erkki-sven tüür sinfonietta riga ärkamine · pdf file2 the wanderer’s...

ÄRKAMINEÄRKAMINEERKKI-SVEN TÜÜR

ÄRKAMINEAWAKENINGESTONIAN PHILHARMONIC CHAMBER CHOIR

SINFONIETTA RIGADANIEL REUSS

Erkki-SvEn Tüür (b. 1959)

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

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

3 insula deserta (1989) 8’49for string orchestraCommissioned 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.–3.6.2011Executive Producer: Reijo KiilunenRecording Producer, Editing & Mixing: Florian B. SchmidtRecording Engineer: Hansjörg Seiler℗ 2011 Ondine Oy, Helsinki

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

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

3 insula deserta (1989) 8’49for string orchestraCommissioned 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.–3.6.2011Executive Producer: Reijo KiilunenRecording Producer, Editing & Mixing: Florian B. SchmidtRecording Engineer: Hansjörg Seiler℗ 2011 Ondine Oy, Helsinki

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.

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.

Tüür’s music can even be considered timeless, because it synthesizes various traditions and displays many universal features attributed to canonic masterpieces. But it includes, expresses and embodies time and space in many aspects and layers from the structural to the emotional dimensions, the constructed to the natural, the philosophical and metaphorical to the semiotic, the chronological to the subjectively experienced.

let us approach Tüür’s music from a phenomenological viewpoint here, recalling Merleau-Ponty, who said that ‘the future is not prepared behind the observer, it is the brooding presence moving to meet him, like a storm on the horizon. . . . the course of time is no longer the stream itself: it is the landscape as it rolls by for the moving observer. . . . [time] arises from my relation to things. Within things themselves, the future and the past are in a kind of eternal state of pre-existence and survival. . . . What is past or future for me is present in the world’ (Phenomenology of Perception, 1945/2002, p. 478). This can also be said of the quiddity and perception of Tüür’s music. The listener who encounters it is touched, overwhelmed, astonished, exalted, even rendered speechless by the suggestiveness of its sounds, images and the memories it evokes.

The listener’s relationship to Tüür’s music is important to its comprehension. For experienced listeners, Tüür’s music is like an open book. Memories of meanings, styles, images, times and spaces from the distant and recent past of Western music – from ancient music to jazz and rock – seemingly emerge from nowhere and fade back into sonically moving forms and the play of pure musical material. For listeners familiar with Estonian music, memories of that particular tradition 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 by Tüür alone, since it is characterized by unique features of Tüür’s metalingual and vectorial-based thinking. in particular, individual melodic structures (with characteristic interval combinations and vectorially important trajectories), the treatment of combined modality, and rhythmic and temporal features are highly typical and recognizable throughout his oeuvre. For the less experienced listener or someone approaching it from a purely phenomenological standpoint, Tüür’s music is like a magic book. While pages turn, culminations appear, and natural phenomena like storms, volcano eruptions and frozen tsunamis roll over; single notes and motives, gestures and abstract narratives,

impulses and culminations, patterns and pulsations, contrasts and crucial changes in texture emerge rapidly or slowly, remain continuously or move smoothly from one state of the musical material to the next. Tüür’s titles and the concepts of his works often support and awaken these impressions, associations, analogies and synesthesia or natural imagery and phenomena.

The works on this CD present a cross section of Tüür’s oeuvre. insula deserta (1989) for string orchestra marks his international breakthrough. it was commissioned by the Ostrobothnian Chamber Orchestra and premiered in Finland under Juha Kangas and has since been recorded and performed all over the world. The title is borrowed from the poet Tõnu Õnnepalu, and for Tüür it refers to the nature of Hiiumaa as well as The Myth of Sisyphus (1942) by albert Camus, expressing the idea that ‘absurdity is born from the contradiction of irrationality and the fierce desire for clarity, which man always inherently longs for.’ We find the echo of these words throughout Tüür’s works up to the present day. as is often the case, Tüür’s music begins with a single sound, gradually expanding into melodies and sound masses. Tüür points out that ‘the relationship between fragility and power is 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 and sound field structures, which is characteristic not only of this particular work but also more generally in his oeuvre. We find modality, pentatonics and quartal harmony, while the melody begins with a typical alternation of wider and smaller, consonant and dissonant intervals, balanced similar to ancient techniques. For the first time, Tüür composes out a widespread electronic effect (digital delay) in the pulsating middle section, which is based on imitative structures in the orchestration.

