Luc Robert. La donna è mobile. Verdi
Eduard Tubin. Works for Violin and Piano. Vol 1
Magic of Sound (Ralf Taal)
Joy and Sorrow Unmasked (European Union Baroque Orchestra, Lars Ulrik Mortensen)
Locus amoenus (René Eespere)
The Best of Arsis Bells (Arsis, Estonian National Symphony Orchestra, Estonian National Male Choir, Aivar Mäe)
Faust (Ain Anger, Estonian National Opera)
Modigliani − the Cursed Artist (Estonian National Ballet, Risto Joost)
GLASPERLENSPIEL MUSIC FESTIVAL 2017
Tartu St John’s church
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.
Programme in July
● Thu, July 6th at 7 pm
Gordana Josifova Nedelkovska, Glasperlenspiel Sinfonietta, Andres Mustonen
● Fri, July 7th at 7 pm
Etty Ben-Zaken, Hortus Musicus
● Fri, July 7th at 10 pm
● Sat, July 8th at 7 pm and Fry, July 14th
BACH & PÄRT I
● Sat, July 8th at 10 pm
● Sun, July 9th at 7 pm
● Sun, July 9th at 10 pm
THE JOURNEY OF LIGHT
● Mon, July 10th at 7 pm
Ensemble Floridante & Ivo Posti
● Mon, July 10th at 10 pm
HIROSHIMA - NAGASAKI
● Tue, July 11th at 7 pm
BACH & PÄRT II
Estonian Philharmonic Chamber Choir, Kaspars Putniņš
● Thu, July 6th at 7 pm St John’s church (Jaani Str 5, Tartu)
Gordana Josifova Nedelkovska (oboe / Macedonia), Glasperlenspiel Sinfonietta, conductor Andres Mustonen
Programme: Bach, Bach / Kaumann, Haydn, Steinberg
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. The orchestra’s repertoire spanning over centuries, entwines old music with new, from Bach to Piazzolla, from Pärt to Vähi.
Glasperlenspiel Sinfonietta introduces to the listeners the music from the past as a live, breathing, joyful organism and proves 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.
During the last years Glasperlenspiel Sinfonietta performed in Switzerland and Austria, in Italy and Finland, in Germany and Belgium, in Brazil and Chile, in Argentina and Uruguay and also took part at international music festivals like Ars Musica in Brussels, Festival Pianistico Internazionale di Brescia e Bergamo, Mittelfest and Emilia Romagna in Italy, Oleg Kagan International Music Festival in Kreuth am Tegernsee in Germany, Saint Petersburg Easter Festival in Russia, Iitti Music Festival in Finland, Riga Music Festival Artissimo in Latvia.
Glasperlenspiel Sinfonietta has played on many prestigious stages in Europe, Palais des Beaux-Arts in Brussels, Amsterdam’s Concertgebouw, Grand Hall of Saint Petersburg Philharmonia in Russia, Cologne Philharmonic Hall among them, getting high acclaim for each concert.
● Fri, July 7th at 7 pm St John’s church (Jaani Str 5, Tartu)
Etty Ben-Zaken (vocal, Israel), Ensemble Hortus Musicus, artistic director Andres Mustonen
- one of the most gifted and significant percussionists of her generation
- studied under the legendary marimba player Keiko Abe at Toho Gakuen School of Music in Tōkyō, and advanced her studies under Robert van Sice at Rotterdam Conservatory
- graduated with summa cum laude as the first percussionist in the institution’s history
- after graduation was based in Europe for over 10 years, currently resides in USA
- 1996 has won the Kranichsteiner Musikpreis from the Internationales Musikinstitut Darmstadt and 2nd prize at the International Leigh Howard Stevens Marimba competition in the USA
- 2005 one of her career highlights was the Japanese première of the music theatre production of The Pure Land (Jōdo) by James Wood
- 2009 gave the world-première of Electric Counterpoint by Steve Reich, transcribed for steel pans, marimbaphone and vibraphone
- 2011 released critically acclaimed CD kuniko plays reich (Linn Records) which came the best-selling album of the year
- a member of various orchestras and chamber groups such as the Saitō Kinen Orchestra (Japan), ensembles Ictus (Belgium) and Nomad (Japan)
- 2013 − the highly acclaimed Keizō Saji Award from Suntory Arts Foundation
Arvo Pärt was born on Sep 11th, 1935. He graduated from the Estonian Academy of Music in 1963. Official judgement of Pärt’s music veered between extremes, with certain works being praised and others, like the Credo of 1968, being banned. This would prove to be the last of his collage pieces and after its composition, Pärt chose to enter the first of several periods of contemplative silence, also using the time to study French and Franco-Flemish choral music from the 14th to 16th centuries: Machaut, Ockeghem, Obrecht, Josquin. At the beginning of the 70s, he wrote a few transitional compositions in the spirit of early European polyphony, like his Symphony No 3. Pärt turned again to self-imposed silence, but re-emerged in 1976 after a transformation so radical as to make his previous music almost unrecognizable as that of the same composer. The technique he invented, or discovered, and to which he has remained loyal, practically without exception, he calls tintinnabuli (‘little bells’), which he describes thus: “I have discovered that it is enough when a single note is beautifully played. This one note, or a silent beat, or a moment of silence, comforts me. I work with very few elements − with one voice, two voices. I build with primitive materials − with the triad, with one specific tonality. The three notes of a triad are like bells and that is why I call it tintinnabulation.” The basic guiding principle behind tintinnabulation of composing two simultaneous voices as one line − one voice moving stepwise from and to a central pitch, first up then down, and the other sounding the notes of the triad − made its first public appearance in the short piano piece Für Alina.
