This article was translated from Estonian to English using ChatGPT. Therefore, if you notice any unclear translations or inaccuracies, please report them via email to harry@pmkoda.ee.
This article is published in the book “Eesti riigimuusika ja sõjaväeorkestrid: kujunemine ja areng aastatel 1918–1940” [Estonian State Music and Military Orchestras: Formation and Development in 1918–1940] (Tartu: Elmatar, Kaitseväe Ühendatud Õppeasutused, 2008, ISBN: 9789949435296)
Peeter Saan
Introduction
At first, discussing these two compositions together may seem inappropriate, but upon closer examination, so many common threads emerged that separating them would have been both forced and meaningless. Although the composers and the time of creation of these pieces do not coincide, they have both attained the status of a symbol of statehood in two neighboring countries—Estonia and Finland—practically within the same time frame and within a similar developmental context.
Congratulating Tarja Halonen on her election as President of the Republic of Finland, President of Estonia Lennart Meri also remarked: “Our nations and states are united by related languages, cultures, anthems, and ‘Porilaste Marss’ (March Men of Pori).”
On the Authorship of “Porilaste Marss” [March Men of Pori]
Finnish music researchers have not yet reached a consensus regarding the authorship of “Porilaste Marss” (March Men of Pori).
More precisely, they have arrived at a common conclusion that the composer remains unknown. The position of Finnish historians and musicologists is so firm that the topic has not been subjected to more in-depth analysis over the past 50 years. Christian Fredric Kress, who occasionally appears as the composer in sheet music (often with a question mark), is generally considered more likely to be the arranger of one version or, even worse, has been accused of plagiarism.
The topic has been thoroughly researched and discussed in published articles by Ernst Lagus, who, in the early years of the 20th century, questioned Kress’s authorship; Heikki Klemetti, who a few years later concluded that Kress was indeed the composer of the march; and Jan Sederholm, who refuted this claim once again in 1959.
Known by Multiple Names
According to the research of Finnish scholar J. Sederholm, the prevailing view is that the main theme of the march—albeit in a slightly different form than today—was first heard in Stockholm in 1773 as part of the intermission music for the ballet Acis and Galatea, where it was used as the theme for the contredanse Contredanse belle constante. This dance melody became highly popular in Sweden (and also in Norway). That same year, Carl Michael Bellman incorporated it into the musical setting of Fredman’s Epistle No. 51.
Military bands performed the piece under various titles, such as Bonaparte’s March in Egypt or Austerlitz March. Versions of the march preserved at the Sibelius Museum in Turku suggest that the name Bonaparte’s March in Egypt was linked to the melody solely for political reasons between 1803 and 1805. After that period, Napoleon’s name lost popularity among the public.
The Svea Life Guards Orchestra used Porilaste Marss (March Men of Pori) as the ceremonial march of the unit in the final years of the 18th century. Around the same time, the piece made its way to Finland, most likely brought by Swedish military musicians or other musically inclined soldiers.
In Sveaborg (Suomenlinna Fortress), the orchestra under the direction of band conductor Christian Fredric Kress, performed the march under the title March of the Dowager Queen.
The origins of the composition remain speculative in research. Marches discovered in both France and Great Britain contain melodic elements in their opening bars that bear resemblance to Porilaste Marss [March Men of Pori].
The march received its modern form and name only when Conrad Greve, the band conductor of the Turku Grenadier Sharpshooter Battalion, arranged it for a wind orchestra as the battalion’s ceremonial march. He also incorporated the march into the music for Fredrik Berndtson’s play Ur lifvets strid, which premiered in Helsinki in 1851.
The play depicts events from the Swedish-Russian War of 1808–1809, although there is no direct evidence that the march was actually used during the war.
In various arrangements, the march was used by many Finnish military orchestras until it was officially designated as the salute and parade march of the entire Finnish Defence Forces by order of the Commander-in-Chief (Order No. 535.-18.Y.1.) on March 11, 1918. This designation included J. L. Runeberg’s lyrics and the Pacius–Leander arrangement.
Since then, the performance of Porilaste Marss (March Men of Pori) has been permitted only on formal occasions. The march is also an integral part of the ceremonial music for the President of the Republic of Finland.
