Vivit! CHORAL WORKS BY & RUDOLF TOBIAS

ESTONIAN PHILHARMONIC CHAMBER CHOIR DANIEL REUSS 2 he beginnings of professional composition in are largely associated with Rudolf Tobias T(1873–1918), who at the end of the 19th century was the first Estonian composer with a diploma in composition. Although the era of ethnic musical tales might be over, it is still interesting to explore how these ethnic and cultural labels are defined and ascribed to works and their composers. Rudolf Tobias has been regarded as both an Estonian and a German composer. The former is due primarily to his ethnic origin, whereas the latter is the result of the broader musical education, cultural space and role models that were the basis of his works. At the turn of the 19th and early 20th centuries, the central institution for educating Estonian musicians was the St. Petersburg Conservatory. Students initially studied organ there, and, from Tobias’s time onwards, composition as well. Tobias graduated from the conservatory in 1897 with a diploma in both organ and composition and worked as the church organist and conductor at the Estonian St. John’s Church in St. Petersburg from 1898 to 1904. A detail which suggests the importance of this position was the fact that at the beginning of the 20th century the city of St. Petersburg had the largest Estonian community in the world: around 50,000 , compared to the 40,000 living in . Tobias’s first work for orchestra, which was also the first Estonian symphonic composition, was the overture Julius Caesar (1896), completed in St. Petersburg. Tobias also composed the first Estonian cantata (Johannes Damascenus [St. John of Damascus], 1897), piano concerto (Concertstück, 1897), oratorio (Des Jona Sendung [Jonah’s Mission], 1909) and (1899). His Estonian qualities are emphasised in the texts of several of his works, such as the ballade Of the Beautiful Air Maiden for soprano and orchestra, Kalevipoeg at the Gates of Hell for speaker and orchestra and the Fantasy on Estonian Folk Tunes for piano. Tobias is most strongly linked to Estonia through his work as a music critic and conductor in from 1904 to 1908. During that period, in addition to teaching music, he also performed as an organist and pianist and organised performances of various large-scale compositions. Even after moving to at the end of 1908, he remained in contact with Estonian musicians and continued to be interested in Estonian contemporary music. The musical language of Tobias’s compositions belongs to a much broader, German cultural space, however. The fact that his main musical role models were Bach and Beethoven not only reflects his personal preferences but also the priorities of music education during that era. Thus, it is natural that Tobias’s music follows the classical-romantic tradition for the most part, although in some of his works

3 more modern impressionist and expressionist harmonies are also found. A further reason why Tobias could be considered a German composer is the fact that from 1908 he lived in Germany and, among other things, taught music theory at the Royal Academy of Music in . He also acquired German citizenship in 1914. The value of Tobias’s music is more important than the question of ethnicity. As a deeply religious person, sacred choral pieces make up a significant part of Tobias’s repertoire, and his thoughts on contemporary church and sacred music in general were also published. In the article “Andante religioso”, published in the German magazine Allgemeine Musikzeitung in August 1910, Tobias wrote1: “Mysterious strings invisibly connect aural art and the religious world and run between the superhuman and the mystical. All other art forms usually lack this transcendental ability, perhaps with the exclusion of poetry, however: how many verses, how many gusts of emotion are wasted by Dante when explaining empeiria by using the colourful facets of the history of the world. . . . Modern musical artists lack the ability to be interested in everything transcendental, however, mostly they are unable to find material for the traditional forms of church music of the era. This is clearly reflected in the text choices.” Tobias found it unreasonable that only four main themes were considered appropriate for the texts of sacred music: humility, trust in God, praise and gratitude. In his opinion many more general secular topics, with examples from the Bible, were also suitable for musical settings.

