CD “Torupilli kuninganna kroonimine” (Coronation of the bagpipe queen

Traditional bagpipe song beginnings usually have various preludes or introductions played. Although the exact reason for playing them is not known, it can be assumed that it was important for bagpipe players to check the tuning of the bagpipes before playing a piece and prepare themselves for the tune. The beginning of this tune “Introduction” consists of five preludes performed by a traditional piper recorded between 1913 and 1936. The first two performances are from the repertoire of Kuusalu pipers Tõnu Eslon and Jakob Ratsov. The third prelude is performed by Hiiumaa piper Juhan Maaker, also known as Torupilli Juss. The fourth and fifth preliminaries are again from Kuusalu, performed by Jakob Kilström and Tõnu Eslon. We play each prelude, giving them new life and meaning for today’s players. The tune ends with a completely new composition by Cätlin Mägi.

The archive recordings that you will hear in the song can be found in the information system of the Estonian Literature Museum at kirmus.kivike.ee

1. preliminary game – Tõnu Eslon (Kuusalu) – ERA fon 129 d
2. preliminary game- Jakob Ratsov (Kuusalu) – ERA fon 120 c
3. preliminary game – Juhan Maaker hüüdnimega Torupilli Juss (Emmaste) – ERA fon A 11 c
4. preliminary game – Jaagup Kilström (Kuusalu) – ERA Pl 15 A2
5. preliminary game – Tõnu Eslon (Kuusalu) – ERA fon 128 a

Jakob Ratsov (1831–1923), originally from Kolga beach in Kuusalu municipality, was a well-known bagpipe player. In 1913, the Finnish ethnomusicologist Armas Otto Väisänen recorded his Russian dance, which we perform in a modern key.

You can find the original recording of the Russian dance in the information system of the Estonian Literature Museum: ERA, Fon. 122 e

There is also a notation of Ratsov’s Russian dance in the  Pärimusmuusika noodikogus.

In the rich collection of Estonian folk songs, there are many stories that talk about human relationships, traditions and life’s twists and turns. One such story, sung by Hella Keem, tells the story of a mother and daughter and the suitors who arrive at their door. At first, the conversation is polite, but when the daughter mentions that the boys want her, the mother becomes angry and says: “Toho kurat, mis siis saa?” (Damn it, what’s going on?) This story is just one example of the folk songs recorded by Hella Keem and the original recording of the song can be found in the information system of the Estonian Literature Museum RKM Mgn II 250 c

Jaan Piht is known among today’s bagpipe players for his many polkas. He comes from Mustjala parish, and in his tune we have learned has actually several names: “Juudi jung”, ” Mustjala vaimulik”, “Mustjala paarisrong”.

Rudolf Põldmäe and Herbert Tampere write about the dance in the book “Valimik Eesti rahvatantse” published in 1938: “Mustjala paarisrong, or Juudi jung, forms a simple movement, but a different form in terms of hand coordination. The dancers turn around themselves with their hands joined and dance under the following pair of hands. Through, so that one’s hand remains connected with the other’s shoulder, forming a so-called “jungvõtte” dance. (p. 36)

The original recording of Juudi jung can be found in the information system of the Estonian Literature Museum ERA Pl 3 B2

There is also notation and a learning video of the same tune on the Torupilli Meistriklass website.

You can read more about Jaan Piht in Krista Sildoja’s book of August Pulst’s memories “Äratusmäng uinuvale rahvamuusikale” (Wake-up game for sleeping folk music).

Tõnu Eslon was one of the most famous pipers on the beaches of Lahemaa, nicknamed Atru taat or Atru Tenu. She migrated to the Crimea when he was young, returned to his homeland when he was older and, still a widow, moved to Atru sauna in the village of Virve. His tunes were phonographed by A. O. Väisänen and A. Raudkats, who also recognize Eslon’s playing skills and the richness of his repertoire as experts. Even when evaluating his art, he ordered the bagpipe player to write down “that Tenu Eslon is still a bagpipe player first and foremost” (EÜS X 1203).

The original recordings of both tunes can be found in the information system of the Estonian Literature Museum ERA Fon 126 c ja ERA Fon 129 a

There is also notation and a learning video of the same tunes on the Torupilli Meistriklass website.

There is also a notation of Tõnu Eslon’s Kupparimuori in the Pärimusmuusika noodikogus.

You can read more about Tõnu Eslon in Krista Sildoja’s book of August Pulst’s memories “Äratusmäng uinuvale rahvamuusikale” (Wake-up game for sleeping folk music).

An exception in our collection, this next piece takes the listener far from the paths of traditional folk music into the world of improvisation and innovation. Performed on the Jew’s Harp, this song combines not traditional playing techniques, but discovers new ways of expression through modern rhythms and effects. This piece demonstrates how an ancient instrument can sound in a modern context, transcending genre boundaries and expanding our understanding of the limitless nature of music.

