{"id":5053,"date":"2020-05-29T10:57:48","date_gmt":"2020-05-29T08:57:48","guid":{"rendered":"https:\/\/erso.ee\/maaratlemata-en\/lepo-sumera-a-restless-creative-mind-and-an-extraordinary-human-being\/"},"modified":"2022-08-22T07:19:14","modified_gmt":"2022-08-22T05:19:14","slug":"lepo-sumera-a-restless-creative-mind-and-an-extraordinary-human-being","status":"publish","type":"post","link":"https:\/\/erso.ee\/en\/2020\/05\/lepo-sumera-a-restless-creative-mind-and-an-extraordinary-human-being\/","title":{"rendered":"Lepo Sumera \u2013 a restless creative mind and an extraordinary human being"},"content":{"rendered":"

On 8 May, the Estonian music community celebrated the 70th anniversary of Lepo Sumera\u2019s birth. Sumera was one of the central and most influential composers in post-war Estonia. His significance reaches beyond his creative accomplishments \u2013 he was also the culture minister, the chairman of the Estonian Composers\u2019 Union and an experienced and well-loved teacher.<\/p>\n

This brief biographical overview also sheds light on Sumera\u2019s restless and inquisitive nature. He accomplished so much and he loved great challenges and stark contracts \u2013 in both work and life.<\/p>\n

One of the most important symphonic composers<\/h3>\n

In terms of oeuvre, Sumera made his mark on the Estonian music history as one of the most important symphonic composers. His six symphonies comprise the core of his oeuvre and superbly illustrate his creative style that embraces sharp contrasts, powerful dramatic twists, stylistic playfulness, versatility of sound imagery, sometimes even images that verge on the absurd and humour. But primarily, Sumera\u2019s large-scale works tread the paths of timelessness, eternity and the quintessential issues of humanity \u2013 addressing the topics of life and death, love and torment, through music.<\/p>\n

The diversity of genres Sumera composed in is overwhelming. He wrote numerous chamber and choral works as well as large-scale compositions. His oeuvre is enriched by impressive works for solo instruments and ensembles, an opera and several ballets.<\/p>\n

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Estonian composers Erkki-Sven T\u00fc\u00fcr (left) and Lepo Sumera (right) chatting on the street in 1984. Photo by Anton Mutt\/ERR.<\/figcaption><\/figure>\n

Moreover, Sumera was a key figure in introducing electroacoustic opportunities to Estonian music. He used electronic means in several works and composed the multimedia composition, \u201cHeart Affairs\u201d that is largely based on electronic material. He was also the founder of the electronic music studio of the Estonian Academy of Music. In addition, Sumera was an important partner in other spheres of art, regularly collaborating with renowned theatrical figures, film directors, choreographers and artists. These collaborations have given birth to several works central to Estonian cultural history.<\/p>\n

Broad musical horizon<\/h3>\n

My own acquaintance with Lepo began quite early on. I was 10 years old when I wanted to take up composition in addition to piano lessons and my grandfather, who played the violin at the Estonian National Symphony Orchestra, took me to Lepo Sumera. To this day, I am deeply grateful to my grandfather, as he made it possible for me to take lessons from the beginning until my final years at the Estonian Academy of Music from one of the brightest creative minds and outstanding composition teachers of Estonia.<\/p>\n

Lepo himself had studied with the legendary Estonian composer, Heino Eller, and with the Estonian composition landscape being divided between the two largest towns in Estonia \u2013 Tallinn and Tartu \u2013 his style gravitated towards the latter. Eller\u2019s hometown, Tartu, was also where he worked before WWII. Although he moved to Tallinn after the war, his students are often referred to as the representatives of the Tartu School.<\/p>\n

Eller\u2019s influence was certainly evident in Lepo\u2019s teaching methods \u2013 it showed in his attention to detail, great demands on musical material and broad musical horizon, which he shared with me tirelessly. Like Eller, Lepo introduced his students to important contemporary trends that did not necessarily align with his own preferences.<\/p>\n

Breaking the barriers<\/h3>\n

His sensitive approach to timbre, often minimalist sound imagery and overall postmodern aesthetic did not disclose too much of what he taught about contemporary western music. Lepo\u2019s abundant collection of music was even more impressive and essential to his students, because until 1991 Estonia was occupied by the Soviet Union \u2013 thus, Estonians could not easily access or experience the western cultural phenomena.<\/p>\n

Lepo tried to break these barriers systematically and constantly \u2013 among other things, he made tape recordings of many classical music broadcasts on foreign radio stations, and also of the records that he had succeeded in procuring abroad. These tapes are responsible for some of my most profound musical experiences.<\/p>\n

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Lepo Sumera (left), conductor Peeter Lilje (middle) and music teacher Enno Mattiisen abroad. Photo courtesy of the Estonian National Symphony Orchestra.<\/figcaption><\/figure>\n

As a teacher, Lepo had an admirable ability to see the bigger picture. When, at some point, I became interested \u2013 again through his tapes \u2013 in American minimalism, he advised me not to choose that extremely fashionable composition style during my studies. It must be one of the most important pieces of advice I have received on my creative path, because I understood later that had I chosen minimalism immediately, I would probably have lacked the motivation to delve into other styles.<\/p>\n

Strong dramaturgical vision<\/h3>\n

Lepo\u2019s own oeuvre also reveals how careful and meticulous he was in his aesthetic and stylistic choices. The minimalist sections of his compositions are highly unique \u2013 one can discern much more dramatism and layers than is generally evident in works composed in this style. Besides, Lepo considered minimalism as just one possible way of expression among many others, and the final choices in his works always served an extraordinarily strong dramaturgical vision.<\/p>\n

One of Lepo\u2019s most well-known and popular works \u2013 \u201cThe Piece from the Year 1981\u201d \u2013 is undoubtedly a stellar example of minimalism. It has been performed as an encore at countless concerts, used in movies, exhibitions, dance performances. Lepo himself sensed even greater dramatic potential in this piece and shaped it into his Symphony No 1, completing it at the end of the same year.<\/p>\n

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