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[contemporary classical]


All the musicians introduced on the CD have graduated
from the Estonian Academy of Music and
were noticed in the music life still as students.
They are active in different areas of music life,
performing as soloists, playing in orchestras
and/or various ensembles, and teaching young
musicians. In many cases, they worked together
with Lepo Sumera at his lifetime, preparing the
first performances of his works. The instrumental
works were recorded by The Reval Ensemble.
Reval was the historical name of Tallinn, The
Reval Ensemble performs primarily contemporary
music. Their repertoire includes works by George
Crumb, York Höller, Arvo Pärt and Erkki-Sven Tüür,
works by young Estonian composers. The musicians
had performed together in concerts before,
but found the name for the ensemble in 1999, for
their concert at the NYYD ‘99 – the 7th international
festival of contemporary music in Tallinn.

The line-up of the ensemble varies according to
the works they perform. The artistic director and
cellist Aare Tammesalu, flutist Neeme Punder,
and pianist Lea Leiten form the core of the group.
Aare Tammesalu started to participate in concert
life in the 1980s. He is a member of the orchestra
of the Estonian National Opera.
Lea Leiten is one of the most appreciated young
piano accompanists and ensemble players in
Estonia. She has collaborated with numerous
singers and musicians. Neeme Punder plays the
flutes of different periods and is known as an
excellent interpreter of Renaissance and Baroque
music. From the late 1970s he has been the flute
soloist of the renowned ensemble of early music,
Hortus Musicus. He has performed with other
early music ensembles in Estonia and abroad,
and with the Estonian-Finnish Baroque Orchestra.
With his vivid musical imagination he is also an
appreciated musician on the scene of contemporary
music. Meelis Vind is a member of the Estonian
National Symphony Orchestra and belongs to
the best well-known Estonian ensemble of new
music, the NYYD Ensemble. He also is in high
esteem as jazz musician and improviser. Alexander
Ivashkevitch who performs the “percussion part”
in Pardon, Fryderyk!, is an actor of the Russian
Drama Theatre in Tallinn; tap-dance is his great
love and hobby.

After graduating from the Estonian Academy of
Music, Pille Lill has studied singing in Sibelius
Academy in Helsinki, in Italy, Denmark, Moscow,
and, for several years, in the Guildhall School in
London. The list of her opera roles includes Purcell’s
Dido, Mozart’s Countess and Pamina,
Verdi’s Elisabeth, Violetta and Desdemona,
Puccini’s Mimi, Cho-Cho-san, Tosca and Liu, and
Barbara in Barbara von Tisenhusen by Eduard
Tubin. Likewise is her warm soprano expected on
concert stages where she performs solo parts in
Requiems by Mozart and Verdi, in Beethoven’s
Ninth and Mahler’s Eight symphonies, in the oratorio
Des Jona Sendung by Rudolf Tobias, etc. She
is an appreciated singer of chamber music as well,
and several contemporary Estonian composers
have written new works for her. Marje Lohuaru
took her post-graduation course at the St. Petersbourg
Conservatory. At present she is a professor
of the Department of Chamber Music at the Estonian
Academy of Music and plays in various instrumental
ensembles, which have performed in
Germany, Scandinavian countries, and Canada.
As an excellent piano accompanist, she has worked
with the best Estonian musicians and singers. Her
musical partnership with Pille Lill began in 1995.

