Repertoire

THE MAGIC, THE PAIN AND THE EXCEPTIONALISM OF ORIGINAL REPERTOIRE COLLECTION

As usual, the repertoire for the Song and Dance Celebration is made up of existing and commissioned works, as well as competition winners. What makes this year’s 13th Youth Song and Dance Celebration different from previous years is that instead of a competition for new songs, in spring 2020 the Song and Dance Celebration collected works and inspiration from the original composers’ contests, where choir pieces, songs, poems, lyrics, instrumental pieces and even folk dances could be submitted. Pärt Uusberg, the main conductor and composer of the Song Festival, and Agne Kurrikoff-Herman, the main director of the Dance Festival, tell us what the contest was like.

How did the original composers’ contest differ from previous competitions for new compositions and new dances? What was its value?

Pärt Uusberg: It was not a competition in the classical sense as usual, it was not necessary to write new songs, but you could also send in previously created works that the authors thought could be performed at a song or dance festival. Of course, you could also write a piece specifically for this festival, based on the idea for the event. It was the first time that repertoire had been sought for a festival in this format, it was a major undertaking and it attracted a wider audience.

Agne Kurrikoff-Herman: The dance festival has previously found new works for its repertoire from the Estonian Folk Dance and Folk Music Society’s new dance competitions. However, the contest was broader in scope, including not only dances but also, for example, music pieces. In addition, the process of reviewing and listening to the works received and the exchange of ideas that went with it was special for me, because it united the organisers of both the dance and song festivals right from the start, it was like setting out on a journey together. What also made the contest special was the co-creation – composers, songwriters and folk music arrangers were involved in the process of preparing the programme for the festival, as well as other people who were not otherwise part of the artistic team. It seemed to me that this time the call became a nice bridge on the road to creating a song and dance festival.

How did the idea for such a contest come about?

Pärt Uusberg: If I remember correctly the idea came from composer Tauno Aints who was involved in the process of commissioning new repertoire. He found that the word ‘competition’ can be a stressful word and can lead to comparisons. We wanted the process to be more open and encouraging.

Overall, how satisfied were you with the outcome of the contest and how difficult was the selection process?

Pärt Uusberg: We received more than 500 pieces which proved that the approach was right – the feedback in the society was large. On the other hand, it has to be said that digging through such a large number of works in such a short period of time made the situation quite difficult for the artistic committee of the Song Festival (which also included Tõnu Kõrvits and Tauno Aints in the evaluation), there was simply so much material.

Otherwise, it was not too difficult, as it was clear from the start that the collection of original compositions would be an extra window from which the repertoire could be brought to the festival, but there was no expectation that the programme of the Song Festival would be largely made up of the works received from the contests. In addition to the contest, works were be commissioned from composers and a selection was made from previously composed choral music. As a result, only the songs that fitted in with the programme of the different choir types were selected and we did not have to bother ranking the works.

Which works were shortlisted?

Agne Kurrikoff-Herman: For the Dance Festival, the nice finds turned out to be folk music interpretations that found new approaches in collaboration with the songwriters, our music director and the authors. In this way, quite a number of wonderful instrumental songs and thus also dances found their way into the repertoire of the Dance Festival. For example, the dance “Mängumops” for the mixed groups of the 2nd and 3rd grades will be danced to Martin Müller’s upbeat tune “Puraviku polka”. Mirjam and Kätlin Kits created a new arrangement for the music, which is interspersed with folk songs added by dance curator director Ulla Helin-Mengel, who also choreographed the dance.

In addition, Piret Laikre’s music “Sporty walk 3 and 4” for mixed groups in grades 3 and 4 was found at the contest, and Arno Tamm created the arrangement for the Dance Festival. This way, the dance “Let’s run together” was choreographed by Ene Jakobson. The dance “Feet on the ground” was created for the mixed group of youngsters. This dance is based on the song “Labajalg”, also by Piret Laikre, with the arrangement by Tonio Tamra and choreography by Aveli Asber.

Pärt Uusberg: The Song Festival programme includes four works from the contest: Martin Sildos’ “Joy has filled the land” for the young children’s choirs, Karin Kuulpak’s “Home” for the children’s choirs, Triin Norman’s “Over Marie’s Land” for the boys’ choirs and Maili Metssalu’s “Myself and the Sea” for the girls’ choirs. Tõnis Kõrvits made a choral arrangement of Maili Metssalu’s song “Mina ja meri” (Myself and the Sea), and Hanna Grete Rebane, the author of the lyrics to Martin Sildos’ song “Rõõm on täitnud maa” (Joy has filled the land), slightly rearranged the text in collaboration with Leelo Tungal to make it more suitable for the Song Festival context.

