Verdi Wagner 200 (Estonian National Opera, Risto Joost)
The Best of Arsis Bells (Handbell Ensemble Arsis, Estonian National Male Choir, Estonian National Symphony Orchestra, Kristjan Järvi, Aivar Mäe)
Ad patrem meum (Anna-Liisa Bezrodny, DVD)
Maria Magdalena (Sevara Nazarkhan, State Choir Latvija, Latvian National Symphony Orchestra)
MUSIC FESTIVAL 2013
A joint project of ERP and the city of Tartu. The festival Glasperlenspiel (‘The Glass Bead Game’) directed by Peeter Vähi has got its inspiration from the novel by Hermann Hesse. It is certainly a very special musical event in Estonian summer where music lovers can enjoy performers like Australian Chamber Orchestra, Chamber Orchestra of the Royal Opera House Covent Garden, Süd-West Rundfunk Symphony Orchestra, Tōkyō Philharmonic Chorus, Quintet of Berliner Philharmoniker, Gidon Kremer, Vadim Repin, Piotr Anderszewski, Olli Mustonen, Kristjan Järvi, Paavo Järvi, Christoph Eschenbach, etc, as well as the leading musicians of Estonia.
July 18th - 23rd, 2013, Tartu St John’s church
● Thu, July 18th at 7 pm, St John’s church (Jaani Str 5, Tartu)
Glasperlenspiel Sinfonietta, Avri Levitan (viola, Israel), Martin Daněk (oboe, Czech Republic / Germany), conductor Andres Mustonen
Mozart, Haydn, Tulve (première), Vähi (première)
Live broadcast on the Classic Radio / Estonian Public Broadcasting
Helena Tulve is a composer whose work is centered on the process of continuous change. Her music grows out from simple basic impulses, being influenced by natural patterns, organics and synchronicity. No sound is banned from her compositions and may find its time and space.
About her newest composition Being Mountain I Remain Silent Helena Tulve has said that she got the idea some time ago from the work bearing the same title by an Estonian jewellery artist Kadri Mälk. Instead of comments the composer reads a haiku by Matsuo Bashō (1644–1694):
petal by petal
yellow mountain roses fall –
sound of rapids
Mozart dedicated his Clarinet concerto in A major to his friend, a Viennese clarinet virtuoso Anton Stadler. This is one of the last works completed by the composer, being also his very last instrumental concerto. The work has the characteristic 3-movement (fast-slow-fast) structure of its time, being especially notable for its extremely delicate interplay between soloist and orchestra. This is a superb example of a truly perfect style of a mature master. The Concerto was premiered in Prague, 1791. Two months later, Mozart died. Bernhard Weber wrote in a review of the concerto’s first performance in 1791, “Such an abundance of beauty almost tires the soul, and the effect of the whole is sometimes obscured thereby. But happy the artist whose only fault lies in an all too great perfection.”
Today’s version of the concerto for viola and orchestra is an arrangement by Avri Levitan.
The birth of Peeter Vähi’s To His Holiness is somewhat unprecedented. A year ago Hermann Braun Foundation from Riga commissioned a work for coloratura soprano and chamber orchestra. The soloist was intended to be Inese Galante. As it happened, at that time a spiritual head of a Tibetan school of Buddhism His Holiness 37th Drikung Kyabgon Chetsang Rinpoche, Peeter’s long-time personal acquaintance was severely ill suffering from insomnia. Buddhists around the world hoped to relieve his health problems by reciting the mantra of White Tārā. Hence the composer decided to use the mantra as lyrics for his new composition.
Vähi began composing the work during his 5 months long African expedition. When the work was in the final stages a sudden request from Riga changed the situation drastically: the staff was to be oboe and chamber orchestra. “A change like that has never occurred to me earlier”, the composer tells. “This is almost equal to arranging an opera for a string quartet.” In today’s version only the first four bars, the title and a certain vocal element have been preserved from the initial idea.
In his Symphony No 60 Il distratto Haydn has used music that he composed in 1774 for the comedy by Jean-François Regnard which under the German title Der Zerstreute was staged by Karl Wahr’s troupe. For that 5-act comedy Haydn composed overture and a number of pieces that formed the basis of his Symphony No 60 completed in the same year. Hence also the corresponding number of movements.
An American conductor Kenneth wood has said about the symphony: “It’s the funniest and most modern work on my list, possibly the funnest and most modern symphony ever written. Haydn uses most of the 20th century “isms” in this piece − surrealism, absurdism, modernism, poly-stylism, and hops effortlessly between tightly integrated symphonic argument and rapid-fire cinematic jump-cutting. This is Haydn at his absolute boldest − he undermines every expectation, and re-examines every possible assumption about music.”
