for Estonia, I hope we shall meet again in 2024 for the XXVIII Laulupidu. Thank you, Estonia. We love you!