Heebeling

“HEEBELING” MAKES LEARNING SONGS EASY AND EXCITING

Have you noticed that on our website, everyone can practise the songs of the XIII Youth Song Festival by voice types? In total, you will find more than 300 pure-sound recordings made in collaboration between the Estonian Philharmonic Chamber Choir, the artistic committee of the XIII Youth Song Festival and several children’s ensembles and soloists.

According to Pärt Uusberg, Artistic Director of the XIII Youth Song Festival, with the help of the digital solution, or “heebeling”, it is now possible to give yourself a very versatile “choir rehearsal” at home by practising your part together with sopranos, then altos, then altos and sopranos, or any combination. The sound levels of all the voices can be set exactly as desired. However, Mr Uusberg stressed that the recordings of the voice type parts are just an auxiliary aid and are not a substitute for choral rehearsals. “After all, the point of singing in a choir is also the joy of meeting each other and seeking to find common ground.”

“It’s a blessing for the choirmaster, I can’t thank you enough!” says Iren Voites, conductor of the Tallinn Nõmme Gymnasium’s children’s and youth choirs, about the recordings created to learn the songs. Voites said she has been waiting for this kind of solution for choir songs for years, especially in the run-up to song festivals. Up to now, every choir director had to do a lot of preparatory work on the songs themselves, like inventing a wheel every time, for example, a choir member with a beautiful voice would sing a part at a choir rehearsal, or a chance would come up to get a taped part from a choir she knew, which would move like a piece of merchandise. “Now there’s a digital solution for learning songs, and at such a high level! It will make conducting a lot easier, especially in school choirs, where you learn by ear and where there is only one 45-minute rehearsal a week,” said Voites, expressing her joy and saying that she first learned songs she didn’t know herself with the help of phonograms and then used the recordings in choir rehearsals. “The younger the children are, the more conscientiously they rehearse at home, and with phonograms it’s exciting because you can combine different voices. I believe that my opinion and enthusiasm is shared by many,” said Voites.

10 choirs and 4 dance

10 choirs and 4 dance groups from abroad hope to participate at the Song and Dance Celebration

Silver Lumi directs the Estonian Children’s Choir in Helsinki with a sense of mission to preserve the culture, that can only be done by actively practicing every day. His choir – 15 children from Estonian families – is coming to the Song Festival for the second time. So will 9 other choirs from different European countries and 4 dance groups from both sides of the Atlantic.

While in the past there have been some “foreign” choirs among the international participants of the Song Festival, this time all of them have Estonian roots, explained Kersti Seitam, the coordinator of the foreign choirs. The Helsinki Children’s Choir is one of them, and according to conductor Silver Lumi, the choir is made up of children with Estonian roots, because the mission of the choir is to preserve the Estonian language and culture.

Lumi explains what it means to him and to the choir: “As my own child sings in this choir, it is a great opportunity and a duty for me as a parent to give her the chance to be part of one of the great events of our culture, which is still quite unique in the world. As our home language here in Finland is Estonian and we identify ourselves as Estonians, it is extremely important that our Estonian heritage is passed on to our children. That is why I cannot limit myself to the idea that my children should be able to take part in such cultural events. It is important to instil in them the idea that one day it will be their turn to keep alive and carry forward everything that I am working for today. Otherwise, everything will fade away. Silently and imperceptibly. And to do that, you have to do more than just hand them a scorebook every Monday and send them off to rehearsal.”

The conductor introduces the children to the Song Festival and talks about the whole journey from the preparation of the repertoire to going home: “I have tried to do it all with great enthusiasm, because the children themselves have no experience of the Song Festival. That’s why they get interested in it, look forward to it very, very much, and get excited about it, mainly on the basis of my stories.”

The challenges of a choirmaster

For every conductor, getting to the Song Festival is a great achievement. Lumi describes his challenges: “First of all, the children in the choir have never been exposed to polyphonic singing before. But this means that a group of singers with a fairly modest level of preparation has to be ready. I have the honour and the responsibility to start introducing children to polyphonic singing. If all goes well, these little singers will one day go on to become adults in amateur and professional choirs. We have created a new chapter in the history of Estonians in Finland by being the first Estonian children’s and youth choir to have passed through a rigorous series of competitions and to have made it to the Song Festival as an independent choir. I am particularly pleased about this.”

