ESTONIAN PHILHARMONIC CHAMBER CHOIR ERKKI-SVEN TÜÜR SINFONIETTA RIGA DANIEL REUSS ÄRKAMINE AWAKENING

1 Erkki-Sven Tüür (b. 1959)

1 Awakening (Ärkamine, 2011) 36’29 for mixed choir and chamber orchestra Commissioned by Tallinn – European Capital of Culture 2011 and the EPCC

2 The Wanderer’s Evening Song (Rändaja õhtulaul, 2001) 18’54 for mixed choir a cappella Commissioned by the EPCC; dedicated to Tõnu Kaljuste and the EPCC

3 insula deserta (1989) 8’49 for string orchestra Commissioned by the Ostrobothnian Chamber Orchestra

Estonian Philharmonic Chamber Choir (1; 2) Sinfonietta Riga (1; 3) Daniel Reuss, conductor

Publisher: Edition Peters

Recording: Methodist Church, Tallin, Estonia, 31.5.–3.6.2011 Executive Producer: Reijo Kiilunen Recording Producer, Editing & Mixing: Florian B. Schmidt Recording Engineer: Hansjörg Seiler ℗ 2011 Ondine Oy, Helsinki

© 2011 Ondine Oy, Helsinki Booklet Editor: Jean-Christophe Hausmann Photos of the recording session: Kaupo Kikkas Design: Armand Alcazar 3 Universality, Time and Phenomenology in the Oeuvre of Erkki-Sven Tüür

Erkki-Sven Tüür (b. 1959) began his musical career in the second half of the 1970s as leader of the progressive rock band In Spe, influenced by the music of King Crimson, Emerson Lake & Palmer, Mike Oldfield, Frank Zappa, Yes and Genesis. He became a professional composer during the second half of the 1980s. Tüür studied percussion and flute at the Georg Ots Tallinn School of Music (1976–1980) and composition with Jaan Rääts at the Tallinn Conservatory (1980–1984). He also took private lessons with Lepo Sumera (1950–2000) and broadened his skills in the field of electronic music in Karlsruhe. Tüür’s oeuvre includes eight symphonies, several instrumental concertos, numerous chamber works and the opera Wallenberg (2001). Tüür is interested in a wide range of compositional styles, such as Gregorian chant, minimalism, dodecaphony and sound fields, and has long focussed on musical opposites – tonality versus atonality, regular repetitive rhythms versus irregular complex rhythms, tranquil meditativeness versus explosive eruptions – creating a ‘metalanguage’. Beginning with his Symphony No. 4 (‘Magma’, 2002), Tüür started using a technique he called the ‘vectorial method’, a flexible ‘source-code system’ based on intervals and vectors, with transitions between opposites becoming increasingly more important. The ensemble piece Oxymoron (2003) is the first pure example of this technique.

Tüür has achieved independence in both his personal style and compositional technique. He lives on Hiiumaa, a beautiful, peaceful Estonian island. He is also closely connected to the pulsating world, however, composing commissions and working with international festivals, orchestras, ensembles, conductors and instrumentalists in Europe and on other continents. Tüür has become acknowledged worldwide as an innovative composer whose music also reaches a broader audience.