Born in the Czech Republic in 1989 Martin Daněk received his first violin lesson at the age of six and at the age of 12 began playing the oboe. Since 2010 he has been studying at the Hochschule für Musik Hanns Eisler in Berlin in the class of Dominik Wollenweber, Solo-Englishhornist of Berlin Philharmonic. Martin has benefited from playing in the masterclasses of M Bourgue, J-L Capezzali, J Guichard, H Schellenberger, O Zoboli, R Ortega, L M Navarro.
As a soloist, Martin has already performed with the Prague Philharmonia, Orchestra UNIMI Milano, Czech Chamber Orchestra, Talich Chamber Orchestra and North Czech Philharmonic, among others. As principal oboe with the European Union Youth Orchetra and with the Gustav Mahler Jugendorchestra, Martin Daněk has performed in concerts at international festivals and venues such as the BBC Proms London, Carnegie Hall in New York, Kennedy Center in Washington, Concergebouw Amsterdam, Salzburger Festspiele, Luzerner Festspiele, World Expo Shanghai, working with conductors such as Sir Colin Davis, Vladimir Ashkenazy, Daniele Gatti and Gianandrea Noseda. He co-operates frequently as principal oboe with the Latvian National Symphony Orchestra. As a freelance oboist, Martin has performed with orchestras such as Berlin Philharmonic, Czech Philharmonic and NDR Symphony Orchestra. An active chamber musician, Martin has collaborated with artists such as F Renggli, S Azzolini, R Baborak, A Weithaas and Afflatus Quintet. During 2005–2011 he was a founding member of Belfiato Woodwind Quintet.
● An Israeli viola player with main domicile in Berlin
● born in Tel Aviv, 1973, studied with Haim Taub
● post-graduate studies in Paris Conservatoire
● close co-operation with musicians like Claude Frank, Pnina Salzman, Roland Pontinen, Staffan Scheja, Bengt Forsberg, Wolfram Rieger, Peter Jablonski, Pavel Glilov, Gerard Poulet, Zachar Bron, Guy Braunstein, Ulf Wallin, Arve Tellefsen, Jan Stanienda, Bernard Greenhouse, Gary Hoffman, Aleksandr Rudin, Torleif Thedeen, Karl-Heinz Steffens, Jerzy Maksymiuk, Nikolai Dyadura, Noam Sharif and Agnieszka Duczmal
● in 2009, nominated for the Prize of BBC Music Magazine
● currently a viola teacher and composer
Andres Mustonen’s (b 1953) discovery of music has followed a very unusual path. His adolescent fascination with contemporary music made an about-face in the early 1970s towards early and Christian music. In 1972 it led to founding the early music consort Hortus Musicus, which gives vital performances even today. Since the founding of the ensemble, Hortus Musicus and Andres Mustonen have been performing constantly on the world’s concert stages and at music festivals: the Utrecht Festival, the Malmö Baroque, concerts in Prague, St Petersburg and Moscow, performances at the Mozart-Fest in Chemnitz, the Jaffa Festival in Israel, the Lufthansa Baroque Festival in London, the Scottish Early Music Festival in Glasgow, the Lockenhaus Festival in Austria, the Kuhmo Chamber Music Festival, the Glasperlenspiel Festival.
Mustonen conducts the leading orchestras of Finland, Sweden, Germany, the Netherlands, Latvia and Lithuania, the Great Tchaikovsky Symphony Orchestra of Moscow Radio, the Russian National Academic Orchestra, the Moscow Philharmonic Orchestra, the St Petersburg Philharmonic Orchestra, the Musica Viva Academic Chamber Orchestra, the Bayerische Rundfunken, the Helsinki City Orchestra, the Finnish Radio Symphony Orchestra, etc.
Mustonen is in close creative contact with many composers – გია ყანჩელი (Giya Kancheli), Владимир Мартынов (Vladimir Martynov), Ավետ Տերտերյան (Avet Terterian), Валентин Сильвестров (Valentin Silvestrov), Erkki-Sven Tüür, Arvo Pärt, Peeter Vähi – also giving premières of their new works.
Making music, Mustonen can be characterised by spontaneity, improvisation and radiant performance. “For me an orchestra is not a static form but a living organisation of musicians, one whose members enhance and affect each other.” In time, Andres Mustonen has developed a wide circle of musician friends with whom he makes music: Natalia Gutman, Alexei Lubimov, Michel Lethiec, Inesa Galante, Yuri Bashmet, Gidon Kremer, Pascal Gallois, Seppo Kimanen. “I never share the stage with someone I don’t know, don’t consider my friend, or don’t love.”
