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EDUARD TUBIN C O M P L E T E W O R K S

Series I

Volume VII

Orchestral Suites

RAHVUSVAHELINE EDUARD TUBINA ÜHING / GEHRMANS MUSIKFÖRLAG

INTERNATIONAL EDUARD TUBIN SOCIETY / GEHRMANS MUSIKFÖRLAG

Edited byKerri Kotta

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Eesti rahvatantsud / Estonian Folk Dances Ingliska / Anglaise Kivikasukas / Serf’s Dance Karutants / Bear’s Dance

Süit eesti motiividel / Suite on Estonian MotifsPrélude Ostinato Intermezzo Finale

Süit eesti tantsudest / Suite on Estonian DancesRistpulkade tants / Crossed Sticks Dance Pikk ingliska / A Long Anglaise Setu tants / Setu Dance

CONTENTS

lk./pp.

253442

5178

117142

199215225

COMMENTARY

ABBREVIATIONS

ETW Eduard Tubina Helitööde Kataloog. The Works of Eduard Tubin. Thematic-Bibliographical CatalogueERSO Estonian National Symphony OrchestraGMF Gehrmans Musikförlag ABKF Körlings FörlagETMM Estonian Theater and Music Museum in TallinnVR Vardo Rumessen’s private music collection

The completed original manuscripts, manuscript copies, and published manuscript copies of Tubin’s orchestral suites – Estonian Folk Dances, Suite on Estonian Motifs, and Suite on Estonian Dances – were consulted in this edition. The sources and their location are listed below.

The primary source (A) – the original manuscript or the latest authorized or published copy of the manuscript – is the basis for this edition and is given first in the list of sources. The exception is the first movement (Prélude) of the Suite on Estonian Motifs which is based on the original manuscript (B) given second in the list of sources (see explanation below). The primary source is followed by other manuscripts, manuscript copies, and orchestral parts (B, C, etc.). The commentaries are limited to listing and describing original sources and the essential changes introduced by the editor. Again, the exception is the Prélude of the Suite on Estonian Motifs in which the discrepancies between sources A and B have been noted (a complete commentary can be found on the Internet; www.tubinsociety.com).

2

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3Estonian Folk Dances, ETW 12Composed in 1929

Note: Although the exact time of composing the work is unknown, the composer’s wife Erika Tubin has noted that it was originally written for a children’s play, which was probably August Kitzberg’s adaption of “Magic instrument” by Franz von Pocci (see Preface).

In this work the composer has used the Estonian folk songs published in the Anna Raudkats’s collection Eesti rahvatantsud (Estonian folk dances), Tartu 1926.

A. Original score in GMF. Title: Eesti Rahvatantsud. Seadnud E. Tubin. 19 pages. I Ingliska (52 bars), II Kivikasukas (78 bars), Karutants (33 bars). No date.

B. Handwritten copy of the score (written by Ambro) in GMF. 20 pages. No date.

C. Handwritten orchestral parts in GMF.

1. Anglaise

Note: Unlike the original manuscript (A), the repetition of measures 19–34 has been written out in the present edition. The result is a different number of measures: the original manuscript (A) includes 52 measures while the present edition includes 68 measures.

3. Bear’s Dance

Bar 2 Analogous with the previous and subsequent measures, the first note of the first clarinet’s D natural is replaced with D sharp by the editor.

Bar 2 Analogous with the previous and subsequent measures, the first note of the double-bass’ A natural is replaced with A flat by the editor.

Suite on Estonian Motifs, ETW 13Composed in 1930–1931

Note: The original manuscript has been dated to 1930–1931. On November 7th Heino Eller wrote Emil Ruber a letter in which he mentioned that the Suite on Estonian Motifs had been composed in 1930–1931. Tubin has also given the same date in the list of his compositions. Therefore, the date of 1929 that appears in the manuscript (C) must be an error.

The edition of the first movement of the suite is based primarily on the original manuscript (B) since this is the latest original manuscript of the movement. All other movements are based on the original manuscript (A).

A. Original manuscript in ETMM (M319: 2/68). No title (written in pencil, first page is missing). 133 pages. No date.

B. Original manuscript in ETMM (M519: 12). Title: Süit eesti motiividel (I Suite). 135 pages. I Prélude (168 bars), II Ostinato (302 bars), III Intermezzo (101 bars), IV Finale (367 bars). Date: 1930–1931. The title and I movement

written by Eduard Tubin, II–IV movements written by August Metsa (in 1936).

C. Handwritten copy of the original manuscript in ETMM (M319: 12/19). Title: I Suite. 150 pages. I Prélude, II Ostinato, III Intermezzo, IV Finale. Date: 1929.

D. Copy of the score and orchestral parts in GMF.

1. Prélude

Note: Although the edition of the first movement of the suite is based primarily on the original manuscript (B), in some cases it has been proven necessary to consult the original manuscript (A). If an editorial decision is based on the latter, it is specifically mentioned. As the present edition of the first movement of the suite is based essentially on two manuscripts, the discrepancies between the manuscripts are noted. These can be found on the Internet; www.tubinsociety.com

Bars 5–6 The composer has written the crescendo hairpins in measures 5 and 6 of the cello and double-bass, which he probably did due to the page turn. Two crescendo hairpins have been replaced with one hairpin by the editor.

Bars 9–10 The original manuscript (A) lacks a legato slur in the second divisi of cello. It is included in the manu-script (B).

Bars 11–12 The composer has written the crescendo hairpins in measures 11 and 12 of the oboe and clarinet, which he probably did due to the page turn. Two crescendo hairpins have been replaced with one hairpin by the editor.