Pacius ja Runeberg – „Vårt land” and „Porilaste marss” (March Men of Pori)
Fredrik Pacius
Johan Ludvig Runeberg
On May 13, 1848, in preparation for the Flora Festival, Fredrik Pacius received a commission to compose music for Johan Ludvig Runeberg’s poem Vårt land (Our Land). The piece was intended to be performed as a choral song.
However, to enhance its impact, the composer immediately created an arrangement for wind orchestra as well. The song was met with enthusiastic reception, and the public embraced it as a musical expression of the Finnish spirit.
Soon after its premiere, efforts to translate the song into Finnish began, a process that lasted several decades. This topic has been thoroughly examined by Finnish historian Matti Klinge, who has highlighted several reasons why the translation took so long.
The Finnish version still in use today, translated by Paavo Cajander, was published only in 1889. After the poem was translated into Finnish, it was given the title “Maamme” (Our Land).
Pacius and Runeberg also played a significant role in making Porilaste Marss (March Men of Pori) widely recognized among the general public.
Since the mid-19th century, it is fascinating to observe how two musical works—Vårt land and Porilaste Marss (March Men of Pori)—began to develop side by side, gradually becoming widely popular, then nationally significant, and ultimately strong symbols of national identity.
As early as 1852, F. Pacius created a piano arrangement of Porilaste Marss (March Men of Pori). The first lyrics for the march were written by Zacharias Topelius in 1858, and in the same year, Pacius also composed a male choir arrangement. However, the final version of the song emerged when J. L. Runeberg wrote new patriotic lyrics for the march in 1860—lyrics that are still in use today. Runeberg’s lyrics were likely inspired by the heroism of the Pori Regiment in the battles of the Swedish-Russian War. From this point onward, the title Porilaste Marss (March Men of Pori) became firmly established. The Finnish translation in use today was written by Heikki Klemett.
Matti Klinge’s approach to the authorship of Porilaste Marss (March Men of Pori) is quite surprising. In his research, he claims: “Both Maamme and Porilaste Marss (March Men of Pori) were composed by Pacius—drawing on certain influences—but in an entirely new spirit, based on the core vision of the poem.” However, this view is not supported by other Finnish musicologists.
Both Vårt land and Porilaste Marss (March Men of Pori) became extremely popular male choir songs immediately after their premiere. By the 1870s, they had become virtually mandatory pieces in every choir’s repertoire—initially in Swedish.
The Pacius–Jannsen song “Mu isamaa, mu õnn ja rõõm” and “Porilaste Marss” (March Men of Pori) became national symbols of Estonia
Johann Voldemar Jannsen
While the exact date of Porilaste Marss (March Men of Pori) reaching Estonia cannot be determined, F. Pacius’ Vårt land first appeared in print in Estonia in 1860, when Johann Voldemar Jannsen published a collection of secular songs in Tartu under the title Eesti Laulik. Among his patriotic songs was Mu isamaa, mu õnn ja rõõm, which was performed on June 19, 1869, during the second-day concert of the first Estonian Song Festival.
It is also significant that while the Finnish national anthem has been translated multiple times by various translators, J. V. Jannsen’s Mu isamaa, mu õnn ja rõõm has remained textually unchanged to this day.
The process by which this song became a national anthem has been thoroughly documented by Artur Taska in his book Eesti hümn, and therefore, it will not be discussed in detail here. Initially, it became almost obligatory within the Estonian Students’ Society, later appearing in the repertoire of choirs and song festivals, and eventually in schools. By the late 19th century, Mu isamaa, mu õnn ja rõõm had evolved into a national song, acquiring the characteristics of an anthem:
– It was sung as the final song at song festivals and other events, immediately before the Russian imperial anthem.
– It was performed solemnly and respectfully, with the audience standing and heads uncovered.
“The formation of a national anthem for the Estonian people coincides with the period in history known as the National Awakening, which actually began in the second half of the previous century (19th century – Author). From that time onward, the Estonian people gained their own press, epic, and history, established their own societies, song festivals, literature, art, and music. Most importantly, during this period, a sense of national unity emerged as a political force, shaping Estonian political thought as a whole.” (Taska, Artur. 1996. Eesti hümn, p. 43).
The routes by which Porilaste Marss (March Men of Pori) arrived in Estonia can only be speculated upon. Military musicians and conductors likely played a significant role in this process. It is known that many Estonian men served in the regimental orchestras of the Tsarist army in the governorates of Estonia, Livonia, Saint Petersburg, and Pskov, as well as in Finland and other regions. Additionally, orchestras moved with their military units, and both musicians and kapellmeisters frequently changed positions.
