Germanic Musical Nationalism within Estonia and Latvia

The musical nationalism and ideas underlying the “Singing Revolution” and
derive in part from influence of Germany from 1200s to the early 20th century. After
German-led crusades conquered Estonia and Latvia in the 1300s, both countries
underwent occupation by various powers. Throughout, the Germanic minority elite
(2 and 1 the Baltic states) remained influential controlling most of the local
governments. This Germanic presence held important influence for the
development of both Estonian and Latvian national identity.
One, was the introduction of Lutheran Protestantism and the Moravian
Brethren. The Lutherans developed schools, introduced a singing tradition of 4-part
harmony, and conducted services in the local language (4). The Morovian Brethren
encouraged literacy, universal education, and the usage of choral music as a means
of spiritual awakening (4). Through this tradition, the Estonians and Latvians
developed a relatively uniform culture of choral singing (56).
Another influence was Johann Gottfried von Herder. He taught and preached
in Riga (the capital of Latvia) from 1764-1769. During this time he collected and
published Latvian folk songs. Herder published both Estonian and Latvian songs in
his collection entitled Volkslieder. He coined the term Volkslied, arguing that folk
songs “are the imprints of a nation’ soul” (31 vesilind). In his fourth book he stated
“All nations that have yet to be organized around political systems are a singing
people: by whatever means their songs come into being, that is how they remain.
Songs serve as a colelctions for all their science, religion, the ways the soul moves,
the characteristics of previous generations, the joys and sorrows of their lives” ( 36
Bohlman). For Herder, Volkslieder expressed the direct spirit of the people, the sort
of imagined community or unisonance discussed by Benedict Anderson. And the
connection between folk songs and nationalism were made explicit “In every nation
folk songs responds to the internal and external conditions of the nation.”
Herder’s idea of folk songs as an expression of heritage, and a nation’s spirit
was taken up by Latvian and Estonian artists, scholars, and intellectuals. In addition,
to the collection of many more folk songs, national epics and mythologies were
solidified (59-60). The ending of serfdom in 1819, along with a rise in education and
a valuing of culture culminated in a period of 1860-80s commonly called the
National Awakening. And central this awakening was the establishment of Song
Festivals. Inspired by the German Song Festivals, during these events thousands of
people sung about their love of land and heritage. Typically the music was a mixture
of folk songs and newly composed anthems and patriotic hymns set to 4 part
writing. The first song festival in Estonia took place in 1869 and the first song
festival in Latvia took place on 1868 (85-86). These festivals took place regularly
approximately every four or five years.

Key figures within the philosophy of German idealism includes Kant and a
number of intellectuals and artists who surrounded Johann von Goethe. Among
them were, Johann Gottfried von Herder, Friedrich Schiller, Gottlieb Fichte, Georg
Hegel, and Arthur Schoepnahuer (13 Knapp). The many members of this intellectual
network were interested in exploring the inner life of the individual, what is
commonly referred to as the realm of subjectivity (15). This intensive subjectivity
was considered “the locus of origin for what was conventionally thought of as “real”
(Knapp 15). Stated more simply, by going inward one could understand the
outward. Taken to the extreme, Fichte posited a notion of “intensified subjectivism”
in which “the divindiaul is part of a larger consciousness that embraces all
existence” (Knapp 19). This notion was particularly powerful in music because it
allowed depictions of the self to illustrate stories of the collective. In the case of
Beethoven his heroic struggle depicts not only the struggle of the artist but the story
of the larger collective whether that is a nation or mankind (Knapp 20).
As Susan McClary argued, in the 18th century relations between the soloist
and ensemble enacted the spectacle of dramatic tension between individual and
society (insert article). But rather than depicting this societal struggle, Only in Sleep
seems to epitomize more the philosophy of German idealism in which subjectivity is
understood to “provide the basis for group identity” Knapp 15. The relationship
between the individual and the collective is seen not as an issue of conflict but of
gentle envelopment. The ideal, not of the dissolution of the individual, but that the
collective can reflect and amplify the individual: Each shaped by one another.
seems to epitomize more the philosophy of German idealism in which subjectivity is
understood to “provide the basis for group identity” Knapp 15. T

While absolute music, or orchestral music with voices occupied and defined the
universality of German nationalism, Baltic music developed in a different manner. A
capella choral music, were the songs of protests and the means by which the Baltic
Nations earned their independence. Although written about ignored the musical
mechanisms. Currently, Baltic composers are enjoying a high position within the
choral music world. But few people have drawn a connection between Baltic
Nationalism and the power of the current music. I’ll focus on two compositions by
the contemporary composer Eriks Esenvalds to explicate the musical mechanisms
by which the enact Baltic Nationalism through the 19th Century German tradition. I’ll
broaden towards the end to reflect on how the musical mechanisms amplified in
choral music, can aid us in understanding the power of the singing narrative within
the Baltic revolutions.

Academic papers and books in past thirty years have ascribed singing and
music as key to the Baltic countries gaining of independence (Kudins 28 ). But the
majority of research has However, More recent scholarship has begun to analyze the
musical texts of the revolution (see two scholars), but very few have looked at
contemporary Baltic music scene. Baltic choral music specifically has enjoyed a
wave of popularity in the cosmopolitan choral word. And while regularly
programmed in choral festivals, international choir competitions, and recorded on
CD and for youtube, there’s been little critical analysis or understanding of the
legacy of the Singing Revolution in these works. Within this paper, I’ll examine the
choral compositions of the contemporary Latvian composer Eriks Esenvalds to
understand the degree to which ideals of German Nationalism and Idealism
underpin the musical mechanisms of the works. I’ll then employ these musical
mechanisms and examination of Germany’s historical role in the Baltics to reflect on
the historiography surrounding the Singing Revolution Within this paper, I seek to
understand the musical mechanisms of Baltic Nationalism through an
understanding of 19th century German nationalism and idealism. I will examine two
choral works by the contemporary composer Eriks Esenvalds, and use (needs
editing when paper finished)

Singing Revolution
Barebones of what happened
Occupied
Song Festivals were ways to signal resistance
Sang their way to freedom

Although this idea of singing as representing the will of the people seems obvious,
actually derives from 19th century forms of german nationalism.

Discuss german and Baltic connection

Historical
Von Herder
Influence on development of song festivals
19th century notions of cultural nationalism influenced Baltic countries.

Examine Northern Lights to find an over representation in line with what Knapp and
Taruskin have written about (insert quote)

Key figures within the philosophy of German idealism includes Kant and a number
of intellectuals and artists who surrounded Johann von Goethe. Among them were,
Johann Gottfried von Herder, Friedrich Schiller, Gottlieb Fichte, Georg Hegel, and
Arthur Schoepnahuer (13 Knapp). The many members of this intellectual network

Need to reference german nationalism in greater detail

My offering is proposing mechanism within contemporary choral music for enacting

certain tropes of 19th century German Musical nationalism both externally, and
introspectively.

To Do
Read whole thing (30 minutes)- taking notes on sheet of paper for edits paragraph
Re-examine outline (30 minutes)
Write introduction section (30 minutes)
Rewrite conclusion section (connecting german nationalism and mechanisms of
vocal music to narratives) (30 minutes)
Fill in quotes/info when necessary (30 minutes)
Make bridges more explicit (30 minutes)
Delete unnecessary information (30 minutes)
Edit for typos 2 hours
Add Citations 1 hour