The only Estonian composers we know here are Eduard Tubin and Arvo Part. Both were pupils of Heino Eller, as indeed is the other composer on this record, Kaljo Raid. Not that there is a great deal to know about much before the present century, for Estonia was even slower than its norther neighbour, Finland to emerge on to the musical scene. Both were provinces of Tsarist Russia but Finland, enjoyed greater autonomy and its strong links with Sweden ensured it a certain cultural independence. Helsinki, after all, had its own permanent orchestra by the 1880s and by the following decade had the stimulus of a major talent in Sibelius, who exerted a considerable influence on the young Tubin—and, for that matter, Eller. In Estonian concerts did not really get under way in the two main towns, Tallinn and Tartu much before the turn of the century.
The first side of this record is given over to Eller, the centenary of whose birth falls this year and who died in 1970, so he belongs roughly speaking to the same generation as Martinu and Prokofiev. As he is little known, one or two facts might help to place him. Eller studied law in St Petersburg from 1908 to 1912 and at the same time took violin and composition lessons with Vassily Kalafati, whose pupils had also included Stravinsky and Prokofiev. He returned to Russia after the First World War becoming a composition pupil of Maximilian Steinberg, who later counted Shostakovich among his pupils. Eller spent the next two decades in the university town of Tartu, teaching at the Higher School of Music until 1940, when he became Professor of Composition at Tallinn, the capital. He was really quite prolific—there are three symphonies, a violin concerton, five string quartets and a large number of other orchestral and instrumental pieces, including four piano sonatas, two violin sonatas and about 180 smaller pieces for piano.
The earliest work, placed last on Side 1, is a tone-poem, Dawn written at the end of the First World War and which is frankly romantic—with touches of Grieg and early Sibelius as well as the Russian nationalists, though more of the former than the latter. It is not unimaginative and an attractive folklike idea dominates the proceedings. Despite the relatively late date the Five Pieces for strings of 1953 are in fact transcriptions of earlier piano pieces and bear out Marina Nestyeva's verdict in Grove (the northern colouring of Eller's music places it close to Grieg, while his refined nervous tension and impetuousness align him with Scriabin), but they have a wistful charm that is appealing. The last of them is the most Grieg-like.
However the Elegia for harp and strings of 1931 is an altogether different proposition. It has real nobility and eloquence and the obvious grief it expresses is tempered by a quiet restraint that I find quite moving. There is a Nordic or perhaps Estonian folk-tune that made me realize where Tubin's musical language sprang from, and a very beautiful dialogue involving solo viola and harp.
The writing has real dignity and individuality. I have played this piece often and with increasing pleasure, and it has left me wanting to hear one of Eller's large-scale works.
Like Tubin, Raid fled to Sweden in 1944: he was barely 17 when Stalin 'incorporated' (the official euphemism) Estonia and the other Baltic states in the Soviet Union. In Stockholm he studied philosophy and theology but soon emigrated to the Unites States where he took a degree in Divinity, while continuing his musical studies with Ibert and Milhaud. He later settled in Canada, where since 1954 he has been active as a Baptist priest and for a time occupied himself with the study of medieval music. He has composed in all manner of styles and is highly prolific.
Raid's First Symphony of 1944 was written when he had just passed 21 and was still studying with Eller. It shows a geniune feel for form, a fine sense of proportion and, as one might expect, a developing rather than a fully-formed personality. The atmosphere, however, is by no means so powerful nor the ideas so memorable as in Eller's Elegia, which gets better at every hearing. Jarvi secures very committed playing from the Scottish National Orchestra and the recording is warm and well detailed. An interesting and rewarding release.'