The exact date when Estonian brass bands began performing Porilaste Marss (March Men of Pori) cannot be determined with certainty. However, it likely took place in the final decades of the 19th century or even earlier, as by the turn of the century, Porilaste Marss (March Men of Pori) was already firmly established in the repertoire of orchestras.
One of Estonia’s oldest orchestras writes in its history: “The Paasvere brass band soon became quite popular throughout the parish and beyond… It was highly sought after, even at the hunting parties of local noble families (the Maydells, Neffs, and Stackelbergs), where the Finnish Porilaste Marss (March Men of Pori) was a particular favorite of the landowners.”
“Mu isamaa, mu õnn ja rõõm” as the national anthem and “Porilaste Marss” (March Men of Pori) as the national ceremonial march
From the late 1890s onward, it became an established tradition to sing “Mu isamaa, mu õnn ja rõõm” at national events, now firmly recognized as the national anthem. Likewise, ending a concert with “Porilaste Marss” (March Men of Pori) had become a customary practice.
At the 6th Estonian Song Festival (1896), the second day’s concert of secular songs concluded with Porilaste Marss (March Men of Pori) . On the program sheet, instead of the composer’s name, three asterisks were printed—indicating that the march was also considered a work of an unknown composer in Estonia.
On the third day of the festival, the final song before the Russian imperial anthem was “Mu isamaa, mu õnn ja rõõm”.
A month and a half later, on July 27, 1896, newspaper Postimees published an editorial that explicitly stated that this song was the anthem of the Estonian people. It referred to the song alternately as Isamaa laul (Fatherland Song), rahvalaul (folk song), Eesti rahva laul (song of the Estonian people), and finally as hümn (anthem).
Although the early 20th century brought tensions between the Tsarist government and organizations promoting national sentiment, there was no direct ban on singing the national anthem. As a result, patriotic speeches and celebrations still concluded with the national anthem.
Since the 1910 Song Festival was marked by dramatic events related to the laying of the cornerstone for the Estonia Theatre and Concert Hall, this festival has been widely discussed and documented. Regarding the festival’s conclusion, Juhan Aavik later wrote:
“After the final number of the musical program, the crowd spontaneously began singing Mu isamaa, mu õnn ja rõõm. At that time, it was not yet the official Estonian anthem—it could not have been due to the prohibition imposed by the Tsarist government—but in essence, it had already become one, as in moments of great national significance, this song would always resound as if by tradition… The people stood up, uncovered their heads, and joined in the singing…
The governor, Korostovets, who was attending as an honorary guest, instinctively assumed a formal stance… until an official whispered something in his ear. With a displeased expression, he gestured dismissively and stormed out of the festival grounds with his entourage… Meanwhile, the people continued singing…
To give the event a dignified and more disciplined conclusion, old Wirkhaus led the orchestra in playing Porilaste Marss (March Men of Pori) as a final piece. In Finland, this musical work had already been banned as a demonstrative act of defiance.”
From this, it can be inferred that “Porilaste Marss” (March Men of Pori) must have been well-known among the people and likely held a status similar to that of Raimund Kull’s spirited march “Kodumaa”, which has become an essential encore piece at modern song festivals.
Over time, government interference in national events became increasingly apparent. Speeches were sometimes banned, and at other times, the singing of the national anthem was prohibited. However, there was always a way to justify its performance, or the Tsarist authorities did not take the prohibitions too seriously—”Mu isamaa, mu õnn ja rõõm” continued to be sung, and orchestras kept playing “Porilaste Marss” (March Men of Pori).
On March 26, 1917, Estonians held a grand procession in Petrograd demanding autonomy for Estonia. The marchers paraded past the State Duma to the sound of “Porilaste Marss” (March Men of Pori) and “La Marseillaise”. During this event—for the first and likely the last time—”Mu isamaa, mu õnn ja rõõm” was performed inside the Tauride Palace.
Shortly after, on April 12, 1917, the Russian Provisional Government issued the Regulation on the Administrative Governance and Local Government of the Estonian Governorate, which essentially granted Estonia autonomy.
The events above clearly illustrate how one song and one march gained their symbolic status—one as the national anthem, the other as the national ceremonial march—in the country that officially came into existence on February 24, 1918.