Peeter Sild has become famous thanks to his extraordinary connection with the Estonian bagpipe master Ants Taul. Taul once started to restore the bagpipes, using Peeter Silla’s instrument pieces, which were found in Riidaja’s cultural house. You can read more about all this here. Peeter Sild is from Karksi parish, four songs have been recorded on his instrument. Two of them are on bagpipes and two on a chanter of the pipe. We choose one of his tunes, which we will perform this time with Jew’s Harps instead.

The original recording of bagpipe tune can be found in the information system of the Estonian Literature Museum RKM Mgn II 1643 a

There is also notation and a learning video of the same tune on the Torupilli Meistriklass website.

There is also a notation of this bagpipe tunes in the Pärimusmuusika noodikogus.

Juhan Maaker, also known as Torupilli Juss, was one of the most famous Estonian piper of his era. His life and works are so rich that they could fill an entire book – and indeed, they have. The recordings made in 1921 are special because their tracks are not exactly named. Therefore, today it is difficult to determine which tune had which name. Fortunately, the list of Jussi’s tunes was once written down by August Pulst. Among these names there is one called Wabariigi polka (Republic Polka), and since the character of the song is very polka-like, we decided to call this song the Wabariigi polka. However, if you listen carefully, each member of the ensemble has a solo place in this tune. Everyone chose their favorite tune, which can be heard in between the Wabariigi polka tune.

The original recording of Wabariigi polka (Torupilli Jussi 8. tune) can be found in the information system of the Estonian Literature Museum ERA Fon A 9 c

There is also notation and a learning video of the same tune on the Torupilli Meistriklass website.

There is also a notation of Wabariigi polka in the Pärimusmuusika noodikogus.

You can read more about Juhan Maaker in Krista Sildoja’s book of August Pulst’s memories “Äratusmäng uinuvale rahvamuusikale” (Wake-up game for sleeping folk music).

Andres Metsniit, nicknamed “Ränga taat”, was one of Muhumaa’s most famous and well-known piper in his era. His pipe playing was recorded in 1922 by two collectors, Cyrillus Kreeg and Armas Otto Väisäs.

The original recordings of this tune can be found in The Institute for the Languages of Finland.

It is worth paying attention while listening the tune, as one of the last bagpipe players in Estonia, Aleksander Maaker, also teaches about the drinking preferences of bagpipe players at the beginning of the last century. Good to be advised what to take and what to leave.

The conversation with Aleksander Maaker can be found in the information system of the Estonian Literature Museum KKI, RLH 52:4 (2)

Labajalavaltsid (old type of waltzes) are one of the most common and beloved pieces in the bagpipe music repertoire. Jakob Kilström’s tunes have become especially popular among today’s players. Jakob Kilström is from Kuusalu, and his playing has inspired many. You can even see Jakob playing the bagpipes in one of the videos.

Aleksander Jürgens writes about the piper:

“Jakob Kilström – Piper in Kolgaranna in Kuusalu parish. A very selfish man. You can hardly get to play him his pipes. The instrument has two pipes, but the second pipe is closed. If you say: “Jakob, listen, the second pipe of your instrument doesn’t play.”

“Well, he will play when he is set to play,” answers Jakob and plays forward with one pipe.” ERA II 119 (306/307)

We play two of his waltzes. The name of one has been written by the collector as Labajalg and the name of the other Loppevalts or Lõppe. It can be assumed that it was played as the ending tune of the wedding. Both of the original recordings can be found in the information system of the Estonian Literature Museum ERA, Fon. 109 a ja ERA, Fon. 110 c

There is also notation and a learning video of the same tune on the Torupilli Meistriklass website.

There is also a notation of both tunes in the Pärimusmuusika noodikogu : Labajalg 1 ja Loppevalts

You can read more about Jakob Kilström in Krista Sildoja’s book of August Pulst’s memories “Äratusmäng uinuvale rahvamuusikale” (Wake-up game for sleeping folk music).

Peeter Piilpärk has played an important role in the revival of the Estonian bagpipe since the 1970-s. At a time when playing the bagpipes in the villages had almost disappeared and there were no active bagpipe masters, the meeting between Olev Roomet and Peeter Piilpärk turned out to be a decisive event. Olev Roomet bought Peeter’s instrument for himself after Peeter’s death. When Olev Roomet started forming a bagpipe orchestra for the Estonian National Dance Party in 1970, all the instruments that were made for the occasion were modeled after Peeter Piilpärk’s instrument. Peeter had received his pipe from Jakob Ots, a well-known piper from Audru, who in turn had ordered his pipe from the legendary piper Juss aka Juhan Maaker. Thus, Peeter Piilpärk and his pipe are an important example in the tradition of today’s pipe making.