LEPO SUMERA (1950-2000)
was one of the most striking personalities in
contemporary Estonian music. He was considered
the greatest living symphonist in Estonia, and a
pioneer in electro-acoustic music. He was one of the
central figures in the cultural life of Estonia. In the
times of the country’s re-awakening in the late
1980s he belonged to the influential group of Estonian
intellectuals generating ideas and strategies
for social and political changes. In 1989-1992 he
served as Estonia’s Minister of Culture. In 1993 he
was elected the chairman of Estonian Composers’
Union by his colleagues; re-elected twice, he hold
the post until June 2000 when he died from a heart
failure. Lepo Sumera studied composition with
Veljo Tormis at Tallinn Music High School and,
from 1968, with the renowned Professor Heino
Eller at the Estonian Academy of Music. After Prof.
Eller’s death (1970) he studied with Heino Jürisalu,
graduating 1973. He took post-graduate
studies at Moscow Conservatory 1979-1982.
Sumera worked as recording engineer and producer
at Estonian Radio in his youth. He began teaching
composition at the Estonian Academy of
Music in 1978 and was appointed a professor in
1993. He was one of the founders of the studio
of electronic music at the Music Academy and
worked as its first director in 1995-1999. He also
lectured in the Summer Courses of New Music in
Darmstadt (1988, 1989) and in Musikhochschule
in Karlsruhe (1992). Works by Lepo Sumera have
been performed in majority of the European countries,
in the USA, Canada and Australia, and on
Cuba. He took part in the festival ‘Composer-to-
Composer’ in Telluride, Colorado (1988). In 1989
he was composer-in-residence at the festival New
Beginnings in Glasgow and, in 1993, special
guest at the Sydney Spring Festival of new music
and the Norrtälje (Sweden) Chamber Music Festival.

He was awarded numerous annual music
prizes and four state prizes in Estonia, and a prize
for the best film music score at the international
festival of animation films in Espinho (Portugal).
His Fifth Symphony (1995) was chosen the 1st
recommended work at the International Rostrum
of Composers in Paris in 1996.
Sumera’s musical language demonstrates his individual
approach to contemporary composition
techniques. He preferred unorthodox – blending
or contrasting – use of them (similar approach
appeared later in works of his younger colleague,
Erkki-Sven Tüür). Among Estonian composers and
musicians, he was always one of the persons best
informed in contemporary music. There is no
reason to speak about the ‘iron curtain’ (which, in
fact, functioned properly only until the middle
1950s) in connection with Sumera’s music, albeit
the history of rising his ‘quasi-minimalist’ works
written between 1981 and 1986 has suggested
the idea to some western critics. It is true that
American minimalism was unknown in Estonia
until 1983 and Sumera learned his repetition
technique from the archaic Estonian ‘runo’ song.
But minimalism was noticed relatively late also in
the West-European countries, in the Scandinavian
countries it had been ‘discovered’ only a few years
earlier than in Estonia.

As for Sumera’s works of that period, his treatment
of overall form differs completely from the intentionally
static forms of American minimalists. The
symphony orchestra was his favourite medium. His
symphonic works display an imaginative use of
orchestral colours and remarkable skill in creating
large form arches. His list of works includes two
ballets – Anselm’s Story (libretto by Mai Murdmaa
after E.T.A. Hoffmann) and The Lizard (Andrei
Petrov after Alexander Volodin, 1987/93) –, six
symphonies (1981-2000), a Piano Concerto
(1989/93), Cello Concerto (1998/1999), and
Concerto Grosso (2000) with three solo instruments
(soprano saxophone, percussion, and

From the late 1980s electro-acoustic music continually
gained significance in his work; he was
interested especially in live electronics. He also
created multimedia works, including two based on
particularly ingenious ideas: in a multimedia
chamber opera Olivia’s Master Class (libretto by
Peeter Jalakas after the novel of Ervin Õunapuu;
1997), paintings by Caspar David Friedrich (one
of the main characters of the opera) were used for
video; the entire material for Heart Affairs
(1999) was derived from sounds and rhythms of
a human heart, and from its ‘portrait’ produced
by echocardiography.