Tobias’s two most famous choral songs are “Eks teie tea” [Know Ye Not] and “Otsekui hirv” [As a Deer]. The musical leitmotif of “Know Ye Not” was probably the result of improvisation when the composer searched for suitable musical material for a Pentecost service at St. John’s Church in St. Petersburg, as later recounted by the church school teacher at that time, Julius Kaljuvee. Over the following years, many settings of the work were made for various ensembles: mixed choir and orchestra, organ and orchestra, male choir and organ. Since the scores are partially lost, however, it is difficult to date them and therefore not possible to present a complete overview of the original or arranged versions of the songs. The first known performance of “Know Ye Not” took place at St. John’s Church in St. Petersburg on 5 November 1900; it was set for male choir and organ, conducted by

1 The Estonian translation of the article was published in Muusikaleht in 1928. The quote is taken from the book Rudolf Tobias. In puncto musicorum (Ilmamaa, 1995), compiled by Vardo Rumessen.

4 Tobias and accompanied on the organ by composer . The song was first published in 1909 by F. E. C. Leuckart, both in German and Estonian, as “Pfingstgesang. Wisset ihr nicht” [Whitsun Song. Know Ye Not], for male choir, small orchestra and organ. Composers August Topman, Cyrillus Kreek and Eduard Tubin have also made arrangements of the work. “As a Deer” for mixed choir and organ was performed for the first time in St. Petersburg in 1904; Tobias also made several settings of it. Like “Know Ye Not”, the work was first published by Leuckart in 1909 as “Chor aus dem Psalm 42” [Chorus from Psalm 31]. The recordings of both songs are based on the versions for mixed choir and organ; these arrangements were made by the most knowledgeable authority on Tobias, pianist and musicologist Vardo Rumessen. Tobias also composed unaccompanied choral songs during his St. Petersburg years when, as the conductor of the concerts held at St. John’s Church, he needed additional repertoire. Their level of technical difficulty and performance requirements indicate that they were significantly different from works by other Estonian composers of that time, which were primarily in the style of the Liedertafel [male choral societies]. The motets on this album were probably composed in Berlin in 1915; there is no record of their being performed during Tobias’s lifetime, however. Tobias’s organ piece “Nun ruhen alle Wälder” [Now Rest Beneath Night’s Shadow] is the tenth work in the series of twelve preludes (1914). It is based on the evening chorale of the same name by one of Germany’s most famous hymn writers, Paul Gerhardt (1607–1676), who wrote the text, and Heinrich Isaac (1450–1517), who wrote the music. Tobias composed it more as a meditation based on the text and substance rather than a literal prelude to a chorale, thus it can be called an organ chorale. The work is also known as “Nachtstück” [Night Piece].

Max Reger’s (1873–1916) sacred choral songs also generally represent the German late Romantic tradition. However, as a whole and across different genres, the style of his compositions is more varied than those of Tobias; while Reger’s organ music and choral compositions stick to the traditions of their era, his orchestral and chamber pieces reflect a more avant-garde sound. even referred to Reger as one of the most innovative composers of his time. Reger’s works were performed often during his lifetime. After his death, the canon of his works consisted primarily of organ pieces, including extensive chorale fantasias, two sonatas and the Fantasia and on B-A-C-H. Reger’s

