Records available

CD canto:). Hortus Musicus

DVD In the Mystical Land of Kaydara. Peeter Vähi

DVD Coppélia. A ballet by Léo Delibes

CD-series Great Maestros. Beethoven, Brahms. Kalle Randalu, Estonian National Symphony Orchestra, Neeme Järvi

CD Quarter of a Century with Friends. Arsis, Rémi Boucher, Oliver Kuusik, Rauno Elp

Super Audio CD Maria Magdalena. Sevara Nazarkhan, Riga Dom Cathedral Boys Choir, State Choir Latvija, Latvian National Symphony Orchestra

CD Jerusalem. Hortus Musicus

LP Contra aut pro? Toomas Velmet, Neeme Järvi, Estonian National Symphony Orchestra, Arvo Pärt

CD The Soul of Fire. Age Juurikas




... a musical pearl from the Far East



LogoTPOThe Taipei Philharmonic Orchestra has undertaken more international concert tours than any other professional orchestra from Taiwan. Regarded as Taiwan’s classical music ambassador and representative on the international music scene, the orchestra has undertaken in total 20 international concert tours, appearing at international music festivals and concert halls throughout Europe, China, the United States of America and Canada.
The list of concert appearances by the orchestra includes such prestigious music festivals as the Braunschweig Classix Festival (Germany), the White Nights Festival of St Petersburg (Russia), the Warsaw Autumn Contemporary Music Festival (Poland), the Krakow Music Festival Sacrum-Profanum (Poland), the Prague Spring Music Festival (Czech Republic), the Janáček International Music Festival (Czech Republic), the Budapest Music Festival (Hungary), the Stockholm Royal Castle Music Festival (Sweden), the Music Festival Glasperlenspiel (Estonia), the Riga Music Festival (Latvia), the Kaunas Pazaislis Music Festival (Lithuania), the Auvers-sur-Oise Festival (France), the Sully International Music Festival (France), and the Shanghai World Expo (China), to name but a few.
The venues where the Taipei Philharmonic Orchestra has performed have included renown concert-halls such as the St Petersburg Philharmonic Hall, the Moscow Performing Arts Center, the Budapest Liszt Concert Hall, Stockholm’s Berwald Concert Hall, Helsinki’s Finlandia Hall, and Helsinki Rock Church, the Grieg Concert Hall in Bergen (Norway), Estonia Concert Hall, the Kennedy Performing Arts Center (Washington, DC), and the famous Musikverein in Vienna.
A large number of the musicians of the Taipei Philharmonic Orchestra have been trained at some of Europe’s, and the United States’ leading music institutions. This high level of musicianship has been frequently praised. The Taipei Philharmonic Orchestra considers it as its mission to improve the appreciation of modern music, and has forged relationships with composers from a number of country’s, among them Estonian composer Peeter Vähi, the renown Finnish conductor and composer Leif Segerstam, Yiu-kwong Chung from China and others.
The Taipei Philharmonic Orchestra’s first principal chief conductor and artistic director was the American conductor Henry Mazer, a former Associate Conductor of the Chicago Symphony Orchestra and the Pittsburgh Symphony Orchestra. Mazer dedicated over 15 years to the artistic growth of the orchestra.  The orchestra’s first concert appearance in the United States was met with great acclaim. International conductors who have led the orchestra include among others Andreas Delfs (Germany), Alexander Rudin (Russia), Yoel Levi (Israel) and Paul Lin (Taiwan).

TPOTienChiLinA well-known musician in Taiwan, Lin Paul Tien-Chi is now the principal resident conductor of the Taipei Philharmonic Orchestra. He is also a professor of conducting and violin in Chinese Culture University.
Lin Paul Tien-Chi showed an exceptional musical talent from an early age. He started learning violin at the age of five, under the guidance of various violinists such as Li Li-Shu, J. Learch, Sun Ciao-Ling, Leila Ransonyi and Victor Pikaizen.
A winner of numerous violin competitions in Taiwan, Lin has also participated in many important international violin competitions. Not only a soloist, Lin is also enthusiastic in chamber music. At the moment he is one of Taiwan’s most prominent and leading violinists as well as conductors.
Lin started to take an interest in conducting when he was the concertmaster of Taipei Century Symphony Orchestra, at the age of fourteen. When he joined Taipei Philharmonic Orchestra in 1990, Henry Mazer, the American General Music Director of the Taipei Philharmonic Orchestra was delightfully amazed by his musical talent. Mazer thought that Lin was not only an exceptional violinist, but also sensitive in the control and construction of orchestral music.
With the Taipei Philharmonic Orchestra he has undertaken numerous critically acclaimed sold out European tours conducting concerts in Germany, the Czech Republic at the Prague Spring International Music Festival, in Finland at the Finlandia Hall in Helsinki, in Sweden at the Berwaldhallen Concert Hall in Stockholm, in Estonia at the Tallin Concert Hall and at the Estonian Glasperlenspiel Music Festival, as well as a return concert in Helsinki at the iconic Rock Church concert venue in 2003, and at the Auvers Music Fesival in France and a sold out concert in Paris during the 2005 Taipei Philharmonic Orchestra tour of France. Paul Tien-Chi Lin has also appeared with the orchestra in the USA.
Since the year 2000, Lin has been conducting the Taipei Philharmonic Orchestra for numerous concerts and tours of Taiwan. He joined the TPO for the orchestra’s tour of Russia in June 2004, and also conducted concerts during the tour of Central Europe in September 2004, conducting concerts at the Wroclaw Music Festival in Poland, at the Krakow Music Festival, at the Budapest Music Days Festival, at the Prague Spirit Music Festival and a live Hungarian Radio Transmission.

