Records available

CD canto:). Hortus Musicus

DVD In the Mystical Land of Kaydara. Peeter Vähi

DVD Coppélia. A ballet by Léo Delibes

CD-series Great Maestros. Beethoven, Brahms. Kalle Randalu, Estonian National Symphony Orchestra, Neeme Järvi

CD Quarter of a Century with Friends. Arsis, Rémi Boucher, Oliver Kuusik, Rauno Elp

Super Audio CD Maria Magdalena. Sevara Nazarkhan, Riga Dom Cathedral Boys Choir, State Choir Latvija, Latvian National Symphony Orchestra

CD Jerusalem. Hortus Musicus

LP Contra aut pro? Toomas Velmet, Neeme Järvi, Estonian National Symphony Orchestra, Arvo Pärt

CD The Soul of Fire. Age Juurikas


 Brand new! CD “GREAT MAESTROS” Mozart-series Vol X and Vol XI. Mozart, R. Strauss, Brahms / Schönberg, Vähi. Kalle Randalu (piano), Guido Gualandi (oboe), Estonian National Symphony Orchestra, conductor Neeme Järvi. Available from May in Estonia and from June on international market.

Read more: Great Maestros: Mozart


 Brand new! Available from May 2019 in Estonia, from June on international market. CD “PREMIÈRE RHAPSODIE” − French clarinet music (Saint-Saëns, Debussy, Poulenc, Sancan). Selvadore Rähni − clarinet, Tuuli Rähni − piano

Read more: Première rhapsodie


New! CD CANTO:) of Early Music Consort Hortus Musicus, artiistic director Andres Mustonen. Italian music of 16th and 17th centuries.

Read more: canto:)

TormideRandCover107 New! Double-CD Tormide rand / The Coast of Storms, an opera by Gustav Ernesaks. Archive mono recording from 1951. Released on December 5th, 2018, for the 110th anniversary of Gustav Ernesaks. Presentation event on December 5th at 2 pm in the White Hall of Estonian National Opera. Available from Estonian National Opera and Easy-Living Music. 


Read more: Tormide rand

  Brand new! CD JERUSALEM. Hortus Musicus

Read more: Jerusalem

TheSoulOfFire107 Estonian Music Awards 2019. Age Juurikas − THE SOUL OF FIRE − the best record of the year in the category of chamber music! Available at Easy-Living Music, Apollo, Rahva Raamat, etc.


Read more: The Soul of Fire

 ● New! In June 2017 released GREAT MAESTROS Vol VI dedicated to the 80th birthday of Maestro Neeme Järvi. Internationally available from September 2017.

Read more: Great Maestros Vol VI

CD LOCUS AMOENUS by René Eespere. Presentation on October 26th, 2016 at 5 pm in the Winter Garden of Estonian National Opera. Live performances by Oliver Kuusik, Aurelia Eespere and Tarmo Eespere.

Read more: Locus amoenus

Famous tenor arias by Verdi

Estonian National Opera Chorus and Orchestra
Conductor Risto Joost

Brand new!
“One of the most beautiful tenors to emerge in recent years.” (Ken Winters)
“I adore art... when I am alone with my notes, my heart pounds and tears stream from my eyes, and my emotions and my joy are too much to bear.” (Giuseppe Verdi)
“The success of our operas rests most of the time in the hands of the conductor. This person is as necessary as a tenor or a prima donna.” (Giuseppe Verdi)


1 Luisa Miller Oh! fede negar potessi... Quando le sere al placido 5:51
2 La traviata Lunge da lei... De’ miei bollenti spiriti 3:43
3 La traviata Oh mio rimorso! 3:10
4 Les vêpres siciliennes Overture* 9:03
5 Macbeth O figli, o figli miei... Ah, la paterna mano 3:35
6 Un ballo in maschera Ma sè m’è forza perderti 5:27
7 Un ballo in maschera Di’ tu se fedele
8 Nabucco Va, pensiero sull’ali dorate* 4:50
9 Rigoletto Questa o quella 1:49
10 Rigoletto Ella mi fu rapita... Parmi veder le lagrime 5:15
11 Rigoletto La donna è mobile 2:21
12 Aida Romanza. Celeste Aida 4:32
13 Aida Gloria all’Egitto. La marcia trionfale* 7:12
14 Il trovatore Ah si, ben mio 3:14
15 Il trovatore Di quella pira 3:28

VerdiSignatureplayer #3, La traviata. Oh mio rimorso! Fragm, 1 min 49 sec, mp3, 320 Kbps
player #11, Rigoletto. La donna è mobile. Fragm, 1 min 16 sec, mp3, 320 Kbps
player #12, Aida. Romanza. Celeste Aida. Fragm, 2 min 54 sec, mp3, 320 Kbps
player #13, Aida. Gloria all’Egitto. La marcia trionfale. Fragm, 3 min 47 sec, mp3, 256 Kbps

Luc Robert, tenor
Estonian National Opera Chorus (#4, 8, 13)
Estonian National Opera Orchestra
Conductor Risto Joost

AlfredosAriaProducersNotesRecorded on May 8th, 2016 (*live), and March 26 and 29, 2016 in Estonia Concert Hall, Tallinn

Recording engineer − Tanel Klesment
Editing and mix − Kaspar Karner
Mastering −  Enno Mäemets (Editroom, Helsinki)
Liner notes − Liina Viru
Photos − Kaupo Kikkas, Mait Jüriado
Design − Mart Kivisild
Producer − Peeter Vähi

Download liner notes in Estonian or French

I am sincerely grateful to everyone that have contributed to this recording with their support and encouragement, first and foremost my family and friends. My special thanks go to two main partners, Jacqueline Desmarais’s Foundation and the Jeunesses Musicales du Canada. Without them my dream to record the most beautiful arias by Verdi would have never come true. (Luc Robert)

℗ Luc Robert, Estonian National Opera
© 2016 Luc Robert, ERP (Tallinn)
ERP 9316

LogoSuperAudioCDThis stereo/multichannel (surround 5.0) hybrid Super Audio CD is compatible with all CD players

Manufactured by Sony DADC, Austria

LucRobert350Luc Robert possesses a remarkable tenor voice and is one of the rising Canadian artists on the operatic and concert stages. He graduated from the Conservatoire de Musique de Québec with honours and joined the Canadian Opera Company Ensemble Studio in 2002 and made his COC main stage debut in the 2002/03 season singing Hermann in Tchaikovsky’s The Queen of Spades and Riccardo in Verdi’s Un ballo in maschera. In April 2015 he debuted at the Metropolitan Opera with the title role in Verdi’s Ernani. His repertoire includes leading roles from the treasury of tenor repertoire: Donizetti’s Edgardo (Lucia di Lammermoor) and Nemorino (L’elisir d’amore), the title role in Britten’s Albert Herring, Puccini’s Rodolfo (La bohème), Pinkerton (Madama Butterfly) and Mario Cavaradossi (Tosca), Steva Burya (Janáček’s Jenufa), Verdi’s Duke (Rigoletto), Rodolfo (Luisa Miller), the title role in Don Carlo and Macduff (Macbeth), Nicias (Massenet’s Thaïs), Orphée (Gluck’s Orphée et Eurydice), Don José (Bizet’s Carmen), the title roles in Berlioz’s La Damnation de Faust and Gounod’s Faust.

