Tähe-Lee Liiv, Age 15, Began Her Piano Studies at Tallinn High School for Music with Maigi Pakri. from 2013 She Studied At

Tähe-Lee Liiv, age 15, began her piano studies at Tallinn High School for Music with Maigi Pakri. From 2013 she studied at the same school with Marrit Gerretz-Traksmann. Since fall of 2018 she has continued her studies in Finland at the Sibelius Academy, under the tutelage of Hui-Ying Tawaststjerna. In 2017 and 2018 she attended Konstantin Bogino's summer festival master classes in Bergamo. Tähe-Lee has been successful in many competitions. In 2011 she received third prize in the Estonian National Competition for Young Pianists “Ferenc Liszt 200” in Tallinn. In 2012 she won first prize in the Estonian National Competition for Young Pianists in Tartu. In 2014 she was awarded second prize in the competition between students of the Tallinn Music High School “Con Fantasia,” and in the competition “Estonian Sound” she received second prize in 2014 and third prize in 2015. In the international competition “Young Musician 2017” she won third prize and a special prize for interpretation of a piece by Estonian composer Tõnu Kõrvits. In 2018, she was a finalist in the International Frederic Chopin Piano Competition in Narva, won first prize in the International Piano Competition in San Dona di Piave in Italy, and received first prize and a special prize for interpretation of Mart Saar's music in the Mart Saar Competition for Pianists in Estonia (where she was also the youngest participant). She also won second prize in the international competition for pianists in July 2018 in Chioggia, Italy, and second prize in the “Virtuosi per musica” competition in Usti Nad Labem, Czech Republic. In 2019 she received first prize in the national competition for young pianists of top music schools in Estonia, and she was a finalist and was awarded a special prize for virtuosity at the First Nordic Piano Competition for Young Pianists, in Sweden. Tähe-Lee has performed as soloist with Tallinn Chamber Orchestra (an arrangement of Tchaikovsky's “Album for Children”), with Pärnu Town Orchestra (Mozart Piano Concerto No. 8), and with the orchestra of the competition “Young Musician 2017” (Haydn Concerto in D Major). She performed with Chioggia Chamber Orchestra in 2017 (Beethoven Piano Concerto No. 1) and in 2018 (Chopin Piano Concerto No. 2). She also performed Chopin's Concerto No. 2 with Alion Baltic Festival Orchestra, Sergei Stadler conducting, and with Virumaa Chamber Orchestra, Toivo Peäske conducting. Miss Liiv has participated in master classes with Arbo Valdmaa, Hande Dalkilic, Natalia Sucharevich, Irina Zahharenkova, Vladimir Ovchinnikov, Dmitri Bashkirov, Vladimir Ogarkov, Jura Margulis, Carlos Juris, Michael Bulycher-Okser, Mati Mikalai, Age Juurikas, and Ivan Lija..

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TEISED JÄRVI D Festival Mart Saar 12 О
Nr 6 september 2002 уШ lUl 4? 29 krooni ЩУ Wr PAAVO JA TEISED JÄRVI D Festival Mart Saar 12 О 8. septembrist 2. oktoobrini Hüpassaares, Tallinnas ja Taruis P 8. september Kooride laulupäev Hüpassaares L 28. september 19.OO Galakontsert Vanemuise II.OO Saabumine, proovid, rabaretked kontserdimajas 13.OO Klaverimuusika kontsert Mart Esinevad Eesti Filharmoonia Kammerkoor, RAM, Saare majamuuseumis Eesti Koorijuhtide Naiskoor, TU Akadeemiline 14.OO Laulupeo kontsert, sõnavõtud Naiskoor, Tartu Akadeemiline Meeskoor I7-00 Kooride kontsert Suure-Jaani kirikus 18.ОО Koorikontsert Tallinna Mustpeade Majas. E 9. september EMA kammersaalis Esinevad poistekoor Kalev, kammermeeskoor Revalia, II.OO Mart Saare päevade avamine tütarlastekoor Ellerhein 18.ОО Kontsert L 14 • september 17.OO Mart Saare laulude õhtu P 29- september Koorikontsert Tallinna Mustpeade Majas Kadrioru lossis Kavas Mart Saare tsükkel "34 eesti rahvalaulu naiskoorile" E 16. september 16.ОО Mart Saare mälestusõhtu Esinevad Eesti Koorijuhtide Naiskoor, Teaduste Teatri- ja Muusikamuuseumis Akadeemia Naiskoor, TTÜ vilistlaste naiskoor K. l8. september 18.