June 9th, 2005 Philharmonic Society Hall, Kaunas, Lithuania
June 10th, 2005 Great Guild Hall, Riga, Latvia
June 11th, 2005 Estonia Concert Hall, Tallinn, Estonia
VIENNA TONKÜNSTLER ORCHESTRA
Annely Peebo (mezzo-soprano)
Kristjan Järvi (conductor)
|Richard Strauss||Four Interludes from the Opera “Intermezzo”|
|Gustav Mahler||Five Rückert Songs|
|Ludwig van Beethoven||Symphony No 7 (in Kaunas and Riga)|
|Eduard Tubin||Symphony No 4 (in Tallinn)|
Kristjan Järvi (b 1972, Tallinn, Estonia) is chief conductor of the Vienna Tonkünstler Symphony Orchestra. As a child he moved with his family to New York, where he studied piano and conducting at the Manhattan School of Music. He attended master classes in piano taught by Tatiana Nikolayeva in Salzburg. In New York in 1993, Kristjan Järvi founded the Absolute Ensemble, which today is one of the world’s leading chamber ensembles. CD recordings with Järvi and Absolute Ensemble have been nominated for a Grammy Award and won the German Record Critics’ Prize. As musical director of Absolute Ensemble, Järvi plays repertoire ranging from the 17th to the 21st century, from Baroque to rock. He is an avid explorer and advocate of contemporary music and has conducted the premières of numerous works by such conductors as Daniel Schnyder, Erkki-Sven Tüür, Charles Colemann, and Peeter Vähi. From 1998 to 2000 Kristjan Järvi was assistant conductor of the Los Angeles Philharmonic and conducted a sensational debut with this orchestra in the Hollywood Bowl. Since the 2000–01 season, he has been Principal Conductor of the Norrlands Operan and Symphony Orchestra in Sweden. He appears world-wide as a guest conductor of such fine symphony orchestras as the Hallé Orchestra of Manchester, the BBC Philharmonic Orchestra, the Budapest Festival Orchestra, the Bamberg Symphony Orchestra, the WDR Symphony Orchestra of Cologne, the Radio Symphony Orchestras of Berlin and Frankfurt, the Stuttgart Philharmonic, the Royal Stockholm Philharmonic Orchestra, the RAI National Symphony Orchestra of Italy, the Adelaide Symphony and the Japan Philharmonic Orchestra.
Download: Kristjan and his father Maestro Neeme Järvi on Glasperlenspiel Festival, photo by P Vähi, jpg, 300 dpi, 920 KB
The name of the Tonkünstler Orchestra can be traced back to a prestigious musical institution: The Tonkünstler-
Sozietät was founded by the conductor Florian Leopold Gaßmann. During Mozart’s and Haydn’s times was the oldest musical society in Vienna and was particularly renowned for promoting new compositions and for organising charity concerts. At the beginning of the 20th century, in order to satisfy increasing demand for symphonic concerts, the society became Vienna’s third symphony orchestra (along with Vienna Philharmonic and the Konzertverein) and was known as Vienna Tonkünstler Orchestra. The Tonkünstler Orchestra played its first concert on 10th Oct 1907 in the Grand Hall of the Musikverein. Guest conductors over the years have included Paul Hindemith, Arvid and Māris Jansons, Zubin Mehta, Christoph von Dohnányi. An impressive list of past soloists includes such names as Leonid Kogan, Mstislaw Rostropowitsch, Isabelle van Keulen, Alfred Brendel, Grigory Sokolow, and Wolfgang Holzmair. The orchestra’s home in Vienna is the Musikverein. Tradition and innovation are the two pillars of the Tonkünstler Orchestra; on the one hand, the orchestra cultivates the classical repertoire from Haydn, Mozart and Beethoven via Schubert, Brahms and Bruckner to the 20th century; on the other hand it champions contemporary music of all styles, new ways of making music and new creative concepts. New artistic leadership, together with new management, has begun to focus the attention of the group particularly on the expansion of repertoire and genre (jazz, avant-garde, film scores, ballet and opera all feature), as well as placing them on an international level through tours and recordings. The Tonkünstler Orchestra has recorded numerous CDs, including works by Schubert, Bruckner, Mahler, R Strauss and J Strauss.