The Wanderer’s Evening Song [rändaja õhtulaul] (2001) for mixed choir was written for the 20th anniversary of the Estonian Philharmonic Chamber Choir (EPCC) and is dedicated to the choir and its founder and conductor Tõnu Kaljuste. Tüür combines several poems by the well-known Estonian poet Ernst Enno (1875–1934) from the first half of the 20th century with an astonishingly consistent narrative of an imaginative wanderer, who is bewitched by the sombre silence of the northern woods, longing for home, and marvels at the golden strings and rays reaching across the deep water and life as the one blissful way to reach God and His light. Both the music and the romantic poems – recalling Goethe and Rückert – are composed with dramatic tension between dissonant textures,

Tüür’s music can even be considered timeless, because it synthesizes various traditions and displays many universal features attributed to canonic masterpieces. But it includes, expresses and embodies time and space in many aspects and layers from the structural to the emotional dimensions, the constructed to the natural, the philosophical and metaphorical to the semiotic, the chronological to the subjectively experienced.

let us approach Tüür’s music from a phenomenological viewpoint here, recalling Merleau-Ponty, who said that ‘the future is not prepared behind the observer, it is the brooding presence moving to meet him, like a storm on the horizon. . . . the course of time is no longer the stream itself: it is the landscape as it rolls by for the moving observer. . . . [time] arises from my relation to things. Within things themselves, the future and the past are in a kind of eternal state of pre-existence and survival. . . . What is past or future for me is present in the world’ (Phenomenology of Perception, 1945/2002, p. 478). This can also be said of the quiddity and perception of Tüür’s music. The listener who encounters it is touched, overwhelmed, astonished, exalted, even rendered speechless by the suggestiveness of its sounds, images and the memories it evokes.

The listener’s relationship to Tüür’s music is important to its comprehension. For experienced listeners, Tüür’s music is like an open book. Memories of meanings, styles, images, times and spaces from the distant and recent past of Western music – from ancient music to jazz and rock – seemingly emerge from nowhere and fade back into sonically moving forms and the play of pure musical material. For listeners familiar with Estonian music, memories of that particular tradition 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 by Tüür alone, since it is characterized by unique features of Tüür’s metalingual and vectorial-based thinking. in particular, individual melodic structures (with characteristic interval combinations and vectorially important trajectories), the treatment of combined modality, and rhythmic and temporal features are highly typical and recognizable throughout his oeuvre. For the less experienced listener or someone approaching it from a purely phenomenological standpoint, Tüür’s music is like a magic book. While pages turn, culminations appear, and natural phenomena like storms, volcano eruptions and frozen tsunamis roll over; single notes and motives, gestures and abstract narratives,

impulses and culminations, patterns and pulsations, contrasts and crucial changes in texture emerge rapidly or slowly, remain continuously or move smoothly from one state of the musical material to the next. Tüür’s titles and the concepts of his works often support and awaken these impressions, associations, analogies and synesthesia or natural imagery and phenomena.

The works on this CD present a cross section of Tüür’s oeuvre. insula deserta (1989) for string orchestra marks his international breakthrough. it was commissioned by the Ostrobothnian Chamber Orchestra and premiered in Finland under Juha Kangas and has since been recorded and performed all over the world. The title is borrowed from the poet Tõnu Õnnepalu, and for Tüür it refers to the nature of Hiiumaa as well as The Myth of Sisyphus (1942) by albert Camus, expressing the idea that ‘absurdity is born from the contradiction of irrationality and the fierce desire for clarity, which man always inherently longs for.’ We find the echo of these words throughout Tüür’s works up to the present day. as is often the case, Tüür’s music begins with a single sound, gradually expanding into melodies and sound masses. Tüür points out that ‘the relationship between fragility and power is 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 and sound field structures, which is characteristic not only of this particular work but also more generally in his oeuvre. We find modality, pentatonics and quartal harmony, while the melody begins with a typical alternation of wider and smaller, consonant and dissonant intervals, balanced similar to ancient techniques. For the first time, Tüür composes out a widespread electronic effect (digital delay) in the pulsating middle section, which is based on imitative structures in the orchestration.