TPOShienTaSuThe principal violinist Su Shien-ta started learning the violin at the age of five. Having graduated from L’Ecole Normal de Musique de Paris in 1986, he received the highest degree certificate in violin performance studies: Diplome Superieur de Concertist de Violin et Musique de Chambre. His playing style is deeply influenced by Henryk Szeryng and Gérard Poulet.
Su has collaborated with various significant orchestras both locally and globally. In addition to his homeland Taiwan, he has performed in the USA, Canada and Europe.
Currently, Su is the Department Chair of the Music Department and the Director of Orchestral Percussion Music Research Institute and Music Research Institute at Taipei National University of the Arts. Alongside his teaching career, he is also the concertmaster at TPO and the host of a TV show “The Enchanting World of Violin” which is very popular amongst its audiences.

Contact: ERP; Estonia Avenie 4, Tallinn 10148, Estonia; fax +372 6484571; This email address is being protected from spambots. You need JavaScript enabled to view it. , This email address is being protected from spambots. You need JavaScript enabled to view it.

The European Union Baroque Orchestra and its partner organisations are proud to announce that a new 4-year European large-scale co-operation project EUBO Mobile Baroque Academy (EMBA) launched with co-funding from the European Commission. EMBA will nurture the performance of Europe’s distinctive shared heritage of Baroque music, and the education of emerging Europe-wide talent, bringing Baroque music to new audiences in innovative ways across Europe. EMBA partners are: European Union Baroque Orchestra, Association of European Conservatoires, Concerto Copenhagen, Estonian Record Productions (ERP), Villa Musica Rheinland-Pfalz, Trifolion Festival Ville d’Echternach, Arts Council Malta, Koninklijk Conservatorium Den Haag, Universitatea Nationala De Muzica Din Bucuresti, and St John’s Smith Square, London.

Read more: European Union Baroque Orchestra (EUBO)

Artistic Director − Andres Mustonen

Founded by ERP, its employer and trade mark owner, initially as a festival Orchestra, it has by today grown into the only constantly performing and touring privately run Orchestra in Estonia.

“For me, an orchestra is not a static form but a living organism of musicians, one whose members enhance and affect each other.” (Andres Mustonen, Artistic Director

See also:
Glasperlenspiel Sinfonietta concert schedule


LogoGlasperlenspielSinfonieGlasperlenspiel Sinfonietta’s unique artistic style encompasses not only the masterworks of the classical repertoire, but innovative cross-art form projects and a vigorous commissioning program. The orchestra’s repertoire spanning over centuries, entwines old music with new, from Bach to Piazzolla, from Pärt to Vähi.
Glasperlenspiel Sinfonietta introduces to the listeners the music from the past as a live, breathing, joyful organism and proves that every type of music could bring freshness to the mind, warm the soul and give energy. It is only up to thinking and attitude. The resulting sense of energy and individuality is one of the most commented-upon elements of Glasperlenspiel Sinfonietta concert experience.
During the last years Glasperlenspiel Sinfonietta performed in Switzerland and Austria, in Italy and Finland, in Germany and Belgium, in Brazil and Chile, in Argentina and Uruguay and also took part at international music festivals like Ars Musica in Brussels, Festival Pianistico Internazionale di Brescia e Bergamo, Mittelfest and Emilia Romagna in Italy, Oleg Kagan International Music Festival in Kreuth am Tegernsee in Germany, Saint Petersburg Easter Festival in Russia, Iitti Music Festival in Finland, Riga Music Festival Artissimo in Latvia.
Glasperlenspiel Sinfonietta has played on many prestigious stages in Europe, Palais des Beaux-Arts in Brussels, Amsterdam’s Concertgebouw, Grand Hall of Saint Petersburg Philharmonia in Russia, Cologne Philharmonic Hall among them, getting high acclaim for each concert.
In Estonia Glasperlenspiel Sinfonietta played at International Tallinn Organ Festival, at Suure-Jaani Music Festival, at Kuressaare Chamber Music Days and Mustjala Music Festival in Saaremaa and of course at Festival Glasperlenspiel  in Tartu.