Tüür’s music is both individual and universal; it is avant-garde, at the same time preserving traditions. Its musical material ranges from individualistic to non-individualistic textures, including clusters, sound fields, aleatoric counterpoint, and electronic sounds, incorporating them consistently into an aesthetically and emotionally satisfying experience. In one sense his music can be seen as a kind of consummation of Hanslick’s idea of ‘sonically moving forms’ (The Beautiful in Music, 1854), while including (sub)texts and embodying narrative concepts like culmination dramaturgy or music drama. 4 5 Tüür’s music can even be considered timeless, because it synthesizes various traditions and displays impulses and culminations, patterns and pulsations, contrasts and crucial changes in texture emerge many universal features attributed to canonic masterpieces. But it includes, expresses and embodies rapidly or slowly, remain continuously or move smoothly from one state of the musical material to time and space in many aspects and layers from the structural to the emotional dimensions, the the next. Tüür’s titles and the concepts of his works often support and awaken these impressions, constructed to the natural, the philosophical and metaphorical to the semiotic, the chronological to associations, analogies and synesthesia or natural imagery and phenomena. the subjectively experienced. The works on this CD present a cross section of Tüür’s oeuvre. Insula deserta (1989) for string Let us approach Tüür’s music from a phenomenological viewpoint here, recalling Merleau-Ponty, orchestra marks his international breakthrough. It was commissioned by the Ostrobothnian Chamber who said that ‘the future is not prepared behind the observer, it is the brooding presence moving Orchestra and premiered in Finland under Juha Kangas and has since been recorded and performed to meet him, like a storm on the horizon. . . . the course of time is no longer the stream itself: it is all over the world. The title is borrowed from the poet Tõnu Õnnepalu, and for Tüür it refers to the the landscape as it rolls by for the moving observer. . . . [time] arises from my relation to things. nature of Hiiumaa as well as The Myth of Sisyphus (1942) by Albert Camus, expressing the idea that Within things themselves, the future and the past are in a kind of eternal state of pre-existence and ‘absurdity is born from the contradiction of irrationality and the fierce desire for clarity, which man survival. . . . What is past or future for me is present in the world’ (Phenomenology of Perception, always inherently longs for.’ We find the echo of these words throughout Tüür’s works up to the 1945/2002, p. 478). This can also be said of the quiddity and perception of Tüür’s music. The listener present day. As is often the case, Tüür’s music begins with a single sound, gradually expanding into who encounters it is touched, overwhelmed, astonished, exalted, even rendered speechless by the melodies and sound masses. Tüür points out that ‘the relationship between fragility and power is suggestiveness of its sounds, images and the memories it evokes. the key factor to be weighed’, but the tension and transition between individuality also emerges, for example, in a solitary melody and (quasi) non-individuality, expressed here both in repeated patterns The listener’s relationship to Tüür’s music is important to its comprehension. For experienced and sound field structures, which is characteristic not only of this particular work but also more listeners, Tüür’s music is like an open book. Memories of meanings, styles, images, times and generally in his oeuvre. We find modality, pentatonics and quartal harmony, while the melody begins spaces from the distant and recent past of Western music – from ancient music to jazz and rock – with a typical alternation of wider and smaller, consonant and dissonant intervals, balanced similar seemingly emerge from nowhere and fade back into sonically moving forms and the play of pure to ancient techniques. For the first time, Tüür composes out a widespread electronic effect (digital musical material. For listeners familiar with Estonian music, memories of that particular tradition delay) in the pulsating middle section, which is based on imitative structures in the orchestration. will appear, from symphonic-romantic and (pre)modern to avant-garde and post-modern elements, including the composer’s own works. But one never loses the certainty that this music is created The Wanderer’s Evening Song [Rändaja õhtulaul] (2001) for mixed choir was written for the 20th by Tüür alone, since it is characterized by unique features of Tüür’s metalingual and vectorial-based anniversary of the Estonian Philharmonic Chamber Choir (EPCC) and is dedicated to the choir and thinking. In particular, individual melodic structures (with characteristic interval combinations and its founder and conductor Tõnu Kaljuste. Tüür combines several poems by the well-known Estonian vectorially important trajectories), the treatment of combined modality, and rhythmic and temporal poet Ernst Enno (1875–1934) from the first half of the 20th century with an astonishingly consistent features are highly typical and recognizable throughout his oeuvre. For the less experienced listener narrative of an imaginative wanderer, who is bewitched by the sombre silence of the northern woods, or someone approaching it from a purely phenomenological standpoint, Tüür’s music is like a longing for home, and marvels at the golden strings and rays reaching across the deep water and magic book. While pages turn, culminations appear, and natural phenomena like storms, volcano life as the one blissful way to reach God and His light. Both the music and the romantic poems – eruptions and frozen tsunamis roll over; single notes and motives, gestures and abstract narratives, recalling Goethe and Rückert – are composed with dramatic tension between dissonant textures,