Having found his voice, there was a subsequent rush of new works and three of the 1977 pieces − Fratres, Cantus in Memory of Benjamin Britten, and Tabula Rasa − are still amongst his most highly regarded. As Pärt’s music began to be performed in the west and he continued to struggle against Soviet officialdom, his frustration ultimately forced him, his wife Nora and their two sons, to emigrate in 1980. They never made it to their intended destination of Israel but, with the assistance of his publisher in the West, settled firstly in Vienna. One year later he moved to Berlin.
Pärt has concentrated on setting religious texts, which have proved popular with choirs and ensembles around the world. Among his champions in the West have been ECM Records who released the first recordings of Pärt’s music outside the Soviet bloc, Hilliard Ensemble who have premiered several of the vocal works, and Neeme Järvi who conducted the première of Credo in Tallinn in 1968, and has, as well as recording the tintinnabuli pieces, introduced Pärt’s earlier compositions through performances and recordings.
See also Arvo Pärt’s CDs (Pilgrim’s Song, Vater unser) released by Estonian Record Productions.
● Sat, July 8th at 10 pm St John’s church (Jaani Str 5, Tartu)
Petr Wagner (viola da gamba, Czech Republic)
In this extraordinary and moving production, harpist and singer Ekaterina Levental takes the audience with her along The Path, which she followed as a teenager. Her path began in Tashkent and led from one country to the next, as her family fled Uzbekistan, following the collapse of the Soviet Union.
With the support of director Chris Koolmees, Ekaterina sings and recounts all the highs and lows of her experience; she tells about the loss of friendship, about estrangement, but also about resilience and hope for the future.
The Path shows the inextinguishable endurance of a child in dramatic circumstances. We get to know a teenager who is steadfastly determined to find her way, hanging onto her imagination. Ekaterina’s story is poignant and personal, on a theme that is all too familiar these days. She illustrates it with beautiful music.
Ekaterina Levental was born in Tashkent, the capital city of Uzbekistan, one of the republics of the former Soviet Union. Ekaterina moved to Holland in 1993 where she continued her studies on the harp at the Conservatories in Enschede, Rotterdam and Detmold (Germany) with teachers Alex Bonnet, Godelieve Schrama and Catherine Michel.
Due to a scholarship granted her by the Prins Bernhard Cultuurfonds and the Fonds voor Podium- en Amateurkunsten she continued her studies with Germaine Lorenzini in Lyon, France. After graduating her harp studies she decided to follow her passion for singing and started studying classical singing at the Royal Conservatory in The Hague. Ekaterina finished both studies Cum Laude. She has studied singing with Rita Dams, Meinard Kraak, Barbara Pearson and Diane Forlano and has been a part of workshops and master classes with Nelly Miricioiu, Jean Piland, Charlotte Margiono, Christoph Prégardien, Jard van Nes, Jean Philippe Lafont and Leontina Vaduva.
Today, Ekaterina has established herself as an opera singer and a theater performer. She has worked as a soloist with companies as De Nationale Opera, Jan Fabre/Troubleyn (Belgium), LOD Gent (Belgium), Toneelhuis Antwerpen (Belgium), Muziektheater Hollands Diep Dordrecht, Opera Trionfo, Veenfabriek Leiden, Opera Spanga, Opera Nijetrijne, Holland Opera, Silbersee and others.