Listen to the live recording
• began his musical studies in his birthplace Lorient, France and continued in the Conservatoire of Nantes and finally in the Conservatoire National Supérieur de Musique de Paris
• 1990, 1st Prize on Vierzon International Competition; 1993, prize on the Rampal competition
• has performed as flute soloist with various orchestras including the Orchestre de Paris, Monte-Carlo Philharmonic, Zürich Tonhalle, Stuttgart Philharmonic
• currently, the principal flautist of the Basel Symphony Orchestra and Zürcher Kammer Orchester in Switzerland
• appears frequently as a soloist throughout Europe, America and Asia
• plays together with musicians like Augustin Dumay, Katia and Marielle Labèque, Marie-Pierre Langlamet, Wolfgang Holzmair etc
• 1985, premiered Joachim Rodrigo’s Flute Concerto in Belgium
• 2001, premiered Nocturnes 2 for flute and string orchestra by Wim Hendericks in Brussels, conducted by Barth Van De Velde
• 2005, gave the world première of Lourié's Duo for flute and piano
• his recordings include Bach’s Suite No 2 under the baton of Rudolf Barshai, the Brandenburg Concertos with the Seoul Chamber Ensemble for EMI, a CD devoted to Debussy for flute and harp with Nicolas Tulliez on the French label Skarbo
• 2007, release of his latest CD featuring Bach’s Flute Concerto BWV 1056, Trio-sonata from Musical Offering and Brandenburg Concerto No 5 on traverso for Naxos nominated for the Grammy Awards
• gives master classes throughout the world (Europe, the USA, South Korea, Brazil etc)
• has been assistant conductor of the Junge Deutsche Philharmonie
• has also composed film music, such as the score for the documentary A Star Called Ayrton Senna
• at present professor at the Musikhochschule in Dresden in Germany
• graduated from the Estonian Academy of Music, studied piano with Prof Bruno Lukk
• postgraduate studies of harpsichord with Ton Koopman and Vaughan Schlepp
• played the harpsichord in early music consort Hortus Musicus for 14 years
• currently is playing in ensembles Tallinn Baroque and Corelli Consort, participates in the Baroque programs of Tallinn Sinfonietta, Tallinn Chamber Orchestra and Estonian Philharmonic Chamber Choir
• has co-operated with soloists X Gao, E Hargis, E Parmentier, H van der Kamp, I Paul, L van Dael, H-R Hauck, J Puhakka, J Cortadellas, A Mattila, K Urb, U Joller, R Joost, K Plaas
• teaches harpsichord and basso continuo at the Estonian Academy of Music, holds summer courses in Estonia and Finland
• chairman of the Estonian Guild of Harpsichord Friends and artistic director of Harpsichord Days
• download: photo of Imbi Tarum by Loit Jõekalda (jpg, 300 dpi, 1042 KB)
Listen to the live recording
● Fri, July 19th at 12.15 pm, St John’s church
A QUARTER OF AN HOUR OF MUSIC
Ensemble Nomad (Japan, artistic director Norio Sato)
Mozart, Body, Aikawa, Villa-Lobos, Davis
● Fri, July 19th at 7 pm, St John’s church
Glasperlenspiel Sinfonietta, Lisa Smirnova (piano, Austria), Raul Vaigla (fretless bass guitar), conductor Darko Butorac (USA)
Mozart, Boccerini, Lattikas (première)
Echo Over the Centuries: “Bass guitar together with drums forms the foundation of a jazz or rock band. But what happens when you take it out of its usual element and make it a soloist for a string orchestra instead of a band...” (Urmas Lattikas)
● Russian-Austrian pianist, born in Moscow, domiciled in Vienna, had her American debut in Carnegie Hall at the age of 20
● in 1993, was the first ever pianist to win the Brahms Award at Schleswig-Holstein festival
● has studied with Karl-Heinz Kämmerling in Salzburg , with Anna Kanton and Lev Oborin at the Moscow Conservatoire and with Maria Curcio and Robert Levin in London
● first and foremost known as a brilliant interpreter of piano concertos and works by Mozart, Schubert, Haydn, Bach and Handel
● critically acclaimed also for her performances of contemporary music, having had close co- operation composers like Rodion Shchedrin, Valentin Silvestrov, Giya Kancheli, Minas Borboudakis
● since 2007, founding member of the New Classic Ensemble Vienna
● together with the above-mentioned ensemble has performed a large number of piano and keyboard works by Bach, Haydn and Beethoven, skillfully combining it into concert programs with chamber music from different periods and new commissions
● has performed all over the world and worked under the baton of conductors like John Storgårds, Ivor Bolton, Manfred Honeck, Andrei Boreiko, Carlos Kalmar et al
● a frequent guest performer at prestigious festivals like Schleswig-Holstein, Salzburger Festspiele and Luzern festivals
● in 2007-2010, Artistic Director of Nagasaki-Ojika International Music Festival in Japan
● a highly appreciated Estonian rock and jazz musician
● graduated from Tallinn Georg Ots Music School
● since 2003, besides his active concert life, teaches bass guitar at the same school
