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Uhe pilliloo kolm versiooni

100%

Jussufi G.

Mäetagused

2013

vol. 54

139-168

Kandle-Juss, a simple, almost illiterate folk musician, was important for his own generation. With the disappearance of these people, Juss with his music also disappeared from the scene. Eduard Tubin is a worldwide known composer. His Kandle polka (zither polka) stands on its own when compared to his widely acknowledged piano works. Leida Idla has not considered herself as a composer, nor has anyone else. Her short pieces have purposeful characteristics and are only known by a small circle of enthusiasts of Ernst Idla’s methods. When comparing the three versions of polka tune, it can be seen that all of them – Eduard Tubin’s Kandle polka, Leida Idla’s Ringliikumine (circle move), and Kandle-Juss’s Vana polka Saaremaalt (old polka from Saaremaa) – are each a shining example of their genre. It might be questionable if we should compare a folk musician with a skilful improviser, and even more so with a famous composer. Kandle-Juss was not skilled enough to do much else than create a harmonic accompaniment to a melody. On the other hand, we have to admit that both Leida Idla and Eduard Tubin did exactly the same with that very same piece. They all had a specific purpose: one used the kannel (zither), the others – the piano, to enrich the melody. Kandle-Juss’s natural talent is in no way inferior as compared to that of professionals.

Rahvaparane viiulimang 20. sajandi esimesel poolel Tori ja Vandra viiuldajate naitel

86%

Sildoja K.

Mäetagused

2011

vol. 49

65-92

The article gives an overview of the most well-known village fiddlers in Tori and Vändra parish, their repertoire, playing style and status as dance music players in the first half of the 20th century. This is one of the first efforts to try and describe Estonian traditional instrumental music from the inside so to say. First, the author learned to play the Estonian type of waltzes and polkas gathered from the local village musicians in her neighbourhood and used traditional method of learning by ear. Contact with the old fiddlers has been created artificially using the help of archive recordings dating back to the years 1936 and 1937. At that time both solo and duo performances were recorded from Tori and Vändra fiddlers. Those recordings compile the research material for the present article and on the basis of the recordings it is possible to describe how the fiddlers played back then. The districts of Tori and Vändra in the first half of the 20th century can be characterised by playing in fiddle duos. Compared to what was going on in Estonia of that time generally, it is not unique, because there were also fiddle duos elsewhere. What is special about Tori and Vändra duos is how they were played in. When playing in duos fiddlers used two different ways of playing. The first of them, one of the most characterising ones, is imitating bagpipe with fiddle, which was only used by Tori fiddlers. Imitating bagpipe is definitely one of the earliest of way of playing in terms of age in our old fiddle music. The other way of playing in duo performances is simple polyphony based on functional harmony. Fiddlers made the melodies of Estonian type of waltzes and polkas more interesting and richer using polyphonic fiddle playing technique and embellishments of melody notes. The structures of the analysed fiddle pieces are simpler and also of a rather surprising (and random) construction as compared to composed classical music. This is what makes the music under survey so exciting. Each piece offers something new and unexpected – prevalently the predictable and expected systematic thinking does not exist. In case of Estonian type of waltzes as well as polkas the most important idea is that the piece of music had a continuous metrum to support dancers in their dance. As a result of form analysis it appeared that different playthroughs of Estonian type of waltzes are freer in terms of their construction, or more improvised, polkas on the other hand are more stable. The dominant factor in the development of playthroughs proved to be the number of members in the performance. If it is a solo performance, the variations in different levels of form are more frequent than in case of a duo performance. It is also understandable as the co-play of at least two people requires previous agreement in approach to form.

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2 Mäetagused

1 Jussufi G.

1 Sildoja K.

1 2013

1 2011

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Uhe pilliloo kolm versiooni

Rahvaparane viiulimang 20. sajandi esimesel poolel Tori ja Vandra viiuldajate naitel