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STEN LASSMANN (Klaver) hooaja peatoetaja STEN LASSMANN (klaver) T 16. oktoober kell 18 Türi kultuurimaja K 17. oktoober kell 18 Võru muusikakool N 18. oktoober kell 18 Põlva muusikakool T 23. oktoober kell 18 Alatskivi loss N 25. oktoober kell 18 Valga muusikakool Eesti Kontserdi suurtoetaja 2012 Heino Eller Teema variatsioonidega h-moll (1939) (1887–1970) Meditatsioon (1936) Tants-kapriis (1933) Ballaad cis-moll (1955) Tokaata h-moll (1921) Johannes Brahms Sonaat nr 3 f-moll op. 5 (1833–1897) I Allegro maestoso II Andante. Andante espressivo – Andante molto III Scherzo. Allegro energico IV Intermezzo (“Rückblick”). Andante molto V Finale. Allegro moderato ma rubato Heino Eller on üks tähtsamaid tegelasi eesti professionaalse muusikakultuuri arengus, tema pikaaegne loominguline ja pedagoogiline tegevus moodustavad otsekui ühenduslüli rahvuskultuuri lätete ning tänapäeva vahel. Kõige ilmekama ettekujutuse Elleri kesksest kohast eesti kultuuriloos saab siis, kui mõelda, et lapsena mängis ta viiulit Karl August Hermannile (1851–1909), kes muu hulgas püüdis leida maakeelset vastet saksakeelsele sõnale komponist (ning pakkus oma ajakirjas “Laulu ja mängu leht” selleks iluhelide looja); vanameistrina jõudis aga õpetada Lepo Sumerat (1950–2000), eesti elektroonilise nüüdismuusika rajajat. Eller sündis 1887. aastal Tartus ning puutus varasest east peale kokku nii laulu kui ka pillimänguga, kuid professionaalset muusikaõpetust hakkas saama võrdlemisi hilja, alles 12aastaselt. Aastatel 1907–1920 elas Eller Peterburis, õppides nii Peterburi konservatooriumis (alguses viiulit, hiljem heliloomingut) kui ka Peterburi ülikoolis (õigusteadust). Tolleaegse maailmalinna rikkaliku kultuurielu kõrval koges Eller omal nahal ka 1917. aasta revolutsioonikeerist. 1920. aastal, pärast Tartu rahulepingu sõlmimist Eesti ning Nõukogude Venemaa vahel, tuli Heino Eller ühes tuhandete teiste Venemaa avarustes elanud ning töötanud eestlastega tagasi kodumaale elama. Eller töötas aastail 1920–40 Tartus ning kujunes Artur Kapi ning Mart Saare kõrval üheks eesti tähtsaimaks heliloojaks- õpetajaks. Tema õpilaste grupp (nn Tartu koolkond), kuhu kuulusid Alfred Karindi, Karl Leichter, Eduard Oja, Olav Roots ning Eduard Tubin, kujunes juba 1930. aastatel Eesti muusikaelus tugevaks jõuks. 1940. aastast kuni surmani 1970 oli Eller Tallinna konservatooriumis kompositsiooniprofessor, tema käe all õppisid paljude teiste hulgas ka Arvo Pärt, Jaan Rääts ning Lepo Sumera. Heino Elleri loomingu nimekirjas on ligi kolmsada teost, ning kui välja arvata üksikud erandid (mis loodud 1950. aastate algul tingituna stalinlikust repressiooni-poliitikast), on tegemist ainult instrumentaal- muusikaga. Eesti kultuuriruumis on koorilaul olnud alati väga tähtsal kohal ning vokaalmuusikat on kirjutanud enamik heli loojaid – Elleri täielik pühendumine vaid instrumentaalmuusikale on selles kontekstis märkimisväärne. Elleri tuntuim teos “Kodumaine viis” on aga 4 mõneski mõttes “vokaalmuusika”: see on sõnadeta laul, Eesti hümn instrumentaalmuusikas, võrreldav Sibeliuse kuulsa “Finlandiaga”. Elleri muusika kohta on öeldud, et see kujutab Eesti loodust ning väljendab ka rahva hingelaadi; ta on eesti