● played in ensemble Ultima Thule since its formation in 1987
● during his career played in ensembles Radar, VSP Projekt and Dagö et al
● has participated in various jazz projects with musicians from Estonia and abroad
● shares a long-time common musical breathing with Urmas Lattikas
● in 2003, released a solo album Soul of Bass
● in 2012, Raul Vaigla’s textbook and DVD How to Become a Bass Player in Six Months was published
● of Serbian origin, born in Toronto, Canada, one of the most sought-after young conductors in today’s world
● has studied with David Effron, Jorma Panula, David Zinman and Imre Pallo
● MA from Indiana University after graduating from Toronto University
● in 2003 and 2004 won David Zinman grant into the American Academy of Conducting at Aspen and was appointed assistant conductor at Aspen Opera Centre where he worked with Julius Rudel and Arnold Oestman
● in 2004, Grand Prix and Special Prize of the Audience at the 4th Vakhtang Jordania International Conducting Competition in Kharkov, Ukraine
● in 2005, upon recommendation by the League of American Orchestras, participated in the Bruno Walter Conductors' Competition with Jacksonville Symphony Orchestra
● since 2007, Music Director of Missuola Symphony Orchestra and conductor North-Arizona University Orchestras
● in 2011, had a successful debut with Belgrade Philharmonic Orchestra followed by an invitations to conduct Deutsche Kammerphilharmonie Neuss, Rubinstein Philharmonic Orchestra in Łódź, Tallahassee Symphony Orchestras
● has conducted Charleston, Canton and Seattle Symphony Orchestras, Seattle Chamber Singers, Montana Lyric Opera Orchestra and as chief conductor Seattle Mahler Festival Orchestra
● has also worked with various European orchestras including Danish Radio and Dnepropetrovsk Symphony Orchestras and as chief conductor Parma Giuseppe Verdi Orchestra as well as Krakow Philharmonic Orchestra
Glasperlenspiel Sinfonietta’s unique artistic style encompasses not only the masterworks of the classical repertoire, but innovative cross-art form projects and a vigorous commissioning program. Our repertoire spanning six centuries, entwines old music with new, we play works from Bach to Tüür, from Corelli to Piazzolla.
Glasperlenspiel Sinfonietta’s birth depends on long-standing willingness to embrace the music with high emotional label, to give the audience unforgettable memories they are never expected to get from classical music concert. We wish to introduce to the listeners the music from the past as alive, breathing, joyful thing. We need to prove that every type of music could bring freshness to the mind, warm the soul and give energy. It is only up to thinking and attitude. The resulting sense of energy and individuality is one of the most commented-upon elements of Glasperlenspiel Sinfonietta concert experience.
Listen to the live recording
Watch Glasperlenspiel Sinfonietta’s live video on YouTube: 18 min 41 sec
● Fri, July 19th at 10 pm, St John’s church
Nick Tsiavos Ensemble (Australia): Deborah Kayser − soprano, Nick Tsiavos − double bass, Adam Simmons − saxophones, clarinets, flutes, shakuhachi, fujara, Peter Neville − percussion, Leah Scholes − percussion
“Looking back over my work the past 20 years or so, I note that apparently disparate threads of interest have woven themselves into a core of ideas that define my performance and compositional language, and perhaps also, at some level, define me. The potency and beauty of ancient sacred chant, both Medieval and Byzantine, has always fascinated me. My earliest musical memories are of the singing in Greek Orthodox churches − these memories were soon overwritten by stronger forces in contemporary culture; rock, jazz and what is quaintly called classical music. These genres were viewed by me as avenues to be travelled upon, explored critically and drawn into a cartography of ideas that would both inform and propel my work, as well as placing it within a greater contextual framework. The passion and depth of meaning in ancient sacred text; the instability, energy and structural possibility of rock, jazz and modern art music; the stillness and static tension within minimalism, all underpinned by the restless anima of improvisation, have become increasingly understood by my self as my own lingua franca. This project is yet another stage in the development of my personal music vocabulary, where the ideas of text and deconstruction are examined and rewritten. The collision between what is ancient and what is modern disallows a stable view of music possibility, instead, it generates new energies and perspectives that reveal and explore, at a very deep level, the individual natures of the contributing performers. The musicians who joined me for Liminal are four remarkable artists; all their histories indicate a willingness, and an ability, to search for transcendent beauty within the grit and dissonance of modern art music.”