6 7 brightening chords and shifting tonality. It raises the listener to a higher level of consciousness, which is a kind of natural religiosity also found in other works by Tüür, especially in the main piece on this CD. Awakening [Resurrectio, Ärkamine] (2011) for mixed choir and chamber orchestra was commissioned by the EPCC and the city of Tallinn, the European Capital of Culture for 2011; the world premiere was presented in Tallinn by the EPCC and Sinfonietta Rīga under the choir’s chief conductor, Daniel Reuss, in spring 2011. The texts are Estonian poetry by Juhan Liiv (1864– 1913), Ernst Enno, Jaan Kaplinski (b. 1941) and Doris Kareva (b. 1958), along with Latin liturgical texts related to Easter. Both the orchestral and vocal parts return to Tüür’s former style but add a highly impressionistic atmosphere which evocatively touches the audience. The final shift in the music and consciousness of the listener takes place in Tüür’s setting of Kareva’s poem ‘Miraculous wakefulness’ with contrasting timbres and subtle textures, enabling us to believe that life and the course of the world continue, even in difficult times. The composer himself believes that ‘awakening can be viewed as a life-long process, . . . While composing this piece I lingered deep on the level of instincts and senses. . . . From a musical perspective, this composition can also be viewed as an awakening to the light. At least I dare hope so’ (Tüür, 2011).

Awakening is a powerful manifestation of Tüür’s ability to find the right words and sound to touch people around the world using his entire stylistic arsenal, while constantly renewing it. This work and his oeuvre as a whole carry the message that the symbiosis of beginning and continuing is possible and can be expressed as ‘do not forget, but keep going, resume but stay on course.’

Gerhard Lock www.erkkisven.com

8 The Estonian Philharmonic Chamber Choir (EPCC) was founded in 1981 by Tõnu Kaljuste, who Daniel Reuss has held the posts of artistic director and chief conductor with the Estonian Philharmonic acted as artistic director and chief conductor for twenty years. From 2001–2007, Paul Hillier Chamber Choir since 2008. Born in the in 1961, he studied choral conducting with succeeded him, until Daniel Reuss took over in 2008. Over the years, the choir has established its Barend Schuurman at the Rotterdam Conservatory. In 1990, he became chief conductor of Cappella reputation as one of the world’s leading choral ensembles. Its repertoire extends from Gregorian Amsterdam, which he turned into a full-time professional ensemble. Between 2003 and 2006 he chant to late Baroque and twentieth-century music, with a special emphasis on Estonian composers led the RIAS Kammerchor in as chief conductor, with whom he recorded a number of award- (Pärt, Tormis, Tüür, Grigoryeva, Tulev, Kõrvits, Tulve). The choir performs 60–70 concerts per season winning CDs. In 2007 he made his debut at the with Handel’s Agrippina. in Estonia and abroad. As guest conductor, Daniel Reuss has worked with numerous renowned European ensembles, including the Concertgebouw Chamber Orchestra, the Akademie für Alte Musik Berlin, Concerto The EPCC has worked with a number of acclaimed orchestras and conductors, including Claudio Köln, the Schönberg Ensemble, the Netherlands Radio Choir, Collegium Vocale Gent, the Balthasar Abbado, Helmuth Rilling, Eric Ericson, Ward Swingle, Neeme Järvi, Paavo Järvi, Nikolai Alekseyev, Neumann Choir, the SWR Vokalensemble, the Stavanger Symphony Orchestra, the Nieuw Ensemble, Andrew Lawrence-King, Roland Böer, Frieder Bernius, Stephen Layton and Marc Minkowski. It has Prometheus Ensemble and Viotta Ensemble. performed at such music festivals as the BBC Proms, Edinburgh Festival, Abu Gosh Music Festival, Moscow Easter Festival, Musikfest Bremen, Salzburg Mozartwoche and Festival Aix-en-Provence. www.danielreuss.com The choir has made numerous acclaimed recordings, with one Grammy Award for Best Choral Performance and eight nominations.

www.epcc.ee

Sinfonietta Rīga was formed in 2006. The orchestra of 34 young musicians is led by artistic director, oboist and conductor Normunds Šnē. Sinfonietta Rīga’s musical direction and repertoire development are based on two principal aims: to pass on the rich traditions of music to the next generation of performers and audiences and to enlighten their listeners by presenting a thoroughly modern selection of works. The orchestra has performed with such soloists and conducters as Baiba Skride, Patrick Gallois, Roger Muraro, Martin Grubinger, Kirill Troussov, Alina Pogostkina, Peter Donohoe, Claudia Barainsky, Monica Groop, Sigvards Kļava, Heinz Holliger, Christoph Poppen and Juha Kangas. Both in 2007 and in 2008, Sinfonietta Rīga received the the Great Music Award of Latvia.