5 “Melody” is part of the cycle of twelve pieces for organ, op. 59 (no. 11, 1901). His typically restless and colourful harmonies are supplemented by interval leaps and chromatic melodies. The credit or blame for Reger’s understanding of can be given to his most influential teacher, , the most outstanding musicologist at the turn of the 19th and early 20th centuries. After studying the organ in his home town of Weiden in the Upper Palatinate of , Reger moved to Sondershausen and , where he studied under Hugo Riemann from 1890 to 1893. During the final years of the 19th century, Reger taught music theory, piano and organ at the Wiesbaden Conservatory. From 1901 Reger taught in and, from 1907 until his death, in , where he was also professor of composition and organ at the conservatory. The integration of Bachian polyphony and Brahmsian emotionality, often typical in Reger’s music, is clearly reflected in his sacred choral works. The cycle of eight sacred songs, op. 138 (1914), is composed to texts by various poets, and its character reflects the brighter side of Reger’s choral compositions. The texture of these choral settings for four to eight voices is generally chordal, while the rhythm is simple enough to easily follow the text. The first work of the collection is the double chorus “Der Mensch lebt und bestehet nur eine kleine Zeit” [Man Lives and Exists for Only a Brief Time], on a text by Matthias Claudius (1746–1815), in which a chordal texture and a surprisingly diatonic melody, unusual for Reger, create the atmosphere of a chorale. The “” [Night Song], the third work of the cycle, composed to a text by the 16th century clergyman and poet, Petrus Herbert, is an evening prayer said while waiting for a peaceful night’s sleep. The fourth song of the cycle, “Unser lieben Frauen Traum” [Our Dear Lady’s Dream], also has a gentle, almost waltz-like character. The author of the lyrics is unknown, but they sing the praises of Jesus Christ, the Saviour. “Abendlied” [Evening Song], op. 39 no. 2, is part of a cycle of three six-part choruses completed in 1899, to a text by the German poet August H. Plinke (1855–1910). The setting for six voices divides the alto and bass sections, with their chromatic melodic runs forming a tense, thick-textured sound. The songs “Trost” [Consolation] and “Zur Nacht” [At Night] from op. 6 were composed in 1892 for four-part choir and piano.

Anu Veenre

6 The Estonian Philharmonic Chamber Choir (EPCC) is one of the best known Estonian professional music groups in the world. The EPCC was founded in 1981 by Tõnu Kaljuste, who was the artistic director and chief conductor for twenty years. During 2001–2007 his work was continued by English musician Paul Hillier. Since 2008 the artistic director and chief conductor is Daniel Reuss. The repertoire of the choir extends from gregorian chant to the music of the 21th century. A long specific emphasis and interest is on Arvo Pärt’s and Veljo Tormis’ music. The choir performs also Works by other Estonian composers, such as Erkki-Sven Tüür, Galina Grigoryeva, Toivo Tulev, Tõnu Kõrvits, Helena Tulve. Each season the choir gives about 60–70 concerts in Estonia and abroad. The EPCC has cooperated with several outstanding conductors and orchestras, like Claudio Abbado, Helmuth Rilling, Eric Ericson, Iván Fischer, Neeme Järvi, Paavo Järvi, Nikolai Aleksejev, Andrew Lawrence-King, Roland Böer, Olari Elts, Frieder Bernius, Stephen Layton, Marc Minkowski, Christoph Poppen, Sir Colin Davis etc. and Norwegian, Australian, Lithuanian, and Stuttgart chamber orchestras, Mahler Chamber Orchestra, also Israel Philharmonic Orchestra, Berlin Radio Orchestra, Concerto Copenhagen, Concerto Palatino, Salzburg Camerata, Les Musiciens du Louvre- Grenoble and of course Estonian National Orchestra and Tallinn Chamber Orchestra. The choir has been invited to perform at many renowned festivals, like BBC Proms, Festival Internacional Cervantino in Mexico, Abu Gosh music festival in Israel, Moscow Easter Festival, Bergen International Festival, the Salzburg Festival, Musikfest Bremen, Salzburg Mozartwoche, Festival Aix- en-Provence etc. Another important aspect in the choir’s life is recording music for ECM, Virgin Classics, Carus, Harmonia Mundi, resulting in award-winning CDs, including Arvo Pärt. Da Pacem (Harmonia Mundi 2006, conductor Paul Hillier) which won the Grammy Award for Best Choral Performance.