I wrote these notes for the CD Liminal a couple of years ago, yet they remain pertinent, and at the core of our intention each time we perform this program. In Liminal I explore three beautiful fragments of chant from both Eastern and Western traditions. These works exist and are deconstructed against the critical, questioning subtexts of the Shaman Dances and the improvisatory responses to the Hodie. The journey is one where one might, hopefully resonate to and perceive the beauty of, the liminal state. (Nick Tsiavos)
Listen to the live recording
● Sat, July 20th at 7 pm, St John’s church
LES PÈRES ET LES FILS
Petr Wagner & Ensemble Tourbillon (Czech Republic)
Petr Wagner (viola da gamba solo), Hana Fleková (viola da gamba), Jan Krejča (theorbo)
Born in Prague in 1969, Petr Wagner studied cello at the Prague Conservatoire with Josef Chuchro. This was followed by studies in musicology at Charles University in Prague and at Royal Holloway College at the University of London. There he was introduced to the viola da gamba by Richard Boothby, later continuing his development as a gamba player with Jaap ter Linden at the Akademie für alte Musik Dresden. After having completed his studies in Dresden, Petr Wagner was invited to study with Wieland Kuijken at the Royal Conservatoire in the Hague where he received the prestigious Uitvoerend Musicus solo diploma.
Petr has appeared at numerous European festivals (Festival d’Ile de France, Prague Spring, Sopron Early Music Days, Mitte Europa Festival, Brežice Early Music Festival, Forum Musicum Wrocław, Glasperlenspiel, Boston Early Music Festival, Concentus Moraviae Festival), both as a soloist and continuo player, and collaborates with musicians such as Jacques Ogg, Shalev Ad-El, Mitzi Meyerson, Bruce Dickey, Miklós Spányi, Péter Szüts, Simon Standage, Ophira Zakai, Magdalena Kožená, also ensembles such as Concerto Palatino, Orfeo Orchestra, Les Inégales Köln, Concerto Armonico Budapest, Oslo Baroque Soloists.
In 1998 Petr Wagner founded the Ensemble Tourbillon with internationally acclaimed musicians. Its core activities focus on 17th & 18th century repertoire, with music by Couperin, Bach, Marais, Rebel, Purcell, Finger, Fischer, and Händel.
Petr regularly records and broadcasts for Czech Radio and TV.
Besides his performing activities, Petr is artistic director of the Early Music Festival in Český Krumlov (Czech Republic) and teaches viola da gamba in Prague and at the Academy of Music of Karol Lipinski in Wrocław.
Download photo of Petr Wagner (jpg, CMYK, 300 dpi, 2 MB).
Listen to the live recording
● Sat, July 20th at 8 pm, Haapsalu Mary Magdalene Ortodox church (in co-operation with Eesti Kontsert)
Nick Tsiavos Ensemble (Australia)
The hang is a musical instrument of the idiophone class created by Felix Rohner and Sabina Schärer in Bern, Switzerland. The name hang comes from the Bernese German word for hand. The hang is sometimes referred to as a hang drum, but the inventors consider this a misnomer and strongly discourage its use. The instrument is constructed from two half-shells of deep drawn, nitrided steel sheet glued together at the rim leaving the inside hollow and creating a distinct “UFO shape”. The top (Ding) side has a center note hammered into it and seven or 8 tone fields hammered around the center. The bottom (Gu) is a plain surface that has a rolled hole in the center with a tuned note that can be created when the rim is struck. The Hang uses some of the same basic physical principles as a steelpan, but modified in such a way as to act as a Helmholtz’ resonator. The creation of the hang was the result of many years of research on the steelpan and other instruments. The inventors of the hang have continued to refine the shape and materials and have produced several variations over the years.
● multi-instrumentalist, composer and producer of Siberian origin
● in 1990, during his studies at St Petersburg Conservatory started researching ethnic music and instruments
● his unique musical language is a synthesis of the world’s most different musical traditions and contemporary sound engineering
● plays over 200 instruments, some of them constructed by himself
● has worked out unique play technique for every instrument as well as special sound engineering system that he calls sound microsurgery
● in his native village of Southern Siberia founded a studio called Sound Microsurgery Department − a kind of creative laboratory for various projects ranging from the reconstruction of ancient instruments to creating new digital sound systems
● since 2005, lives in Berlin
● together with European masters of string instruments has constructed a number of experimental hybrid instruments such as futujara, hybrid-kaval, dzuddahord, et al
● has given new life to many long-forgotten traditional folk instruments
● founder of Siberian ethno-music festival Karma-free Zone
● percussionist who after studies with teachers like Glen Velez, Behnam Samani, Ramesh Shotham and Ustad Fayaz Khan worked out his own musical style uniting the hand drum playing traditions of Iran, India, Egypt, Turkey, Europe and Africa
● co-operation with performers like Omar Faruk Tekbilek, Mishra and Dead Can Dance
● performs in very different styles from Early Music to contemporary and World Music
● besides active concert life, is also teaching and has released a number of DVDs for teaching purposes about playing techniques of different hand and finger drums
● advisory member of North American Frame Drum Association
● in 2011, discovered an instrument called hang and the quaint family of handpan instruments that enlarged his instrumental range and the rhythmic and harmonic scope of repertoire
● in 2012, his CD The Path of the Metal Turtle with music on his newly discovered instruments was released
Watch handg-duo Nadishana-Kuckhermann on YouTube
● Sun, July 21st at 5 pm, Palamuse church (in co-operation with Eesti Kontsert)
Nick Tsiavos Ensemble (Australia)
● Sun, July 21st at 7 pm, St John’s church
DIFFERENT GENERATIONS I
Anna-Liisa Bezrodny (violin), Mari Tampere-Bezrodny (violin), Marko Martin (piano)
Bach, Bach-Brahms, Schnittke, Franck, Ravel
Presentation Anna-Liisa Bezrony’s brand new DVD Ad patrem meum. Watch a fragment (11 min 1 sec) on YouTube − 1st movement of the Violin Concerto No 3 in G major Straßburg by Mozart.