ОО Klaverimuusika kontsert EMA К 2. oktoober 19.OO Galakontsert Estonia kammersaalis kontserdisaalis Esinevad EMA üliõpilased Esinevad RAM, ETV tütarlastekoor, Eesti Koorijuhtide Naiskoor, Estonia Seltsi Segakoor, TTÜ T 27- september 17.OO Õpilaskontsert Tallinna Georg Õtsa Kammerkoor, TTÜ Akadeemiline Meeskoor, Tallinna nimelise Muusikakooli saalis Kammerkoor, Tallinna Kammerkoori vilistlaskoor, Esinevad Tallinna Muusikakeskkooli, Tallinna Georg EKE Inseneride Meeskoor Õtsa nimelise Muusikakooli ja Nõmme Muusikakooli õpilased Info tel 644 18 49' e-post: [email protected] INTRO 6/2002 Tuhande Järvi maa. Muusika kuuendas numbris on juttu KAVA Järvide dünastia tuntumatest esindajadest: isa Neemest, poe SOOLO gadest Paavost ja Kristjanist, tütar Maarikast. Kõiki neid võis 2 Pärast kontserti seitsmendas taevas: sel suvel Eestis näha ja kuulda.
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Vance D. Wolverton Chair Emeritus, Department of Music California
Vance D. Wolverton Chair Emeritus, Department of Music California State University, Fullerton [email protected] MART SAAR ESTONIAN COMPOSER & POET Consolidating the Past, Initiating the Future Vance D. Wolverton art Saar (1882-1963) was one of the most important Estonian Mcomposers of art music, espe- cially choral music, of the late nineteenth to mid-twentieth century. He lived and composed through a period of exponential political changes in Estonia—not altogether unlike the upheaval accompanying the collapse of the Soviet Union in 1990/91—including the fi rst period of independence (1918-1939), the fi rst period of Soviet occupation (1939-1941), the Nazi occupation (1941-1944), and nearly half of the second period of Soviet occupation (1944- 1991). It is common knowledge that the Soviets strongly discouraged participation in religious observations and activities, including the com- position of sacred music. It is also clear that such signifi cant disruptions to the political fabric of the nation were bound to infl uence all aspects of society, including music. Mart Saar lived and composed through these momentous times, and his compositions are refl ective of them. CHORAL JOURNAL Volume 57 Number 5 41 MART SAAR ESTONIAN COMPOSER & POET The Musical and Poetic Voice organist. He also edited the music journal “Muusikaleht.” of a Generation From 1943 to 1956, Saar was a professor of composition Along with his contemporary, Cyrillus Kreek (1889- at the Tallinn Conservatory. 1962), Mart Saar is considered one of the founders of Estonian professional music and its national style, espe- cially in the fi eld of choral music.
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Katrin Targo Soprano
Katrin Targo Soprano The young Estonian soprano Katrin Targo started her musical career as a pianist already at the age of 5. In 1998, after having won the 1st Prize at the Tartu National Young Pianists‘ Competition in 1995, she finished the Tallinn Music High School as a Concert Pianist and a Piano Teacher (Prof. Ü. Sisa & Prof. L. Orgse). After having continued her piano studies for one year at the Estonian Academy of Music and Theatre, she decided to major in Opera Singing , completing her studies as a Bachelor of Arts in 2004 and Master of Arts in 2007 in the class of Prof. R. Gurjev. In 2005-06 and 2008-09 Katrin studied in Vienna, Austria, at the University of Music and Performing Arts with Prof. F. Lukasovsky. 2010-12 Katrin continued her studies in Vienna in the singing class of Prof. Claudia Visca and Opera Studio of Prof. Paul Esterhazy/Prof. Christoph U. Meier in 2010-11 and of Prof. Reto Nickler/ Prof. Christoph U. Meier in 2011/12. Katrin graduated from the Vienna University of Music and Performing Arts in the discipline of study Musical Dramatical Performance with her second Master of Arts in June 2012. She has also participated in several Masterclasses (M. Acda, R. Piernay, W. Moore, M. Hrafnsdottir, H. Wildhaber, and B. Nikolov). Katrin is a Prizewinner of several singing competitions like the Yamaha Music Foundation of Europe Scholarship Competition (Tallinn, Estonia 2007), Mart Saar Singing Competition (Suure-Jaani, Estonia 2008), and Johannes Brahms Competition (Pörtschach, Austria 2012). Katrin has gathered ample stage experience having sung in many operas and in concert with the Savonlinna Opera Festival Choir (Finland), Arnold Schönberg Choir (Austria) and the extra choir of the Viennese State Opera (Austria).