As a soloist, Ekaterina has performed at renowned halls, theaters and venues in the Netherlands and abroad with the works of Bach, Pergolesi, Mozart, Vivaldi, Beethoven, Rossini, Poulenc and Duruflé.
In january of 2015 Ekaterina made her debut at the Dutch National Opera with the role of Melibea in Il Viaggio a Reims by Gioacchino Rossini. Her recent engagements include a solo tour with the Ricciotti Ensemble in Belgium and the Netherlands, Pornopera (Wilco/NieuwWest) at the Operadagen Rotterdam 2015, Folksongs by Luciano Berio with Ensemble Omnibus (Uzbekistan) and Pierrot Lunaire by Arnold Schönberg in Tokyo with ensemble Nomad (Japan).
Six improvisations on the following themes: The journey of light, Whispers of the stars, Ancient forest, Conversations of trees, Sound of flowers, In the heart of the moutains, In the centre of the Galaxy
Karl Nieler is a musician who was born in Estonia into a family of artists. Since 2001, he lives and works in Munich, Germany. He has studied bassoon in the Lyon Conservatoire National Supérieur and did his Master’s degree in the University of Music of Karlsruhe. Nieler specializes in playing historical and modern bassoons and double bassoon. As a chamber musician and a member of several orchestras he has participated in numerous concerts, recordings and television productions with acclaimed orchestras, such as Opera de Lyon, Concerto Köln, Berliner Symphoniker, Orchestre de Chambre de Geneve, Capriccio Basel, Freiburger Barockorchester, Wiener Akademie and Australian Chamber Orchestra. He has performed in well-known concert halls, including Théâtre de Champs-Élysées, Wiener Musikverein, Salzburger Festspielhaus, Amsterdam Concertgebouw, Berliner Philharmonie, Palau de la Música Catalana and Sydney Opera House.
In 2011, Karl Nieler became increasingly interested in Tibetan singing bowls. Making music with these bowls and meditating offered him deep relaxation. Gradually, adding one sound to another while influenced by classical music, a constellation of sounds called Primordial Sound Space was born. Multiple concerts followed with 36 singing bowls, eight tingsha cymbals, six Tibetan monastery bells and three Wuhan Feng gongs. In 2014 Nieler released an album Sound Of The Flower.
Karl Nieler. Sound of Flowers, fragm, 3 min 59 sec, mp3, 320 Kbps
Karl Nieler. Ramforest, Conversing Trees, fragm, 4 min 27 sec, mp3, 320 Kbps
Watch Karl Nieler performing Whispering Stars with singing bowls
● Mon, July 10th at 7 pm St John’s church (Jaani Str 5, Tartu)
Ensemble Floridante & Ivo Posti (countertenor)
Songs and tunes from the 16th and 17th century about love
Dario Castello (~1590−~1658). Sonata prima á Sopran solo
Claudio Monteverdi (1567−1643). scene E’pur io torno from the opera L’incoronazione Poppea
Johann Jakob Froberger (1616−1667). Capriccio in G, FbWV507
Francesco Rognoni (2nd half of the 16th century − after 1626). Diminutions on Palestrina’s Vestiva i colli
Bellerofonte Castaldi (1580−1649). Cromatica corrente; Tasteggio soave
Orazio Michi (1594−1641). Ninna nanna al bambino Gesù
Juan de Anchieta (1462−1523). Con amores la mi madre
Giovanni Stefani (?−1626). Amante felice
Francesco Rognoni. Diminutions on Palestrina′s Io son ferito
Benedetto Ferrari (~1603−1681). Queste pungenti spine
Johann Jakob Froberger. Toccata Prima in G FbWV107
Antonio Bertali (1605−1669). Chiacona
Diego Ortiz (~1510−~1570). Recercada Ottava; Recercada Segunda
Claudio Monteverdi. Si dolce e il tormenti
Bartolomeo Tromboncino (~1470−~1535). Ostinato vo’ seguire
Claudio Monteverdi. Quel sguardo sdegnosetto
How oft, when thou, my music, music play′st,
Upon that blessed wood whose motion sounds
With thy sweet fingers, when thou gently sway’st
The wiry concord that mine ear confounds,
Do I envy those jacks that nimble leap
To kiss the tender inward of thy hand,
Whilst my poor lips, which should that harvest reap,
At the wood’s boldness by thee blushing stand!
To be so tickled, they would change their state
And situation with those dancing chips,
O’er whom thy fingers walk with gentle gait,
Making dead wood more belst than living lips.