Annely Peebo (mezzo-soprano). Newspapers in Salzburg praised the appearance of Annely Peebo in the “Grosses Festspielhaus” in Salzburg in Dvořák’s Stabat mater: “A marvelously velvety timbre matched with the face of a Madonna,” and “a technically superb voice.” The artist has worked with numerous well-known directors such as Franco Zeffirelli in La Traviata, Giorgio Strehler in Cosi fan tutte, Robert Carsen in Händel’s Orlando, Dario Fo in Il viaggio a Reims, and Philippe Arlaud in a new production of Cosi fan tutte. Annely Peebo was seen in a Cenerentola production at the festival in Aix-en-Provence as well as at the world premiere of the opera Penthesilea in the context of the Viennese Festival and in Rigoletto and Magic Flute at the Vienna Staatsoper. Annely Peebo is also a very sought-after baroque and recital singer. She has performed several times in the Philharmonic Concert Hall of Berlin and Munich, Tallinn, Riga, the Gewandhaus Leipzig, at the Wiener Musikverein, the Wiener Konzerthaus as well as at the Salzburger and Bregenzer and Schubertiader festivals. Her extensive concert repertoire covers the most important works of Bach, Händel, Telemann, Mozart, Haydn, Beethoven, Dvořák, Schubert, Schumann, Bruckner, Brahms, Mahler, R Strauss, Schönberg, Verdi. In 2003 Annely Peebo sang Beethoven’s Symphony No 9 on the occasion of the 25th anniversary of the pontificate of John Paul II at the Vatican. The year before she represented her home country Estonia in front of a multi-billion audience by hosting the Eurovision Song Contest. Likewise in Tallinn she performed with Andrea Bocelli at an open-air concert in the summer 2003. She was the leading lady in an award-winning international music film Les lecons de tenebres in a coproduction with France 3 and Arte. Annely Peebo speaks 5 languages. After studying piano in Estonia for 11 years, she began to study with Prof Gerhard Kahry and graduated from the Song and Opera class at the University for Music and Performing Arts in Vienna. At the Vienna Volksoper and many other opera houses she was able to develop a wide-ranging repertoire including roles such as Cenerentola, Rosina, Zaida, Dorabella, Donna Elvira, Cherubino, Sesto, Idamante, Hänsel, Carmen, Octavian, Boccaccio, Henry, Niklaus, Medoro, Dido, Hermia, Marquise Melibea, Mercedes, Maddalena, Flora, Orlofsky.
In co-operation with Herman Braun Foundation and Eesti Kontsert
Special thanks: Johannes Neubert, Macbeth Media Relations, Inna Davidova, Madis Kolk
Photo of Vienna Tonkünstler Orchestra by Reinhard Öhner
Jun 15th, 2003 at 9 pm
Palmse Manor / Viru county
US foundation “Dharma” presents:
DUO MARTINIKA (Switzerland / USA)
Maarika Järvi (flute)
Martin Kuuskmann (bassoon)
TEREM-QUARTET (St Petersburg)
Andrei Konstantinov (soprano domra)
Alexei Barshtshev (alto domra)
Andrei Smirnov (Russian accordion)
Mikhail Dzjudze (bass balalaika)
|Heitor Villa-Lobos||Bachianas Brasilieras No 6|
|Daniel Schnyder||Romeo and Juliet, on the basis of the ballet by Prokofjev|
|Arvo Pärt||Für Alina|
|Jean Fançaix||Selected movements from Sept Impromptus|
|Daniel Schnyder||Suite Provançale|
|Gioachino Rossini||Ouverture to opera Il barbiere di Siviglia|
|Georges Bizet||Habanera from opera Carmen|
|Fryderyk Chopin||Nocturne in E major|
|Terem-Kvartett||The Symphony of Love|
|Nino Rota||Music for Federico Fellini’s movie Amarcord|
|Bach||Toccata in D minor|
|M Miagava||Summer Holiday|
|Ary Barroso||Travel to Brazil|
Heitor Villa-Lobos (1887–1959) is one of the biggest American conductors of his time. Born in Rio de Janeiro the author of over 1000 works of music was the first conductor to record Brazil on the musical world map. He reformed the meaning of the nationality of music and was one of the biggest exhibitors of that in practice. Among other of his merits was also the foundation of the Brazilian Academy of Music.