www.sinfoniettariga.lv

10 11 12 13 1 Ärkamine 1 Awakening Esimene arm käib hilju first love goes on tiptoe Läbi looduse. through nature. Haec dies quam fecit Dominus: This is the day that the Lord has made: Ernst Enno (1875–1934) exultemus et laetemur in ea. let us rejoice and be glad in it. Alleluia. Alleluia. Psalm 118:24 keegi ei tea oma nime no one knows his own name keegi ei näe oma nägu no one sees his own face ainult üks imede ime only a wonder of wonders Puude lehtes liigub sahin A rustle moves in the trees metsades kukub kui kägu cuckooing in the forests Vaikne, tasane – soft and serene – Esimene arm käib hilju first love goes on tiptoe loodes pakatab loojak sunset bursts on the northwest sky Läbi looduse. through nature. mets avab vaigused lukud the forest opens resinous locks sina saad sõnumitoojaks you will become a messenger Päikse poole, kiirtemaale Sunwards, to a land of rays aastaid ja kevadeid kukud cuckooing years and springs Ihkab iga nupp: every bud craves; Naerul sinilillekene, smiling tiny violet, kaleneb korgiks ja kooreks into bark and cork hardens Naerul kullerkupp. smiling globeflower. süda kesk lehtede sündi your heart in the birth of leaves killuke ainult jääb nooreks a sliver alone stays young Ilukeelil igatsedes Sighs in the language of beauty mööda külvi ja kündi during ploughing and sowing Paisub linnu rind; swell in bird breast; Pehme väike pesakene, a soft little nest tema veel näeb seda välja he still sees that field Kuis ta kutsub sind... oh so inviting… teab meie valed ja võlad knows our lies and debts asjadest astuvad välja from out of all things step Ja nii tasa õnnistades And silently blessing kujud värvid ja kõlad shapes colours and sounds Helin salaja chiming in secret, Käib kui pulmapidu ilu, wedding-bell beautiful, sa tohid minna ja tulla you may go and return Lootus sonija. a rambling hope. niitude lillelist lina over flowery meadow sheet üles on hõiganud mulla he has called up the earth Puude lehtes liigub sahin A rustle moves in the trees üks kes on suurem kui sina he who is greater than you Vaikne, tasane – soft and serene –

14 15 läbi sest valest läbi sest valust through that lie through that pain Ei ma mõista palvet teha, Not that I know how to make a prayer, lajuke kevadist metsaalust a speck of springtime forest floor ei ma mõista paluda: not that I know how to pray: palveks enne saab ju süda, my whole heart becomes a prayer lihtsalt niisama olles ja võites by simply being and winning kui ma hakkan paluma. before I start to pray. minu jänesekapsad on õites my wood sorrels are in bloom Sinu eest ma palvet teeksin, For you I would make a prayer, kadunud kodu kesk ruumi ja aega a lost home in space and time paluks vaga meelega, I would pray with pious mind, linnulauluse lehtiva laega with a leafy ceiling of birdsong aga juba põue põhjas but in the depth of my breast oled ise palve sa. you are a prayer yourself. homse hirmust ja tunase vaevast from tomorrow’s fear and yesterday`s pain Juhan Liiv (1864–1913 kõrs kerkib üles vaatama taevast a stalk rises up to look at the sky

kõik mis mulla all ootas ja lamas all that lay in the earth and waited Haec dies quam fecit Dominus: This is the day that the Lord has made: avab silmad ja ongi siinsamas opens its eyes and is here right now exultemus et laetemur in ea. let us rejoice and be glad in it. Alleluia. Alleluia. põrmule põrmust puhkevat lohtu to dust the solace sprung from dust Psalm 118:24 kannikesi ja kopsurohtu violets and blue cowslips

savist sai ihu tuulest sai hinge clay became body, wind became soul Exsultet iam angelica turba cælorum: Let the angelic choirs of Heaven now muud ei olegi tõuske ja minge what else but to rise and walk exsultent divina ministeria: rejoice; let the divine Mysteries rejoice; and Jaan Kaplinski (b. 1941) et pro tanti Regis victoria tuba insonet let the trumpet of salvation sound forth the salutaris. victory of so great a King.