Download photo of Luc Robert (photo by Kaupo Kikkas, 2016, jpg, colour RGB, 300 dpi, 6.2 MB)

RistoJoostPhotoByMaitJuriadoPrize-winner of the Nikolai Malko Conducting Competition 2015 and Jorma Panula Conducting Competition 2012, Risto Joost has gained widespread recognition for his work both in the opera pit and on concert stage. His repertoire ranges from Baroque to the most challenging works of contemporary composers. Since 2009 Joost is a Conductor with the Estonian National Opera, since 2013 Chief Conductor of the Tallinn Chamber Orchestra, since 2015/2016 the Artistic Director of the MDR Leipzig Radio Choir and since spring 2016 the Artistic Director of Tallinn Philharmonic Society and Birgitta Festival. Risto Joost has conducted many internationally acclaimed orchestras such as the Deutsches Symphonie-Orchester Berlin, MDR Leipzig Symphony, Stuttgart Chamber Orchestra, NorrlandsOperan Symphony Orchestra, Orchestra of the Mariinsky Theatre, Real Orquesta Sinfonica de Sevilla, Macau Orchestra, Estonian National Symphony Orchestra, Latvian National Symphony Orchestra, Turku Philharmonic Orchestra, Belgian Baroque Orchestra B’Rock among others. He has also been working with a number of esteemed vocal ensembles such as the RIAS Kammerchor, SWR Vokalensemble, Netherlands Chamber Choir (Chief Conductor in 2011−2015), Swedish Radio Choir, etc.

Estonian National Opera was founded in 1906 and is the home for the Estonian National Opera Orchestra, formed in 1907. Its first music director was Otto Herman, who started also organising symphony concerts. In addition to the regular performances, the orchestra has performed various concert programs of symphonic works. It has cooperated with a number of outstanding soloists, such as José Cura, Christian Lindberg, Isabella van Keulen, Montserrat Caballé, Alexander Markovich, etc. With guest soloists, and the chorus and soloists of the Estonian National Opera, the orchestra has given nearly 20 concert performances of rarely performed operas from the jewels of bel canto masters to the demanding works of Richard Strauss. The orchestra has made several recordings: Tubin’s Barbara von Tisenhusen (Ondine, 1991) and The Parson of Reigi (Ondine, 1992), Verdi’s Nabucco (Estonian National Opera, 2000), Tamberg’s Cyrano de Bergerac (CPO, 2004), Pylkkänen’s Mare and Her Son (Ondine, 2005), Kreek’s Requiem (Alba Records, 2007), Voices of the Estonian National Opera (ERP, 2009), Verdi Wagner 200 (2013, ERP), and DVD-s: Ehala’s Bumpy (2003), 11 CD jubilee-box Estonia 100 (ERP, 2006), Tüür’s Wallenberg (ERP, 2008), Coppélia by Delibes (ERP, 2012), Edur’s / Aints’ Modigliani − the Cursed Artist (ERP, 2014), Gounod’s Faust (ERP, 2015), Georg Ots − a Legend of Estonia (ERP, 2016).


1st violin: Andrus Haav (concertmaster), Toomas Nestor, Maksym Filatov, Marita-Merle Klimova, Liliana Tamm-Maaten, Jaan Normak, Henno Soode, Leena Uibokand, Katrin Uuli, Alar Villems
2nd violin: Eva-Liisa Heinmaa, Kersti Tomingas, Adrian Bravo Lopez, Kaia Muttik, Karolina Normak, Mai Rosenroth, Eugen Simson-Valtin, Ester Vain
Viola: Arne Pilliroog, Angelica Robert, Anneliis Lindre, Helen Kedik, Laur Eensalu, Liisi Rusnak
Cello: Henry-David Varema, Kristjan Saar, Marius Järvi, Raul Seppel, Andrus Vihermäe, Jarkko Ensio Launonen
Double bass: Andreas Arder, Aleksander Jõgi, Marko Õunapuu, Kadri Kukk
Flute: Lisa Kawasaki, Eneli Hiiemaa, Ann Õun
Oboe: Guido Gualandi, Kristi Volmer
Clarinet: Vahur Vurm, Jüri Millistfer
Bassoon: Rene Sepalaan, Marko Jõeleht
French horn: Inno-Mart Kont, Veljo Toodo, Joel Ots, Valdek Põld, Vigo Uusmäe
Trumpet: Priit Aimla, Mart Kivi, Taavi Kuntu
Trombone: Aabi Ausmaa, Valter Jürgenson, Guido Kongas
Tuba: Madis Vilgats
Percussion: Anto Õnnis, Csaba Zoltán Marján, Jacob Steuer

Press resonance

See also other recordings of Luc Robert released by ERP: Locus amoenus
See also other opera recordings by ERP: Wallenberg, Cyrano de Bergerac, Georg Ots − a Legend of Estonia, Faust, Verdi Wagner 200, Lembitu, Wagner Strauss Seeger

Worldwide distribution by Note 1 Music (Carl-Benz-Straße 1, 69115 Heidelberg, Germany, phone +49 6221 720351, fax +49 6221 720381, This email address is being protected from spambots. You need JavaScript enabled to view it. , www.note-1.de)
Distribution in Estonia by Easy-Living Music

VonSalzburgbisReval300VON SALZBURG BIS REVAL

Presumably the first recording of Christoph August Gabler’s piano music.