Himself having no academic education in music Villa-Lobos was taught to play cello by his father in his childhood. This instrument became one of his life-time favourites. Having earned his living by playing at cafes for many years, he was a most appreciated guitar virtuoso in Brazil.
9 Bachianas Brasilieras inspired by Bach are among the best known works by Villa-Lobos. All the 9 Bachianas have been composed for different staff. Whereas most of them are meant for a solo instrument and orchestra, then the 6th is written for flute and bassoon.
The symbol of love and beauty has through the centuries been the theme of Romeo and Juliet. The young and beautiful love destroyed by two families in enmity and their blind hatred towards each other is a theme that has fascinated many poets, writers and conductors at different times. The greatest masterpieces in that area are the drama Romeo and Juliet by Shakespeare, a ballet with the same name by Prokofjev (probably the best tractation of Shakespeare in the whole history of music) and West Side Story – Romeo and Juliet of the 20th century. A Swiss conductor and saxophone player Daniel Schnyder has exploited the same theme in his work inspired by Prokofjev. His vision of this legendary love story is also the clue for today’s concert.
One of the most frequently played contemporary conductors Arvo Pärt (1935) lives in Berlin and Estonia. Für Alina initially written for piano was composed in Tallinn and is one of the first works in the minimalist tintinnabuli style the author developed at the end of 1970s. Tintinnabuli in Latin means ‘bells’ and this forms a pattern that later on marks the euphonic style in Pärt’s music.
One of the most productive conductors of the 20th century and a pianist Jean Francaix (1912–97) studied composition under the supervision of Nadia Boulanger. He has composed ballets, a symphony, instrumental concertos and numerous works of chamber music. It has been said that music by Francaix contains genuine French charm and elegance and it is fascinatingly inventive. Sept Impromptus composed 1977 has originally been composed for flute and bassoon.
Ouverture as a genre has been exploited by many conductors. Also the overtures for classical operas were written according to the fixed form rules as complete pieces of music, hence they are performed as separate works at the concerts.
One of the most productive Italian opera conductors Gioachino Rossini (1792–1868) was the last great representative of Italian opera buffo – comic opera. Of his 38 operas The Barber of Seville is certainly the most frequently performed one. Like Mozart and Schubert, Rossini used to compose with incredible speed – The Barber of Seville was completed within two weeks. Surprisingly, its première performance in Rome, 1816 was a total failure. The next stagings, however, brought The Barber of Seville quickly its world fame that continues until today. The well overture in its turn has been arranged to all possible staffs of ensemble, even for 2 guitars.
French conductor Georges Bizet (1838–75) became known as conductor and pianist already in his youth. Though he had been a successful student, his conductor career was unstable and he had difficulties in finding his personal style. The best known work by Bizet is his last opera Carmen that was staged a short time prior to the death of the conductor. Habanera – a part of the opera has become so popular that it lives its independent life outside the initial context. Habanera, originally sung by the protagonist Carmen, has been arranged for different instruments and chamber ensembles.