For conductor Lumi, there are three major challenges on the way to the Song Festival: “The repertoire – it seems to me that a child living in Finland is not attracted by beautiful and solemn songs about free Estonia. For them, there is no such thematic focus. They don’t know to appreciate freedom and independence yet. But that is certainly not the children’s fault. I think it all starts at home, though – how people talk about Estonia, its people, relations with friends and neighbours. All this cultural background is ultimately formulated in what songs children want to sing – whether about pokemon or something more important. Secondly, children have a much wider choice of hobbies than 30 years ago. If you compare choral singing with any other hobby, you might find yourself thinking that a good choir sound means quite a lot of work and commitment. Nowadays, however, concentrating on something time-consuming is a rather tedious activity. After all, it’s very easy to start a new game on your phone when the last one went wrong, or to abandon a friendship that’s gone sour and hook up with new friends online. The child will choose a hobby where the result is achieved more quickly and with less effort. Thirdly, it is difficult for families to understand the importance of rehearsal. Sometimes children do not come to the rehearsal because they are going to a friend’s birthday party on the only rehearsal day of the week, or because they are attending another event with their family on the same day. Parents may not always fully understand the effort it takes to bring a choir to the Song Festival. The rehearsal is compared to every other event, and then they take part in whichever one seems the most fun at the time. But doing so could, in the worst case, deprive other singers of the chance to enter the Song Festival as well.”

In addition to a sense of mission, Silver Lumi is motivated by the fact that the choir is one of the most beautiful musical instruments and “playing” it is a great pleasure. He adds: “Through singing in the choir, many new friends have been found before us and will be found after us. I like a German proverb that says: if you hear singing somewhere, go there – there are good people! It’s always nice to be in the company of good people, and it’s great to have a common hobby – music and choir singing.”

Singers and dancers with Estonian roots want to come to the celebration

Choirs from abroad also have to pass auditions to get into the festival. So far, choirs have sent their first videos to the audition committee. In addition to Finland, choirs from Luxembourg, Sweden, Germany and Austria want to take part. Kersti Seitam says that three choirs are coming from both Sweden and Luxembourg: “Anneli Aken has been in charge of these choirs in Luxembourg for many years now and the children have moved from the pre-school choir to the children’s choir and on to the girls’ choir.”

Most of the choirs have already received their first feedback and can start planning their trip and rehearsing to be ready to send recordings of the whole repertoire to the committee in April.

Vaike Rajaste, who is coordinating with the dance groups abroad, says that four dance groups from Latvia, the Netherlands, Belgium and the USA have currently applied to participate. The main challenge for dancers is to put together a complete group, so the inclusion of a new type of family group has helped many. For example, a Dutch women’s group now wants to come to the Dance Festival together with their children. For many Estonians living abroad, creating a dance group and participating in the Dance Festival is a way to maintain and strengthen their ties with Estonia. Rajaste explains: “The language of the dance stadium is Estonian, and without understanding it, the patterns would immediately get mixed up. That’s why we can’t discount anyone, because the dance patterns are right there in front of the audience.”

Box:

Maris Kalda: “Going to the Song Festival means something big for our family! Two of the four members have already taken part in this wonderful event, and the youngest member of the family has also expressed her wish to sing under the song arch at least once. The feeling of singing together is wonderful.”

Kady Milk: “When a child is born and raised abroad, a lot of work has to be done to make the child feel a sense of origin. Coming to the Song Festival helps to do this through experience, which is the best way. While still living in Estonia, I have participated in several Song Festivals and each time I have had an indelible experience. Trying to pass on my own experience and feelings to a child is not enough. You can’t really convey the feeling of participating in a Song Festival in words, you have to experience it yourself.”

THE BEGINNING, 19th CENTURY

1869 – the first Estonian Song Celebration was held in Tartu with 878 male singers and brass players. Publisher Johann Voldemar Jannsen initiated the Song Celebration as part of the Estonian national awakening movement. Simple peasants discovered that their traditions can be part of high culture. His daughter, Lydia Koidula was the author of lyrics for two Estonian songs “Sind surmani” and “Mu isamaa on minu arm” that are still in the Song Celebration repertoire today. She was also involved with the preparations of the scores and fund raising – quite an unusual role for a woman at that time. All songs were in Estonian.