An appreciated author of chamber music, he
was always asked to write new pieces by musicians.
Majority of his instrumental chamber
works contain different aleatory sections.
However, he never applied random structures to
overall shape of the work. There is a peculiar
semantic casting in Sumera’s output. In his symphonies
he wrote down his most serious and
painful experience, none of the six reveals the
person with a vivid sense of humour behind
them. Even his instrumental concertos are close
to the symphonies in this respect. Many of his
chamber music and chorus works display all
grades of humour, from the playful and delicate
one to the bold grotesque.
Scenario for flute, bass clarinet and piano (1995)
was written for the Netherlandish HET-Trio. As the
title suggests, the piece has a clear dramatic
outline and evolves diverse musical events, based
on contrasts of dynamics, texture, tempi, etc. The
stylistic means, likewise versatile, can undoubtedly
be associated with post-modern irony, which,
nevertheless, contains no acrimony – a playful,
joyous approach is hold throughout the piece, up
to its “clowning” conclusion (slightly theatricalized
in live performances).
In two decades, Two Pieces from the Year 1981
have become classics in Estonian piano music.
The first piece had a special significance for Sumera’s
work. It marks a turning point in his musical
idiom: having written in a more complex style with
use of the free dodecaphony in the 1970s, he then
applied natural diatonic scales in all of his works
of the early 1980s, and occasionally later. His First
Symphony (1981) was born from the same piano
piece, since, according the composer, its theme
“asked for orchestral colours”. The symphony was
a great success. However, the piano piece with its
strangely fascinating theme – a long motif chain
that seems to strive into infinity – continued living
its own life and became his most frequently performed
work, a kind of his musical cachet. Sumera
did not find the individual title for the piece; when
performed separately, it is titled as The Piece from
the Year 1981. The second piece Pardon, Fryderyk!
is a collage on Mazurka a-moll op. 17 no.
4 by Chopin. The quasi-improvised middle part
includes a section of actual improvisation and
could be compared with a long slowed film
cadre. According to the composer’s written instructions,
the percussive rhythms are usually
accomplished by the pianist’s drumming by
hand on his /her instrument’s corpus. But
Sumera had also an adventurous idea of using
tap-dance rhythms instead (he even imagined
that, in a live performance, the pianist could
dance on the stage), yet the first result of his
vision can be heard on this CD.

In both pieces a varied rhythmic pattern of the
right hand is coupled with guileless Alberti
basses in the left one. In fact, rhythm was Sumera’s
main interest in these pieces. Twelve years
later he wrote in his commentary: “At the time I
was, and still am interested in the relationship
between two parts in texture, in this case
between the parts of two hands, when each has
its own material, whereby one of them is changing,
but the other is not. Both materials are
static, changes in one of them create a strange
effect of fatality in both rhythm and melody”.
Silent Odalisque (1997) was the first of four
musical portraits of graceful and capricious characters
and the only one written for flute solo – in
1999 the piece was followed by Dancing Odalisque,
Singing Odalisque, and Sorrowful Odalisque,
all three scored for flute, guitar and cello.
To Reach Yesterday (1993) was commissioned by
Sydney Spring Festival. Introspective melodic patterns
in cello part emerging among the anxious
chromatic figures – perhaps the piece is about
yearning for the more melodic music of past
times? It may be read even in this way, but different
other plots would be as convincing. Sumera
never specified his narratives, the “plot” taking
place in the musical material was most significant
for him. As for titles, he usually began to think
about one after completing the piece. He found
the name To Reach Yesterday ... due to crash of
the hard disc on his computer. He lost his files,
including the one with the new piece. Since the
deadline was there and the piece was to be sent
to Sydney, he spent a night at “restoring yesterday”
– putting it down by memory, in handwriting.
Until the 1990s Sumera seldom wrote vocal
works, though two of his then three cantatas,