Bar 13 The original manuscript (A) includes non div. marking in violin and viola. The original manuscript (B) lacks such a marking. Due to its importance, the marking has been retained in the present edition.

Bar 14 The original manuscript (A) lacks p marking in the trumpet, trombone, tuba, and viola. It is included in the manuscript (B).

Bars 15–16 The original manuscript (A) lacks p marking, crescendo hairpin, and sf marking in the trombone and tuba. These are included in the manuscript (B).

Bars 15–17 The original manuscript (A) includes the legato slurs in the bassoon, which are missing in the original manuscript (B). Since the composer has used the legato slurs in similar cases (e.g. in trumpet in measures 7–8 and in horn in measures 11–13), the legato slurs have been retained in the present edition.

Bar 17 The original manuscript (A) includes legato slur in the cello, which is missing in the original manuscript (B). Since the composer has used the legato slurs in similar cases (e.g. in trumpet in measures 7–8 and in horn in measures 11–13), the legato slur has been retained in the present edition.

Bar 18 The original manuscript (A) lacks p marking in the second violin and viola. It is included in the manu-script (B).

Bars 18–20 The original manuscript (A) lacks p marking, crescendo hairpin, and sf marking in the trombone and tuba. These are included in the manuscript (B).

Bar 19 The original manuscript (A) includes legato slur in the bassoon, which is missing in the original manuscript (B). Since the composer has used the legato slurs in similar

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4cases (e.g. in trumpet in measures 7–8 and in horn in measures 11–13), the legato slur has been retained in the present edition.

Bar 20 On beat 2, the original manuscript (A) includes an up bow marking in the cello, which is missing in the original manuscript (B). At the same time, the original manuscript (B) includes an up bow marking at the beginning of measure 21, which also makes it essential to use the up bow mark in measure 20. Therefore, the up bow marking is retained in measure 20.

Bar 21 The original manuscript (A) lacks a diminuendo hairpin in the bassoon. It is included in the manuscript (B).

Bar 21 The original manuscript (A) lacks a legato slur and up bow marking in the cello. These are included in the manuscript (B).

Bars 22–23 The original manuscript (A) lacks a legato slur in the clarinet. It is included in the manuscript (B).

Bar 26 The original manuscript (A) lacks p marking in the horn. It is included in the manuscript (B).

Bar 27 The original manuscript (A) includes pp marking in horn 1 and 2, which is missing in the original manuscript (B). Since it is essential to determine the dynamics in measure 27, the marking is retained in the present edition.

Bars 29–30 The original manuscript (A) lacks a dimi-nuendo hairpin in the clarinet. It is included in the manu-script (B).

Bar 31 The original manuscript (A) lacks a crescendo hairpin in oboe 1. It is included in the manuscript (B).

Bar 31 In the original manuscript (A), the bassoon is notated as follows:

probably a mistake. The mp marking is replaced with p by the editor.

Bar 34 The original manuscript (A) lacks accidental (flat) in front of the second sixteenth note of the second divisi of violin 1, which is probably a mistake. The flat is added by the editor.

Bars 34–35 The original manuscript (A) includes legato slurs in the oboe, which are missing in the original manuscript (B). Analogous with the flute in measures 38–39 and according to the original manuscript (A), the legato slurs are retained in the present edition.

Bars 35–36 The original manuscript (A) lacks a cres-cendo hairpin and mf marking in the oboe. These are included in the manuscript (B).

Bars 35–36 In the original manuscript (A), the crescendo hairpin in the clarinet includes beat 2 of measure 35 as well as measure 36. In the original manuscript (B), it includes only measure 36. Analogous with bassoon 2 and according to the original manuscript (A), the notation of the manuscript (A) is retained in the present edition.

Bar 36 The notation of the rhythm of the double bass is altered in accordance with the rhythmic grouping of the cello.

Bars 36–37 In the original manuscript (A), the cres- cendo hairpin in violin 1 includes beat 2 of measure 36 as well as measure 37. In the original manuscript (B), it includes only measure 37. By analogy with violin 2 in measures 37–38 and according to the original manuscript (A), the notation of the manuscript (A) is retained in the present edition.

Bars 36–37 The original manuscript (A) includes a crescendo hairpin in the second divisi of violin 1, which is missing in the original manuscript (B). Analogous with the first divisi of violin 1 and according to the original manuscript (A), the crescendo hairpin is retained in the present edition.

Bars 37 The original manuscript (A) lacks mf markings in oboe 2, clarinet 2 and bassoon 2. These are included in the manuscript (B).

Bars 37 The original manuscript (A) includes the accent marks (marcato) in oboe 2, clarinet 2 and bassoon 2. The original manuscript (B) lacks accent marks but includes p markings instead. Both accent marks and p markings are retained in the present edition.

Bars 37–38 The original manuscript (A) includes the legato slurs in the oboe, which are missing in the original manuscript (B). Analogous with the flute in measures 38–39 and according to the original manuscript (A), the legato slurs are retained in the present edition.

Bar 38 The original manuscript (A) includes p marking in the first divisi of violin 1, which is missing in the original manuscript (B). At the same time, the manuscript (A) includes a crescendo hairpin in measure 39, which ends with mf marking in measure 40. Thus, measures 38–40 constitute a unit similar to measures 36–38, which also include crescendo hairpin followed by mf marking. However, unlike measures 38–40, measures 36–38 also include p marking (measure 36). Analogous with measures 36–38, p marking is retained in measure 38.

Bars 38–39 The original manuscript (A) lacks a crescendo hairpin and mf marking in oboe 1. These are included in the manuscript (B).