Since saucy jacks so happy are in this,
Give them thy fingers, me thy lips to kiss.
Surely, at least once in a lifetime, in one of its facets − everyone has felt the great feeling of Love. No wonder that romance has been a profound source of inspiration for artists throughout all times. Equally well, the darker shades of love have found their ways of expression though poetry and music. All those unanswered feelings, unsatisfied passions and infidelity that have shredded hearts, put in fine style and beautiful form, in order to please the minds of educated connoiseurs...
William Shakespeare, who’s 400th death anniversary the world was celebrating last year, is not merely a contemporary of all those Italian composers of this concert’s program. In his sonets, the English poet seems, in a way, to even speak the same laguage as do Claudio Monteverdi, or his fellow countrymen speak in their songs. So unveiled and sensual is the manner in which Shakespeare expresses his tender feelings towards an anonymous virginal player. The Italians bring the passions even to a next level − if you don’t give me thy lips to kiss, I pledge for death and madness!
Even if the Italian language is not your field of expertise, passionate Estonian counter tenor Ivo Posti will not leave anyone cold – prepare to laugh, prepare to weap!
● Mon, July 10th at 10 pm St John’s church (Jaani Str 5, Tartu)
HIROSHIMA - NAGASAKI
Glasperlenspiel Sinfonietta, artistic producer Ülo Vihma
Maltis, Hirsch, Kozlova-Johannes, Tulve, Tulev, Birman (all premières)
Johann Sebastian Bach (1685−1750). Komm, Jesu, komm, BWV 229
Arvo Pärt (1935). Summa; Magnificat; The Woman With Alabaster Box
Johann Sebastian Bach. Jesu, meine Freude, BWV 227
Arvo Pärt. Zwei Beter; Nunc dimittis
Johann Sebastian Bach. Ich lasse dich nicht, du segnest mich denn, BWV Anh 159
The Estonian Philharmonic Chamber Choir (EPCC) is one of the best-known Estonian music ensembles in the world. It was founded in 1981 by Tõnu Kaljuste, who was the artistic director and chief conductor for twenty years.
The repertoire of the choir extends from Gregorian chant and baroque to the music of the 21st century, with a special focus on the work of Estonian composers, such as Arvo Pärt, Veljo Tormis, Erkki-Sven Tüür, Galina Grigoryeva, Toivo Tulev, Tõnu Kõrvits, Helena Tulve, and introducing their output to the world. Each season the choir gives about 60–70 concerts both in Estonia and abroad.
The EPCC has cooperated with a number of outstanding conductors including Claudio Abbado, Helmuth Rilling, Eric Ericson, Ward Swingle, Neeme Järvi, Paavo Järvi, Gustavo Dudamel etc.
In addition to The EPCC has also worked with the following world-class orchestras such as the London Symphony Orchestra, the Mahler Chamber Orchestra, the Berlin Rundfunk Orchestra, Concerto Copenhagen, the Salzburg Camerata, Les Musiciens du Louvre-Grenoble, the Philip Glass Ensemble, the Frankfurt Radio Symphony Orchestra, the Basel Chamber Orchestra, the Los Angeles Philharmonic, the Estonian National Symphony Orchestra and the Tallinn Chamber Orchestra.
The EPCC has been a welcome guest at numerous music festivals including the BBC Proms, the Mozartwoche, the Hong Kong Arts Festival, the Moscow Easter Festival, the Salzburg Festspiele, the Edinburgh International Festival, the Festival Aix-en-Provence. The choir has performed in outstanding venues all over the world, such as the Sydney Opera House, Wiener Konzerthaus, the Royal Concertgebouw in Amsterdam, Versailles Opéra Royal, the Kennedy Centre in Washington, the Lincoln Centre and Carnegie Hall in New York, the Walt Disney Concert Hall in Los Angeles etc.
Another important aspect in the choir’s life is recording music, resulting in various award-winning CDs. The EPCC recordings have twice won a Grammy-Award for Best Choral Performance: in 2007 for the album of Arvo Pärt’s Da Pacem (Harmonia Mundi) with conductor Paul Hillier and Arvo Pärt’s Adam’s Lament (ECM) with conductor Tõnu Kaljuste. All in all, the choir has 14 Grammy nominations with works by Arvo Pärt, Erkki-Sven Tüür and the music from the Nordic countries. The EPCC recordings have also won the award Diapason d’or, Preis der Deutschen Schallplattenkritik, Danish Music Award, de Choc de l’Année Classica 2014, and more.