1880– the Song Celebration was held in Tallinn for the first time. A year later Finland arranged the first nation-wide song and music celebration.

1891– in Tartu mixed choirs participated for the first time. In spite of Russian Tsar’s efforts to force the domination of Russian language in public life more than half of the songs were in Estonian, among them songs by Miina Härma, the first female composer. Singers spontaneously tuned into today’s Estonian anthem “Mu isamaa, mu õnn ja rõõm” by Fredrik Pacius. In the years to come choir singing remained the only cultural activity in Estonian as the Russian emperor required all official matters and education to be handled in Russian.

1894 – for the first time choirs from Estonian settlements in Russia participated at the celebration in Tartu. Pacius’ anthem was sung again.

1910– the Celebration was held in Tallinn with children’s choirs among the performers for the first time. Mihkel Lüdig, whose “Koit” (Dawn) is the standard opener today, was the artistic director of a celebration with a complicated repertoire.

SONG CELEBRATIONS DURING THE FIRST REPUBLIC OF ESTONIA

1923– the first Celebration in independent Estonia on a permanent stage in Tallinn, that could fit 12 000 singers. The first aerial photograph and the first film of the celebration were shot.

1928 – the first Celebration on today’s Song Festival Grounds in Tallinn – the new stage by architect Karl Burman fitted 15 000 singers.

1933– Female choirs participated for the first time, the first radio broadcast from the celebration.

1938– Gustav Ernesaks conducted at the Song Celebration for the first time, his music was performed. In 1944 he wrote the music to “Mu isamaa on minu arm” to the lyrics of Lydia Koidula while deported to Russia. Five days later Soviet army bombed Tallinn and destroyed “Estonia” opera house, national broadcasting and conservatory among many other buildings. In 1944 more than 70 000 Estonians fled the country to the West, among them many well-known musicians. In 1946 first larger Estonian Song Celebrations were held in Germany, later in Sweden, USA, Canada, Australia, UK.

SONG AND DANCE CELEBRATIONS DURING THE ERA OF SOVIET OCCUPATION

1947– Gustav Ernesaks was one of the artistic directors. In spite of massive Soviet propaganda the repertoire was still mostly traditional. People were being arrested even at the Song Festival Grounds. Ernesaks’ “Mu isamaa on minu arm” to lyrics of Koidula was performed for the first time. In 1950 another wave of Soviet repressions included Song Celebration artistic directors Alfred Karindi, Riho Päts and Tuudur Vetik.

1950– the darkest chapter in the Song Celebration history. Soviet propaganda songs dominated the repertoire; choirs of Soviet miners and army were among the participants. During the dark era of Soviet oppression choir singing remained one of the few areas where private initiative and trust were still present. It helped to keep the longing for freedom alive. In spite of the schizophrenic situation most Estonians held the Song Celebration dear as the most important national event.

1960– the new Song Festival Stage by architect Alar Kotli was built. Before the concert “Mu isamaa on minu arm” was removed from the programme, however choirs started to sing it spontaneously and after a moment’s hesitation Ernesaks climbed up to the conductor’s stand and started to conduct. Since then the song is the most anticipated and “compulsory” finale of the celebration.

1969– celebrated the first centennial of the song celebrations with the flame being lit for the first time in Tartu, the birthplace if the celebrations and carried through Estonia to Tallinn. The repertoire was a lot more traditional compared to the Soviet propaganda filled celebrations before and after. “Koit” (Dawn) by Mihkel Lüdig became the traditional opening song.

In 1972 exile Estonians organized the first ESTO with a worldwide Estonian Song celebration at its focus in Toronto, Canada. Estonian dissidents sent a letter to the United Nations demanding the restoration of independence. In the end of 1970s Soviet army invaded Afghanistan, many Estonians were drafted.

1980– celebration was part of the cultural programme of the Moscow Olympic games that was boycotted by most of the free world. The soviet powers increased pressure on dissidents, well-known Estonian musicians Arvo Pärt and Neeme Järvi emigrated to the West.

In 1988 Alo Mattiisen’s “Five Patriotic Songs” were performed at Tartu Pop Music Days in May; in June the singing revolution started at Tallinn Song Festival grounds. Thousands of people flocked to the spontaneous singing gatherings night after night, in the end there were many hundred thousand people. In August 1989 two million people in Estonia, Latvia and Lithuania joined hands in 600 km long human chain to protest the soviet occupation of their countries.