Christus resurrexit a mortuis, Christ is risen from the dead, Gaudeat et tellus, tantis irradiata fulgoribus: Let the earth also rejoice, made radiant by Morte mortem calcavit, trampling down death by death, et æterni Regis splendore illustrata, such splendor; and, enlightened with the Et entibus in sepulchris and upon those in the tombs totius orbis se sentiat amisisse caliginem. brightness of the eternal King, let it know Vitam donavit. bestowing life. that the darkness of the whole world is Paschal troparion scattered.

16 17 Lætetur et mater Ecclesia, Let our mother the Church also rejoice, 2 Rändaja õhtulaul 2 The Wanderer’s Evening Song tanti luminis adornata fulgoribus: adorned with the brightness of so great a et magnis populorum vocibus hæc aula light; and let this temple resound with the Läbi metsa vaikus tume Through the woods a sombre silence resultet. loud acclamations of the people. Nagu ligineks, Seemingly approaches, Easter Proclamation Silmis tähte sära tasa In my eyes the starlight radiance Nagu heliseks… A quiet sound induces…

Värin veereb läbi keha, Tremor penetrates the body, Christus resurrexit a mortuis, Christ is risen from the dead, Unenäod kohkuvad – Dreams are startled – morte mortem calcavit, trampling down death by death, Igaviku kutsesõnad The callings of eternity et entibus in sepulchris and on those in the tombs Hinge veerevad. Creep into the soul. vitam donavit. bestowing life. Paschal troparion Kuulmata kuskil kumiseb kodu Somewhere, I hear the hum of home Enese taga, sügaval sees, Behind myself, or deep inside, Tähtede säras kurgede rodu A row of storks in the starlight glow Imeline ärkvelolek Miraculous wakefulness Lõunasse lendab kõrgel ees. Flies southbound in the sky. Selge taeva sügav rahu Deep clear-skied peace Tuleb tasa sinu sisse Slips silently into you Kus on su hommik, kus on su lõuna, Where is your dawn, where is your south, See mis sõnusse ei mahu What words cannot grasp Sügaval ise, kitsas on maa, In these depths the earth is confined, Igatsus kuskil, igatsus sinna, Yearning somewhere, yearning there, Tuleb vaatab sinu pääle Appears and looks upon you Kutse sind valdab, kuhu ei saa. Called by a place that you are denied. Nägijana Õpetaja The Seer-Teacher Elustavalt pehme puude Revivingly tender touch Kuulmata kuskil kumiseb kodu Somewhere, I hear the hum of home Puude kohin läbi aja Tree murmur through time Enese taga, sügaval sees – Behind myself, or deep inside – Doris Kareva (b. 1958) (Translations: Doris Kareva and Miriam Tule, oh tule! luikede rodu Come, oh come! Swans in a row McIlfatrick-Ksenofontov) Mustavalt merelt meelitab ees. On the black sea seemingly guide.

Kostavad kured: magada vaja, We need to sleep, the storks remind; Vastavad aulid: siin on hää, We feel well, the ducks declare; Lainetes sulin ees nagu taga – Rippling waves ahead and behind –

18 19 Igatsus lasub, raske on pää. Longing sets in, heads hard to bear. Kõik otsijad minema peavad sääl There all seekers have to head Üle elu, see sügava mere; Over life, that deep sea; Kuulmata kuskil kumiseb kodu Somewhere, I hear the hum of home Kõik üksi, kõrvus Jumala hääl All alone, the voice of God in their ears Enese taga, sügaval sees, Behind myself, or deep inside, Ja tuleleek täheks pääde pääl, And a starlike flame above their heads, Mustaval merel luikede rodu – On the black sea swans form a row, Üle ilma, see sügava mere. Over this world, the deep sea. Kuulmata kuskil kumiseb kodu, Somewhere, I hear the hum of home, Tule, oh tule! hüüab kõik ees. Come, oh come! All ahead of me guides. Ja upub neid tuhandeid minnes teel And thousands will drown on their way Üle laia ja sügava mere, Over this wide and deep sea, Tähte väli vaatas vette, A field of stars their glances spread On elule iluks kõik uppunult veel, Even when drowned their grace won’t Sügavale enda ette; Deep into the water that lies ahead; Neist saared ja rannad seisavad eel – decay, Tähte väli, hõbe kõrge, A field of stars with silver glow, Üle ilma, see sügava mere. Islands and shores lie on their way – Iseoma hinge nõrge. A reflection of your very soul. Over this world, the deep sea.

