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Heli Ernits Jaan Tamme Nimeline Puhkpillikvintett: Esitusstiili Analüüs

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Heli Ernits Jaan Tamme Nimeline Puhkpillikvintett: Esitusstiili Analüüs Eesti Muusika- ja Teatriakadeemia Heli Ernits Jaan Tamme nimeline puhkpillikvintett: esitusstiili analüüs salvestiste põhjal Töö doktorikraadi taotlemiseks Juhendaja: prof Urve Lippus prof Toomas Siitan Tallinn 2016 Abstrakt Uurimistöö „Jaan Tamme nimeline puhkpillikvintett: esitusstiili analüüs salvestiste põhjal“ (The Jaan Tamm Woodwind Quintet: a recording-based analysis of their performance style) eesmärgiks on salvestiste põhjal iseloomustada 1942–1992 tegutsenud eesti kammer- muusikaansambli Jaan Tamme nimelise puhkpillikvinteti esitusstiili ning tuua välja selle olulisemad jooned. Peamiseks uurimisprobleemiks on mängu iseloomulike joonte ning nendes aastakümnete jooksul toimunud muutuste määratlemine, mida käsitletakse muusika esituskunstis toimunud üldiste muutuste kontekstis. Uurimistöö on osa loomingulis- uurimuslikust doktoriprojektist, mis hõlmab ka autori loomingulist tegevust puhkpilli- kammermuusika interpreteerimisel. Töö aluseks on Jaan Tamme nimelise puhkpillikvinteti 28 salvestist aastatest 1958– 1987 Eesti Rahvusringhäälingu arhiivis. Töö esimeses etapis on uurimine põhinenud kultuuri- ja kirjandusteadlaste poolt kasutataval „tiheda kirjelduse“ meetodil, toetudes Clifford Geertzi artiklile „Tihe kirjeldus: tõlgendava kultuuriteooria poole“ (2007). Uurimise teises etapis on Jaan Tamme nimelise puhkpillikvinteti salvestisi kuuest erinevast muusikateosest võrreldud samade teoste esitustega teiste ansamblite poolt. Detailses töös salvestistega on põhimeetodina kasutatud võrdlevat analüüsi. Kahe etapi uurimistulemused on tervikuks integreeritud ja esitatud esituse olulisemate aspektide kaupa: kõla, artikulatsioon, dünaamikakujundus, tempovalik ja erinevad lähenemised muusikalisel kujundamisel. Teoreetilist tuge on käesolevale uurimistööle pakkunud eelkõige interpretatsiooni ajaloo uurijate Robert Philipi (“Performing Music in the Age of Recording”, 2004; “Early Recordings and Musical Style: Changing tastes in instrumental performance 1900-1950", 1992) ja Daniel Leech-Wilkinsoni („Recordings and histories of performance style”, 2009; “The Changing Sound of Music: Approaches to Studying Recorded Musical Performance”, 2009) tekstid. Helisalvestisi käsitleva põhiosa kõrval on töös ka sissejuhatav ajalooline, ansambli tegevust peegeldavatel allikatel põhinev osa. Peamiste allikatena on kasutatud ajaleheartikleid aastatest 1970–1990, olulist täiendust teema käsitlemisel on pakkunud Miralda Pleksepa 1970. aastal kirjutatud üliõpilastöö kvinteti tegevusest, arhiivimaterjalid ansambli ja selle kontsertide kohta ning Eesti Raadios salvestatud Jaan Tamme nimelise puhkpillikvinteti juubelitele pühendatud raadiosaated, kus saadete autorid vestlevad kvinteti liikmetega (1967, 1972 ja 1992). Sisukord 1. Sissejuhatus ............................................................................................................................ 3 1.1. Uurimisküsimused, meetodid, allikad ja kirjandus .......................................................... 3 1.2. Puhkpillikvinteti arengust ................................................................................................ 9 2. Jaan Tamme nimelise puhkpillikvinteti tegevus .................................................................. 14 2.1. Koosseis ......................................................................................................................... 19 2.2. Repertuaar ...................................................................................................................... 22 2.3. Tegevuse mõjudest ......................................................................................................... 27 3. Jaan Tamme nimelise puhkpillikvinteti esitusstiili analüüs salvestiste põhjal ..................... 30 3.1. Salvestiste ülevaade ....................................................................................................... 31 3.2. Esitusstiil ja mängu kvaliteet 20. sajandile iseloomulike muutuste kontekstis.............. 38 3.3. Kõla ................................................................................................................................ 42 3.3.1. Oboe mängukvaliteet kui kvinteti kõlapildis esiletõusvaim puudus ....................... 45 3.3.2. Flöödi ja fagoti vibraato .......................................................................................... 48 3.4. Artikulatsioon................................................................................................................. 54 3.4.1. Teravdatud artikulatsioon Arvo Pärdi kvintetiinos ................................................. 55 3.4.2. Artikulatsioonikontrastid Villem Kapi süidis ......................................................... 