The National Anthem and the State Ceremonial March
In the Republic of Estonia, there were no legal provisions regarding the use of Mu isamaa, mu õnn ja rõõm as the national anthem. However, since the song had already become a beloved national song in the previous century and was subsequently recognized as an anthem, a legal act was deemed unnecessary. Similarly, Porilaste Marss (March Men of Pori) initially lacked any formal legal designation. In most countries, there were—and still are—no specific laws establishing a national anthem.
In the records of the Ministry of War’s orchestra sheet music collection, preserved in the National Archives, the first entry in the marches section is Porilaste Marss (March Men of Pori), and in the anthems section, Eesti hümn (Estonian Anthem). Unfortunately, the starting date of this record book is unknown (ERA, f 533, n 1, s 774 / SM orchestra sheet music collection book). However, these two compositions were certainly already in active use.
During the War of Independence, the wave of patriotic enthusiasm also inspired musicians and orchestra conductors. The widespread desire to express national pride and patriotic fervor led to situations where military orchestras played the national anthem in inappropriate contexts. This prompted Commander-in-Chief Johan Laidoner to issue a specific order regulating the anthem’s use: “It has occurred that military orchestras have played potpourris in which the Estonian national anthem has been incorporated. Likewise, military orchestras have sometimes performed the national anthem in situations that do not meet the necessary standards, for example, in restaurants and at drinking parties.
The anthem is the highest patriotic and ceremonial song for the Estonian people, which military orchestras may perform only in appropriate circumstances. Therefore, I hereby prohibit military orchestras from playing potpourris that include the anthem. I also prohibit military orchestras from performing the anthem in unsuitable situations, such as taverns, restaurants, and all kinds of drinking parties.”
This is likely the first and possibly the only official regulatory document issued regarding the use of the national anthem in Estonia.
The first official document regulating the use of Porilaste Marss (March Men of Pori) by military orchestras was issued by the Minister of War on April 19, 1921 (Order No. 251). It stated: “Military orchestras shall greet the Head of State with Porilaste Marss (March Men of Pori), unless a specific order has been given to play the anthem instead.”
(ERA, f 495, n 6, s 44, l 255 / Minister of War’s Order No. 251, 19.04.1921).
Porilaste Marss (March Men of Pori) in National Ceremonies
During the 4th anniversary celebrations of Estonian independence in 1922, a nationwide tribute to the heroes of the War of Independence took place in all major garrison towns. Alongside regular forces, soldiers who had earned the Cross of Liberty for their service in battle were given a place of honor. During the parade ceremony, these war heroes were officially awarded their distinctions. The parade documents contained a clear directive: “As the Cross of Liberty recipients march past, military units shall present honors, and orchestras shall play Porilaste Marss.” (ERA, f 529, n 1, s 289, l 41 / 1922 Independence Day Parade Documents).
From these two documents, it is evident that Porilaste Marss (March Men of Pori) had been granted the highest ceremonial status among marches.
Transition to Another Ceremonial March
However, Porilaste Marss (March Men of Pori) had a relatively short tenure as the official march for greeting the Head of State. On January 27, 1923, the Minister of War issued Order No. 42, replacing it with a newly composed march: “In all cases where Porilaste Marss (March Men of Pori) was previously played, military orchestras shall now perform the Solemn March composed by Ed. Lineff.” (ERA, f 495, n 6, s 47, l 64 / Minister of War’s Order No. 42, 27.01.1923). (Lineff later appeared under various name spellings—Linef, Linev, and Liinev, and from 1940 onward, Liives, following Estonianization.)
Despite this change, Porilaste Marss (March Men of Pori) did not disappear from military orchestras’ repertoire or ceremonial use. Instead, it became associated with the Commander-in-Chief of the Armed Forces, though no direct legal act formally established this. Numerous documents from state parades and ceremonies preserved in the Estonian National Archives indicate that when the Commander-in-Chief of the Armed Forces was present, orchestras played Porilaste Marss (March Men of Pori). Over time, the march became popularly known as “Laidoner’s March”, after General Johan Laidoner, Estonia’s wartime military leader.