A widely spread genre in piano music has been nocturne (night music). It is believed that the founder of this genre has been conductor and piano virtuoso John Field (1782–1837). Nocturne, however, achieved a special importance in the music of Fryderyk Chopin (1810–49). Chopin’s rise to the top of European music came through concerts – Chopin was an excellent pianist turning a new page in the history of piano.
Chopin has never composed operas, oratorios or symphonies. Only a few vocal miniatures and chamber ensembles have been kept till today. Mainly confined to piano, he enriched piano music with new genres and forms. The sources for Chopin’s nocturns can be traced back to romantic art and literature. The typical forms and moods are melancholic dreams, concealed sadness, the soundscapes of nature by night but also clear elegy. Almost all nocturns by Chopin have slow movement. The nocturne in E major is one of the most-performed but still not the kind of music that calls for arrangements. The more interesting it is to listen to it arranged for Russian folk instruments.
Italian conductor Nino Rota (1911–79) graduated from Santa Cecilia Academy in Rome in 1930. Being well aware of the trends in new music since his early age (he was a long time friend of Stravinsky), Rota developed a style characterised by the leading role of melody, distinguished rhythm and form and the concept of spontaneity and expressiveness. The best known are his operas Il cappello di paglia di Firenze and La visita meravigliosa. The conductor’s international fame, however, comes from his film music, most of which has been written for the films directed by Federico Fellini. The music for Fellini’s film with the autobiographic background Amarcord has also been composed by Nino Rota. The film which is centered around a family is partly sad and partly happy as a memory from the childhood home carried by the flight of the author’s fantasy.
The great organ virtuosos of the 17th and 18th cent, J S Bach among them, were conductors and brilliant improvisators simultaneously. Improvisations on a given theme without any preparation was a big art that was enjoyable and admirable. Special improvisational forms of organ music were developed, of which widely exploited was toccata, a kind of prelude. The first toccatas are thought to be created by a Venetian conductor and organist Claudio Merulo (1533–1604).
Bach’s Toccata from the organ cycle Toccata and Fugue in D minor belongs to the world hits of organ music. During the shift of the 19th and 20th cent Albert Schweitzer gave a big contribution to popularizing this work. The first bars of that music have frequently been used in signatures and this work has undoubtedly been a favourite for arrangers. Among the latter probably the most popular are Leopold Stokowsky and Eugen Ormandy and their orchestral arrangements.
An outstanding song writer Ary Barroso (1903–64) is also considered to be the first internationally known samba conductor. He has created the biggest part of the hits sung to their fame by Brazilian singer Carmen Miranda. Barroso founded also a new song genre – samba-exaltação of which the legend goes that one evening the conductor having sat down at the piano created in one breath Aquarela do Brazil or simply Brazil, a melody later known on all the continents.
Duo Martinika. The idea to fuse the timbre of flute and bassoon into a duo occured to the musicians in 2001. The same year their débute in Pärnu was met with positive feedback both from the audience and critics. This unconventional staff cannot find too many original compositions created for them in the history of music, however, the more intriguing is their original sound world and that inspires the musicians to look for everything new and exciting. They impose no stylistic limitation on their search of repertoire – it includes arrangements of classics as well as original compositions with hints of jazz. Maarika Järvi and Martin Kuuskmann and known to the international audience first and foremost as soloists. Both musicians stand out with their strong professionalism, elegant style and warm relations with the audience.
Maarika Järvi was born in Estonia. She moved to the USA with her family in 1980 and studied at the Boston and New England Conservatories with Doriot, A Dwyer and Lois Schaefer of the Boston Symphony. She is performing as a soloist with numerous orchestras in Europe, Asia and America. She has held Principal Flute positions in different European orchestras. She is a regular member of the Absolute Ensemble under the artistic leadership by her brother Kristjan Järvi.
As a champion of Estonian flute music, she has made several recordings of music by Estonian conductors: six concertos, one group consisting of Tubin, Sink, Jürisalu and Tamberg, the other of works specially written for her by Peeter Vähi and Urmas Sisask.