www.epcc.ee

7 Daniel Reuss (born 1961) studied with Barend Schuurman at the Rotterdam Conservatory. In 1990, he became director of Cappella Amsterdam, which he turned into a full-time professional ensemble that is now one of the most sought after in the . During 2003–2006 he was chief conductor of the RIAS Kammerchor in Berlin, with whom he recorded a number of successful CDs, like Le Vin Herbé (Martin), Solomon (Händel) and Les Noces (Stravinsky). Their CD’s won several awards, like Preis der Deutsche Schallplattenkritik, Echo Award, Midem Classical Award, Diapason d’Or, Choc du Monde de la Musique, Gramophone’s Editor’s Choice. From the season 2008/2009 he is appointed artistic director and chief conductor of the Estonian Philharmonic Chamber Choir (EPCC). Reuss and the choir have had success in important European cultural centres and festivals, including Wiener Konzerthaus, Paisley Choral Festival in Scotland, Schwetzingen Festival in Germany, L’été musical in France etc. He has also commissioned new pieces from Estonian composers (Grigoryeva, Krigul, Kõrvits) and cooperated with other Estonian music groups (the Estonian National Symphony Orchestra, Tallinn Chamber Orchestra and Corelli Baroque Orchestra). Daniel Reuss has been invited to conduct chamber ensembles and orchestras throughout Europe. Among these may be mentioned the Akademie für Alte Musik Berlin, MusikFabrik, Scharoun Ensemble and the Radio Chamber Philharmonic. In summer 2006, at the invitation of Pierre Boulez, Daniel Reuss teached and conducted at the Lucerne Festival Academy. In February 2007 Reuss made his debut at the English National , with Händel’s Agrippina. In 2008 he directed at De Munt/La Monnaie in Bruxelles, with the Dido & Aeneas production of stage director Sasha Waltz. The Diapason d’Or of the year 2009 was awarded to the CD of Cappella Amsterdam (Lux Aeterna) with works of Ligeti and Heppener. In 2010, he was nominated together with Cappella Amsterdam, the EPCC and the Estonian Philharmonic Orchestra for a Grammy for the recording of Martin’s Golgotha.

www.danielreuss.com

8 Ene Salumäe graduated from the Estonian Academy of Music and the Sibelius Academy (choral conducting, church music and organ) and supplemented her studies in organ improvisation and early music. She has performed as a soloist and chamber musician with various early music ensembles, choirs, soloists and orchestras in Estonia and abroad. Ene Salumäe has been active as an organist- choir director in many congregations throughout Estonia and . She taught organ and church music at the Viljandi Cultural Academy and has lectured on subjects related to church music at the Theological Institute of the Estonian Evangelical Lutheran Church. Ene Salumäe has been the initiator and organizer of many concert series and church music events. Since 1996 she has been the organist at the Cathedral Church in Tallinn.

Estonian Philharmonic Chamber Choir

Soprano Tenor Concert master: Kaia Urb Tiit Kogerman Heli Jürgenson Karoliina Kriis Martin Lume Kristine Muldma Kaido Janke Hele-Mall Leego Toomas Tohert Annika Lõhmus Raul Mikson Kristiina Hunt Martinš Zvigulis Eha Pärg Bass Alto Aarne Talvik Marianne Pärna Tõnu Tormis Karin Salumäe Rainer Vilu Helis Naeris Hideyuki Nishimura Merili Kristal Allan Vurma Ave Hännikäinen Andreas Väljamäe Anna Dõtõna Märt Krell

9 10 11 Rudolf Tobias (1873–1918) Rudolf Tobias

1 Otsekui hirv 1 As a Deer Text: Psalm 42

Otsekui hirv kisendab veeojade järel, As a deer pants for streams of water, Nõnda kisendab mu hing Sinu järel. So my soul pants for you, O God. Minu hingel on janu järel, elava My soul thirsts for God, for the living God. Jumala järel. When can I go and meet with God? Millal tulen ma sinna, kus ma Jumala palge ette saan!

2 Kleine Karfreitagsmotette 2 Kleine Karfreitagsmotette Text: Lukas 23, 28 Text: Luke 23, 28

Ihr Töchter von Jerusalem, Daughters of Jerusalem, Weinet, weinet nicht über mich, Do not weep for me; Sondern weint über euch selber, Weep for yourselves Und eure Kinder. And for your children.