We play this bagpipe tune with long whistles instead, because the range of the tune suited it very well and it is a change to the bagpipe sound on our album.

The original recording of Peeter Piilpärk’s bagpipe tune can be found in the information system of the Estonian Literature Museum ERA Pl 16 B1 .

You can read more about Peeter Piilpärk in Krista Sildoja’s book of August Pulst’s memories “Äratusmäng uinuvale rahvamuusikale” (Wake-up game for sleeping folk music).

One of the first tunes of our ensemble, the arrangement of which was completed for the 2022 competition “Mooste Eluhelü”.

Kasatski (Russian dance) – the tune is composed of different variants of Russian dance from all over Estonia. First, five tunes from the parish of Jõelähtme played by Juhannes Sepp on the violin in 1913 will be heard, as well as variations on the Juhan Maaker tune no. 20 from Emmaste parish and finally Jakob Kilström’s Russian dance from Kuusalu parish played on the bagpipe in 1936.

The original recordings of all tunes can be found in the information system of the Estonian Literature Museum ERA Fon 106 e, ERA Fon A 13 b  ja ERA Pl 14 A2.

There is also notation and a learning video of the same tunes on the Torupilli Meistriklass website.

Juhan Maaker´s and Jakob Kilström´s tunes are also in  Pärimusmuusika noodikogu.

Juhan Maaker, nicknamed Torupilli Juss, was a well-known bagpipe player in Estonia in the last century. In addition to bagpipe tunes, 3 songs have also been recorded by him, which imitate the corresponding bagpipe tunes played by him. This kind of singing on syllables inspired us to create syllables for one of his other bagpipe tune. Jussi’s 6th tune on the bagpipes is played by Juhan Maaker on the bagpipes, but Cätlin, following the example of his other syllabic songs, made the syllables for this melody that you hear on this recording.

In between, we hear how Aleksander Maaker, who is Torupilli Jussi’s nephew, talks about Torupilli Juss, who he was and what songs he played, and how the piper encouraged other workers in the field. This conversation was recorded in 1952, when Aleksander Maaker himself was the last traditional bagpipe player in Estonia.

The original recordings of Torupilli Jussi 6. tune and conversation with Aleksander Maaker can be found in the information system of the Estonian Literature Museum ERA, Fon. A 9 a jaKKI, RLH 52:4 (2)

There is also notation and a learning video of the same tune on the Torupilli Meistriklass website.

There is also a notation of Torupilli Juss 6. tune in the Pärimusmuusika noodikogust.

You can read more about Juhan Maaker in Krista Sildoja’s book of August Pulst’s memories “Äratusmäng uinuvale rahvamuusikale” (Wake-up game for sleeping folk music).

This story consists of two stories: Viru löss and Räditants.

Jaan Piht, a piper from Mustjala, is represented on this record with two songs. Viru löss is a old type of walts, the arrangement of which is interwoven with his different playthroughs played simultaneously. Jaan Piht played the song through 4 times on the original recording and it became just such an arrangement when played on four bagpipes at the same time those variations. A more observant listener can get acquainted with the Estonian syllabary tradition in the middle of the song. The melody of the Räditants was sung by Johannes Ungers from Kuusalu, where the bagpipe recordings of the dance of the same name by various bagpipe players are also from.

The original recordings of Viru löss and Räditantsus can be found in the information system of the Estonian Literature Museum ERA, Pl. 3 A1 ja ERA, Fon. 474 b

You can read more about Jaan Piht in Krista Sildoja’s book of August Pulst’s memories “Äratusmäng uinuvale rahvamuusikale” (Wake-up game for sleeping folk music).

This tune was originally composed for a bagpipe orchestra for the Estoninan National Song and Dance Festivals´ instrument party in 2023 where all players of traditional instruments came together after more than a year’s rehearsals.

At the end of the score the composer has written that “The Coronation of the Bagpipe Queen” is ceremonial music suitable for annual gatherings of the bagpipe community, where the corresponding title could be announced and the precious crown could be ceremoniously placed on the head of bearer of this honour. “Hopefully the gathering won’t be overshadowed by the ancient goddess of strife – Eris – and the nominees of the title would not cause the revival of the myth where the golden apple that was thrown on the table paved the way for the Troyan War,” wrote the composer Margo Kõlar. He added a spell to the end of his score to prevent this kind of discord. Unfortunately it is untraslatable to English: “Olgu see ikka kuu poolt kumedikene, päeva poolt punasikene, Riia poolt ristiline, Narva poolt naastuline ja Harju poolt armiline.”

Thank you, Margo Kõlar, for allowing your song to be played on our record!