Porilaste Marss (March Men of Pori) as “Laidoner’s March”
Vaino Kallas, who attended the June 25, 1939, unveiling of a monument to President Konstantin Päts in his birthplace, Tahkuranna, recalled the ceremony in his memoirs: “The military orchestras began playing the greeting march, and the president walked past the honor guard, greeting soldiers from various branches of the armed forces. Then, the orchestra started playing Porilaste Marss (March Men of Pori), which was popularly known as Laidoner’s March, as the Commander-in-Chief of the Defence Forces, General Johan Laidoner, marched past the honor guard.”
(Kallas, Vaino. 2008. Mööda käidud teed. Tallinn: Tallinna Raamatutrükikoda, p. 46).
Porilaste Marss (March Men of Pori) as a Song
In addition to being an instrumental march, “Porilaste Marss” (March Men of Pori) has also been widely performed as a song, with multiple different lyrics or variations of lyrics. These versions date from various periods—some from before Estonia’s independence, some from the War of Independence, and others from the years that followed. The authors of these lyrics remain unknown.
On the Sheet Music and Orchestration of the Anthem and Porilaste Marss (March Men of Pori)
According to the bibliography “Eesti noodid 1918–1944″, the first published orchestral arrangement of the anthem for wind orchestra (19 orchestral parts) dates back to 1928 (catalog entry 1724). Since the year is given in brackets, it is considered an estimate (Eesti noodid 1918–1944. I. Bibliograafia, 2001. Tallinn: Eesti Rahvusraamatukogu, pp. 265–266).
This orchestration already includes trumpet signals added by Raimund Kull. The likely reasoning behind adding these signals was to differentiate the Estonian and Finnish anthems as much as possible. A version intended for international distribution, arranged by R. Kull (catalog entry 1726), was also printed using 1920s printing techniques. This score carries the French title Hymne d’Estonie – Partition pour d’orchestre militaire in addition to the Estonian title Eesti hümnus.
Although the manuscript of R. Kull’s orchestration preserved in the Estonian Theatre and Music Museum contains no date, the above evidence suggests that it was created in the second half of the 1920s. Supporting this claim are early recordings: both a 1927 symphony orchestra and a 1928 wind orchestra recording feature R. Kull’s arrangement (EHA, Q–50 and 51; Pedusaar, Heino. 2005. Eesti heliplaadiarhiiv 1901–1939. CD 50 and 51. Compiled by H. Pedusaar. Tallinn: Ilo).
Though the Estonian Choral Society’s wind music section included the published anthem in its circulars to orchestra conductors only in the late 1930s, it is likely that orchestras had already been using the 1928 published score. The Raimund Kull arrangement remained in use until 1940.
A version for symphony orchestra (catalog entries 1729 and 1730) introduces an interesting nuance—a six-bar extension at the end featuring trumpet signals, though it lacks Kull’s trumpet signals. Unfortunately, this score is undated, but it is not an Estonian arranger’s work. The entire orchestration—including the extension—is actually derived from the first published edition of the anthem in 1848, composed by Friedrich Pacius himself. Finnish historian Matti Klinge presents a copy of this sheet music in his research but questions whether the extension was ever actually performed, as it is missing from later editions (Klinge, Matti. 1981. Suomen sinivalkoiset värit, pp. 177–179).
Naturally, a large number of a cappella and 1–4-part vocal versions with piano accompaniment have also been published, both in songbooks and as standalone editions.
Following Estonia’s restoration of independence, composers Veljo Tormis and Kirill Raudsepp reconstructed (more accurately, restored) the historical orchestral version, removing R. Kull’s trumpet signals. They based their work on a four-part choral arrangement, which was then printed and became the official version for distribution in Estonia and through embassies abroad.
To accommodate the modern wind orchestra, Peeter Saan later added contemporary instrumentation, including saxophones and replacing alt-horns with French horns. In recent years, however, the Estonian Defence Forces Orchestra has reintroduced a version with trumpet signals. The most recent orchestration is based on Ülo Raudmäe’s 1990 arrangement.
The March – Porilaste Marss (March Men of Pori)
Unlike the anthem, Porilaste Marss (March Men of Pori) was never officially published for wind orchestra in Estonia. It was likely performed from Finnish-published sheet music, which was distributed among orchestras via handwritten copies or arrangements made by conductors themselves.
Today, an official version of Porilaste Marss (March Men of Pori) exists in the arrangement by Teuvo Laine, published for Finnish wind orchestras by the music publisher Fazer.