The original manuscript (B) is showing somewhat different notation:

Since the composer has used the notation shown in the manuscript (A) in similar cases (e.g. in clarinet in measures 25 and 28 or in oboe in measures 33 and 36), the notation of the manuscript (A) is retained in the present edition.

Bars 30–31 The original manuscript (A) includes cres-cendo hairpin in the second divisi of violin 1, which is missing in the original manuscript (B). Analogous with the first divisi of violin 1 and according to the original manuscript (A), the crescendo hairpin is added to the second divisi of violin 1 in the present edition.

Bars 32–33 The original manuscript (A) lacks a crescendo hairpin in the clarinet. It is included in the manuscript (B).

Bars 32–33 The original manuscript (A) includes legato slurs in the bassoon, which are missing in the original manuscript (B). Analogous with the flute in measures 38–39 and according to the original manuscript (A), the legato slurs are retained in the present edition.

Bar 33 On beat 2, the original manuscript (A) includes mp marking in the second divisi of violin 2, which is

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5Bars 38–39 The original manuscript (A) lacks a cres-

cendo hairpin and mf marking in oboe 2, clarinet 2 and bassoon 2. These are included in the manuscript (B).

Bars 38–40 The original manuscript (A) lacks a crescendo hairpin and mf marking in bassoon 1. These are included in the manuscript (B).

Bar 39 The notation of the rhythm of the double bass is altered in accordance with the rhythmic grouping of the cello.

Bars 39–40 The original manuscript (A) lacks cres- cendo hairpin and mf marking in oboe 2, clarinet 2 and bassoon 2. These are included in the manuscript (B).

Bar 40 The original manuscript (A) includes solo marking in flute 1, oboe 1, and clarinet 1, which is missing in the original manuscript (B). The marking is retained in the present edition.

Bar 40 On beat 2, the original manuscript (A) includes up bow markings in the cello and double bass, which are missing in the original manuscript (B). At the same time, the original manuscript (B) includes up bow markings in measure 42, which imply the use of an up bow in measure 40. On this basis, the up bow markings in measure 40 are retained in the present edition.

Bar 40 On beat 2, the original manuscript (A) includes p markings in the cello and double bass, which are missing in the original manuscript (B). At the same time, the original manuscript (B) includes p markings in all other instruments, including the bassoon, which doubles the cello and double bass. On this basis, the p markings in cello and double bass are retained in the present edition.

Bars 41–42 The original manuscript (A) includes tenuto markings in the oboe and clarinet, which are missing in the original manuscript (B). Since the tenuto markings are used in similar cases (for instance, in the bassoon in measures 32–33, or in oboe 1 in measures 34–35), the tenuto markings in the oboe and clarinet are retained in the present edition.

Bar 43 The original manuscript (A) lacks an accent mark in oboe 1. It is included in the original manuscript (B).

Bar 44 The original manuscript (A) lacks a legato slur in trombone 1. It is included in the original manuscript (B).

Bar 44 The original manuscript (A) includes legato slurs that tie together notes 1–3 and 4–6 of the sextuplet of violin 2.

Bar 45 On beat 1, the original manuscript (A) includes f marking in the horn. The original manuscript (B) includes f marking only in horn 1 and 2 and instead is written on beat 2. Analogous with other instruments the spelling of the manuscript (A) is retained in the present edition.

Bar 45 On beat 1, the original manuscript (A) includes f marking in trombone 1 and 2, which is missing in the original manuscript (B). Analogous with other instruments the f marking is retained in the present edition.

Bar 45 In the original manuscript (A), più f espressivo is written in the violin and viola. In the original manuscript (B) this is replaced with più f ed espressivo.

Bar 45 The original manuscript (A) lacks a down bow marking in the double bass. It is included in the original manuscript (B).

Bars 45–46 In the original manuscript (A), the parallel thirds of the trumpet are notated as B / D sharp – B flat / D – A sharp / C sharp – G sharp / B sharp. In the original

manuscript (B), these are notated as C flat / E flat – B flat / D – B flat / D flat – A flat / C.

Bars 45–52 In the original manuscript (A), timpani is notated as follows:

In the original manuscript (B), this passage is replaced with empty measures.

Bars 46–48 On the first beat of each measure, the original manuscript (A) lacks the staccato markings of the flute. These are included in the original manuscript (B).

Bar 47 The original manuscript (A) lacks f marking in trombone 3 and tuba. It is included in the original manu-script (B).

Bar 47 The original manuscript (A) includes f markings in the cello and double bass.

Bar 47 The original manuscript (A) lacks a sharp in front of G sharp in the double bass. It is included in the original manuscript (B).

Bar 48 In the original manuscript (A), the bassoon is notated in the great octave with the indication of a2. In the original manuscript (B), bassoon 1 is notated in the small octave whereas bassoon 2 is notated in the great octave.

Bar 48 The original manuscript (A) lacks a diminuendo hairpin in trombone 1 and 2. It is included in the original manuscript (B).

Bars 48–49 In the horn, the original manuscript (A) includes ff marcato in measure 49. In the original manuscript (B), it is written in measure 48.

Bars 48–49 In the horn, the original manuscript (A) includes accent marking in measure 48. The original manuscript (B) includes accent markings in both measures 48 and 49.

Bar 49 The original manuscript (A) lacks legato slurs in the flute. These are included in the original manuscript (B).

Bar 49 The original manuscript (A) lacks sempre ff in viola 2 and viola. It is included in the original manu- script (B).