Wolfgang Amadeus Mozart (1756−1791) - Sonata No 3 in B-flat major, KV 281
1 Allegro 4:44
2 Andante amoroso 4:13
3 Rondeau. Allegro 4:36
4 Wolfgang Amadeus Mozart (1756−1791) - Minuet in D major, KV 355 2:01
Christoph August Gabler (1767−1839)
5 Dix Variations in C major, Op 24 No 2 16:12
6 Neuf Variations in F major, Op 25 No3 sur l’Air Nel cor più non mi sento (Paisiello) 20:32
7 Ester Mägi (1922) - Vana Kannel

Recorded by Maido Maadik
Mastered by Kaspar Karner
Design by Andreas Kivisild
Photos by Toomas Tuul & Andre Hinn
Liner notes by Andre Hinn
Translated by Katiliina Gielen (English), Andre Hinn (German), Galina Kulikova & Evelina Lääts (Russian)
Produced by Johannes Vähi
Recorded in Eesti Raadio I Stuudio, Tallinn in October 2011 (1 – 4), May 2014 (5, 7), November 2014 (6)

Special thanks: Alo Põldmäe, Cultural Endowment of Estonia, Estonia Piano Factory, RMK Sagadi Metsakeskus, Tartu Hoiu-laenuühistu, Gunnar Männik, Marko Tilk, Kadri Sohar, Reet Lepp, Eve Roomere, Florian Düsterbeck, Sibylle Bertsch, Lara Löser, Sophia Conrad

© Andre Hinn & ERP
ERP 8515

The idea of the present record was born in the course of some interesting work with the music of a Baltic-German composer Christoph August Gabler (1767−1839). As I was unable to uncover any recordings of his compositions for piano anywhere in the world, producing the possibly first recordings seemed to be a moral obligation. In order to open up both the Western-European as well as Estonian contexts the record also features examples from Wolfgang Amadeus Mozart’s and Ester Mägi’s music.
As Gabler’s expression of sounds has a similarity first and foremost with the music of Wolfgang Amadeus Mozart (1756−1791), born in Salzburg, it is Mozart’s compositions that will introduce the soundscape of the record. The opening Sonata in B-flat major, KV 281 is followed by a less typical Mozart – Minuet in D major, KV 355.
After that the listener should be slightly Vienna-classically tuned and ready for the somewhat similar, yet in every way idiosyncratic music originating from Estonia − cycles of variations by Gabler. For me personally, in addition to the classic background, Gabler’s musical signature contains in a good way something of salon music, featuring at times harmony that is downright unusual, even exotic and more inherent to contemporary music. For the understanding of the peculiarity of the harmony a mere one listening might not be enough because of the rapid tempo; however, the corresponding exciting findings become clearly visible when analyzing the notation.
Which way did the Estonian authentic music take later, the music that had used composing techniques developed in the West and in Russia, but whose roots were nevertheless in Finno-Ugric folklore? The final composition Vana Kannel (‘Old Zither’) by Ester Mägi (born 1922), one of the “most Estonian pieces” ever created with its abundant citation and remodeling of ancient folk tunes, attempts to provide a musical explanation to that question.
This record presents a journey of its kind from Salzburg to Reval, since Mozart was born in Salzburg and Gabler worked in Reval during his creative years. Later, when the former Reval already bore the name Tallinn, Ester Mägi, was born and still lives there. We can read about Mozart’s life and works in many a substantial reference book or publication, thus, I will hereby only introduce Gabler and Mägi. 

Christoph August Gabler

Dix VariationsChristoph August Gabler (hereinafter G.) was born on 27 March 1767 in Mühltroff, Vogtland in Saxony (Germany) and died on 15 April 1839 in St Petersburg and was buried to Smolensky Cemetery. His father, also called Christoph August Gabler, was a minister in Mühltroff; his mother's name was Johanna Christopha Dorothea (née Moebius). G. married Carolina Amalia Clementz on 28 April 1803 in St Olaf’s Church, Reval. The family was blessed with 11 children, among whom the first-born Juliane Jeanette (1804−1879), G's student and later a pianist and piano teacher but also a composer, is one of the most important family members from the point of view of cultural history. The seventh child, Alexander (1813−1906), a music businessman and sheet music publisher in St Petersburg, also deserves to be mentioned. What is more, Augusta (1818−1895), born as a ninth child, also composed music and plaid the piano. The last born Christoph August (1820−1884), probably the most famous from the children, became an architect of the Governorate of Estonia (City Architect of Tallinn, acquired his profession at the Academy of Arts in St Petersburg, most well-known for his St John’s Church in Tallinn).
G’s musical talent became evident at a young age. He began his music education at the age of six. From 1777 took part in Baron Kospoth’s (father of the composer Otto Carl Erdmann von Kospoth) home concerts, played the piano and also second violin in quartets and when symphonies were played. In 1780 his father sent him to school in Schleiz where the two last years he played the organ during services in the main church there and became prefect of the choir in 1786. He then studied theology and from 1787 law at Leipzig University, hardly engaging in music during the first two years. In 1790, influenced by the youngest son of Baron von Kospoth, he entered to study cameral science (Kameralwissenschaften) at the University of Göttingen and simultaneously also took the guidance of Johann Nikolaus Forkel (1749−1818), a renowned music theoretician. In 1792 or 1794 G. became a private secretary of the young Baron Kospoth in governing the manors. In 1796 he gave up the profession and went to Leipzig to dedicate himself entirely to music. In Leipzig he befriended August Eberhard Müller a composer and organ player of St Nicholas Church, who also became G’s teacher.
In 1797 he accepted the invitation of his friend from the Baltics a trainee judge (Oberlandgerichtsassessor) called von Fock, and became a music teacher in his family manor at Sagadi in Estonia. In 1800 or 1801 G. went to Reval (Tallinn) where he acquired an honourable position in Estonian Higher Regional Court. First he worked as the secretary of the Governorate, at the same time teaching music. In winter he gave a concert a week with “much applause” demonstrating himself as an accomplished and tasteful piano player. He toured as a pianist − for example, on 21st March 1803 he gave a performance in Riga’s Theatre, in December 1804 in Great Gild Hall in Reval, but also in Dorpat (now Tartu). 1817 he got a position in the Reval harbor's Customs Services as an "inspector of pharmacist merchandise and paint". He, along with other merchants and customs officers, was involved in a so called Reval customs affair in 1817, and was convicted in 1820. G. lost his position and the status of personal nobility connected with the latter. As one German and a Russian source based on this claim (probably erroneously) the process, after lasting for six years, ended with G's acquittal. From 1823, G was once again known in Reval as a music teacher and composer, performing also as a pianist. At the same, he became the music director of the Reval Theatre orchestra. From 1828 he was again allowed to enter into the civil service − he became a Chancellor in the Government of Estonian Governorate. In 1830 Nikolai I granted him with pardon and promoted him to be a Collegiate Registrar. From 1863 until his death in 1839, G. lived withdrawn in St Petersburg in the circle of his children.
Works: Oratorio Der Pilger am Jordan (1798); cantata, lament for the funeral of singer Gertrud Mara (1833); many different songs; chamber music. However, G. seems to have written more piano music than anything else: for solo piano 15 sonatas (considerably fewer preserved), 1 sonatina, 1 serenade, Adagio et Rondo, 6 polonaises, 12 allemandes, 8 waltzes, about 5 cycles of variations. For four hands: 1 sonata, 1 nocturne, 4 overtures, 6 polonaises, 1 great waltz and 3 marches, but also cycles of variations. Unfortunately, apparently not all the works have been preserved. At least not all the aforementioned works are currently available and accessible. In the cycles of variations on the present record we will hear a style that is sparkling and gallant and that would definitely make the courts of Western-Europe proud. It probably makes the fact that the cradle of such music is Estonia much more interesting.