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Estonian Song Celebration Movement and Its Leaders: the Story of Tuudur Vettik
TRAMES, 2017, 21(71/66), 1, 79–94 ESTONIAN SONG CELEBRATION MOVEMENT AND ITS LEADERS: THE STORY OF TUUDUR VETTIK Laine Randjärv University of Tartu Abstract. This article focuses on the role and fate of some outstanding and creative intellectuals-choir leaders and composers in the Movement of the Estonian Song Celebra- tions. The position of song celebrations and that of the creative intellectuals – choir leaders in socio-political processes are examined in this research, looking at the years before and after WWII period and the years of Soviet annexation. One of the most remarkable personalities during this period was the conductor, composer and music teacher Tuudur Vettik. The article researches the way of becoming a leader of the popular cultural move- ment and tries to answer a question – did Tuudur Vettik become such kind of a leader of Song Celebrations through his methodological activity or pure charisma. This paper also tries to find out what kind of circumstances helped or obstructed him on this way. The article helps to fill a gap in the research of Estonian post-WWII choral music history, since the cultural policy of the period has been studied mostly from the aspects of literature, theatre and art. Keywords: historical research, Soviet cultural policy, ideological mental violence, intellectual resistance, Song Celebration Movement, Song Festival Ground, Song Celebration leaders, choral music, repertoire, conductor, Tuudur Vettik, Roland Laasmäe, Estonia https://doi.org/10.3176/tr.2017.1.06 1. Introduction The fact that the Song Celebrations form an important part of the Estonian culture, and constitute a pillar of our national identity is obvious to everyone in Estonia.
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Individuaalne Stiil
Eesti Muusika- ja Teatriakadeemia Martti Raide INDIVIDUAALNE STIIL JA AJASTU STIIL EESTI LAULUKLASSIKA INTERPRETATSIOONIS: ARTUR KAPI „METSATEEL“ JA MART SAARE „TA TULI...“ SALVESTISTE PÕHJAL Töö doktorikraadi taotlemiseks Juhendaja: professor Margus Pärtlas Tallinn 2010 Sisukord Abstrakt ................................................................................................................................... 3 Abstract .................................................................................................................................... 4 1. Sissejuhatus ......................................................................................................................... 5 1.1. Aine ja taustsüsteem ...................................................................................................... 8 1.2. Mõisted ja meetod.......................................................................................................... 8 2. Interpretatasioonist: väljenduslik aspekt ja esitusstiil .................................................. 13 3. Eesti lauluklassika salvestised .......................................................................................... 19 4. Salvestiste võrdlev analüüs ............................................................................................... 28 4.1. Artur Kapp – „Metsateel“ ............................................................................................ 28 4.1.1. Artur Kapi vokaalkammermuusika......................................................................
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The Spiritual Folksongs of Cyrillus Kreek Laney Mcclain Armstrong A
“Now sing from the mouth and from the heart”: The Spiritual Folksongs of Cyrillus Kreek Laney McClain Armstrong A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2013 Reading Committee: Geoffrey Boers, Chair Giselle Wyers Áine Heneghan Program Authorized to Offer Degree: Music – Choral Conducting ©Copyright 2013 Laney McClain Armstrong 1 Introduction Estonia is a country with a rich history full of music, singing, and ancient traditions. As a country that has been occupied and heavily influenced by a variety of different governments and cultures throughout Europe, Estonia’s rich and ancient history is infused with traditions from a variety of cultures. German, Swedish, Russian, and other Baltic traditions permeate Estonian music, language, and religious practice. During a national cultural awakening in the late nineteenth and early twentieth centuries, musical scholars began to collect and document a variety of different folk traditions as part of the process of creating a national identity for Estonia. This process is parallel to the movements pioneered by Zoltan Kolday, Bela Bartok, and other nationalists who used the folk songs and folk traditions of their people to help create a national identity and integrate it into the modern music of their own cultures. The particular role that folksong collection played in the establishment of an Estonian cultural identity and the fight for independence is profound. Among them was the young student Cyrillus Kreek. With his initial education in the folksongs of Estonia as a young student, Kreek went on to champion a particular form of Estonian singing: the spiritual folksong.