Bar 50 The original manuscript (A) lacks a2 and cres-cendo hairpin in the bassoon. These are included in the original manuscript (B).

Bar 50 The original manuscript (A) lacks a crescendo hairpin in the cello and double bass. It is included in the original manuscript (B).

Bars 50–56 The original manuscript (B) includes stac-cato markings that articulate the end of the legato slurs. These are missing in the original manuscript (A). In this regard, the handwritten copy of the original manuscript (C) is identical to the manuscript (B). At the same time, the similar motifs in flute in measures 45–49 lack the staccato markings. Based on uniform spelling the staccato markings are removed in the present edition.

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6Bars 51–52 The original manuscript (A) includes a

diminuendo hairpin in the horn, which is missing in the original manuscript (B). Analogous with other brass instruments, the diminuendo hairpins are retained in the present edition.

Bars 51–52 In the original manuscript (A), the cymbals play the same material as in measures 49–50. In the original manuscript (B), the material in measures 51–52 is removed.

Bars 51–52 The original manuscript (B) includes a dimi-nuendo hairpin, a crescendo hairpin, and a legato slur in violin 2, which are missing in the original manuscript (A).

Bar 52 On beat 2, the original manuscript (A) lacks ties in trombone 1 and 2. These are included in the original manuscript (B).

Bar 52 The original manuscript (A) includes up and down bow markings in the cello and double bass, which are missing in the original manuscript (B). The markings are retained in the present edition.

Bar 52 The original manuscript (A) lacks crescendo hairpin in the double bass. It is included in the original manuscript (B).

Bars 53–54 The original manuscript (A) includes mf marking in the clarinet, which is missing in the original manuscript (B). However, the original manuscript (B) includes a crescendo hairpin in measure 54, which is missing in the manuscript (A). The present edition retains both markings.

Bars 55–56 The original manuscript (A) includes a crescendo hairpin in the clarinet, which is missing in the original manuscript (B). The latter is probably a mistake. Therefore, the crescendo hairpin is retained in the present edition.

Bars 55–56 The original manuscript (A) lacks a diminuendo hairpin in the cello. It is included in the original manuscript (B).

Bars 55–57 The original manuscript (A) includes two crescendo hairpins in violin 1 and 2: the first includes measures 55–56 and the second measure 57. Measure 57 also shows p marking. The original manuscript (B) contains two similar crescendo hairpins, but the first includes measure 55 and the second measures 56–57. The manuscript (B) also lacks p marking in measure 57.

Bars 55–59 In the original manuscript (A), the repeated notes of the trumpet are notated as G sharps. In the original manuscript (A), they are notated as A flats.

Bar 57 The original manuscript (A) lacks a down bow marking in violin 2. It is included in the original manu- script (B).

Bars 57 and 59 In measure 57, the original manuscript (A) includes p markings in the cello and double bass. The original manuscript (B) lacks p markings in measure 57; these have been moved to measure 59.

Bar 58 The original manuscript (A) lacks measure 58. Measure 58 is added on the basis of the original manuscript (B). As the result, the solo cello material in measure 57 has been moved to measure 58, and in measure 57, the solo cello still doubles the cello section.

Bar 61 In the original manuscript (A), all notes are grouped together in the solo cello. In the original manuscript (B), they are beamed according to the beat. Since all eighth notes and shorter rhythmic values are beamed together in

all other measures of the solo (measures 58–74), the notation shown in the original manuscript (A) is retained in the present edition.

Bars 61–66 In the original manuscript (A), the flute is notated as follows:

In the original manuscript (B), it is notated as in the present edition.

Bar 63 The original manuscript (A) lacks an up bow marking in the cello solo. It is included in the original manuscript (B).

Bar 63 The original manuscript (A) lacks pizz. marking in the cello. It is included in the original manuscript (B).

Bar 64 The original manuscript (B) includes a natural symbol in front of A of bassoon 2. In the original manuscript (A), the key signature lacks A sharp and there is no natural in front of A.

Bar 64 The original manuscript (A) lacks an up bow marking in violin 2. It is included in the original manu-script (B).

Bars 64–65 In the original manuscript (A), the clarinet is notated as follows:

In the original manuscript (B), it is notated as in the present edition.

Bars 65–66 In the oboe, the original manuscript (A) includes crescendo hairpin which begins at measure 65. In the original manuscript (B), it begins at measure 66.

Bars 65–67 In the flute, violin 1, and cello solo, the original manuscript (A) includes a crescendo hairpin that begins at the end of measure 65. In the original manuscript (B), it begins at measure 66.

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7Bar 66 In the original manuscript (A), a crescendo hairpin

appears throughout the entire measure in the clarinet, whereas in the manuscript (B) it includes the last two thirds of the measure. Analogous with the oboe and bassoon, the notation of the manuscript (A) is retained in the present edition.

Bar 71 The original manuscript (A) includes a tie in horn 4, which is missing in the manuscript (B).

Bar 73 The original manuscript (A) lacks a diminuendo hairpin. It is included in the original manuscript (B).

Bar 74 The original manuscript (A) lacks p marking in the woodwinds, harp, violin, and viola. It is included in the original manuscript (B).

Bar 74 The marking of the metric modulation is added to the horn.

Bars 75–76 In horns 3 and 4, the legato slur begins at measure 76 in the original manuscript (A). In the original manuscript (B), it begins at measure 75.

Bars 75–78 The original manuscript (A) includes legato slurs in the clarinet. The original manuscript (B) lacks the slurs and these are replaced with the marking legato sempre. Since the legato slurs are used in similar occasions also in the manuscript (B), the notation of the manuscript (A) is retained in the present edition.