Estonian-born Martin Kuuskmann is among the most versatile and engaging bassoon soloists of his generation. The New York Times has recently praised Kuuskmann’s playing as “dynamic… amazing… gripping…”, adding, “Mr Kuuskmann played stunningly…” With a repertoire spanning the early Baroque era to jazz and contemporary music, his solo performances have taken him to Europe, Japan, Canada, the United States and Australia. Highlights of his 2001-02 season included world premiere performances of the Bassoon Concerto by Eino Tamberg with the Estonian National Symphony Orchestra, Daniel Schnyder’s Zoom In with Kristjan Järvi and Norrlands Symphony Orchestra members, and Christopher Theofanidis’ recently completed Bassoon Concerto with the Peabody Conservatory Orchestra. 2002-03 season premieres include works also specially written for Kuuskmann such as a bassoon concerto by Erkki-Sven Tüür, commissioned by Kuuskmann and Norrlands Symphony Orchestra, a work by a legendary jazz bassist/conductor John Patitucci, to name a few. Kuuskmann has been widely praised for his performances with the pioneering ensemble, Absolute, and can be heard as a soloist on the 2001 recording and Grammy Nominee, Fix, performing Michael Daugherty’s virtuosic and madcap concerto, Dead Elvis. His albums, Archipelago and The Path Of Mantra have been released worldwide on CCn’C and Erdenklang Records, respectively. Kuuskmann holds master classes throughout Europe and the USA, and currently serves on the bassoon faculty of the Mannes School of Music. Kuuskmann’s solo performances have been broadcast on the BBC Radio, Swedish National Radio, German National Radio, Australian National Radio as well as on National Public Radio stations across the United States.
The Terem Quartet was formed by four students of the St Petersburg Conservatory in 1986. A ‘terem’ is an old traditional Russian wooden house with tower, which brings together totally different kinds of people and different musical trends. From their first appearances the Terem Quartet overthrew the Soviet era stereotype of folk music. The band could not be classified into any of existing music categories or genres. Their music has always been created as a collaborative effort. They followed the traditions of the Skomorokh ensemble style of performance of Ancient Russia. Sources confirm that folk instrumental music-making in Ancient Russia was mostly collective, unlike the Western and Oriental tradition. That is, music was always invented and performed through a collective process.
The Terem’s musicians have felt and developed the most essential phenomena of the closing of the 20th cent: the idea of style diversity, dialogue thinking, and synthesis of different musical trends within one style. In each case, their versions of music, be it European classics or traditional melodies, are always provocative and unexpected for the audience. One of the first performances of Terem took place at an All-Union competition in Moscow 1986 where they were met by ovations from the audience but were left unnoticed by the Jury. Today this original ensemble playing on Russian traditional folk instruments is known almost all over the world. The quartet have performed in the Queen Elizabeth Hall and at St John’s Smith Square of London, in the Olympia Hall of Paris, in Frankfurts Alte Opera, Berlin Passion Kirche and the Kremlin of Moscow. They have taken part in numerous international festivals like Edinburgh Festival, The Stars of White Nights in St Petersburg, The Autumn of Prague, Pori Jazz, Moscow Film Festival and many others in Japan, Finland, Australia, Spain, Italy, New Zealand, Singapore, the USA and South Africa. The quartet has recorded 6 CDs. Their repertoire includes more than 100 different works from classical as well as popular music, Russian folklore and jazz which all have been arranged by the ensemble themselves.
Sound engineer – Roland Urva
Video – Jaanus Nõgisto & Avision
Stage – Telinek
Light engineer – Eiko Pitka
Graphic design – Piret Mikk / inDe Design
Assistant producer, texts of the booklet – Inna Kivi
Translations, management – Tiina Jokinen
Costume design for Romeo and Juliet – Arné
Producer – Peeter Vähi