Ester Mägi

Ester Mägi was born on 10 January 1922 in Tallinn (former Reval). She graduated from Tallinn State Conservatoire as Prof Mart Saar’s student; in 1951−1954 she complemented her education with post-graduate courses at Moscow Conservatoire under Prof Vissarion Šebalin. In 1952 she became a member of Estonian Composers’ Union. 1954–1984 she was a lecturer of music theoretical subjects at the Tallinn State Conservatoire, and since 1977 an Associate Professor in the same institution. In 1999 Mägi was elected an Honorary Doctor of the Estonian Academy of Music. Ester Mägi has been awarded numerous different awards and honours throughout her life. Her works have been performed all over the world and recorded by many companies (present record is the first production of Ester Mägi’s work by Estonian Record Productions).
Ester Mägi’s music can be characterized as genuine and Estonian right down to its roots, both because of taking Estonian folk tunes to be its foundation as well as the general mythic-archaic tint of her sounds. Folk tunes are not taken over as direct and unalterable citations, but she develops them to be intertwined with the rest of the material forming an integral whole. Her compositions exhibit a wondrous balance, on the one hand characterized by feminine intuitions, emotions, refined details and nuances, chamber music-like quality and avoidance of the pathos, and, on the other hand, a masculine clarity of form, transparent sound images and epic character. Also in the most philosophical sense, she concentrates on the most important and deep − has given up the external flaunt with an aim, however, to try to penetrate the core, the roots of things.
Genre wise Ester Mägi wishes to explore many different paths − she has written music to usual as well as completely unorthodox collectives, including symphonies for orchestras, songs for choirs as well as soloists, extremely many-faceted chamber music, music for solo instruments, for soloists and orchestra. From large-scale vocal works also cantata can be mentioned.
Vana Kannel (‘Old Zither’). Ester Mägi has not composed very many works for the piano. The Old Zither (1985) is by far her most important and well-known piece for the solo piano. The piece is dedicated to Herbert Tampere, who was one of the editors of a folklore collection titled The Old Zither . According to Lilian Semper’s memories and later also in an interview to Tiia Järg, the composer has described the birth of the Old Zither in the following manner: “I got the inspiration to compose this piece from Hiiumaa island. We were on an excursion there and visited Soera Farm Museum which has a huge collection of objects from the bygone times. Everything is made by hand, a huge, long farmhouse filled with such things. The impression was overwhelming. Looking at those things − age-old wooden vessels, baskets, fishing gear, spinning wheels, yarn winders, maybe even musical instruments − one idea started to bud in my head. Each of the objects encompasses the skills of our forefathers, their labour and love. Why not unite folk tunes that in different form yet mush in the same manner reflect that labour and love. I immediately found an analogy with a collection of folk tunes The Old Zither, started by Jakob Hurt and continued by Herbert Tampere, that is a similar kind of collection of antiquities, a museum in its own [such as the one in Soera]. Thus, I have been weaving those folk tunes into the composition. I have not developed them much, they just sound and associate by my will. This is how the rhapsody-like Old Zither was born, not meant as a composition for the zither, but as homage to the monumental folk anthology.”
Virve Normet very accurately describes her associations: “This painful-epic feeling “Once upon a time...” the composition starts and ends with and that is continuously present throughout the piece, makes a myth of the Old Zither.” Although the composer based the title on a folk poetry collection, at places the work still reminds us of the instrument of zither in its sounds and character. Those will remain for the listener to discover. In addition to the usual folk tunes, the composition also contains more ancient shamanic elements. The Old Zither is very diverse in its colours, tunes, characters and rhythms, displaying various improvisational passages and therefore it is both by its form and its genre a fantasy, a rhapsody, to be precise, since it is based on folk tunes. The composition includes a leitmotif that does not originate from folk heritage and that functions like a structuring force at the beginning, end and also in between.

Andre Hinn

Andre HinnAndre Hinn has studied the piano in Tallinn Music High School (Maigi Pakri), acquired his BA from Estonian Academy of Music (Assistant Prof Ada Kuuseoks and Prof Ivari Ilja), MA (Konzertexamen) from the Cologne University of Music (Hochschule für Musik Köln) (Prof Dr hc Arbo Valdma) and complimented his education IMEP Graduate School of Arts (Institut Supérieur de Musique et de Pédagogie) (Prof Christian Beldi), in Belgium. Andre Hinn has also taken part in numerous masterclasses during his studies.
Andre Hinn's achievements at music competitions
* Several awards from the competitions for young pianists (1990, 1991, 1994)
* Award from Estonian Academy of Music Competition for Chamber Ensembles (1998)
* First prize from a special piano students’ competition organised by the Lions Club within the 5. Jugendmusikwettbewerb der Bergischen Region (Germany 2004)
* Finalist with two special prizes in the VII Competition for Estonian Pianists (2008)
Andre Hinn has given concerts in Estonia and Germany, performed with Pärnu City Orchestra and Estonian National Symphony Orchestra under conductor Jüri Alperten. His partners in playing chamber music include Tõnu Kalm (clarinet), Lisa Schumann, Kristina Kriit and Marike Kruup (violin), Olja Raudonen (cello) and Annaliisa Pillak (mezzo-soprano). As a  harpsichord and piano player in Junge Philharmonie Köln, Andre Hinn has taken part in various tours (Germany, Spain, Great Britain, Scotland and Ireland). Hinn has also recorded for the Estonian Classic Radio.
Andre Hinn is a member of the Association of Estonian Professional Musicians and Estonian Performers Association. Since autumn 2009, Andre Hinn works in Heino Eller Tartu Music College.

