Ester MÄGI (b.1922)
Vesper (1990, arr.1998) [7:32]
Piano Concerto (1953) [22:42]
Bukoolika (1983) [8:34]
Variations for Piano, Clarinet and Chamber Orchestra (1972) [12:22]
Symphony (1968) [13:29]
Ada Kuuseoks (piano: concerto); Mati Mikalai (piano: variations); Tarmo Pajusaar (clarinet)
Estonian National Symphony Orchestra/Mihkel Kütson (variations, symphony), Arvo Volmer
rec. Estonia Concert Hall; Estonian Radio 20 October, 2000 (Vesper); 3-4 December, 1992 (Piano Concerto); 24 February, 1995 (Bukoolika); 10 January, 2002 (Variations, Symphony).
TOCCATA CLASSICS TOCC0054 [64:44]
As part of a tradition that has produced the likes of Eduard
Tubin, Veljo Tormis and Arvo Pärt, Ester Mägi is rightly recognised as a national
treasure and ‘the First lady of Estonian music’. As a country,
Estonia’s cultural heritage and contribution is enormous in comparison
to its population of little over 1.31 million and Mägi is a supreme representative
of the rich musical vein that exists in this small Baltic state. As a ‘disciple’
of her teacher Mart Saar, founder of the national school in Estonian music,
she set out to continue in his footsteps by adding to the collection of folk
songs and melodies he had begun and these are prevalent throughout her music.
She stuck resolutely to her style of composition without resorting to the
new trends that emerged with the avant-garde of the 1950s or the minimalism
of the 1970s. At times this saw her music somewhat marginalised when ‘the
emperor’s new clothes’ were regarded by some in the musical establishment
as more interesting than ‘traditional’ compositions. That is not
to say that she has not been influenced at all by such developments, but she
has taken time and reflected deeply before allowing any of these elements
to become incorporated into her music. In recent years, however, her music
has found new favour amongst listeners both at home and, increasingly, abroad.
As such, this disc is to be welcomed as proof that her voice is a hugely valuable
and distinctive one with music that is immediately accessible and richly rewarding.
Vesper was composed in 1990 for violin and piano (or organ) and arranged
in 1998, following a commission, for string orchestra. It is gloriously melodic
with long flowing lines that soar ever upward. It makes a beautiful introduction
to Mägi’s sound world.
Her Piano Concerto dates from 1953 but was begun when she was still
a student and completed during her studies in Moscow under Vissarion Shebalin.
It is shot through from the start with folk references. These will be evident
even to those with little or no knowledge of Estonian folk music, such is
their universal appeal. As a result it has become one of her best known and
best loved compositions. What a refreshing change it would make to hear a
work such as this played in concert (or, better still at the Proms).
Bukoolika (Bucolica) was written in 1983. As the title suggests,
it is a series of pastoral scenes for orchestra. While it is heavily imbued
with folk references from both Estonian song and dance repertoire, complete
with shepherd’s pipes, birdsong and shouts, it is sufficiently cleverly
woven into her own style to be a genuinely original and exciting composition.
It was of no surprise to read in the accompanying booklet that Mägi’s
Variations for Piano, Clarinet and Chamber Orchestra, from 1972,
is among her most popular instrumental works. The dialogue created between
the soloists and the orchestral responses is brilliantly executed and I just
had to replay it as soon as it was over, so strong was its impact.
Ester Mägi’s 1968 Symphony begins with a forceful statement
from the whole orchestra and underlines her statement that she did ‘not
want to compose something gentle, female....That was the nature of the times’.
By all accounts, she received a considerable amount of negative criticism
for it and one can only really imagine that this was caused by the shock that
such music could be written by a woman. She wrote that ‘it would be
impossible to say something like that today’. I very much hope she is
right and that we’ve moved on from the outdated idea that women cannot
or should not compose music that reflects the world as it is rather than what
we would like it to be. She certainly packs a wealth of ideas into its three
short movements and reflects in them the modernistic trends prevalent at the
time of writing without being fully drawn into any particular style. The dissonance
she does introduce is perfectly in keeping with her overall aim.
Ester Mägi’s name was new to me but it has certainly sparked renewed
interest in music from Estonia. Everything I have heard from that country
so far has been extraordinarily powerful and exciting and well worth getting
to know; Ester Mägi’s music is no exception. This is a valuable disc
and a worthy introduction to a composer who deserves greater recognition outside
her country, where she is rightly highly valued.
Steve Arloff
Previous review:
Rob Barnett
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