1. Biography and Introduction
2. The Second Symphony
3. Movement I - Moderato tranquillo
4. Movement II - Interludium
5. Movement III - Spirituoso
6. Additional Internet Information on Mr. Sumera

Biography and Introduction

Lepo Sumera was born in Tallinn , the capital of Estonia , on May 8, 1950 . He studied composition at the Tallinn Conservatory under Heino Eller, a famous advocate of Estonian music. He also attended the legendary Moscow Conservatory for graduate course work. For five years he worked as a recording producer with the Estonian Radio. Always an ardent educator, in 1978 he became a professor and member of the teaching staff at the Estonian Academy of Music. His works have won several prizes, among them awards for film-scores in Cannes . Mr. Sumera was pivotal in guiding Estonian culture holding the official position of Minister of Culture from 1988 to 1992 during the pivotal years of Glasnost and the breakup of the former Soviet Union .

Mr. Sumera shares much in common with his Estonian contemporaries - Arvo Pärt, Erkki-Sven Tüür and Peteris Vasks who are shaping the Estonian national style of music. His music is neither 'difficult' nor does it use any serial techniques, but on the other hand it is neither easy music. His music rewards concentrated listening. Trademarks to his musical style are the subtle but vital treatment of rhythm and nordic timbres all imbued with a sense of northern landscapes or cold seascapes.

In some of Sumera's music, the abundance of phrase repetitions might suggest an influence by minimalist music, which, however, was completely unknown in Estonia in the early 80s, when works employing this technique (or a resemblance of it) first emerged. On first listening to his music, one notices simplicity of form and a richness of textural atmosphere within cold and formidable confines.

The chords are often in the minor keys and his forces employee staccato (short detached pulses) with frequent transitions between key signatures. The music is tonal though not particularly melodic as much as it is prevailing. Mr. Sumera's music sounds like a mixture of the Nordic soundworld of Jean Sibelius, the arpeggios of Philip Glass, the stylistic disguises of Alfred Schnittke, and the elegant simplicity of Arvo Part but Sumera's sound world is altogether new. Mr. Sumera is an experimenter and likes combining unusual timbres into a traditional setting. For instance, his Symphony No. 4 “sinfonia Borealis” features an important part for electric guitar and percussion. In recent years he has been active in the field of electro-acoustic music, and presented works like And So On Back And Forth (1991) and Play For Two (1992) in this genre.

Lepo Sumera 's list of works contains the ballets Anselm's Story (after E.T.A. Hoffmann, 1977/78), The Lizard (1987/93), six symphonies (1981–2000), Piano Concerto (1989), cantatas, chamber music and piano pieces. Sadly, Mr. Sumera died suddenly of a heart attack at the age of fifty on June 2, 2000 just two weeks after the premiere of his Symphony No. 6.

I had the great fortune of being in contact with Mr. Sumera during the final two years of his life. I found him to be articulate, modest, and possessing a keen sense of humor. As a music composition student, it was my hope to one day have the pleasure of discussing with him how he came to write his second symphony so that I may learn from his compositional methods. Due to his untimely death, I decided to write an analysis and guide of his second symphony in hopes that I may learn from his style, technique, and compositional methods by reviewing what he left behind. My goal is that this article serves to boost interest in this talented composer and that I may learn from his legacy though never having had the benefit of discussing this work with him.

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The Second Symphony

Mr. Sumera's Symphony No. 2 was composed in 1984 when Estonia was an eastern block country of the former Soviet Union . The work is scored for 2 flutes, 2 oboes, 2 clarinets in B flat, 2 bassoons, 4 horns in F, 3 trumpets in B flat, 3 trombones, tuba, timpani, 3 percussion (bass drum, tubular bells, tam-tam), 2 harps, and strings.

Similarly to the extended use of celesta within Sumera's first symphony, this symphony makes extended use of two harps. The role of the harps serves almost as an undercurrent to the forcefulness and visceral splendor of the symphony. The duration is approximately 20 minutes and it is in three movements. The first and last movements form the heart of the symphony while the middle movement serves as an interlude. Movements I and II are played without pause.

I Moderato tranquillo – Attacca

II Interludium

III Spirituoso

The heart of the symphony lies in the climactic third movement with its dramatic and vigorous transcendence through all twelve minor keys to a catastrophic culmination of formidable brass. The sound is besieged with cold, isolated seascapes and rugged northern expanses.

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