See also other piano recordings by ERP: Keyboard Juggleress, Enter Denter, Heino Eller, Estonian Preludes, Northern Lights Sonata, The Well-tempered Clavier I, Sergei Rahmaninov. Piano Works, Toivo Nahkur, Neeme Järvi, Marginalia, Wiegenlieder der Schmerzen, Call of the Stars, Melancholy, Magic of Sound, Aleksandra Juozapénaité-Eesmaa, Resurrection of Mozart, Deus ex clavier

 ● New! Nominee of Estonian Music Award 2017 in the category of classical music; best CD in the category of symphonic and stage music. 5-CD-set GREAT MAESTROS. Kalle Randalu (piano), the Estonian National Symphony Orchestra, Maestro Neeme Järvi. Piano concertos by Beethoven, symphonies by Brahms.

Read more: Great Maestros


Handbell Ensemble ARSIS
Artistic director AIVAR MÄE

Will be released in April 2016!










1 E Grieg Prelude (from Holberg’s Time) 2:49
2 A Vivaldi Le quattro stagioni. Concerto in F minor L’inverno, Op 8, RV 297, Largo 2:02
3 P I Tchaikovsky October: Autumn Song (from The Seasons, Op 37a) 3:56
4 P I Tchaikovsky December: Christmas (from The Seasons, Op 37a) 4:04
5 P I Tchaikovsky April: Snowdrop (from The Seasons, Op 37a) 2:58
6 P I Tchaikovsky Overture (from The Nutcracker) 3:29
7 P I Tchaikovsky Danse Arabe (from The Nutcracker) 3:11
8 P I Tchaikovsky Dance of the Sugarplum Fairy (from The Nutcracker) 2:02
9 P I Tchaikovsky Trepak (from The Nutcracker) 1:15
10 G Fr Händel Largo (from Xerxes) 3:37
11 G Fr Händel Passacaglia 3:38
12 P Mascagni Intermezzo (from Cavalleria Rusticana) 3:14
13 G Bizet Overture (from Carmen) 2:29
14 L Gillis Pick a Winner 1:38
15 N Rimsky-Korsakov Flight of the Bumblebee (from The Tale of Tsar Saltan) 1:26
16 J Strauss Pizzicato Polka 2:36
17 A Khachaturian Sabre Dance (from ballet Gayane) 2:20

player #1, Edvard Grieg, Prelude, Holberg’s Time, fragm, 1 min 3 sec, mp3, 320 Kbps
player #2, Antonio Vivaldi, Le quattro stagioni, Concerto No 4 in F minor L’inverno, Op 8, RV 297, Mov II Largo, fragm, 1 min 40 sec, mp3, 320 Kbps

Recorded in 2015, St Jacob’s church, Viimsi, Estonia
Sound engineer − Tanel Klesment
Photo − Mait Jüriado
Design − Kristel Linnutaja
Layout − Mart Kivisild
Management − Tiina Kodumäe
Producer − Peeter Vähi

ERP 8716
© 2016, Arsis, Estonian Record Productions (Tallinn)


ImagetextThe bells are ringing
The song they’re singing
The sound is bringing the people ’round…

Church and temple bells, carillons, chime clocks, tinkler bells, death knells… their timeless ringing has carried through centuries and cultures, accompanying man from birth to death, always present on important moments. Uniting and parting, rejoicing and mourning, calling and cautioning (wedding and funeral bells, Christmas and alarm bells), their sound embodies strong emotions that have inspired composers and instrument masters, poets and writers from Bach and Shakespeare to Hemingway.
The roots of the handbells date back to the 17th century England where the first miniature copies of church bells were cast. The bells that first and foremost were meant for practice by carillon players, soon acquired a status of independent musical instruments and were called hand bells. Their heyday was left in the 18th century when most self-respecting civilized people practiced hand bell music as their hobby. Today, those in the meantime obsolete instruments, are gaining more and more world-wide recognition.

Handbell Ensemble Arsis formed in 1993 from the singers of Arsis Chamber Choir, consists today of eight professional players and has one of the biggest handbell collections in the world (7 + 4 octaves of English handbells and 7 octaves of chimes). Guest performances have taken them to South Africa, Italy, France, Germany, Spain, England, Ireland, Sweden, Norway, Finland, Russia, Belgium, Latvia, Lithuania, Portugal, Poland, Holland, China, Canada and the USA. The most prestigious halls that have hosted Arsis are the Grand Hall of St Petersburg Philharmonic, Oslo Concert Hall and El Pardo Palace in Madrid, the concert in the latter was attended by the Spanish Royal Couple. In addition to the current one, the ensemble has released 5 solo recordings and participated in numerous recordings with symphony and chamber orchestras, choirs, and other music projects. Arsis has had close collaboration with many composers and has commissioned and premiered more than 10 new works.


The ensemble: Kaspar Rohtmets, Johanna Vaimel, Grete Aron, Angeelika Oolberg, Kristel Linnutaja, Andrus Ansip, Liivia Talvik, Carmen Karnö, Kätriin Pruul, Katri Elias, Martha Tääkre, Mariann Tiirik


The conductor and artistic director of the ensemble is Aivar Mäe who introduced handbell music to Estonia. However, Aivar Mäe’s work is not only limited to handbell music, he is one of the most prominent figures in the Estonian musical life, having occupied positions of director at various music theatres, the Estonian National Concert Institute Eesti Kontsert, being the founder or refounder of of several large concert halls as well as co-initiator of several festivals. And why not also remember his youth as a pop singer (ensemble Vitamiin). Since 2009 he holds the position of general manager of the Estonian National Opera. Aivar Mäe is a honorary member of the Estonian Society for Music Education.

Download: Arsis (photo by Mait Jüriado, 2015, jpg, RGB, 300 dpi, 3.8 MB), Aivar Mäe (photo by Mait Jüriado, 2015, jpg, RGB, 300 dpi, 9.6 MB)

Worldwide distribution by Note 1 Music (Carl-Benz-Straße 1, 69115 Heidelberg, Germany, phone +49 6221 720351, fax +49 6221 720381, This email address is being protected from spambots. You need JavaScript enabled to view it. , www.note-1.de)
Distribution in Estonia by Arsis, This email address is being protected from spambots. You need JavaScript enabled to view it. , +372 6621855, www.arsis.ee

See also other recordings with Arsis: Handbell Symphony, Supreme Silence, In Dies, Planetentöne Vol 2, Om Mani Padme Hung, Traumzeit, The Flutish Kingdom, World Festival Of Sacred Music Europe, Awake, My Heart!, Night Music, Terra Mariana, The Best of Arsis Bells, Quarter of a Century with Friends

CD series GREAT MAESTROS. Orchestre de la Suisse Romande, Estonian National Symphony Orchestra, pianist Kalle Randalu and Maestro Neeme Järvi. Symfonie fantastique by Berlioz, Boléro by Ravel, Gran Partita by Mozart piano concertos by Beethoven, symphonies by Brahms... Released on March 25th. Presentation in Estonia Concert Hall, Tallinn on March 25th at 7 pm.