Glasperlenspiel Sinfonietta’s Artistic Director and Chief Conductor is Andres Mustonen. His conducting style is unusual for its spontaneity, improvisation and radiant artistry. He expresses his unique world-vision and perception of music in every single piece. His activity as a conductor follows the timeline of music history from early to contemporary music, putting the stress on oratorios, passions, dramas and symphonic music.  Andres Mustonen has developed a wide circle of musician friends with whom he shares ideas and principles. He says, “I never share the stage with someone I don’t know, don’t consider my friend or don’t love”.




Award: Record of the Year 2009! (Estonia)
Together with Chamber Choir Voces Musicales and Risto Joost
ERP 2309
player Arvo Pärt Pilgrim’s Song, fragm, 4 min 3 sec, mp3
Together with Girls’ Choir Ellerhein, Neeme Punder (bamboo flute), Villu Veski (saxophone), Tammo Sumera (live electronics) and conductor Jüri Alperten
2012 Estonia-Japan Association
See from YouTube  live video A Chant of Bamboo by Peeter Vähi player and Songs of Hope 11032011 by Imre Sooäär player
Together with Heldur Harry Põlda (boy-soprano) and conductor Risto Joost
Bach, Bach-Gounod, Caccini, Gluck, Schubert, Chopin, Franck, Adam, Fauré, ...
ERP 5312
Together with Anna-Liisa Bezrodny (violin) and conductor Mikhail Leontyev
Mozart. Violin Concerto No 3 in G major
ERP 6013
Watch player a fragment (11 min 1 sec) of live video recording on YouTube
Together with conductor Risto Joost
F&NB CD-12
player Poem for 10 Soloists, fragm, 2 min 33 sec, mp3

Watch the live video recording: Peeter Vähi’s In memoriam HM conducted by Andres Mustonen (5 min 59 sec)
Watch the live video recording at Mittelfest 2011 (3 min 10 sec)
Watch the live video recording: Peeter Vähi’s Forty-two conducted by Andres Mustonen, oboe solo − Olev Ainomäe, video by Jüri Tallinn (7 min 3 sec)

Download logo of the orchestra: PDF, JPG

Download photos: Glasperlenspiel Sinfonietta and Andres Mustonen in Tartu 2018 (photo by Merle Värv, jpg, 300 dpi, 15.8 MB), Glasperlenspiel Sinfonietta in Tartu 2013 (jpg, 300 dpi, RGB, 7.2 MB, photo by Valeri Parhomenko), Glasperlenspiel Sinfonietta in rehearsal 2013 (jpg, 300 dpi, RGB, 5.2 MB, photo by Valeri Parhomenko), Glasperlenspiel Sinfonietta with Kristjan Järvi at Tallinn Music Week 2016 (jpg, 300 dpi, RGB, 15 MB, photo by Peeter Vähi), Glasperlenspiel Sinfonietta in Lithuania 2014 (jpg, 300 dpi, “black-and-white” RGB, 2.2 MB, photo by Vytautas Petrikas)

Neutral choice of media reviews

GlasperlenspielSinfoniettaKristjanJarviTMWWith the Te Deum /.../ they are going to be measured against the version on ECM /.../ which must be acknowledged as the benchmark recording. /.../ Even the sound quality can be compared, not unfavorably, to ECM’s unsurpassed standards. Performance 5/5, Recording 5/5 (Barry Witherden, BBC Music Magazine, 2010, the UK)

... a pair of works played by the Glasperlenspiel Sinfonietta directed by Andres Mustonen. ... the orchestra gave it a very vibrantly brilliant performance. (Robert Hugill, Planet Hugill − A World of Classical Music, 24.01.14, UK, whole article)