Anna-Liisa Bezrodny was born into a distinguished family of musicians in Moscow, currently in great demand as a soloist, recitalist and chamber musician. Already at the age of two she began her violin studies with her parents, and at the age of nine she entered the Sibelius Academy in Helsinki, Finland, to the class of her parents, Prof Igor Bezrodny and Prof Mari Tampere-Bezrodny, later studying for MMUS degrees in both Sibelius Academy and Guildhall School of Music and Drama in London with Krzysztof Smietana, later winning the most prestigious award in Guildhall, the Gold Medal in 2006, previously won by masters such as Bryn Terfel and Jaqueline du Pre.
Anna-Liisa has appreared as soloist and recitalist with orchestras in most prestigious concert venues in Russia, Finland, Holland, Germany, the UK, Spain, the USA, Estonia and others, including the Royal Festival Hall, Barbican Hall, Wigmore Hall, Konzerthaus Berlin, Cologne Philharmonie, Cadogan Hall, Finlandia Hall, Estonia Concert Hall, St Petersburg Philharmonic Hall, Moscow Conservatoire Great Hall as well as Small Hall and Rachmaninov Hall, and many others.
Anna-Liisa is repeatedly invited to countless festivals, playing in both chamber ensembles as well as solo, such as Die Russische Musik Festival Dortmund (Germany), Malta International Music Festival, Lincoln Festival (UK), Tallinn Chamber Music Festival, Sibelius Festival in Michigan, USA, Liana Isakadze Festival in Batumi, Georgia, Iitti Chamber Festival in Finland and many others. Anna-Liisa is a receipient of countless awards and prizes, for example winner of special prize of the Rotary Club (1999), winner of the Ian Fleming Charitable Award of the Musicians Benevolent Fund (London, 2003), winner of the Martin Musical Scholarship Award, (London, 2003), Hattori Foundation and Myra Hess Trust prizes, (London, 2004), Ricci Foundation Winner 2009, Young Artist of the Making Music Foundation 2009, Heifetz International Violin Competition (2005, 3rd prize), Brahms International Competition (2005, 2nd prize), Haverhill Soloists Competition in UK. In 2006 Anna-Liisa won the prestigious Guildhall Gold Medal, playing Shostakovich Violin Concerto No 1 in the Barbican Hall with Sian Edwards. In 2005 Anna-Liisa Bezrodny was awarded the PROMIS Award for talented young musicians from the London Symphony Orchestra, and in the same year received an honorary prize from the Pro Musica Foundation in Finland.
Anna-Liisa’s playing has been heard on several occasions on Finnish and Estonian National TVs and Radios, NBC and BBC Radio 3 in the UK. She has given concerts with orchestras such as the Moscow Symphony Orchestra TV6 (in the Moscow Conservatory Great Hall), Zürich Chamber Orchestra, Helsinki Philharmonic Orchestra, Turku Philharmonic Orchestra, Bachorkester Gewandhaus Leipzig, Estonian National Symphony Orchestra, Jyvaskyla Chamber Orchestra (Finland), Vaasa Philharmonic Orchestra, Liepaja Symphony Orchestra (Latvia), Haydn Chamber Orchestra, Georgian Chamber Orchestra, Vilnius Philharmonic (Lithuania), Pecs Philharmonic (Hungary), Jena Philharmonic, South Bank Symphony, London Ensemble (Wigmore Hall, world première), Guildhall Symphony Orchestra (Barbican Hall), etc.