Read more: OSR Neeme Järvi

GRAMMY NOMINEE 2017 in the category Best Contemporary Classical Composition! CD Bassoon Concertos. Martin Kuuskmann (bassoon), Northwest Sinfonia, conductor Barry Jekowsky. Bassoon concerto by Christopher Theofanidis. (Nominee of Estonian Music Award 2016 in the category of classical music, best CD in the category of symphonic and stage music.)

Read more: Bassoon Concertos

Hando Nahkur’s Waltzing Mephisto by the Danube − GLOBAL MUSIC AWARDS: Silver Medal Winner in the categories of instrumentalist and classical music (March 2016)

Read more: Waltzing Mephisto by the Danube

Brand new! Released on November 15th: CD MAGIC OF SOUND (Ralf Taal plays Chopin)

Read more: Magic of Sound

New! CD VIVALDI OPERA QUINTA (Baltic Baroque) − released in September 2014, available in October

Read more: Vivaldi opera quinta

New! Released in June: CD MARGINALIA (Jaan Rääts, Kalle Randalu, Sven Grünberg)

Read more: Marginalia

New! CD RESURRECTION OF MOZART. Paul Badura-Skoda (piano), Rostislav Krimer (piano), Klaipėda Chamber Orchestra, conductor Andres Mustonen. Next live performance of Mozart’s Concerto for 2 pianos in E-flat major with Maestro Badura-Skoda, Krimer and Mustonen − at MustonenFest on Feb 5th, 2015 in Estonia Concert Hall, Tallinn.

Read more: Resurrection of Mozart


Works for piano



Released on Dec 20th, 2013.

1 Ballade in D minor Andante op 10 No 1 5:50
2 Ballade in D major Andante op 10 No 2 8:04
3 Ballade in B minor Intermezzo. Allegro op 10 No 3 5:05
4 Ballade in B major Andante con moto op 10 No 4 9:18
5 Capriccio in F-sharp minor op 76 No 1 7:07
6 Intermezzo in E-flat major op 117 No 1 5:34
7 Intermezzo in B-flat minor op 117 No 2 5:32
8 Intermezzo in A minor op 118 No 1 2:35
9 Intermezzo in A major  op 118 No 2 8:27
10 Intermezzo in E-flat minor op 118 No 6 5:51
11 Intermezzo in B minor op 119 No 1 4:33
12 Rhapsodie in G minor op 79 No 2           

Total time 76:17

player #1, Ballade in D minor Andante op 10 No 1, fragm, 3 min 7 sec, mp3, 320 Kbps
player #5, Capriccio in F-sharp minor op 76 No 1, fragm, 3 min 39 sec, mp3, 320 Kbps

Recorded in Estonia Concert Hall on Nov 2nd and 3rd, 2013
Engineered and mastered by: Tanel Klesment
Instrument: Steinway & Sons
Piano turner: Andres Leesik
Liner notes by Maia Lilje and Vivre Normet
Transalations: Medea Jerser
Design: Tiina Sildre
Co-producer: Peeter Vähi
Special thanks: Cultural Endowment of Estonia

© 2013 Estonian Classics, ERP (Tallinn)
ERP 7513
EC 013


JohannesBrahmsJohannes Brahms, dem in seiner Jugend eine brillante Virtuosenlaufbahn als Pianist vorhergesagt wurde und der bis in die späten dreiβiger Jahre seines Lebens aktiv konzertiert hatte, wurde wohl nicht mit den gröβten seiner Zeit Thalberg oder Liszt verglichen, aber offensichtlich besaβ auch er technische Mittel, die von dem höchsten Niveau der Pianistik vorausgesetzt wurden. Die pianistische Stärke von Brahms lag nicht in der äuβeren Bravour des Spiels, sondern in der orchestralen Klangfülle, in der Einfühlsamkeit bei den Details und in der ideellen Tiefe. Seine Virtuosität sowohl als Interpret als auch Schöpfer trat vor den inhaltlichen Werten der Musik zurück.

Brahms komponierte für Klavier als Soloinstrument nicht so viele Werke wie Chopin, Schumann oder Liszt: In der Liste seiner Schöpfungen gibt es nur 16 Klavierwerke oder Zyklen unter verschiedlichen Opusnummern. Die Zahl wäre bedeutend gröβer gewesen, hätte Brahms in seiner Jugend und auch im reiferen Alter eine Anzahl Werke nicht selbstkritisch vernichtet. Eigentümlicherweise kommt diesem Instrument in der Musik von Brahms eine vorherrschende Stellung zu, wenn man hierbei zwei monumentale Konzerte, 16 Ensemblewerke mit Klavier, rund 200 Sololieder mit Klavierbegleitung sowie mehrere Ensemble- und Chorwerke bedenkt.

Die Klavierwerke von Brahms verteilen sich auf drei Schaffensperioden, die sich zeitlich deutlicher abgrenzen als in der Ensemblemusik. In der ersten Periode bis zum Jahr 1854 komponierte er drei Sonaten sowie ein Scherzo es-Moll. In der zweiten Periode, 1862 bis 1866, entstanden Vier Balladen op 10 und fünf umfangreiche Variationszyklen. In diesen Werken zeigten sich die wesentlichen Eigenschaften des brahmsschen Klavierstils: beachtlicher Melodienreichtum, die Dichte der verschiedenen Linien der Faktur und der kontrapunktischen Unterstimmen, orchestrale Klangkraft der oft gebrochenen und sich in grossen Sprüngen in verschiedene Richtungen bewegenden und extreme Register des Klaviers erfassenden Akkorde.

1866 bis 1879 veröffentlichte Brahms keine Klavierwerke, vielmehr befasste er sich als Solist, Ensemblespieler und Dirigent mit Konzerttätigkeit und dem Komponieren von groβen Musikwerken. 1878 bis 1880 konzentrierte er sich wieder auf das Klavier Solo, in dem er acht Stücke op 76 und 2 Rhapsodien op 79 komponierte. Brahms’ Spätwerk aus der Periode 1892–1893 umfasst insgesamt 20 Stücke: Capriccios, Intermezzos, daneben finden wie nur eine Ballade, eine Romanze und eine Rhapsodie.