rahvusliku helikunsti sümbol. Kuid Elleri mitmekülgsest loomingust mängitakse-teatakse üsna väikest osa, mitmed klaveriteosed on siiani lausa trükiski ilmumata. Elleri loomingu paremik aga ületab kindlasti pelgalt rahvusliku tähtsuse ning väärib kohta maailma muusikaliteratuuri nimekirjas. Kuigi Eller oli ise hoopis viiuldaja, moodustavad klaveriteosed tema loomingust kaks kolmandikku. Need umbes kakssada teost on enamjaolt miniatuurid, kuid nende hulgas on ka neli sonaati, kaks sonatiini ning kaks variatsioonitsüklit. Elleri klaverilooming on Eduard Tubina sümfoonilise loomingu kõrval suurim osa eesti klassikalise instrumentaalmuusika pärandist. Ajaliselt võib Elleri (klaveri)loomingu jaotada kolme perioodi vastavalt Elleri elukohtadele: varane (Peterburi 1909–1920), keskmine (Tartu 1920–1940) ning hiline (Tallinn 1940–1970) looming. Selline alajaotus aitab hõlmata Elleri klaveriloomingu ulatust, kuid stiililiselt on need teosed väga mitmekülgsed, alates lihtsaimast rahvalauluseadest kuni keerulisima ekspressionistliku prelüüdini. Terviklikku ülevaadet Elleri klaveriloomingust on raske anda isegi kahepoolse soolokontserdi kavaga. Siia kavasse olen seetõttu valinud vaid mõningad vähem tuntud teosed (trükis on ilmunud vaid meditatsioon ning ballaad), mida aga interpreedina kõrgelt hindan. Teema variatsioonidega h-moll on valminud 1939. aastal, olles ainuke Elleri suurvormidest klaverile, mis on siiani välja andmata. Teose esiettekannegi toimus alles 1. veebruaril 1984 Estonia kontserdisaalis Peep Lassmanni esituses. Elleril on käsikirjas jäänud isegi teosele pealkiri panemata, on vaid tempotähised teema ning iga järgneva variatsiooni juures. Põhjuseks on see, et nõukogude korra ajal langes põlu alla kogu Elleri looming iseseisva Eesti Vabariigi ajast, nende teoste esitaminegi oli raskendatud, rääkimata trükis välja andmisest. Sisuliselt kuulub aga teema variatsioonidega Elleri loomingu paremikku, see on valminud samal ajal kui sümfooniline süit “Valge öö”, mis on tähtsaima Elleri-uurija Mart Humala sõnul “tõeline ellerlikkuse kvintessents”. Lihtsale ning laululisele teemale järgnevad kümme karakteerset variatsiooni, mis on kõik lühikesed, pikemat arendust pakub vaid viimane. 5 Meditatsioon kuulub nende väheste Elleri teoste hulka, mis ilmusid juba 1930. aastatel Eesti Kultuurkapitali helikunsti sihtkapitali noodi- väljaandena. Teose peaosa kargele, tardunud meloodiale pakub kontrasti kaleidoskoopilise loomuga vaheosa. Meditatsiooni eepiline meloodia on lähedases suguluses Elleri 1. sümfoonia “In modo mixolydia” (1934–1936) esimese osa peateemaga – esimesed neli nooti on transponeeritult lausa samad. Tants-kapriis kuulub samasse aega, kuid eepilise rahvuslikkuse kõrval on siin tähtsal kohal huumor. Tants-kapriis on ulatuslik virtuoosne teos, üks väheseid Elleri klaveriloomingus, kus esineb näiteks oktaavipassaaže ning martellato-tehnikat. Ballaad cis-moll (1955) on üks esimesi teoseid pärast stalinismi-aja ideoloogilisi rünnakuid ja stagnatsiooni, kus Eller väljendab end taas võrdlemisi vabalt – teos on helikeelelt mitmekülgne ning läbinisti tõsise, valdavalt lüürilise, kuid kulminatsioonides ka traagilise iseloomuga. Kompositsiooniliselt on ballaad terviklik, kõik teemad ja vormilõigud on omavahel