The Mushroom Cantata (1979/83) and The
Song of Island Maiden from the Sea (1988)
belong to his most significant works. In an interview
he admitted: “I cannot get over the
problem that when I find a good text, then it
already has a fine sonorous quality, and I see
no reason to add music to it. On the other
hand, why should I write music to a poor text?”
In 1990s he discovered for himself new possibilities
of the human voice and the word performed by singing.
The year 1996 started a wave of
vocal works, beginning with too entirely different
cycles: the humorous Songs from Estonian
Matrimonial Poetry (text from folklore) for baritone
and piano, and the intense, painful Three
Sonnets of Shakespeare (No 104, 90, and 8) for
soprano, speaker, boys’ chorus and orchestra.
In 1999 another set of Shakespeare sonnets –
No. 128 (My Music) and No. 121 (‘Tis better to
be vile) for soprano and piano – appeared. The
two songs were written for Pille Lill, so was Stars
(2000) on text by Marie Under (1883 – 1980), a
beloved Estonian poetess who lived as emigrant
in Sweden since 1944. Like the lyrics of her last
decades, the poem Tähed /Stars (from the early
1950s) is marked by a tragic longing for home
and an elaborate simplicity in form.

Merike Vaitmaa

Recording Data
Scenario for flute, bass clarinet and piano (1995)
Neeme Punder, flute; Meelis Vind, bass clarinet; Lea Leiten, piano

Two Pieces from the Year 1981 for piano
2. Pardon, Fryderyk !
Lea Leiten, piano; Alexander Ivashkevitch, tap dance,

The Silent Odalisque for flute solo (1997)
Neeme Punder

To Reach Yesterday for cello and piano (1993)
Aare Tammesalu, cello; Lea Leiten, piano

Two Sonnets of Shakespeare for voice and piano (1999)

No. 128 My Music
No. 121 ‘Tis better to be vile

Stars (text by Marie Under, 2000)
Pille Lill, soprano; Marje Lohuaru, piano
Publisher: edition 49 (Karlsruhe)

First recording

Digital recording, editing and mastering: Maido Maadik
Recorded: February 2002 – June 2002, Chamber Hall of the Estonian Academy of Music
Music Publisher: edition 49 (Karlsruhe)
Artistic Direction: Patrick De Clerck
Executive producer: Ric J.B. Urmel
Front Cover: detail of original painting "Escape" by Ilse D'Hollander (1996) oil on canvas, 56x48cm
Photo credits: Lepo Sumera by Tönu Tormis
Special thanks to: Reet Remmel, Aare Tammesalu, Tamara Luuk, Merike Vaitmaa
Design by sign* Brussels

Eesti Kultuurkapital / Cultural Endowment of Estonia
EV kultuuriministeerium / Ministry of Culture of Estonia
Eesti Muusikaakadeemia / Estonian Academy of Music
Lepo Sumera Ühing / Lepo Sumera Society