3 Oster Vorspiel 3 Oster Vorspiel Text: Markus 16, 3 Text: Mark 16, 3

Wer wälzet uns den Stein Who will roll the stone away Von des Grabes Tür? From the entrance of the tomb?

4 Ostermorgen 4 Ostermorgen Text: New Hymn Book and Psalm 118, 15

Frühmorgens, da die Sonn’ aufgeht, Ere yet the dawn hath fill’d the skies Mein Heiland Jesus aufersteht. Behold my Saviour Christ arise! 12 Man singet mit Freuden von Sieg, Shouts of joy and victory In den Hütten der Gerechten Resound in the tents of the righteous. Singt man vom Sieg. He chaseth from us sin and night, Verschwunden ist die finstre Nacht, And brings us joy and life and light. Licht, Heil und Leben wiederbracht.

Max Reger (1873–1916) Max Reger

6 Unser lieben Frauen Traum, Op. 138/4 6 Unser lieben Frauen Traum, Op. 138/4 Translation: Catherine Winkworth

Und unser lieben Frauen Our Lady lay a-sleeping Der traumet ihr ein Traum, And dreamed a dream, as e’er ’tis said: Wie unter ihrem Herzen That there beneath her heart lay Gewächsen wär ein Baum. A tree that grew with branches outspread.

Und wie der Baum ein Schatten And lo, the tree its shadow gave Gäb wohl über alle Land; To shelter ev’ry, ev’ry land: Herr Jesus Christ der Heiland Lord Jesus Christ our Saviour, Also ist er genannt. That tree is he, and aye shall stand.

Herr Jesus Christ der Heiland Lord Jesus Christ, our saving health, Ist unser Heil und Trost, Hears us when we call: Mit seiner bittern Marter By his most bitter Passion Hat er uns all erlöst. He hath redeemed us all.

7 Der Mensch lebet und bestehet, Op. 138/1 7 Mankind lives an thrives, Op. 138/1 Text: Matthias Claudius (1746–1815) Translation: Sharon Krebs

Der Mensch lebt und bestehet Mankind lives and thrives Nur eine kleine Zeit; Only a short while. 13 Und alle Welt vergehet The whole world shall pass away Mit ihrer Herrlichkeit. With all its splendours. Es ist nur Einer ewig und an allen Enden, Only One is eternal and omnipresent, Und wir in Seinen Händen. And we are in His hands.

8 Nachtlied, Op. 138/3 8 Song of the Night, Op. 138/3 Text: Petrus Herbert Translation: Mark Manion

Die Nacht ist kommen, Night has come, Drin wir ruhen sollen; Within we should rest, Gott wal’ts zum Frommen God has made it, God has made it, Nach sein’m Wohlgefallen, As he sees fit, Daß wir uns legen That we should recline In sein’m G’leit und Segen, In his presence and care, Der Ruh’ zu pflegen. To nurture peace. Keep the impure spirits Treib, Herr, von uns fern Away from us, O Lord, Die unreinen Geister, Hold watch, Halt die Nachtwach’ gern, Be our protector! Sei selbst unser Schutzherr, Guard both body and soul Beschirm Leib und Seel’ Under your wings, Unter deinen Flügeln, Send us your angel. Send’ uns dein’ Engel! May we fall asleep With pure thoughts. Laß uns einschlafen May we joyfully arise Mit guten Gedanken, And stray not from you. Fröhlich aufwachen May we strive Und von dir nicht wanken; To elevate our actions and words Laß uns mit Züchten In your praise. Unser Tun und Dichten Zu dein’m Preis richten! 14 Rudolf Tobias Rudolf Tobias

10 Ascendit in coelum 10 Ascendit in coelum Text: Phil. 3, 20; Hebr. 13, 14

Unser Wandel aber ist im Himmel, But our citizenship is in heaven. Von dannen wir auch warten des Heilands And we eagerly await a Saviour from there. Jesu Christi, des Herrn. For here we do not have an enduring city, Denn wir haben hier keine bleibende Stadt, But we are looking for the city the is to come. Sondern die zu künftige suchen wir.