Bar 77 In the original manuscript (A), all eighth notes are all beamed together in the bassoon. In the original manuscript (B), these are beamed according to beat. At the same time, the eighth notes in the cello and double bass are all beamed together also in the manuscript (B). Analogous with the cello and double bass, the notation of the original manuscript (A) is retained in the present edition.

Bar 78 The original manuscript (A) includes a diminuendo hairpin in trombone 3 and tuba, which is missing in the original manuscript (B). For the sake of clarity, however, it is necessary to articulate the dynamics of the instruments. On the basis of the original manuscript (A), the diminuendo hairpin is retained in the present edition.

Bar 79 The marking of the metric modulation is added to the oboe and trumpet.

Bars 79–80 In the original manuscript (A), the legato slur begins at measure 80 in the bassoon. In the original manuscript (B), it begins at measure 79.

Bars 81–82 In the original manuscript (A), the crescendo ends at measure 81 (crescendo is marked with hairpin). In the original manuscript (A), however, it ends at measure 82 (crescendo is marked with cresc.---------------).

Bar 82 On beat 2, the original manuscript (A) lacks a flat symbol in front of the A of violin 2. It is included in the original manuscript (B).

Bar 82 The original manuscript (A) includes a crescendo hairpin in violin 2. The original manuscript (B) shows a diminuendo hairpin instead.

Bar 83 The marking of the metric modulation is added to the trumpet. The original manuscript (A) includes p marking in the trumpet. The original manuscript (B) shows sf marking instead.

Bar 86–87 The original manuscript (A) lacks a legato slur in horn 3 and 4. It is included in the original manu-script (B).

Bar 88 The marking of the metric modulation is added to the trumpet.

Bars 88–89 In the bassoon, the legato slur begins at measure 89 in the original manuscript (A). In the original manuscript (B), it begins at measure 88.

Bar 89 The marking of the metric modulation is added to the horn.

Bars 89–90 In the original manuscript (A), a crescendo is marked with hairpin in measure 89. In the original manuscript (B), it is marked with cresc. followed by the dotted line.

Bars 89–90 The original manuscript (A) lacks a crescendo hairpin in the cello and double bass. It is included in the original manuscript (B).

Bars 89–91 The original manuscript (A) includes cres-cendo hairpins in measures 89 and 91. These are replaced with cresc. marking followed by the dotted line in measures 89–91 of the original manuscript (B).

Bars 89–91 The original manuscript (A) includes crescendo hairpin in measures 90–91 of the trombone 3 and tuba. The original manuscript (B) includes two hairpins in measures 89–90 and 91.

Bar 90 In the original manuscript (A), the viola is notated as follows:

It is probably a mistake and the viola should be notated as shown in the manuscript (B) or the present edition.

Bar 92 The marking of the metric modulation is added to the cello and double bass.

Bars 92–93 The original manuscript (A) includes up and down bow markings in the violin and viola. These are missing in the original manuscript (B). In order to emphasize the change in articulation, the markings are retained in the present edition.

Bar 94 The marking of the metric modulation is added to the clarinet.

Bar 94 The original manuscript (A) lacks a diminuendo hairpin. It is included in the original manuscript (B). At the same time, the original manuscript (A) includes p marking which is missing in the original manuscript (B).

Bars 94–97 In the original manuscript (A), the wood-winds are notated as follows:

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8

and the violin and viola as follows:

In the original manuscript (B), it is notated as in the present edition.

Bars 94–97 The original manuscript (A) displays empty measures in horns 1 and 2. In the original manuscript (B), the measures are notated as in the present edition.

Bar 99 The original manuscript (A) lacks a diminuendo hairpin in the trombones. It is included in the original manuscript (B).

Bars 99–108 In the original manuscript (A), the flute, oboe and clarinet are notated as follows:

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9

and the violin and viola as follows:

In the original manuscript (B), it is notated as in the present edition.

Bar 100 The original manuscript (A) lacks I in the bassoon. It is included in the original manuscript (B).

Bar 100 The original manuscript (A) lacks mp marking in the bassoon, cello and double bass. It is included in the original manuscript (B).

Bar 100 The marking of the metric modulation is added to the cello and double bass.

Bar 101 The marking of the metric modulation is added to the flute.

Bars 101 and 103 The original manuscript (A) lacks crescendo hairpins in the bassoon. These are included in the original manuscript (B).

Bars 101 and 103 The original manuscript (A) lacks crescendo hairpins in the cello and double bass. These are included in the original manuscript (B).

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10Bars 102 and 104 The original manuscript (A) includes

a crescendo hairpin in horn 3, which is missing in the origi-nal manuscript (B). At the same time, the original manuscript (B) shows the crescendo hairpin in horn 1 and 2. Analogous with horn 1 and 2 and on the basis of the manuscript (A), the hairpin in horn 3 is retained in the present edition.

Bars 102–103 The original manuscript (A) lacks a crescendo hairpin and sf marking in the flute, oboe and clarinet. These are included in the original manuscript (B).

Bar 103 The marking of the metric modulation is added to the trumpet.

Bar 104 The original manuscript (A) lacks a2 marking in the bassoon. It is included in the original manuscript (B).

Bar 104 and 105 The original manuscript (B) includes mp marking that is missing in the original manuscript (A). The original manuscript (A) includes mp marking in measure 105 that, in its turn, is missing in the original manuscript (B).

Bar 105 The marking of the metric modulation is added to the oboe and clarinet.

Bars 105–108 The original manuscript (A) lacks a crescendo marking in the trombone and tuba. It is included in the original manuscript (B).