The Wanderer’s Evening Song [rändaja õhtulaul] (2001) for mixed choir was written for the 20th anniversary of the Estonian Philharmonic Chamber Choir (EPCC) and is dedicated to the choir and its founder and conductor Tõnu Kaljuste. Tüür combines several poems by the well-known Estonian poet Ernst Enno (1875–1934) from the first half of the 20th century with an astonishingly consistent narrative of an imaginative wanderer, who is bewitched by the sombre silence of the northern woods, longing for home, and marvels at the golden strings and rays reaching across the deep water and life as the one blissful way to reach God and His light. Both the music and the romantic poems – recalling Goethe and Rückert – are composed with dramatic tension between dissonant textures,

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 Lockwww.erkkisven.com

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 Lockwww.erkkisven.com

The Estonian Philharmonic Chamber Choir (EPCC) was founded in 1981 by Tõnu Kaljuste, who acted as artistic director and chief conductor for twenty years. From 2001–2007, Paul Hillier succeeded him, until Daniel Reuss took over in 2008. Over the years, the choir has established its reputation as one of the world’s leading choral ensembles. its repertoire extends from Gregorian chant to late Baroque and twentieth-century music, with a special emphasis on Estonian composers (Pärt, Tormis, Tüür, Grigoryeva, Tulev, Kõrvits, Tulve). The choir performs 60–70 concerts per season in Estonia and abroad.

The EPCC has worked with a number of acclaimed orchestras and conductors, including Claudio abbado, Helmuth Rilling, Eric Ericson, Ward Swingle, neeme Järvi, Paavo Järvi, nikolai alekseyev, andrew lawrence-King, Roland Böer, Frieder Bernius, Stephen layton and Marc Minkowski. it has 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. 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

Daniel reuss has held the posts of artistic director and chief conductor with the Estonian Philharmonic Chamber Choir since 2008. Born in the netherlands in 1961, he studied choral conducting with Barend Schuurman at the Rotterdam Conservatory. in 1990, he became chief conductor of Cappella amsterdam, which he turned into a full-time professional ensemble. Between 2003 and 2006 he led the RiaS Kammerchor in Berlin as chief conductor, with whom he recorded a number of award-winning CDs. in 2007 he made his debut at the English national Opera with Handel’s Agrippina. as guest conductor, Daniel Reuss has worked with numerous renowned European ensembles, including the Concertgebouw Chamber Orchestra, the akademie für alte Musik Berlin, Concerto Köln, the Schönberg Ensemble, the netherlands Radio Choir, Collegium Vocale Gent, the Balthasar neumann Choir, the SWR Vokalensemble, the Stavanger Symphony Orchestra, the nieuw Ensemble, Prometheus Ensemble and Viotta Ensemble.

www.danielreuss.com

The Estonian Philharmonic Chamber Choir (EPCC) was founded in 1981 by Tõnu Kaljuste, who acted as artistic director and chief conductor for twenty years. From 2001–2007, Paul Hillier succeeded him, until Daniel Reuss took over in 2008. Over the years, the choir has established its reputation as one of the world’s leading choral ensembles. its repertoire extends from Gregorian chant to late Baroque and twentieth-century music, with a special emphasis on Estonian composers (Pärt, Tormis, Tüür, Grigoryeva, Tulev, Kõrvits, Tulve). The choir performs 60–70 concerts per season in Estonia and abroad.