In den Vier Balladen op 10 (1854) richtete Brahms erstmalig seinen Blick auf das von derromantischen Literatur inspirierte Balladen-Genre, das bereits in den Schöpfungen Chopins einen festen Platz gefunden hatte. Nur bei der ersten Ballade wies der Komponist selber auf die literarische Quelle, auf eine trostlose schottische Ballade “Edward”, entnommen der von Herder erstellten Sammlung “Stimmen der Völker in Liedern”. Dieser liegt ein Zwiegespräch zwischen der eindringliche Fragen stellenden unglücklichen Mutter und ihrem Sohn zugrunde, demzufolge dieser den blutigen Mord an seinem Vater eingesteht. In dieser Ballade wird eine Geschichte entwickelt, in der die Musik einen dramatisch ergreifenden und die Struktur des Textes sehr dynamisch befolgenden Ausdruck erhält. Robert Schumann, dem Brahms die Noten seines neuen Opus zustellte, erkannte die Neuartigkeit der ersten Ballade an, bewunderte die zauberhafte Klangfantasie der zweiten Ballade, hörte in der dritten Dämonenhaftigkeit und in der vierten befremdende Schönheit einer volksliedartigen einfachen Melodie.

Unter den 1879 vollendeten Acht Stücken op 76 gibt es jeweils vier Capriccios und vier Intermezzos. Intermezzos haben eine klarere Form, blicken nach Innen; die Capricci dagegen sind dramatischer, in den musikalischen Bildern weisen sie schärfere Kontraste auf und haben einen freieren fast rhapsodiehaften Aufbau, wie auch Capriccio Nr 1 fis-Moll (Un poco agitato). Die Notengrafik der Handschrift, gestaltet mit schön gebogenen, schwungvollen Federzügen, legt ein Zeugnis von schöpferischer Eigenständigkeit und Reife von Brahms ab.

In einem Jahr wurden Zwei Rhapsodien op 79 geschrieben. Die Erste hieβ vorläufig wieder Capriccio, die Zweite war ganz namenlos. Brahms erklärte dem Verleger Simrock: “Sie wissen, dass ich immer das nichtssagende Wort “Klavierstück” bevorzuge, und namentlich, weil es nichts sagt...” Auf Empfehlung von Elisabeth von Herzogenberg, der op 79 gewidmet war, fanden beide Stücke schlieβlich eine gemeinsame Überschrift. Dem Wesen einer Rhapsodie im lisztschen Sinne liegt die Erstere näher, h-Moll. In der Rhapsodie Nr 2 g-Moll (Molto passionato, ma non troppo allegro) zog Brahms der improvisatorischen Ausdrucksweise eine sicherere, obwohl mit gewisser Freiheit behandelte Sonatenform vor. Die Musik mit drei von Intonation nahen Themen ist aber explosiv und leidenschaftlich, in einem kraftvollen Verlauf und mystisch-melancholischen Schattierungen führt das Werk in seinen düsteren Abschnitten in die Atmosphäre der Edward-Ballade.

In den späten 1880er Jahren komponierte Brahms unter verschiedenen Opuszahlen gebündelt eine Reihe von Liedern, deren Texte von seelischer Einsamkeit, Heimwehe, verlorenen Hoffnungen, irdischer Vergänglichkeit sprechen. Obwohl im Leben von Brahms anscheinend alles im Gleichgewicht lag, eröffnete er in seinen Briefen auch an die engsten Freunde nicht, was in seiner Seele vorging. Allmählich verzichtete er auch auf die Lieder, damit die poetischen Zeilen seine innigsten Gedanken hörbar nicht noch verstärkten, und vertraute seine verborgenen Gefühle wieder seinem Musikinstrument an.

Brahms’ Klavierschaffen aus den Jahren 1892–1893 enthält im Ganzen 20 Stücke: Sieben Fantasien op 116, drei Intermezzos op 117, Sechs Klavierstücke op 118 und Vier Klavierstücke op 119. Der Wiener Musikkritiker Eduard Hanslick charakterisiert sie mit den Worten Pessimismus Pervier. Hier verlieβ der Komponist alles Äuβerliche, fokussierte sich auf das Wesentliche, zeigte sich als Architekten, der mit knappem Material auskommt. Diese späten Klavierstücke mit ihren kunstvoll feinen Tongeflechten und geschliffener Kontrapunktik sowie feinen Formstukturen sind wie mild schillernde Perlen.

Viele Zeitgenossen konnten etwas so bis in die äuβerste Schlichtheit Zurückgeführtes, kristallklar Ausgedrücktes nicht so recht schätzen. Der in Wien als heftiger Brahms-Gegner bekannte Kritiker Hugo Wolf nannte es geistlos, ohne zu bedenken, dass er mit Ironie schreibend doch direkt ins Schwarze traf: “Ganz wie der liebe Gott versteht auch Herr Brahms sich auf das Kunststück, aus nichts etwas zu machen.” Maximale Ökonomik im Umgang mit dem musikalischen Stoff veranlasste auch Arnold Schönberg ein paar Jahrzehnte später in seinem Aufsatz “Brahms, der Fortschrittliche” die in die Zukunft weisenden Züge dieser Werke hervorzubringen.

In der Musik, die Brahms in seinen letzten Jahren verfasste, klingt die Melancholie der Entsagung. Trotzdem fehlen hier auch leidenschaftliche Gefühlsausbrüche, Schmerz und Bitterkeit nicht. Diese Werke sind wie Selbstgespräche, Geständnisse eines sehr einsamen Menschen, in dem sie zugleich eine beglückende Möglichkeit zum Zwiegespräch zwischen dem Spieler selbst und seinem Musikinstrument darbieten. Zu den Drei Intermezzos op 117 im verhaltenen Tempo sagte der Komponist selber: “Sie sind die Wiegenlieder meiner Schmerzen!” Schwermütige und in die Stille gerichtet Momente und wieder wie in der Ballade der Jugendzeit benutzte Brahms im ersten Intermezzo Es-Dur Verse eines Wiegenliedes: “Schlaf sanft, mein Kind, schlaf sanft und schön! Mich dauert’s sehr, dich weinen sehn” (aus Herders Sammlung “Stimmen der Völker in Liedern”) als gedanklich-satzmelodische Quelle. Im Intermezzo b-Moll (Andante non troppo e con molta espressione) klingt eine zart sehnsüchtige Melodie in der Art Schumanns über fließenden Begleitfigurationen. Der von unruhiger Chromatik gespannte mittlere Satz läuft wieder in eine Stimmung der Nostalgie aus.