Bars 105–108 In the original manuscript (A), the cres-cendo marking begins on beat 2 of measure 105 of the cello, whereas the double bass shows no marking at all. In the original manuscript (B), the crescendo marking begins on downbeat and it is added to the cello as well as double bass.

Bar 106 The marking of the metric modulation is added to the flute.

Bar 108 The original manuscript (A) shows A as the last eighth note of the measure. In the original manuscript (B) this is replaced with the eighth rest.

Bar 108 The original manuscript (A) lacks the legato slur between beat 1 and 2. It is included in the original manu-script (B).

Bar 109 The original manuscript (A) lacks sffz marking in the trumpet. It is included in the original manuscript (B).

Bar 109 The marking of the metric modulation is added to the trumpet.

Bar 109 The original manuscript (A) includes ff marking in trombone 1 and 2. It is replaced with sffz in the original manuscript (B).

Bar 109 The original manuscript (A) lacks ff marking in the tuba. It is included in the original manuscript (B).

Bar 109 The original manuscript (A) includes f marking in the timpani. It is replaced with ff in the original manu-script (B).

Bar 109 The original manuscript (A) lacks an up bow marking in the violin and viola. It is included in the original manuscript (B).

Bar 109 The original manuscript (A) lacks ff marking in the double bass. It is included in the original manu-script (B).

Bars 109–125 The original manuscript (A) lacks legato slurs in the oboe. These are included in the original manuscript (B).

Bar 112 In the original manuscript (A), the timpani is notated as follows:

In the original manuscript (B), it is notated as in the present edition.

Bars 113–114 The original manuscript (A) includes legato slur in trombone 3, which is missing in the original manuscript (B). Analogous with trombone 1 and 2 and on the basis of the original manuscript (A), the legato slur is retained in the present edition.

Bar 115 In the original manuscript (A), the timpani is notated as follows:

In the original manuscript (B), it is notated as in the present edition.

Bars 115–116 In the original manuscript (A), the cla-rinet is notated an octave higher than in the original manuscript (B).

Bars 115–116 The original manuscript (A) lacks cres-cendo and diminuendo hairpins in the trumpet. These are included in the original manuscript (B).

Bars 115–124 The original manuscript (A) lacks legato slurs in violin and viola. These are included in the original manuscript (B).

Bar 117 In the original manuscript (A), the horn is notated as follows:

In the original manuscript (B), it is notated as in the present edition.

Bar 118 On beat 2, the original manuscript (A) lacks a legato slur in the oboe. It is included in the original manuscript (B).

Bar 118 On beat 2, the original manuscript (A) lacks a natural symbol in front of the bassoon’s F. It is included in the original manuscript (B).

Bar 118 In the original manuscript (A), the cymbal is notated as follows:

In the original manuscript (B), it is notated as in the present edition.

Bar 118 The original manuscript (A) lacks a natural symbol in front of the last sixteenth note of the cello. It is included in the original manuscript (B).

Bar 120 The original manuscript (A) displays a G as the last sixteenth note of the violin and viola. In the original manuscript (B), it is replaced with B.

Bar 120 The original manuscript (A) lacks accent markings in the double bass. These are included in the original manuscript (B).

GE 12191

11Bar 121 On beat 2, the original manuscript (A) lacks a

natural symbol in front of flute 2’s F. It is included in the original manuscript (B).

Bar 121 On beat 2, the original manuscript (A) lacks a natural symbol in front of the violin and viola’s F (the first sixteenth note of the second triplet). It is included in the original manuscript (B).

Bars 121–122 In the original manuscript (A), the cymbal is notated as follows:

Bar 141 The original manuscript (A) includes a legato slur in the oboe, which is missing in the original manu-script (B).

Bars 148–149 The original manuscript (A) lacks a crescendo hairpin in clarinet 1. It is included in the original manuscript (B).

Bars 150–151 The original manuscript (A) includes a diminuendo hairpin in the flute, which is missing in the original manuscript (B).

Bars 151–153 The original manuscript (A) includes cresc. marking in the horn, trumpet, and violin. In the original manuscript (B), it is replaced with cresc. poco a poco.

Bar 156 The original manuscript (A) lacks f marking in the horn. It is included in the original manuscript (B).

Bars 157–161 In the original manuscript (A), a crescendo hairpin includes measures 157–161 of the horn. In the original manuscript (B), it includes measures 159–161.

Bars 159–162 In woodwinds of the original manuscript (A), a crescendo hairpin includes measures 159–162. In the original manuscript (B), it includes measures 160–162.

Bar 160 The original manuscript (A) lacks f marking in the harp and string instruments. It is included in the original manuscript (B).

Bars 160–162 In the original manuscript (A), measures 160–162 display a crescendo hairpin that includes all the measures. In the original manuscript (B), each measure is provided with an individual hairpin.

Bar 166 The original manuscript (A) lacks ff marking in the cymbals. It is included in the original manuscript (B).

Bar 166 The original manuscript (A) lacks Do maj. marking in the harp. It is included in the original manu-script (B).

2. Ostinato

Bar 18 On beat 2 and 3, the original manuscript (A) staccato markings appear with the quarter notes of the bassoon. Since the markings are probably added by accident, they are removed from the present edition.

Bars 44–45 The original manuscript (A) includes both a cresc. marking and crescendo hairpin in the flute, oboe, violin1, and double bass. In order to avoid doublings in dynamics, the hairpin is removed from the present edition.

Bars 45–46 In the original manuscript (A), the notation of the cymbal is unclear. Therefore, the manuscript (B) and orchestral parts (D) form the basis of measures 45–46 of the cymbal in this edition.