Kes sääl iial vaatas alla, Whoever set their gaze down there, Teist ühtegi ei tunne veel ses ilmas, No other yet I know on this earth, Ei see saanud enam valla; Could ne’er break free from it no more; Kas iialgi teist mõnda leiab silm Will my eyes ever behold anyone Vaatab alla, vaatab üles – You upwards and then downwards face – Siin enda sünnituse raudses ringis, In this iron circle of my own birth, Ennast mõistad teise süles. Cognise yourself in warm embrace. Ei tea, nii hämar veel on oma ilm. I know not – too dark is my own world.

Tähte väli jõe õues, A field of stars in a river’s court, Nii hämar veel, kus mõtted üksi juhiks, Too dark yet, only contemplation as a guide, Hõbe kõrge omas põues; A silver blaze in my own heart; Kus süda tihti vaatab tagasi, Where the heart repeatedly looks back, Jõuda, jõuda sinna vette, Reach, reach into that water’s flow, Veel nutt ja naer sul tagant kostab kõrvu Still hearing the joy and weeping from behind Sügavale enda ette. Deep into what lies below. Ja väiksed kõik su sammud edasi. And all your steps ahead in substance lack.

Kuldkeeled on tõmmatud üle vee, Golden strings reach over the waves, Tolm, mure peene kaste langeb tasa Dust, the fine dew of fret quietly descends, Üle laia ja sügava mere, Over the wide and deep sea, Ja kõik nii raskeks läeb su sees ja ees; And all so weary grows inside you and ahead; Kuldkeeled, kuldkiired, üks õnnis tee, Golden strings, golden rays, one blissful way, Sa tead, nii kuhugi sa pead jõudma, Aware that like this somewhere you must Kuldkiired kui päikse helinast kee – Like a necklace from the melody of sun’s Kuid kõik on kinni, kõik su ees ja sees. tread, Üle elu, see sügava mere. blaze – But everything is closed, both inside you and Over life, over that deep sea. ahead.

20 21 Sääl liigub nagu tähte pehme sumin Like the soft murmur of stars it moves Kui hõbekellade helin – When the sound of silver bells – Su üle, sa ei tea, kuidas, kus; Over you, you don’t know how, where; Hing kuulatab, väriseb, My soul is hearkening and trembling, Sind kaisutab kui see, mis sa ei ole, It embraces you as what you are not, Ja nagu aimab, kuis Sinu valgus, Surmising somehow when Your light, Nii enda kõige kallim uuendus. The dearest invention of yourself. Täis vaimu, kord ligineb. Full of spirit, finally approaches.

Ja kõiges üksinduses elad, oled And in total solitude you live, and are The text of this song consists of excerpts (Translation: Pirjo Püvi) Kui seeme musta mulda külvatud – Like a seed sown in the black soil – from the following poems by Kui sured, algad teisipidi kasvu, When you die, you start growing again, Ernst Enno (1875–1934): Kui kasvad, viljaks oled määratud. When you grow, as fruit are destined to toil. 1. Läbi metsa vaikus tume (1903) 2. Kuulmata kuskil kumiseb kodu (1928?) Ja ikka nagu tähte pehme sumin And still, like the soft murmur of stars 3. Tähte väli vaatas vette (1928) Su üle, sa ei tea, kuidas, kus – Over you, you don’t know how, where; 4. Hõõgamine (Kuldkeeled on tõmmatud...) (?) Ja vahel viletsuse raskes vilus And sometimes in the sombre shade of 5. Ikka nagu tähte pehme surin... (Teist ühtegi Kui kuulduks alla õnnis tervitus: misery ei tunne...) (1916) You hear a blissful greeting from up there: 6. Kui hõbekellade helin (1903).

Nad kandvad valgeid riideid omas hinges, In their souls they white attire wear, Siin-sääl kui sambad, avitajad väed; Like aiding forces, here and there as pillars Ja kes neist suuremad, on ilmas väiksed, stand; Neil imepehmed avitajad käed. And greater ones in this world small remain, How very soft their helping hands.

Kui hõbekellade helin When the sound of silver bells Käib hilju mu südame – Slowly creeps into my heart – Ma otsin su läiki, Jumal, I search for Your light, God, Ja igatsen ülesse. And above I long to depart.

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