1990– the Song Celebration although formally still in the Soviet Union was carried by traditional symbols and repertoire. The concert finished with “Mu isamaa, mu õnn ja rõõm” – the former and current Estonian anthem that was banned by the soviets. Estonia’s independence was restored a year later on 20thAugust 1991.

SONG AND DANCE CELEBRATIONS AFTER THE RESTORATION OF INDEPENDENCE

1994– the first celebration after the restoration of independence.

1999–young children’s choirs participated for the first time. President Lennart Meriwas quoted as saying “Song celebration is not a matter of fashion. Song celebration is a matter of the heart.” – even though Estonia was independent now and the cultural identity was not threatened by foreign powers people still considered the song celebration a matter of pride and joy that needed to live on.

In 2003 Estonian, Latvian and Lithuanian Song and Dance Celebrations were listed as UNESCO oral and intangible heritage. In 2004 Estonia joined the EU and NATO.

2004– the statue of Gustav Ernesaks was opened at the Tallinn Song Festival Grounds. Due to heavy rain the official procession was cancelled but singers and dancers still spontaneously joined the march.

2009– “To breathe as one” – from now on next to music also a message of values was set in focus, this time it was the connection between generations. “Breathing as one” became a new idiom in Estonian language. Singers started a wave of raising hands travelling from the top of the stage to the end of the audience rows resulting in an ecstatic melting together of the performers and audience. “To Breathe as One” is also the title of the film by Jim Tusty that was released in the USA this year.

2014 – “Touched by Time. The Time to Touch.” A record breaking number of participants – 42 000 singers, dancers and musicians filled three days of celebration with dance and music.

2017 – “Here I’ll Stay” Youth Song and Dance Celebration was a chance for young people to join the nearly 150-year tradition. All participants and most composers and conductors were “children of freedom” – many born in or after 1991, the year Estonia regained independence. It was fascinating to see the young energy and their dedication to keep their heritage alive, adjusting and defining it in a new fresh way.

2019 – the 150th jubilee of the Song Celebrations “My Fatherland is my Love” brings together 35 000 singers and 10 000 dancers, a record-breaking number of participants.

The period for making preparations for the 13th youth song and dance celebration has been extended

The study process of the 13th youth song and dance celebrations has been extended by one year. This will give everyone a chance to prepare better for the upcoming song and dance celebration and help us ensure that it can take place safely. The additional year will alleviate the effect of the hindrances caused by the possible restrictions to the preparations for the song and dance celebration and ensure that the participants have better conditins for learning the repertoire. The registration to the youth celebration of 2023 will begin in September 2021.

According to the manager of the Song and Dance Celebration Foundation, Margus Toomla, the last year and a half have been most complicated for the whole of the cultural sector, including the song and dance celebration movement, as it has not been possible to rehearse or organise concerts and performances.

„Making preparations for the song and dance celebration usually requires everything that has turned out to be impossible during the last year – the face-to-face rehearsals of choris, orchestras and dance groups, taking part in large scale rehearsals organised in counties as well as the intense work during the celebration week,” said Toomla. He added: „The extended period for making preparations will greately reduce the effect of various possible restrictions for the groups preparing for the song and dance celebration as there will be more time for learning the repertoire.”

Margus Toomla said that the main goal for the next year is to join forces and bring the song and dance celebration out of the state of stillness caused by the pandemic. „The participants will have a lot fo work to do to prepare for all of the concerts, performances and countywide song celebrations that have been cancelled and also for restoring their artistic level – it means that they will have a very busy working period to look forward to.”

„The survey conducted in the beginning of the year among the leaders of choirs, dance groups and orchestras showed that they are optimistic and look forward to the autumn season when the can start working with their groups again,” said Toomla. „The survey showed that only a few of the groups have cancelled rehearsals completely. Every fifth has continued practicing online and this has helped them to maintain the sense of belonging,” described Toomla.

The participants will have a chance to start working with the repertoire already this autumn and winter and the artistic teams are going to make adjustments to the study process in order to make working with the repertoire easier for the groups and their leaders.