11 Vivit! 11 Vivit! Text: Lukas 24, 29 Text: Luke 24, 29

Herr, bleibe, bleibe bei uns, Stay with us, Denn es will Abend werden For it is nearly evening; Und der Tag hat sich geneigt. The day is almost over.

12 Liberi Dei 12 Liberi Dei Text: Rom. 8, 14.17 Text: Rom. 8, 14.17

Welche der Geist Gottes treibt, Because those who are led by the Spirit of God die sind Gottes Kinder, Are Sons of God. sind wie die Kinder, Now if we are children, so sind wir auch Erben Gottes Then we are heirs-heirs of God und Miterben Christi. And co-heirs with Christ.

15 Max Reger Max Reger

13 Zur Nacht, Op. 6/2 13 At Night, Op. 6/2 Text: Carl Friedrich Engel (–1785) Translation: Richard Stokes

Nun fallen die Augen müde mir zu. My weary eyes now close. Komm, Engel des Schlummers, hüte die Ruh, Come, angel of slumber, guard me as I sleep, Komm halte am Bette freundliche Wacht, Come, keep friendly watch by my bed, Und kosige Träume webe, o Nacht! And weave caressing dreams, O night! Und schlürfe, was nimmer, Seele, wohl Du And savour, O soul, what you have never Geatmet im Lichte: Friede und Ruh. Breathed in the light of day: peace and rest.

14 Abendlied, Op. 6/3 14 Peaceful evening, Op. 6/3 Text: (1802–1850) Translation: Richard Stokes

Friedlicher Abend senkt sich aufs Gefild; Peaceful evening descends on the fields, Sanft entschlummert Natur, um ihre Züge Nature gently falls asleep; around her features Schwebt der Dämmerung zarte Verhüllung, Twilight’s tender veil hovers, and beauteous und sie Nature smiles; Lächelt die Holde; Smiles, a slumbering child in the arms of Lächelt, ein schlummernd Kind in Vaters her father Armen, Who full of love inclines to her; his divine Der voll Liebe zu ihr sich neigt, sein göttlich Gaze looks down on her, and he breathes Auge weilt auf ihr, und es weht sein Odem Over her countenance. Über ihr Antlitz.

16 15 Abendlied, Op. 39/2 15 Evening song, Op. 39/2 Text: August H. Plinke (1855–1910) Translation: Richard Stokes

Leise geht der Tag zur Rüste; Softly the day draws to a close, Purpurrot zum letztenmal The forest gleams crimson for one last time, Glüht der Wald, als ob ihn küsste As though it were being kissed Heiß der Sonne goldner Strahl. By the golden ray of the sun.

Weiße Nebelschleier steigen White veils of mist rise Wallend aus dem See empor. Swirling up from the lake. Rings ist Stille nur und Schweigen Nothing but silence and peace all around Und kein Laut klingt an mein Ohr. And not a sound reaches my ear.

Und es streben alle müden Seelen And all weary souls strive Nun der Heimat zu. To reach their homeland. Denn der Abend lockt mit Frieden For evening beckons with peace Und die Nacht mit süßer Ruh. And night with sweet rest.

Und in ferne Weltenweiten And into the distant reaches of the world Wogt die Seele mir hinaus, My soul surges ahead of me, Gleich als wollte sie bereiten As though it wished to pave the way Sich zum ewgen Flug ins Vaterhaus For the eternal flight to the Lord’s dwelling.

Rudolf Tobias Rudolf Tobias

16 Eks teie tea 16 Know Ye Not Text: Paulus 1. Korint. 3, 16 Text: Paulus 1. Corint. 3:16

Eks teie tea, et teie Jumala tempel olete Know ye not that you yourselves are God’s temple Ja et Jumala vaim te sees elab? And that God’s Spirit lives in you?