orgaaniliselt seotud, kogu teost läbib katkematu dramaturgiline arenguliin. Pärast sissejuhatust kõlav laulev peateema on üks Elleri kaunimaid ning pikemaid meloodiaid, kõrvalteema on aga kummaline groteskne tants madalas registris. Tokaata h-moll käsikirjas on loomisajaks märgitud 1921, kuid teos võib olla hiljem täiendatud – Elleril oli kombeks oma teoseid hiljem ümber töötada (tihti ka põhjalikult), kuid jätta need uued versioonid dateerimata. Rondovormis teose peateema kõlab kahel järgneval sisseastumisel järjest võimsamalt ning kulmineerub kolossaalse jõuga koodas. Peateema rangusele pakuvad kontrasti kerge ja mänguline esimene episood, ning kromaatiline, skrjabinlikult tunglev teine episood. Tegemist on tõelise šedöövriga, kus ühenduvad laitmatult nii oskuslik, virtuoosne klaverikäsitlus kui ka kaasahaarav, suure dramaatilise pingega muusikaline süžee. 6 Kuigi Johannes Brahms oli vaid kahekümneaastane, kui ta kirjutas kolmanda klaverisonaadi, on tegemist klaverirepertuaari absoluutsesse tippu kuuluva meistriteosega. Aasta 1853 oli Brahmsi elus pöördelise tähtsusega. Just sel aastal tutvus ta viiuldaja Joseph Joachimiga ning viimase soovitusel külastas oktoobris Düsseldorfi s Robert ja Clara Schumanni. Brahms jättis Schumannidele niivõrd sügava mulje, et põgusast külaskäigust sai paarinädalane koosviibimine. Brahms mängis Schumannidele ette nii oma esimese (op. 1) kui ka teise klaverisonaadi (op. 2) ning tõenäoliselt ka suurema osa kolmandast sonaadist. Sama aastal lõpul kirjutas Robert Schumann oma ajakirjas Neue Zeitschrift für Musik (Uus Muusikaajakiri) Brahmsi ülistava artikli pealkirjaga “Neue Bahnen” (“Uued rajad”). Selles artiklis on muu hulgas ka tihti tsiteeritud ütlus Brahmsi klaverisonaatide kohta: “Need on pigem looritatud sümfooniad.” Schumanni artikkel tegi noore Brahmsi nime kohe tuttavaks kogu saksakeelsele muusikaüldsusele ning Joachimi ja Clara Schumanniga kujunesid Brahmsil eluaegsed lähedased sõprussidemed. Kolmas klaverisonaat jäi aga Brahmsil viimaseks – teos on nii vormilt kui ka sisult nõnda ulatuslik ja sümfoonilise haardega, et tõenäoliselt ei näinud helilooja enam võimalust žanri edasiseks arenguks. Hariliku nelja osa asemel on siin viis ja see on üks pikemaid sonaate pianistide tavarepertuaaris. Brahmsil on õnnestunud selles teoses ühendada klassitsistlikud teema- ning vormiskeemid romantismiajastu hingestatud tunde lisusega (sama võib öelda kogu Brahmsi loomingu kohta tervi kuna). Esimese osa suurejoonelise peateema algusmotiivist on meisterlikult tuletatud selle osa kõik ülejäänud teemad. Teise osa epigraafi ks on Brahms valinud esimesed kolm rida ühest C. O. Sternau luuletusest, ta on hiljem kommenteerinud, et need värsid “võivad olla vajalikud või meeldivad selle Andante mõistmiseks”: Der Abend dämmert, das Mondlicht scheint, Õhtu hämardub, kuuvalgus helgib, da sind zwei Herzen in Liebe vereint kaks südant on armastuses ühinenud und halten sich selig umfangen ja hoiavad end õnnistunult embuses. 7 Kolmanda osa scherzo peateema süngele, deemonlikule tantsule vastandub trio üllas koraalimeloodia. Neljas osa, intermezzo, kannab alapealkirja “Rückblick” (“Tagasivaade”). See on teise osa algusevalulik
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