Fri, July 11th at 7 pm, St. John’s church
MISSA VOTIVA
Elina Nechayeva – soprano, Aule Urb – mezzo-soprano, Anto Õnnis – tenor, Henry Tiisma – bass, Piret Aidulo – organ, Glasperlenspiel Sinfonietta (concertmaster Mari-Liis Uibo), conductor Andres Mustonen
Probably one of the greatest classical music works in history, the last grand opus by Wolfgang Amadeus Mozart (1756–1791), the Requiem, remained unfinishds due to the premature death of its creator and was only completed later by Mozart’s student Franz Xaver Süssmayr.
The untimely and sudden death of the composer gave rise to a flood of rumors, the juiciest of those being that an extremey jealous colleague of Mozart, Antonio Salieri poisoned his rival. The theory was immortalized by the quill of Pushkin thus creating probably one of the greatest unjustices in history. Today, on the basis of the remaining description of Mozart’s symptoms, it is assumed that he suffered either from acute myocarditis or meningitis.
How big was the role played by Süssmayr in composing the Requiem is not entirely clear, but the general consensus of musicologists support the idea that while he made the orchestration and rearranged some movements, the work was completed wholly on the basis of Mozart’s notes.
The story behind the commission is sometimes veiled by legends, referring to a stranger that could very well be Death himself asking the composer to note down his own funeral mass. However, in reality, it was a rich Viennese magnate Franz von Walsegg that addressed Mozart with a request to compose a requiem in honor of his prematurely deceased wife in the summer of 1791. Though Mozart was snowed under unfinished commissions, the agreed fee was large enough to make him accept the job, but despite his promises he could only begin the work in October while already seriously ill.
The work contains bith extreme personal emotion as well as powerful drama, at the same time, largely unusual for Mozart following the classical structure and text of the mass, thus painting a musical picture of Life, Death and the Last Day Judgement.
The work is originally composed for four soloists, mixed choir and symphony orchestra. The current performance, however, is unique in its minimalist chamber staff where the four soloists cover all the choir parts in addition to their own.
Andres Mustonen has stated that there are works by great master where idea is prevalent to the performing staff. That this is music that floats between Heaven and Earth and the more concentrated and minimalist is the performer, the more powerful is the idea itself.
Elina Nechayeva finished Tallinn French School (2011) and studied in Tallinn University for her Bachelor’s degree in music (2011–14) and in 2016 completed her Master’s degree at the Estonian Music and Theatre Academy. In 2021–2022, she studied in the Lugano Conservatorio della Svizzera italiana Lied and opera singing with Angela Gheorghiu. In 2015 the coloratura soprano made her debut in the performance of Estonian Academy of Music and Theatre’s performance at the Estonian National Opera as Giannetta in Donizetti’s “L’elisir d’amore”.
Elina has enjoyed success in a number of competitions in Estonia, winning first and second prizes. In 2017 Elina got to the finals of Neue Stimmen international music competition in Germany from among 1500 participants. The same year Elina was hosting semi-finals of “Eesti Laul” and in 2018 took part as a contestant and got the first place. Elina was representing Estonia at Eurovision Song Contest in 2018 with the song “La Forza” and got the 8th place. She is also one of the lyricists of the song.
Aule Urb began her singing studies in 2010 in the singing class of Jaakko Ryhänen and obtained her Master’s Degree with Eva Wilson-Märtson in 2017. Within the programme PLMF, she studied at the Accademia del Belcanto “Rodolfo Celletti” (2012). She also studied within the Erasmus programme at the Sibelius Academy in 2014–2015. In 2015–2023, she was a member of the Estonian National Opera Chorus. Since autumn of 2023, Aule Urb is a soloist of the Estonian National Opera.
Aule has participated in the Klaudia Taev singing competition (semi-finalist), in the national vocalists’ competition dedicated to Vello Jürna (3rd prize) and the Mart Saar competition (2nd prize).
Anto Õnnis graduated from Estonian Music Academy on percussion under the guidance of Rein Roos in 2002. In addition Õnnis has developed his skills at Groningenis Noord Netherlands Conservatorium under the guidance of Rein Niemeijer and Luuk Nagtegaal (2002) and 2003–2006 at Sibelius Academy with Olli-Pekka Martikainen, Timothy Ferchen and Lassi Erkkilä. Õnnis has also taken part of Vilja Slizhevski singing lessons.