Bars 57–59 The original manuscript (A) includes both the cresc. poco a poco marking and a crescendo hairpin in the flute, oboe, English horn, bassoon, viola, and cello. In order to avoid doublings in dynamics, the hairpin is removed from the present edition.

Bars 68–69 By analogy with other woodwinds, the two individual crescendo hairpins in measures 68 and 69 of the flute are replaced with a single hairpin which includes both measures 68 and 69.

Bars 69–70 The original manuscript (A) includes legato slurs in the cello and double bass. Since the slurs conflicts with the up and down bow markings, they are removed from the present edition.

In the original manuscript (B), it is notated as in the present edition.

Bar 123 On beat 1, the original manuscript (A) lacks a natural symbol in front of the violin and viola’s B (the first sixteenth note of the second triplet). It is included in the original manuscript (B).

Bar 124 The original manuscript (A) lacks a diminuendo hairpin in the trumpet, trombone 3, tuba and timpani. It is included in the original manuscript (B).

Bar 124 The original manuscript (A) lacks triplet indication numbers in the double bass. These are is included in the original manuscript (B).

Bars 124–125 In the original manuscript (A), horns 3 and 4 are notated as follows:

Bars 124–126 The original manuscript (A) lacks diminuendo hairpins in the timpani. These are included in the original manuscript (B).

Bars 125–126 The original manuscript (A) includes a diminuendo hairpin in measures 126 of the cello. In the original manuscript (B), the diminuendo hairpin is added also to the double bass. Both hairpins include measures 125–126.

Bars 125–127 The original manuscript (A) lacks a diminuendo hairpin and pp marking in the timpani. These are included in the original manuscript (B).

Bar 127 The original manuscript (A) lacks pp marking in the bassoon. It is included in the original manuscript (B).

Bar 128 The original manuscript (A) includes Più stretta marking that is missing in the manuscript (B). The marking is retained in the present edition.

Bars 128–130 In the original manuscript (A), the diminuendo is notated with hairpin in the cello and double bass. In the manuscript (B), it is notated with dim. marking.

Bar 135 The original manuscript (A) lacks mp marking in violin 1. It is included in the original manuscript (B).

Bar 139 The original manuscript (A) includes a legato slur in the clarinet, which is missing in the original manu-script (B).

Bar 140 In the original manuscript (A), the viola is notated as in the present edition. In the original manuscript (B), all eighth notes are beamed together. Analogous with the flute, clarinet 1, cello, and double bass, the layout of the manuscript (A) is retained in the present edition.

GE 12191

12Bars 73–74 and 82–83 The original manuscript (A)

includes crescendo hairpins which display different length. These are adjusted in the present edition.

Bars 85–86 The original manuscript (A) displays unclear bow movement in violin 1. The bow movement of measures 85–86 is adjusted with measures 86–89.

Bars 106–107 The original manuscript (A) displays legato slurs in the viola and cello. These, however, are incompatible with the bow movement. Therefore, the legato slurs are removed from the present edition.

Bars 130–139 The original manuscript (A) displays phrase slurs that are removed from the present edition.

Bar 140–142 The original manuscript (A) displays two individual crescendo hairpins in measures 140 and 141–142 of the bassoon. These are replaced with a single hairpin that includes measures 140–142 in the present edition.

Bars 158–164 In the original manuscript (A), the measures of the double bass are notated as follows:

the first note of measure 268 includes an up bow marking that conflicts with the tie. Therefore, the tie is removed from the present edition.

Bars 267–268 The original manuscript (A) displays up and down bow markings in violins 1 and 2. Since the previous similar measures already display such markings, these are removed from measures 267–268.

Bar 271 In the original manuscript (A), the viola displays B and C sharp on beat 3. It is probably an error and there should be C sharp and D as shown in the bassoon, cello, and double bass.

Bars 283–285 The original manuscript (A) displays unclear bow moving in violins 1 and 2, which is removed from the present edition.

Bars 283–285 Analogous with violin 1, flageolet marks are added to violin 2.

3. Intermezzo

Bars 14–15 Analogous with measure 13, the diminuendo hairpin is extended in the clarinet.

Bar 15 The original manuscript (A) displays unclear bow movement in violin 2. The bow slurs are added, analogous with measure 13.

Bar 20 A crescendo hairpin is extended until the beginning of measure 20 in the oboe.

Bars 23–30 In the original manuscript (A), the rhythm of the viola is sometimes notated as follows:

In the present edition, these are notated as follows:

Bars 167–169 The legato slurs of the oboe, English horn, and bassoon 2 are adjusted.

Bars 177–178 The original manuscript (A) displays two individual crescendo hairpins in measures 177 and 178 of the string instruments. These are replaced with a single hairpin that includes measures 177–178 in the present edition.

Bar 223 On beat 1, the original manuscript (A) displays staccato mark in the clarinet. This is probably an error since there are no staccato marks in the similar measures (e.g. measures 219 and 221). Therefore, the staccato mark is removed from the present edition.

Bar 237 On the second eighth note of beat 2, the original manuscript (A) displays G in horn 2. It is probably an error and is corrected by the editor to be an F.

Bar 239 In the original manuscript (A), the bassoon displays two eighth notes on beat 1. It is probably an error and the bassoon should display a dotted rhythm as shown in the cello and double bass. It is corrected by the editor.

Bars 260–261 On beat 1 of measures 261, the original manuscript (A) displays an up bow marking in violin 2 and viola. It is probably an error and the marking should appear on the last eighth note of measure 260. It is corrected by the editor.