The EPCC has worked with a number of acclaimed orchestras and conductors, including Claudio abbado, Helmuth Rilling, Eric Ericson, Ward Swingle, neeme Järvi, Paavo Järvi, nikolai alekseyev, andrew lawrence-King, Roland Böer, Frieder Bernius, Stephen layton and Marc Minkowski. it has 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. 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

Daniel reuss has held the posts of artistic director and chief conductor with the Estonian Philharmonic Chamber Choir since 2008. Born in the netherlands in 1961, he studied choral conducting with Barend Schuurman at the Rotterdam Conservatory. in 1990, he became chief conductor of Cappella amsterdam, which he turned into a full-time professional ensemble. Between 2003 and 2006 he led the RiaS Kammerchor in Berlin as chief conductor, with whom he recorded a number of award-winning CDs. in 2007 he made his debut at the English national Opera with Handel’s Agrippina. as guest conductor, Daniel Reuss has worked with numerous renowned European ensembles, including the Concertgebouw Chamber Orchestra, the akademie für alte Musik Berlin, Concerto Köln, the Schönberg Ensemble, the netherlands Radio Choir, Collegium Vocale Gent, the Balthasar neumann Choir, the SWR Vokalensemble, the Stavanger Symphony Orchestra, the nieuw Ensemble, Prometheus Ensemble and Viotta Ensemble.

www.danielreuss.com

1 Ärkamine

Haec dies quam fecit Dominus:exultemus et laetemur in ea.alleluia.

Psalm 118:24

Puude lehtes liigub sahinVaikne, tasane –Esimene arm käib hilju läbi looduse.

Päikse poole, kiirtemaaleihkab iga nupp:naerul sinilillekene,naerul kullerkupp.

ilukeelil igatsedesPaisub linnu rind;Pehme väike pesakene,Kuis ta kutsub sind...

Ja nii tasa õnnistadesHelin salajaKäib kui pulmapidu ilu,lootus sonija.

Puude lehtes liigub sahinVaikne, tasane –

Esimene arm käib hilju läbi looduse.

Ernst Enno (1875–1934)

keegi ei tea oma nimekeegi ei näe oma näguainult üks imede imemetsades kukub kui kägu

loodes pakatab loojakmets avab vaigused lukudsina saad sõnumitoojaksaastaid ja kevadeid kukud

kaleneb korgiks ja koorekssüda kesk lehtede sündikilluke ainult jääb nooreksmööda külvi ja kündi

tema veel näeb seda väljateab meie valed ja võladasjadest astuvad välja kujud värvid ja kõlad

sa tohid minna ja tullaniitude lillelist linaüles on hõiganud mullaüks kes on suurem kui sina

1 Awakening

This is the day that the lord has made:let us rejoice and be glad in it.alleluia.

a rustle moves in the treessoft and serene –first love goes on tiptoethrough nature.

Sunwards, to a land of raysevery bud craves;smiling tiny violet,smiling globeflower.

Sighs in the language of beautyswell in bird breast;a soft little nestoh so inviting…

and silently blessingchiming in secret,wedding-bell beautiful,a rambling hope.

a rustle moves in the treessoft and serene –

first love goes on tiptoethrough nature.

no one knows his own nameno one sees his own faceonly a wonder of wonderscuckooing in the forests

sunset bursts on the northwest skythe forest opens resinous locksyou will become a messenger cuckooing years and springs

into bark and cork hardensyour heart in the birth of leavesa sliver alone stays youngduring ploughing and sowing

he still sees that fieldknows our lies and debtsfrom out of all things stepshapes colours and sounds

you may go and returnover flowery meadow sheethe has called up the earthhe who is greater than you

1 Ärkamine

Psalm 118:24

Puude lehtes liigub sahinVaikne, tasane –Esimene arm käib hilju läbi looduse.

Päikse poole, kiirtemaaleihkab iga nupp:naerul sinilillekene,naerul kullerkupp.

ilukeelil igatsedesPaisub linnu rind;Pehme väike pesakene,Kuis ta kutsub sind...