The 13th youth song and dance celebration will take place from 30 June to 2 July 2023 at Tallinn Song Festival Grounds and Kalevi Central Stadium. The registration to the youth celebration will begin in September 2021. The artistic director of the song celebration is Pärt Uusberg, the artistic directof of the dance celebration is Agne Kurrikoff-Herman and the artistic director of the folk music celebration is Juhan Uppin.

Additional information:

Sten Weidebaum
e-mail: [email protected]
tel: (+372) 5 236 239

Reburial ceremony of Estonian national composer Eduard Tubin

On Monday, 18 June 2018 a commemorative ceremony of reburial of Eduard Tubin and his wife takes place in Tallinn Metsakalmistu. The ceremony starts at 1:00 PM. The reburial is initiated by Eduard Tubin’s son Eino Tubin and has been carried out in cooperation between different cultural and musical institutions of Estonia. On Tuesday, 19 June 2018, a concert dedicated to Eduard Tubin takes place in Estonia Concert Hall at 1:00 PM. Tubin’s works are performed by pianist Ivari Ilja, violinist Sigrid Kuulmann, and Estonian National Symphony Orchestra with Neeme Järvi conducting.

Eduard Tubin (1905-1982) is a symphonist and one of the most remarkable composers in Estonian music. He is an author of ten completed symphonies, several instrumental concertos and orchestral suites, operas “Barbara von Tisenhusen” and “Parson of Reigi”, as well as ballet “The Goblin”. Tubin is a national composer, but his broad understanding of nationalism allowed him to express his ideas using a bold modernist idiom including atonality and jazz. Despite the multifacetedness the style of works of the composer is always recognizable. Due to arriving Soviet troops, Tubin, as many other Estonian artists, fled to Sweden in 1944. His works written during Swedish period retain their national idiom. As such they helped to maintain the faith that Estonian nation and culture would survive despite the hard times.

Erika Tubin (1916-1983) got married with Eduard Tubin in 1941. She was a dancer and later an actress in Vanemuine Theatre in Tartu. She also wrote libretti for ballets “The Goblin” and “Wonderbird”. She worked as a draftsman in Sweden.

Eduard and Erika Tubin have been buried in Stockholm Skogskyrkogården cemetery. On Monday, 4 June 2018 there is a short departure ceremony in Skogskyrkogården cemetery at 1:00 PM.

The registration of groups for the XXVII Song Celebration and the XX Dance Celebration „My Fatherland is My Love“, to be held in 2019, has finished.

The XXVII Song Celebration and the XX Dance Celebration „My Fatherland is My Love“ will be held on 4–7 July 2019. The year 2019 will mark the 150th anniversary of the first song festival and the dance celebration will take place for the 20th time.

The main idea of the XXVII Song Celebration and the XX Dance Celebration is „My Fatherland is My Love.“ These words have a personal meaning for each and every one of us. Used by the poet Lydia Koidula they have now become a timeless anthem to the love of the fatherland which has brought people together in hard times to care for their land and continually renew it. Each and every one of us has a special relationship with our fatherland. Love and fatherland are such broad and multi-layered concepts that they only find substance through personal devotion and expression.

Group registration for the XXVII Song Celebration and the XXth Dance Celebration is open from 23 January until 23 February. To register, fill out the application in the electronic registry of the Song and Dance Celebration at the internet address https://register.laulupidu.ee. Groups of Estonians from abroad can submit their applications on the webpage: www.laulupidu.ee.

The XXVII Song Celebration and the XX Dance Celebration “My Fatherland is My Love“ will take place at the Tallinn Song Festival Grounds and the Kalevi Stadium from Thursday until Sunday, 4–7 July 2019. On Thursday and Friday folk dancers will give a total of three performances at Kalevi Stadium and folk music concerts will be held. Saturday is devoted to the procession, followed by the first concert of the Song Celebration. On Sunday the second concert of the Song Celebration will take place.

With the XXVII Song Celebration and the XX Dance Celebration we will mark two great jubilees: in 2019, it will be 150 years since the birth of the song festival and 85 years since the first dance celebration. The Head Conductor of the XXVII Song Celebration is Peeter Perens; the Head Choreographer of the XX Dance Celebration is Vaike Rajaste, and Juhan Uppin leads the folk musicians.

If you have any questions about the registration process, please send an e-mail to the program editor, Vaike Rajaste. [email protected]

Additional Information:

Sten Weidebaum
Communications Director for the SA Estonian Song and Dance Celebration
Tel: +372 523 6239
E-mail: [email protected]
www.laulupidu.ee