17 Publishers: Eres Edition,

Recordings: St Nicholas Church, Tallinn, Estonia, 4–8 May 2012 Recording and Post Production: Florian B. Schmidt Assistant Engineer: Aki Matusch Executive Producer: Reijo Kiilunen ℗ 2013 Ondine Oy, Helsinki

© 2013 Ondine Oy, Helsinki Booklet Editor: Anneli Ivaste, Elke Albrecht Photos: Kaupo Kikkas (Estonian Philharmonic Chamber Choir) Cover & Inlay: The Hymn, 1904/5, by Mikalojus Konstantinas Čiurlionis (1875–1911), The M. K. Čiurlionis National Museum of Art, Kaunas/Lithuania Design: Armand Alcazar

Special thanks to Estonia Piano for providing the piano for the recording session!

18 Also available:

ODE 1183-2 Gramophone Editor’s Choice

ODE 1201-2 Klassik Heute 10/10

For more information visit www.ondine.net

19 RUDOLF TOBIAS (1873–1918) 1 Otsekui hirv* 6’01 ODE 1221-2 2 Kleine Karfreitagsmotette 3’05 3 Oster Vorspiel 1’40 4 Ostermorgen 1’47

MAX REGER (1873–1916) 5 Melodie, Op. 59/11** 4’54 6 Unser lieben Frauen Traum, Op. 138/4 2’15 7 Der Mensch lebt und bestehet nur eine kleine Zeit, Op. 138/1 2’52 8 Nachtlied, Op. 138/3 3’38

RUDOLF TOBIAS 9 Nun ruhen alle Wälder** 4’55 10 Ascendit in coelum 2’58 11 Vivit! 4’48 12 Liberi Dei 4’00

MAX REGER 13 Zur Nacht, Op. 6/2*** 2’11 14 Abendlied, Op. 6/3*** 4’20 15 Abendlied, Op. 39/2 5’10 RUDOLF TOBIAS 16 Eks teie tea 4’19

ESTONIAN PHILHARMONIC CHAMBER CHOIR DANIEL REUSS, conductor

* Choir accompanied by Ene Salumäe (organ) ** Ene Salumäe (organ) *** Choir accompanied by Siim Selis (piano)

20 VIVIT! CHORAL WORKS BY MAX REGER & RUDOLF TOBIAS ONDINE ESTONIAN PHILHARMONIC CHAMBER CHOIR · REUSS ODE 1221-2 www.ondine.net *** Choiraccompaniedby SiimSelis(piano) ** EneSalumäe(organ) * Choiraccompaniedby EneSalumäe(organ) DANIEL REUSS, ESTONIAN PHILHARMONICCHAMBERCHOIR Wälder** ·OstermorgenOster Vorspiel ·Otsekuihirv* Vivit! Ascendit incoelum·EksteieteaKleineKarfreitagsmotette LiberiDei·Nunruhenalle RUDOLF TOBIAS Frauen Traum, Op.138/4·ZurNacht, Op.6/2*** kleine Zeit,Op.138/1·Melodie,59/11**Nachtlied, Op.138/1·Unserlieben Abendlied, Op.6/3***· Abendlied, Op.39/2·DerMensch lebtundbestehetnur eine MAX REGER Vivit! www.epcc.ee ·www.danielreuss.com andbroadcasting ofthisrecordingisprohibited. public performance Manufactured inGermany. Unauthorised copying,hiring,lending, ℗ &©2013OndineOy, Helsinki [62’04] ·LinernotesenclosedLyrics withEnglishtranslation (1873–1916) conductor (1873–1918) MAX REGER&RUDOLF TOBIAS CHORAL WORKS BY CHORAL WORKS

ODE 1221-2

ESTONIAN PHILHARMONIC CHAMBER CHOIR · REUSS · CHOIR CHAMBER PHILHARMONIC ESTONIAN ODE 1221-2 ODE

VIVIT! CHORAL WORKS BY MAX REGER & RUDOLF TOBIAS RUDOLF & REGER MAX BY WORKS CHORAL VIVIT! ONDINE