The Estonian Philharmonic Chamber Choir marked its 45th anniversary on July 1 with a concert featuring Veljo Tormis's "Eesti meeste laulud" (Songs of Estonian Men) and "Eesti naiste laulud" (Songs of Estonian Women). For Kaljuste, the choir's founder and chief conductor, the event was not just a jubilee concert but a reflection on a journey that began long before the professional choir was established.

Kaljuste said on an ERR broadcast that creating the chamber choir was not a single decision or moment. It followed nearly a decade of work with the Ellerhein chamber choir, during which he developed ideas about repertoire and the potential place of Estonian choral music in the world. He describes that period as "taidlus" — amateur or community‑based artistic activity.

Looking back, he sees a clear aspiration: that Estonian culture and music could become a distinct phenomenon internationally. The repertoire sung during those early years laid the foundation for the later professional choir.

When the Estonian Philharmonic Chamber Choir began in 1981, Kaljuste continued working at the Estonia Theater, conducting operas and musicals. It was there that Eri Klas entrusted him with Veljo Tormis's "Eesti ballaadid" (Estonian Ballads). Over time, Tormis's music became a central pillar of Kaljuste's work, even though Tormis initially imagined his compositions performed by large choirs with powerful sound — a vision shaped by his study years in Moscow.

Kaljuste realized that choral cultures should not be compared. One must first understand one's own cultural background and then build something unique. This led to the choir's distinctive sound: not massive, but clear, with each singer's individuality preserved. Soloistic moments are woven into the texture so that singers step forward gradually, making the choir's sound brighter.

This approach also shapes the anniversary concert, where Kaljuste merges Tormis's men's and women's song cycles into a single dramaturgical whole.

Kaljuste often thinks of his father, Heino Kaljuste, especially when reflecting on tensions in Estonian society. He believes many conflicts arise because people do not communicate enough. What often frustrates him in Estonian public life is the lack of communication and dialogue.

He occasionally shares thoughts on social media, saying his generation has lived through different political systems and ideologies and feels a responsibility to explain, share experiences, and build bridges rather than divide.

Above all, Kaljuste values that Estonian culture can develop in a free country. He notes that in the 1980s it would have been unimaginable for Estonian music to reach the kinds of concert halls it does today — a journey he describes as "cosmic."

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