As a soloist Anna-Liisa has worked with maestros such as Leif Segerstam, Nikolay Alekseyev, Eri Klas, Olari Elts, Sian Edwards, Juha Kangas, Jason Lai, Robin O’Neil, Arvo Volmer, Paul Mägi, Jüri Alperten, Tibor Boganyi, etc, and she plays extensively with the renowned pianist Ivari Ilja (pianist to Dmitry Hvorostovsky), and Matilda Kärkkäinen.
Additionally, since 2007 Anna-Liisa teaches in both Estonian Academy of Music as well as at the Guildhall School of Music and Drama.
She released her debut CD for ALBA Records in Finland, in collaboration with the pianist Ivari Ilja, which has received most exciting reviews is USA, Gemany, Finland and elsewhere. In late 2010 she released another CD of Eino Tamberg’s Violin Concerto, as a celebration for the composers 80th birthday year.
Listen to the live recording
● Mon, July 22nd at 7 pm, St John’s church
NEONOMADS FROM THE RISING SUN
Ensemble Nomad (Japan, artistic director Norio Sato), Estonian Philharmonic Chamber Choir, Ekaterina Levental (mezzo-soprano, harp, Holland)
Kondo, Taku, Masumoto, Fukushi, Woudenberg (première)
Formed in 1997, Ensemble Nomad has been highly acclaimed both nationally and internationally as one of the leading ensembles in the world specializing in the 20th century music. Led by Norio Satō (guitarist / conductor), Nomad has brought to life many compositions that are rarely performed but are sure to become 20th and 21th century classics. True to its name, Nomad is infinitely flexible and spontaneous in programming the concerts, and the regular concerts, now approaching 50, at Tōkyō Opera City have become standard “events” in the contemporary music scene in Japan. For its unique programming and high-quality performance, Nomad was awarded the KEIZO SAJI Prize from the Suntory Cultural Foundation in 2003.
Nomad’s fields of activity is growing rapidly overseas, starting with the invitation to Amsterdam in autumn 2000 to perform at Gaudeamus Week. Since, the ensemble has made appearances in music festivals in Venezuela, Mexico, France, Belgium, the UK, Korea and China, and future invitations include Australia, Finland, Mexico and Switzerland. In recent years, the ensemble has launched its community engagement programs, in which the ensemble visits schools, nurseries, hospitals and care homes to share the joy of music with those who have limited access to concerts and concert venues.
Nomad’s performance can be heard on CDs. 8 CDs have been released of works by leading Japanese composers, Jo Kondo, Hidemi Ishida, Norio Fukushi and Shinichiro Ikebe. Bestiario, a selection of chamber compositions by a Mexican composer Hebert Vazquez was released internationally 2011.
Estonian Philharmonic Chamber Choir
● founded on Tõnu Kaljuste’s initiative in 1981, is today one of the best known Estonian artists in the world
● in 2001–2007, chief conductor Paul Hiller; since the season 2008/2009, chief conductor and artistic director Daniel Reuss
● the choir’s repertoire spans from Gregorian chant and Baroque music to the works of the 21st century
● a special place is held by the work of Estonian composers Arvo Pärt, Veljo Tormis, Erkki-Sven Tüür
● within a season the choir gives totally 60–70 concerts
● EPCC has worked with many outstanding conductors and orchestras like Claudio Abbado, Helmuth Rilling, Eric Ericson, Iván Fischer, Andrew Lawrence-King, Sir Colin, Davis, Neeme Järvi, Paavo Järvi et al
● joint performances with renowned orchestras like the Norwegian, Australian, Lithuanian, Prague and Stuttgart Chamber Orchestras, London Symphony Orchestra, Mahler Cahmber Orchestra, Berlin Rundfunk Orkester, Concerto Copenhagen, Salzburg Camerata, Les Musiciens du Louvre-Grenoble, Stuttgart Philharmonic Orchestra, BBC Wales Orchestra and of course, Estonian National Symphony Orchestra
● has performed at many prestigious festivals and stages all over the world like koor on BBC Proms, Salzburg Mozartwoche, Abu Gosh Music Festival, Salzburg Festival, Edinburgh and Schleswig-Holstein Music Festivals,Vienna Musikverein, Sidney Opera House, Amsterdam Concertgebouw et al
● has made an awe-inspiring number of recordings and released CDs (ECM, Virgin Classics, Carus, Harmonia Mundi, Ondine) which have won Prizes including Grammy-Award for Arvo Pärt’s Da Pacem (Harmonia Mundi 2006, conductor Paul Hillier)
● EPCC recordings have been nominated for Grammy for 15 times totally and the CDs have been awarded numerous other prizes like Diapason d'Or, Preis der Deutschen Schallplattenkritik, Danish Music Award et al
Listen to the live recording
● Tue, July 23rd at 7 pm, St John’s church