Ja nii tasa õnnistadesHelin salajaKäib kui pulmapidu ilu,lootus sonija.

Puude lehtes liigub sahinVaikne, tasane –

Esimene arm käib hilju läbi looduse.

Ernst Enno (1875–1934)

keegi ei tea oma nimekeegi ei näe oma näguainult üks imede imemetsades kukub kui kägu

loodes pakatab loojakmets avab vaigused lukudsina saad sõnumitoojaksaastaid ja kevadeid kukud

kaleneb korgiks ja koorekssüda kesk lehtede sündikilluke ainult jääb nooreksmööda külvi ja kündi

tema veel näeb seda väljateab meie valed ja võladasjadest astuvad välja kujud värvid ja kõlad

sa tohid minna ja tullaniitude lillelist linaüles on hõiganud mullaüks kes on suurem kui sina

1 Awakening

a rustle moves in the treessoft and serene –first love goes on tiptoethrough nature.

Sunwards, to a land of raysevery bud craves;smiling tiny violet,smiling globeflower.

Sighs in the language of beautyswell in bird breast;a soft little nestoh so inviting…

and silently blessingchiming in secret,wedding-bell beautiful,a rambling hope.

a rustle moves in the treessoft and serene –

first love goes on tiptoethrough nature.

no one knows his own nameno one sees his own faceonly a wonder of wonderscuckooing in the forests

sunset bursts on the northwest skythe forest opens resinous locksyou will become a messenger cuckooing years and springs

into bark and cork hardensyour heart in the birth of leavesa sliver alone stays youngduring ploughing and sowing

he still sees that fieldknows our lies and debtsfrom out of all things stepshapes colours and sounds

you may go and returnover flowery meadow sheethe has called up the earthhe who is greater than you

läbi sest valest läbi sest valustlajuke kevadist metsaalust

lihtsalt niisama olles ja võitesminu jänesekapsad on õites

kadunud kodu kesk ruumi ja aegalinnulauluse lehtiva laega

homse hirmust ja tunase vaevastkõrs kerkib üles vaatama taevast

kõik mis mulla all ootas ja lamasavab silmad ja ongi siinsamas

põrmule põrmust puhkevat lohtukannikesi ja kopsurohtu

savist sai ihu tuulest sai hingemuud ei olegi tõuske ja minge

Jaan Kaplinski (b. 1941)

Christus resurrexit a mortuis,Morte mortem calcavit,Et entibus in sepulchrisVitam donavit.

Paschal troparion

Ei ma mõista palvet teha,ei ma mõista paluda:palveks enne saab ju süda,kui ma hakkan paluma.

Sinu eest ma palvet teeksin,paluks vaga meelega,aga juba põue põhjasoled ise palve sa.

Juhan Liiv (1864–1913

Psalm 118:24

Exsultet iam angelica turba cælorum:exsultent divina ministeria:et pro tanti Regis victoria tuba insonet salutaris.

Gaudeat et tellus, tantis irradiata fulgoribus: et æterni Regis splendore illustrata, totius orbis se sentiat amisisse caliginem.

through that lie through that paina speck of springtime forest floor

by simply being and winningmy wood sorrels are in bloom

a lost home in space and timewith a leafy ceiling of birdsong

from tomorrow’s fear and yesterday`s paina stalk rises up to look at the sky

all that lay in the earth and waitedopens its eyes and is here right now

to dust the solace sprung from dust violets and blue cowslips

clay became body, wind became soulwhat else but to rise and walk

Christ is risen from the dead,trampling down death by death,and upon those in the tombsbestowing life.

not that i know how to make a prayer,not that i know how to pray:my whole heart becomes a prayer before i start to pray.

For you i would make a prayer,i would pray with pious mind,but in the depth of my breastyou are a prayer yourself.

let the angelic choirs of Heaven now rejoice; let the divine Mysteries rejoice; and let the trumpet of salvation sound forth the victory of so great a King.

let the earth also rejoice, made radiant by such splendor; and, enlightened with the brightness of the eternal King, let it know that the darkness of the whole world is scattered.