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Elmar Arro's View of Contemporary Estonian Music
Elmar Arro’s View of Contemporary Estonian Music Andreas Waczkat Abstract In 1935 Elmar Arro (1899–1985) published an article on “Estonian Contemporary Music”. In his article Arro gives an overview of Estonian composers and their works that is based on his own personal knowledge. Arro’s account also clearly refl ects his basic aesthetic concepts. Urve Lippus’s research into Arro’s posi- tion in the historiography of Estonian music provides the context for my analysis of Arro’s article. It was in 2006 that I was fortunate to make the was interested in Estonian music history at all. acquaintance of Urve Lippus during a conference Nevertheless, Arro focused his research on top- in Greifswald. This conference had as its theme ics related to Eastern European music cultures. He Music and University in the Baltic Sea Region. Urve was active in founding the Ost-Europa-Institut in Lippus’s contribution was about the letter of El- Heidelberg, later taking this institute with him to mar Arro (1899–1985) to Karl Leichter (1902–1987), Kiel when he moved there,3 as well as in publish- written in the 1970s (Lippus 2009). I was especially ing the fi rst four volumes of the series Musik des impressed by the empathetic way in which Urve Ostens. After retiring, in 1966 he moved to Vienna, Lippus talked about Arro, and particularly of how where he founded the periodical Musica Slavica; he was torn between his involvement in Estonian of this initiative, however, only the fi rst volume music history and his inability to publish his re- appeared, in 1977.4 search.
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Musica Nel 1897 (La Prima Presentazione Avvenne Il 19 Giugno 1898, Sotto Adolf Čech)
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RAAMATULOOLINE PÕLTSAMAA Eedo Jõesaar, Bibliofiil, Viljandi Kultuuriakadeemia Õppejõud
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The 6Th Singing Competition in Honour of Mart Saar in Suure-Jaani 17–19
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Geopolitical Themes of Estonian National Identity Through Song Festivals
Utah State University DigitalCommons@USU All Graduate Theses and Dissertations Graduate Studies 5-2016 “Touched by Time”: Geopolitical Themes of Estonian National Identity through Song Festivals Mandy L. Hoggard Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/etd Part of the Political Science Commons Recommended Citation Hoggard, Mandy L., "“Touched by Time”: Geopolitical Themes of Estonian National Identity through Song Festivals" (2016). All Graduate Theses and Dissertations. 4911. https://digitalcommons.usu.edu/etd/4911 This Thesis is brought to you for free and open access by the Graduate Studies at DigitalCommons@USU. It has been accepted for inclusion in All Graduate Theses and Dissertations by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. “TOUCHED BY TIME”: GEOPOLITICAL THEMES OF ESTONIAN NATIONAL IDENTITY THROUGH FOLKLORE AND SONG FESTIVALS by Mandy L. Hoggard A thesis submitted in partial fulfillment of the requirements for the degree of MASTER OF SCIENCE in Political Science Approved: ____________________________ _____________________________ Colin Flint Robert Nalbandov Major Professor Committee Member ____________________________ _____________________________ Lynne S. McNeill Mark R. McLellan Committee Member Vice President for Research and Dean of Graduate Studies UTAH STATE UNIVERSITY Logan, Utah 2016 ii Copyright © Mandy L. Hoggard 2016 All Rights Reserved iii ABSTRACT “Touched by Time”: Geopolitical Themes of Estonian National Identity through Song Festivals by Mandy L. Hoggard, Master of Science Utah State University, 2016 Major Professor: Dr. Colin Flint Department: Political Science Estonian national identity is defined by its centuries-long struggle for independence and autonomy. This thesis examines this struggle and resulting identity through the lens of the laulupidu , or song festival, and its employment as a vehicle of political mobilization and re-constructor of Estonian history.
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