DIFFERENT GENERATIONS II
Kalle Randalu (piano, Estonia / Germany), Liisa Randalu (viola, Estonia / Germany) & Schumann-Quartet (Germany)
Haydn, Dvořák, Verdi, Britten
• Professor at Freiburg and Karlsruhe Universities of Music
• 1999, was appointed Honorary Doctor by Estonian Academy of Music
• 2001, was awarded the Order of the White Star Class IV
• 1980, graduated from Prof Bruno Lukk’s piano class at the Estonian Academy of Music
• 1980–1983, postgraduate studies with Prof Lev Vlassenko at Moscow Conservatoire
• has received accolades at numerous international competitions
• since 1988 lives and works in Germany
• is known for his highly stylish and fine-tuned interpretations of classics, especially Mozart and Beethoven
• special place in his broad and versatile repertoire is taken by Estonian and German music
• has premiered many piano works
• performances all over Europe as well as in USA, Canada, Australia, Japan, Brazil and Russia
• has close collaboration with renowned orchestras and conductors of the world
• repertoire includes over 40 piano concertos
• as a superb chamber ensemble player has close ties with Mandelring Quartet and Trio di Clarone and together with many other highly acclaimed musicians in Germany belongs to the ensemble Villa Musica
• 13 LPs and over 30 CDs (Melodija, Antes, MDG)
• of the afore-mentioned, a collection of 7 CDs with all sonatas by Paul Hindemith, recorded together with Villa Musica has attracted special attention and was awarded Classical Award in Cannes, 1999 and ECHO Classics Award in Germany, 1998 and 2003
Schumann Quartet: Erik Schumann (violin), Ken Schumann (violin), Liisa Randalu (viola), Mark Schumann (cello).
Founded in Cologne in 2007, the Schumann Quartet is composed of the brothers Erik, Ken and Mark Schumann, along with violist Liisa Randalu. In May 2013 the Quartet has won the 1st Prize at the international String Quartet Competition Quatuor à Bordeaux, after it had already won the Competition Schubert and Modern Music in Graz (Austria) in 2012. Likewise the four musicians were among the prizewinners at the renowned Paolo Borciani Competition (2011) and at the 7th International Chamber Music Competition in Osaka (2011).
The ensemble is supported by scholarships from Villa Musica Rheinland-Pfalz (Mainz) and the Irene Steels-Wilsing Foundation, and was previously selected for a grant by the Werner Richard / Dr Carl Dörken Foundation.
Ever since the 2009/10 season, the Schumann Quartet has enjoyed the status of Artist in Residence in the Erstklassik recital series held in Düsseldorf’s Robert Schumann Auditorium. They are also a welcome, often-invited guest in other concert halls of their home region North Rhine Westphalia, such as the Beethovenhaus in Bonn. Also the quartet goes regularly on tour to Japan, Canada, Austria and Italy.
The artists have teamed up with chamber music partners such as pianist Henri Sigfridsson, oboist Ramón Ortega Quero, clarinetist David Orlowsky, cellist Nicolas Altstaedt and pianist Cédric Pescia.
WDR Classical Radio (Cologne) has recorded the Schumann Quartet several times − most recently in January 2013, with a live concert broadcast of works by Mozart and Verdi, along with the 3rd String Quartet by recently deceased Düsseldorf composer Jürg Baur.
Released in April 2013, the Schumann Quartet’s CD features works by Beethoven, Bartók and Brahms.
Listen to the live recording
Jul 20th − Aug 31st, University Café (Ülikooli Str 20, Tartu): Peeter Vähi’s photo exhibition African Round
Download the poster of Glasperlenspiel, pdf, 2.69 MB
Next festival: July 10th − 15th, 2014
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Peeter Vähi – artistic director
Taavet − artistic advisor
Tiina Jokinen – executive director
Kadri Kiis – producer, accountant
Kaia Lattikas – management of Glasperlenspiel Sinfonietta
Taimi Paves − Far-East relations
Anu Jaanson – assistant producer, manager
Inna Kivi – musicologist, booklet
Olavi Sööt – logistics, video
Ahto Sooaru – marketing (Tartu), photo
Mart Kivisild – design
Mart Viires, Johannes Vähi – website
Reno Hekkonens – marketing
Special thanks: Tartu City Government, Urmas Kruuse, Alar Metsson, Herman Braun Foundation, Inna Davidova, Netherlands Embassy in Tallinn, Toomas Peterson, Peeter Saan, Rita Hade, Kaupo Kiis
See also: Glasperlenspiel-festivals; , Glasperlenspiel 2014, Glasperlenspiel 2012, Glasperlenspiel 2011, Glasperlenspiel 2010, Glasperlenspiel 2009, Glasperlenspiel 2008, Glasperlenspiel 2007, Glasperlenspiel 2006, Glasperlenspiel 2005, Archives: Glasperlenspiel 2003 and 2004