Sechs Stücke op 118 unterscheiden sich von dem vorigen Opus durch eine stilistische Vielfalt. Das erste kurze und ruckartig einsetzende Intermezzo a-Moll (Allegro non assai, ma molto passionato) kommt zu einem verklärenden A-Dur. Das im gleichen Tonart liebenswürdig aufrichtig und tröstend folgende Intermezzo A-Dur (Andante teneramente) stellt wieder ein Musterbeispiel für die Kontrapunktik von Brahms dar. Letztes mit klagender Monodie einsetzendes, sich als eine Ballade entwickelndes und im mittleren Satz zu einer fast tragischen Todesanzeige anschwellendes Intermezzo es-Moll (Andante, largo e mesto) läuft in ein vergehendes Klagelied aus und bringt eine zur Versöhnung ausholende Lösung mit sich.

Zu den Vier Klavierstücken op 119 gehören Drei Intermezzos und ein den Zyklus abschlieβendes und zugleich als letztes vom Komponisten für Klavier geschaffenes Werk, die kraftvolle Rhapsodie Es-Dur. Das Intermezzo h-Moll (Adagio) klingt als Ehrenbezeugung für Schumann, auf dessen Nachspiel des Heine-Liedes “Am leuchtenden Sommermorgen” er in der Musik hinweist. Brahms schrieb zum Geleit der Handschrift an Clara Schumann: “Das kleine Stück ist ausnehmend melancholisch... es wimmelt von Dissonanzen... und “sehr langsam spielen” ist nicht genug gesagt. Jeder Takt und jede Note muß wie ritardando klingen, als ob man Melancholie aus jeder einzelnen saugen wolle...” Der nostalgische Walzer im mittleren Satz ertönt als eine Erinnerung an das Glück der Jugendzeiten.

Philipp Spitta, ein Freund von Brahms, schrieb an den Komponisten, nachdem er im Manuskript von op 119 geblättert hatte: “Unausgesetzt beschäftigen mich die Klavierstücke, die von allem, was Sie bislang für Klavier geschrieben haben, so sehr verschieden sind, und vielleicht das Gehaltreichste und Tiefsinnigste, was ich von einer Instrumentalform von Ihnen kenne. Sie sind recht zum langsamen Aussagen in der Stille und Einsamkeit...”


VardoRumessenPhotoByPVahi35Vardo Rumessen absolvierte 1971 die Klavierklasse von Professor Bruno Lukk und Eugen Kelder am Tallinner Konservatorium, danach hat er eine weitgehende Tätigkeit als Konzertpianist sowie Musikwissenschaftler aufgenommen. Er ist vor allem als fleiβiger Verbreiter estnischer Musik bekannt und zahlreiche Bücher, Notenausgaben und Schallplatten sind von ihm erschienen. Als Pianist hat er eine breite Spannweite: Neben estnischen groβen Meistern Rudolf Tobias, Eduard Tubin, Mart Saar, Heino Eller und Eduard Oja hat er sich auch dem Œuvre von Johann Sebastian Bach, Alexander Skrjabin, Sergei Rachmaninov, Johannes Brahms, Fryderyk Chopin u.a zugewandt, in dem er oft vollständige zyklische Programme vorgetragen oder Schallplatten aufgenommen hat. Ab 1988 ist er mit Soloabenden oder mit Orchestern auβer Estland noch in Stockholm im groβen Saal der Königlichen Musikakademie, in Göteborg, in Norwegen auf den Festspielen in Harstad, in Reykjavík, Rom, in mehreren Städten der USA, in Victoria Hall Genf, in Lousanne, Riga, im Rachmaninov-Saal in Moskau, in Ankara, Hiroschima, Melbourne und anderswo aufgetreten. In seinem Vortrag sind 25 CDs mit Klaviermusik von Johann Sebastian Bach (2010), Sergei Rachmaninov (2010), Alexander Skrjabin (2011) und Fryderyk Chopin (2011) und mit Klavier- und Kammermusik estnischer Komponisten Rudolf Tobias, Mart Saar, Heino Eller, Eduard Oja und Eduard Tubin eingespielt. Eine groβe Anerkennung hat Rumessen vor allem als Interpret von Tubin gefunden − er hat gesamtes Klavierwerk von Tubin auf Schallplatten aufgezeichnet (1988) und wiederholt seine Konzertina für Klavier mit mehreren Orchestern in Estland, den USA, in Schweden, der Türkei und der Schweiz gespielt. Als Ensemblespieler ist er des Ofteren mit mehreren Sängern, Geigern, Violaspielern, Cellisten und Ensembles in diverser Besetzung aufgetreten. Rumessen hat mehr als 125 Notenausgaben und Bücher über estnische Komponisten − Tobias, Saar, Eller, Oja und Tubin verfasst. 

Auf Initiative Rumessens wurde im Jahr 2000 Internationale Eduard-Tubin-Gesellschaft ins Leben gerufen. Er ist fortwährend der Vorstandsvorsitzende der Gesellschaft und Chefredakteur bei der Herausgabe der “Gesammelten Werke” von Tubin. 2001 bis 2005 hat er die Musikfestspiele Eduard Tubin und seine Zeit veranstaltet, wobei ihm die künstlerische Leitung oblag.

Die Musik von Johannes Brahms steht dem Herzen Vardo Rumessens besonders nahe. Er hat sämtliche 4 Balladen von Brahms wiederholt gespielt und in diesem Jahr trat er in Tallinn im Konzerthaus Estonia mit einem dem 180. Geburtstag von Johannes Brahms gewidmeten Programm auf.  Einen zentralen Teil auf dieser CD bilden die Intermezzos, zu denen Brahms selber gesagt hat: “Sie sind die Wiegenlieder meiner Schmerzen”. Seelenqual und Hingabe des Komponisten sind auch dem Pianisten sehr nahe gegangen. Die klangliche Schönheit der Brahmsschen Musik sowie die Bildhaftigkeit musikalischer Ideen verschaffen eine psychologische Atmosphäre zur Vertiefung, zur Suche und zum Ausfindigmachen von Ausdrucksmöglichkeiten, was uns dazu verhilft das Vollzogene besser zu erkennen und zu verstehen. Wenn wir dabei den Vortrag vergessen und die Schönheit und den Schmerz der Musik empfinden, hat der Interprät sein höchstes Ziel erreicht.

Download photo of Vardo Rumessen, colour, jpg, 300 dpi

Download liner notes in Estonian (pdf)

See also other recordings of Vardo Rumessen produced by ERP: Koidust Kodumaise viisini, Eduard Tubin and His Time, Northern Lights Sonata, Estonian Preludes, Sergei Rahmaninov. Piano Works, Fryderyk Chopin. Melancholy, Silent Moods, The Call of the Stars, The Well-Tempered Clavier I