Since 1997, he has worked at Estonian National Opera as a percussionist. In 1999–2004 Õnnis was also percussion teacher at Tallinn Music High School. Since 2003 Anto Õnnis teaches percussion at the Old Town Educational College School of Music. As a percussionist Anto Õnnis has cooperated with several ensembles and orchestras including Tallinn Chamber Orchestra, NYYD Ensemble, Estonian National Symphony Orchestra etc. In 2001 Õnnis was one of founders of ensemble Paukenfest and participates at ensembles work until today.
Anto Õnnis also performes as a singer (tenor). Since 2001 he belongs to sacred music ensemble Heinavanker and since 2010 gregorian ensemble Vox Clamantis and has given recitals with ensemble all over the Europe and USA. Since 2011 he also performer as a soloist with ensemble Hortus Musicus.
Henry Tiisma‘s (bass) life changed when he happened to be part of an immensely successful production of Songs of Estonian Men, based on Veljo Tormis’ music, which was produced by Peeter Jalakas and Tõnu Kaljuste. As a result of his performance, Tõnu Kaljuste invited him to join the Estonian Philharmonic Chamber Choir in 2009, where he has been singing to this day.
Henry has also featured as a soloist in some large-scale productions, such as Adam’s Passion by Arvo Pärt-Robert Wilson and Arvo Pärt’s Passio. He is continually training his vocal skills with Iris Oja and Uku Joller. Furthermore, Henry provides low end for the male quartet of the Estonian Philharmonic Chamber Choir and to the instrumental ensemble Kriminaalne Elevant (‘Criminal Elephant’), the latter performing original film music.
Andres Mustonen is one of the most charismatic Estonian conductors and musicians whose creative ideas and choices are anything but typical and boring. It has been said: „Andres Mustonen’s performances can be characterized as highly individual. With everything he does, he expresses his original outlook and musical cognition, be it conducting symphonies by Mahler and Shostakovich or the Vienna classics.“ (Jerusalem Symphony Orchestra)
Andres Mustonen graduated from the violin class of Prof. Endel Lippus in Tallinn Music High School in 1972 and at the Tallinn State Conservatory in 1977. As a conductor he has collaborated with many prestigious European orchestras such as Helsinki Philharmonic Orchestra, Moscow Philharmonic Orchestra, Sinfonietta Riga, Estonian National Symphony Orchestra, Glasperlenspiel Sinfonietta, Tallinn Chamber Orchestra… He has also appeared in front of the prominent collectives as a violin soloist. Mustonen’s repertoire embraces both early music and contemporary works, the particular interest being placed on religious large forms such as oratorios and masses by Bach, Mozart, Bruckner, Schütz, Telemann, etc. Mustonen works closely with several contemporary composers and has brought to Estonia numerous works by Kancheli, Silvestrov, Takemitsu and Penderecki. Mustonen is definitely one of the best experts of early music in Estonia. In 1972, he founded the early music consort Hortus Musicus which gives vital performances until today. Mustonen often shares his experiences and knowledge through different masterclasses and lectures. He has also started several concert series and festivals, most known of them probably MustonenFest. Andres Mustonen has been awarded with the Estonian State Cultural Award in 1995, the Order of the White Star of the Republic of Estonia in 1998 and the prize of Estonian Music Council in 2003. In 2016, he received a gold medal as the highest award of the Ministry of Culture of the Republic of Armenia.
Organizers:
Peeter Vähi – artistic director
Tiina Jokinen – executive director
Kadri Kiis – producer, accountant
Meeta Vardja – musicologist, editor of festival booklet
Mart Kivisild – design
Kaidi Ugandi – manager of Glasperlespiel Sinfonietta
Olavi Sööt – co-producer, video, logistics
Reno Hekkonens – marketing director, PR
Johannes Vähi – co-producer, webmaster, logistics
Rebeca Birk – social media
Special thanks: Tartu City Government, Urmas Klaas, Triin Käpp, Jana Raud, Ministry of Culture of Estonia, Cultural Endowment of Estonia, Canon and Overall, St John’s church, Kaupo Kiis, Kristel Leppik, volunteers
Previous festivals: 2024; 2023; 2022; 2021; 2020; 2019; 2018; 2017; 2016; 2015; 2014; 2013; 2012; 2011; 2010; 2009; 2008; 2007; 2006; 2005; Archives: Glasperlenspiel 2003 and 2004