Tõnu Kõrvits (b. 1969) “The Mystic Trumpeter” (2022 ) (Three Songs on the Poems of Walt Whitman). The world premiere of Tõnu Kõrvits’ new work for bass, bassoon and piano.
Kristjan Randalu (b. 1978) “Kolm ohvrikivi laulu” (2018/2022, premiere) Tekst: Indrek Hirv. 1. Jõgi voolab/The River Flows 2. Kunagi/Sometime 3. See jõgi/This River
Tõnu Kõrvits (b. 1969) “Puudutus” “Touch” [2012/2017]
Franz Schubert (1797–1828) / Kristjan Randalu “Winterreise / Winter Journey” D.911 (1827) / (2022) Text: Wilhelm Müller
Gute Nacht / Good Night/ Head ööd
Rast /Rest/ Puhkus
Winterschlaf / Hibernation/ Talveuni
Frühlingstraum / Dream of Spring/ Kevadunelm
Einsamkeit / Loneliness/ Üksindus
Der Wegweiser / The Sign Post/ Teeviit
Ain Anger has been a regular presence on the stage of Wiener Staatsoper since his house debut as Monterone (Rigoletto) in 2004, going on to sing more than forty roles there ranging from Dosifei in Mussorgsky’s epic Khovanshchina conducted by Semyon Bychkov and König Heinrich (Lohengrin) under Christian Thielemann to Philippe II (Don Carlos), Zaccaria (Nabucco) and Fiesco (Simon Boccanegra), and was awarded the honorary title of Kammersänger by the Austrian government in June 2020. Ranked among the world’s best Wagnerian basses, Anger made his Bayreuth Festival debut as Fafner in Das Rheingold and Siegfried under Christian Thielemann, and his debut at Teatro alla Scala as Daland (Der fliegende Holländer) under Hartmut Haenchen. As Hunding, he has appeared in new Ring Cycles at Bayerische Staatsoper under Kent Nagano, Wiener Staatsoper under Franz Welser-Möst, Oper Frankfurt under Sebastian Weigle, Lyric Opera of Chicago under Sir Andrew Davis, and at the Royal Opera House, Covent Garden under Sir Antonio Pappano. As Pogner (Die Meistersinger von Nürnberg), Anger debuted at San Francisco Opera under Sir Mark Elder, and is a frequent guest of Deutsche Oper Berlin with whom he also appeared at the BBC Proms in Tannhäuser under Donald Runnicles. Most recent seasons have brought further expansion of the Wagner repertoire with debuts as Hagen (Götterdämmerung) for the Canadian Opera Company conducted by Johannes Debus, and at the Edinburgh International Festival with Sir Andrew Davis, and as König Marke (Tristan und Isolde) for the Cleveland Orchestra under Franz Welser-Möst, and the West Australian Symphony Orchestra under Asher Fisch, released by ABC Classics.
Estonian-born bassoonist Martin Kuuskmann counts as one of the leading voices on his instrument, performing repertoire landmarks from across the entire scope of classical music and avant-garde with celebrated orchestras like the Orchestre de la Suisse Romande and the Estonian National Symphony Orchestra on the one hand and world famous conductors such as Paavo Järvi and Dennis Russel Davies on the other. Kuuskmann’s unmatched expressiveness on his reed has led to numerous bassoon concertos being written explicitly for him by A-list composers in the vein of Erkki-Sven Tüür and Christopher Theofanidis. His reputation as a chamber musician precedes him, creating countless opportunities for international collaborations with esteemed chamber music ensembles such as the Berlin Philharmonic Winds and producing partnerships with the likes of Leif Ove Andsnes and Kirill Gerstein. Kuuskmann’s exceptional artistry is documented in a steadily expanding recording catalogue that includes two Grammy-nominations and holds promising projects for the near future. Not only has the bassoonist performed on the most renowned international stages – ranging from Carnegie Hall to Sala Sao Paolo – but Kuuskmann also balances his deep expertise in classical and chamber music with occasional forays into the jazz format – collaborations with the likes of John Patitucci and Joe Zawinul included. Besides holding a chair as Professor of Bassoon and Chamber Music at the University of Denver, Kuuskmann continues to pursue a prolific career as one of the most sought-after performers in his field. The New York Times has gone as far as using the words “amazing” and “stunning” to describe Martin Kuuskmann’s craft, confirming that the bassoonist is one of the great virtuosos of our time.
Kristjan Randalu belongs to the most sought-after piano players of his generation, carrying the torch in both the improvised world of jazz and the traditional realm of classical music – Herbie Hancock, the piano master himself, considering him “a dazzling piano player”. Between creating his own original blend of contemporary jazz as a leader and collaborating with several generations of respected musicians, from the likes of fellow ECM recording artist Trygve Seim to saxophonist David Liebman, Randalu has brought his music to some of the world’s most renowned jazz festivals and concert halls. At the same time, he is viewed as an esteemed interpreter of a broad spectrum of contemporary and classical music, performing alongside internationally acclaimed ensembles of the stature of the London Symphony Orchestra and the Tallinn Chamber Orchestra on the one hand and esteemed conductors like Kristjan Järvi and Dennis Russell Davies on the other. His over 40 album-strong discography has won him several awards, including “Jazz Artist of the Year” and “Jazz Composer of the year” in Estonia.
Tõnu Kõrvits (1969) is a shining star of Estonian contemporary music. Beside Veljo Tormis’s shamanistic spells, Erkki-Sven Tüür’s energetic explosions and Arvo Pärt’s religious contemplations, Kõrvits’s sound world stands out as highly poetic, full of visionary fantasies. His music carries the listener along on hypnotic journeys through the landscapes of nature and folk tradition, human soul and subconscious.
His oeuvre includes all traditional genres from orchestral and instrumental music to choral music and operas. Currently, the list of his compositions contains 210 opuses. Figurative titles of his works often reflect romantic or mythological allegories. Breathing, song-like expression is the core of his personal idiom, reflecting delicate breeze from jazz and popular music. By its nature, Kõrvits’s idiom can be called as “magic impressionism”.