56 3.4.3. Artikulatsioonist Anton Reicha ja Eino Tambergi kvintettides .............................. 58 3.4.4. Artikulatsioonist Erkki-Sven Tüüri teoses „Arhitektoonika I“ ............................... 59 3.5. Tempovalik .................................................................................................................... 60 3.5.1. Tempokontrastid Kapi süidis ja Pärdi kvintetiinos ................................................ 62 3.5.2. Reicha puhkpillikvintett: kiire finaal ...................................................................... 68 3.5.3. Tambergi I kvintett: aeglane keskmine osa ............................................................. 73 3.5.4. Tambergi II kvintett ja Tüüri „Arhitektoonika I“: ühtlaselt rahulikud tempod....... 75 3.6. Dünaamikakujundus....................................................................................................... 79 3.6.1. Dünaamikast Pärdi kvintetiinos ja Tüüri teoses „Arhitektoonika I“ ....................... 81 3.6.2. Dünaamikast Tambergi kvintettides ....................................................................... 85 3.7. Erinevad muusikalised lähenemised ............................................................................. 88 3.7.1. Terviklik lähenemine teostele ................................................................................. 88 3.7.2. Ritenuto kasutamine ................................................................................................ 91 3.7.3. Reicha klassikalise kvinteti esitusest ...................................................................... 93 3.8. Muusikaline karakteersus ............................................................................................... 97 3.8.1. Pärdi kvintetiino 1974. aasta salvestis: interpretatsiooniline vabadus ................. 101 3.8.2. Flöödi ere mäng ..................................................................................................... 103 4. Kokkuvõte ....................................................................................................................... 106 Allikad ................................................................................................................................. 115 Kirjandus ............................................................................................................................. 121 Summary .............................................................................................................................. 123 Lisa 1. Jaan Tamme nimelise puhkpillikvinteti liikmed .................................................... 130 Lisa 2. Jaan Tamme nimelise puhkpillikvinteti heliplaadid .............................................. 134 Lisa 3. Helinäited ................................................................................................................ 136 2 1. Sissejuhatus Jaan Tamme nimeline puhkpillikvintett (mõnda aega ka Eesti Riikliku Filharmoonia puhkpillikvintett) oli 20. sajandi teisel poolel, aastatel 1942–1992 tegutsenud eesti ansambel, mida võib pidada oma aja üheks populaarsemaks ja püsivamaks kammermuusikakoosseisuks nii Eestis kui terves Nõukogude Liidus. Kvinteti tähtsus eesti kultuuriloos on eriti suur seoses mõjuga heliloomingule. Ansambel oli väga paljude teoste tellijaks, inspireerijaks ja esiette- kandjaks ning selle aastakümnetepikkust intensiivset tegevust võib pidada puhkpillikvinteti žanri kujunemise ajendajaks eesti muusikas. Käesoleva töö põhieesmärgiks on iseloomustada salvestiste põhjal Jaan Tamme nimelise puhkpillikvinteti esitusstiili ning tuua välja selle olulisemad jooned. Töö on osa loomingulis-uurimuslikust doktoriprojektist, mis hõlmab ka minu loomingulist tegevust puhkpillikammermuusika interpreteerimisel. Olles interpreet, pean oluliseks ja huvitavaks oma ringkonnas lausa legendaarse ansambli interpretatsiooni uurimist, püüdes avada sellele iseloomulikku ning määratleda kohta interpretatsiooniajaloos. Kolmekümneaastast perioodi hõlmavate salvestiste põhjal uurin ka muutusi ansambli mängus ja käsitlen neid muusika esituskunstis toimunud üldiste muutuste kontekstis. Enne interpretatsiooniküsimuste juurde jõudmist pean oluliseks anda ülevaade ansambli tegevusest ja mõjudest muusikaloos. Jaan Tamme nimelise puhkpillikvinteti näol on tegemist küll lähiajaloosse kuuluva, kuid paljude jaoks juba unustatud ansambliga, mille kohta ei leidu ei ülevaatlikku materjali ega tegevuse põhjalikumat analüüsi. Kvinteti tegevusest on küll kirjutatud 1970. aastal üliõpilastöö Miralda Pleksepa poolt Tallinna Riikliku Konservatooriumi puhkpilliorkestri dirigeerimise kateedris, sellele aga järgnes veel 22 aastat ansambli tegevust, mis on süstemaatiliselt kajastamata. Ansambli salvestisi ja esitusstiili varasemalt uuritud ei ole. Võib öelda, et praegune aeg on uurimiseks eriti sobiv, kuna
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