Bar 265 On beat 1, the original manuscript (A) displays an up bow marking in violin 2. Since the previous similar measures already display such marking, it is removed from measure 265.

Bars 267–268 The original manuscript (A) displays a tie that connects the last note of measure 267 with the first note of measure 268 in violins 1 and 2. At the same time,

In the present edition, it is replaced with a more correct variant:

Bars 34 and 35 Crescendo hairpins of violin 1 are shortened so that they include only the two last beats of both measures.

Bar 46 The original manuscript (A) displays legato slur between A flat and B flat of trombone 1. Analogous with measure 42, the slur should instead connect A flat and G. It is corrected by the editor.

Bars 64–65 Analogous with the first chord, the arpeggio markings are added to other chords of the harp.

Bar 73 The original manuscript (A) displays F flat as the first note of flute 2 and trombone 3. It is probably an error and should instead be F. It is corrected by the editor.

4. Finale

Bars 1–12 Dynamics of the snare drum are added on the basis of the orchestral parts (D).

Bars 48–50 The original manuscript (A) displays repeated f markings in the cymbals that are removed from the present edition.

Bars 62–64 The original manuscript (A) displays repeated dynamic markings in the flute, oboe, and clarinet. These are removed from the present edition.

GE 12191

13Bars 74–78 The original manuscript (A) displays two

individual diminuendo hairpins in measures 74–76 and 77. These are replaced with a single hairpin that includes measures 74–78.

Bar 118 The original manuscript (A) lacks flat in front of E of the timpani, which is probably an error. The flat is added by the editor.

Bar 127 In the clarinet of the original manuscript (A), the slur ends at the second quarter of the triplet of beat 1. It is extended until the third quarter of the triplet in the present edition.

Bar 152 The original manuscript (A) displays an accent marking on the first eighth note of the snare drum. At the same time, the accent marking is missing in all the similar preceding and subsequent measures, and it is also not substantiated contextually. Therefore, the accent mark is removed from the present edition.

Bar 169 The original manuscript (A) displays two f markings in the clarinet, violin 2, and viola. The second marking is removed from the present edition.

Bar 170 The original manuscript (A) displays two f markings in the bassoon, cello, and double bass. The second marking is removed from the present edition.

Bar 173 The original manuscript (A) displays two f markings in the clarinet, violin 2, and viola. The second marking is removed from the present edition.

Bar 173 The original manuscript (A) displays an accent marking as well as sf marking in horn 1 and 2. The accent marking is removed from the present edition.

Bar 174 The original manuscript (A) displays two f markings in the bassoon, trombone 3, cello, and double bass. The second marking is removed from the present edition.

Bars 181–185 The original manuscript (A) displays f markings in each measure of trombone 1 and 2. All markings except the first are removed from the present edition.

Bars 184–185 The original manuscript (A) displays two f markings in both measures of the trumpet. The second marking is removed from the present edition.

Bars 196–197 In the original manuscript (A), the crescendo hairpin of the clarinet includes only measure 197. Analogous with the flute, it is extended backward so that it includes both measures 196 and 197.

Bar 240 The original manuscript (A) displays the last note of oboe 2 as B. Analogous with the trumpet and the preceding and subsequent measures of the oboe, it may be assumed that it is a mistake, and there should be a G sharp instead. It is corrected by the editor.

Bars 257–258 In the original manuscript (A), the harp is notated as follows:

Bars 266–267 In the original manuscript (A), the clarinet is notated as follows:

This has been renotated in the present edition.

Bars 325–326 a2 is moved from the end of measure 325 to the beginning of measure 326 in the oboe.

Bars 329–330 Analogous with other woodwinds, legato slur is extended over the barline in flute 1.

Bar 330 The original manuscript (A) displays D on beat 1of the tuba, which is later crossed out. The present edition lacks D on beat 1 of the tuba.

Bar 338 The original manuscript (A) displays the second quarter as A in the tuba. It is probably an error and should instead be a B. It is corrected by the editor.

Bar 340 In the original manuscript (A), beat 1 of the timpani is notated as a tremolo in thirty seconds. In all other similar instances, it is notated as tremolo in sixteenths. The tremolo in thirty seconds is replaced with tremolo in sixteenths in the present edition.

Bar 343 In the original manuscript (A), the second eighth note of the horn 2 and 4’s triplet is notated as A. It is probably an error and instead should be a G as in, for example, measure 340. It is corrected by the editor.

Suite on Estonian Dances, ETW 15Composed in 1938

Note: The composer has additionally named the piece Kolm eesti tantsu (Three Estonian Dances) and Eesti tantsud (Estonian Dances).

A. The published copy of the original score in KF. Title: Estonian Dance Suite / Süit eesti tantsudest / Estnische Tanzsuite / Suite de danses esthoniennes. Movements untitled. I (144 bars), II (89 bars), III (280 bars). 66 pp. Date: 1965.

B. Original score in ERSO. Title: Eesti tantsud. Ristpulkade tants (136 bars), II Pikk ingliska (75 bars), III Setu tants (280 bars). 67 pp. Date: March – April 1938.

C. Original score on onionskin sheets in GMF. Title: Estnisk Danssvit. 66 pp. No date.

D. Handwritten copy of the score in VR. Title: Eesti tantsud. I Ristpulkade tants, II Pikk ingliska, III Setu tants. 67 pp. No date.

E. Handwritten copy of the score in GMF. Title: Eesti tantsud. 67 pp. No date.

F. Orchestral parts on onionskin sheets in GMF.G. Handwritten orchestral parts in ERSO.