Kaspars Putniņš started as an artistic director and chief conductor of the Estonian Philharmonic Chamber Choir in September 2014. He has been the conductor of the Latvian Radio Choir since 1992. In 1994, he formed the Latvian Radio Chamber Singers, an ensemble of soloists formed from the members of Latvian Radio Choir. He regularly appears as a guest conductor with leading European choirs such as the BBC Singers, RIAS Kammerchor, Berliner Rundfunkchor, NDR Kammerchor, Netherlands Radio Choir, Collegium Vocale Gent, Flamish Radio Choir and others.
Whilst Kaspars Putniņš work encompasses a wide range of choral repertoire from Renaissance polyphony to works of the Romantic period, his foremost goal has always been that of promoting new outstanding choral music. This new repertoire challenges and develops the abilities of his performers and takes their vocal sound to entirely uncharted territories.
Kaspars Putniņš has also initiated several theatrical projects, which involve the participation of his choir, in collaboration with visual and theatre artists. He often lectures and gives master classes internationally.
Kaspars Putniņš is the recipient of the Latvian Music Grand Prix and the Latvian Council of Ministers Award for Achievements in Culture and Science.
Sun, Apr 9th at 5 pm in Kaarli kirik (Charles’ Church), address Toompuiestee 4, Tallinn
Palm Sunday Concert
Johann Sebastian Bach − ST JOHN PASSION, BWV 245
Bach composed his St John passion during his second year in Leipzig, in 1724. As the freshly appointed cantor of the St Thomas church and therefore also the music director for the four churches of Leipzig, Bach probably felt the need to prove himself in this new situation. After all, he was far from first choice for the position − one official of the city council even remarked that, in lieu of the best man, they would have to make do with a mediocrity. With the St John passion, Bach was surely able to surpass these doubts, as the piece was the most extensive he had written so far.
It is known from his obituary that Bach wrote five settings of the passion story, but the only surviving ones today are the St John’s and St Matthew’s. Perhaps this is the reason why these two masterpieces are constantly compared to each other. Robert Schumann, who conducted the St John passion in 1851, considered it “more daring, forceful and poetic” than the St Matthew passion. The St John passion is also often described as more realistic, faster paced and more anguished. Bach never composed an opera, but this is about as close as he came.
St John passion is written for an intimate ensemble of soloists, four-part choir, strings and basso continuo and pairs of flauti traversi and oboes. For additional colours, Bach also used lute, viola d'amore and viola da gamba. The author of the libretto is unknown, although it is likely that it was Bach himself. The core of the libretto is made up by chapters 18 and 19 of the Gospel of John, with some additional paragraphs from the Gospel of Matthew and settings of poems by Barthold Heinrich Brockes, Christian Weise and Christian Heinrich Postel. The St John passion was first performed on Good Friday, April 7 in 1724 at the St Nicholas church in Leipzig.
Bach repeatedly returned to the piece, revising it three times: in 1725, 1732 and 1749. This clearly shows how much value Bach placed on the work. Nowadays, the original work of 1724 is the most often performed version.
Anto Õnnis (Evangelist, tenor), Jaanika Kuusik (soprano), Evelin Ester (mezzo-soprano), Tõnis Kaumann (bariton), Alvar Tiisler (basso), Piret Aidulo (organ), Tallinn Boys Choir (chorus master Lydia Rahula), Klaipėda Chamber Orchestra, conductor Andres Mustonen
Duration 1 h 55 min. Watch 20 sec video-clip on YouTube.
Peeter Vähi − artistic director
Taavet − artistic advisor
Tiina Jokinen − executive director
Kadri Kiis − producer, accountant
Lukas Groen − management of Glasperlenspiel Sinfonietta
Kaisa Luik − liner notes, booklet, website
Olavi Sööt − logistics
Tanel Klesment − sound engineering, webcast
Johannes Vähi − webcast / live streaming
Reno Hekkonens − PR, marketing
Special thanks: Tartu City Government, Urmas Klaas, Juhani Jaeger, Elli Tiivel, Jaanus Tepomees, Lauri Kasemets, Kaupo Kiis, Kristel Leppik, volunteers
See also: Glasperlenspiel-festivals; Glasperlenspiel 2015, Glasperlenspiel 2014, Glasperlenspiel 2013, Glasperlenspiel 2012, Glasperlenspiel 2011, Glasperlenspiel 2010, Glasperlenspiel 2009, Glasperlenspiel 2008, Glasperlenspiel 2007, Glasperlenspiel2006, Glasperlenspiel 2005, Archives: Glasperlenspiel2003 and 2004
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