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1000füssler | A-ram | Achtung Baby! | ACOUSTIC MUSIC RECORDS | AGENCY GOLD PRO | AKATZIA Records | Aketa's Disk | Akt-Produkt | Algambra Music | ALONE AT LAST | AnTrop | Aquarellist | ArtBeat | Artservice | Asphalt Tango Records | AURIS MEDIA | AURIS MEDIA / ANANA LTD | AURIS MEDIA / TOPHETH PROPHET | Autrecords | BAD TASTE | BIG Production | Black Mara ‎ | BMA Group ‎ | Boheme Music | Bomba Piter | Bôłt | Brilliant Classics ‎ | BRP records | CADENCE JAZZ | Candid | Caravan Records | CCn'C | CD LAND | Cheburec Records | Citadel | Clean Feed | COLD MEAT INDUSTRY | Cold Spring ‎ | Cpl-music | Creative Sources | CX Records | Cyclic Law | DEEP MUSIC | DELERIUM | Denovali Records | Der Angriff | Divine Comedy | DOM Records | EASTBLOK MUSIC | Eclipse Music | EDDA GRAMMOFON | Edition RZ | Edition Wandelweiser Records | Ektro Records | EMI | Ermatell Records | Ewers Tonkunst | Ewers Tonkunst / Indiestate Distribution / Cyclic Law | Ewers Tonkunst/ Indiestate Distribution | EXIL | Exotica | FANCYMUSIC | Feelee | FIVEPRO RECORDS | FMP | FMR | FMR Records | For Tune | Frio | Frog records | Frozen Light | FULLDOZER | Fulldozer Records | FUNDACION INTERCHANGE | Fundacja Słuchaj! | Golden Years Of New Jazz | GREEN LANDS | Green Wave | Greentrax | Greentrax Recordings | GREENWAVE MUSIC | Inasound Records | INDIES RECORDS | Indiestate Distribution | Infinite Fog Productions | INSUBORDINATIONS | INTONEMA | IZBA | JARO | Jazz Family | Jazzosophia | Kailas Records | KAMWA | Karkia Mistika | Kauriala Society ‎ | Kirkelig Kulturverksted ‎ | Kotä Records | Krapiva | KultFront | Kvitnu | Landy Star | LANDY STAR MUSIC | LaoBan | Laton | Lava Productions | Lavina Music | Le Chant Du Monde | Leo Lab | LEO RECORDS | Long Arms Records | Lotos | M-Classic Records | Manas Records | Manchester Files | Mantra Spenta | Mars Records | Mathka | Mavi Keman Records | MEGADISC | Merusa | MERUSA RECORDS | MIKROTON | MIKROTON-LAMINAL | MKDK Records | Monochrome Vision | Monopoly Records | MONOTONE | Mouse records | Moving Furniture Records | Music Box Records | Nemu Records | Network Medien | Neuklang | New Albion | New Folder (2) | NEW ORTHODOX LINE | New Ortodox Line | NEX | NITKIE | NN RECORDS | No Man's Land | NoRecords Records | Not On Label | Not Two | Objective Music | OBST | OctoberXart Records | OK Production | Old Europa Cafe | One Little Indian | OPPOSING MUSIC | Orange World | Ostroga | OutLine Records | OutLine Records/ Bomba Piter | Pa gamle stier | Pan Records | Panfiloff Music | Piranha | POETS CLUB RECORDS | PRIKOSNOVENIE | Psych-O-Path | Radio Netherlands | RAIG | RareNoise Records | Real World | RecRec | RED TOUCAN RECORDS | ReR Megacorp | ReR Megacorp ‎ | Review records | RH POZITIF | Rockadillo records | Ronees | Scythian horn | Shadowplay | sincerely music | Sketis Music | SLAM | Slam Productions | Solnze Records | Solyd Records | SOM LIVRE | Sonore | Sound Age | STEINKLANG RECORDS | Strange Sounds | Strannik | SvaSound | TA-MUSICA | TAU | Terem-Music | Terirem | TERIREM PRODUCTIONS | Tesla / nT02 | The ACT Company | The Eastern Front | The Moscow State Tchaikovsky Conservarote | Tonzonen Records | TOT OU TARD | Toten Schwan | Tourette records | Trost Records | Tunecore | Twogentlemen | Ulitka Records | Ultra | UNTIME RECORDS | UR-Realist | VAPRAKSILA | VMS | VMS ‎ | WAYSTYX | We Jazz | Westpark Music | Wooden Head | Xource Records | Zoharum | АРТсервис | Атлантiк | Выргород | Геометрия | Далина Бартанга | Дерево рекордс | Заплатка | Звучший лук records | Клуб АРТ'ЭРИА | Культурный фонд Скифский Рог | Марджани | Министерство дистанционного управления культурой | Министерство дистанционного управлния культурой | Мистерия Звука | Орех | Отделение ВЫХОД | Перекресток Рекордс | Поп-Механика | Поход | РАРИТЕТ-CD | РФС | Скаzки Records | Славянский Восход | Снегири | Союз | Товарищество Свободная Культура | топот | Фирма Грамзаписи Никитин | Фирма Мелодия | Фольклорно-этнографический центр Санкт-Петербургской консерватории | Фонд казачей культуры | ФОНО | Хор | Черная земля | Электроиндустрия |







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