This openness was apparent throughout the Glasperlenspiel Sinfonietta’s performance, which began with Estonian composer Peeter Vähi’s Reminiscences of Youth... Järvi’s interaction with the orchestra was skillful and controlled while also conversational; he led the young musicians in a crisp yet vivacious performance. /.../ The interaction between orchestra, especially the prominent percussion instruments, and the percussive sounds of the turntables quickly devolved into mimicry and bickering. /.../ He pulled faces and threw up his hands at Switch, wandered through the orchestra miming what he wanted individual musicians to do during the improvised bits, and eventually leaped off the stage into the audience, grabbing the hands of audience members (including President Ilves) and pulling them to their feet. (Rebecca Lentjes, I Care If You Listen, 15.04.16, whole article)

... Klaaspärlimäng Sinfonietta, one of Estonia’s leading orchestras... (Robert Joseph Wojciechowski, 2016, whole article)

Die Musik blüht auf zu spirituellen Höhen /.../ im Wechsel von Männerchor und Orchester /.../ im titelgebenden “Wallfahrtslied”. Berauschend das “Magnificat”, grandios das “Te Deum”. Wertung: ***** (12.06.10, Achener Zeitung, Germany)

This 2009 disc from ERP features the chamber choir Voces Musicales and the Tallinn Sinfonietta (now known as the Glasperlenspiel Sinfonietta)... This is a very finely performed disc and I am extremely glad to have made its acquaintance. Risto Joost and Voces Musicales deliver some very fine singing indeed, combining superb control with expressivity and making Pärt’s music really count, and they are finely supported by the Tallinn Sinfonietta. This disc of Estonian forces performing music by one of Estonia’s greatest composers is certainly work seeking out. (Robert Hugill, Planet Hugill − A World of Classical Music, 15.02.14, UK, whole article)

... Sinfonietta impart just the right amount of tension to Ein Wallfahrtslied but also manage to play an understated supporting role on the recording’s weightiest work, the Te Deum. (Pwyll ap Siôn, Gramophone, 12 / 2010, UK)

... Sinfonietta musizieren unter der Leitung von Risto Joost in einer derart kundigen wie intensiven Art, dass man denken möchte, die nationale Herkunftz sei von Vorteil oder gar unabdingbar für ein überzeugendes Ergebnis. (neue chorzeit, 2 / 2011, Germany)

... Sinfonietta spielten /.../ zwei Werke der estnischen Komponisten Arvo Pärt und Erkki-Sven Tüür und ermöglichten damit Einblicke in die Klangkultur des Orchesters. /.../ In Haydns Sinfonie Nr. 60 in C-Dur kehrte der musikalische Leiter Andres Mustonen vor allem die komödiantische Seite des Werkes hervor. Das Publikum reagierte begeistert. /.../ Dabei kam die Pianokultur des Kammerorchesters gut zur Geltung und es wurde deutlich, dass Andres Mustonen viel Erfahrung mit dieser Art klangflächiger Musik hat. /.../ Minimalistisch und teilweise mit tänzerischer Rhythmisierung zeigte sich das Kammerorchester Tallinn gelenkig in der Stimmenausgestaltung. (Kultur, 2011, Austria, whole article)

De strijkers van de Tallinn Sinfonietta bereiken een opperste concentratie. De sfeer is sereen maar de spanning is te snijden. Subliem. /.../ Mustonen laat begaan en be-ge-leidt de soliste door muzikale meanders die uitmonden in duizelingwekkende draaikolken. Indrukwekkend. (Milo Derdeyn, 04.04.11, Belgium)

... ka visinteresantāk bija klausīties pašu pirmo programmā iekļauto skaņdarbu − Mocarta divertismentu Fa mažorā. To nodrošināja ne tikai Mocarta ģenialitāte, bet arī Mustonena ekspansīvā muzicēšana, piešķirot skanējumam īpašu intensitāti un baznīcas akustikas apstākļos spējot izveidot pārskatāmu frāzējumu un dramaturģisko arhitektoniku. Tāpat arī pilnskanīgs un atraisīts sniegums raksturoja interpretāciju Pučīni elēģijas “Krizantēmas” liriskajām lappusēm. Andresa Mustonena vadītā "Glasperlenspiel Sinfonietta" atskaņojuma emocionālo piepildījumu nezaudēja visa koncerta gaitā − stīgu orķestris, kura spēle izcēlās ar siltu, dziedošu toni, precīzi atsaucās diriģenta īstenotajai muzikālās domas virzībai... (Armands Znotiņš, LA, 13.08.13, Latvia, whole article)

Центральным событием нынешноего фестиваля, судя по количеству художественных отркытий, стал гала-концерт в Большом зале консерватории, где публика услышала сочинения тройки хедлайнеров. Ими однозначно стали Пярт − Григорьева − Вяхи. /.../ Музыканты эстонского музыкального коллектива «Glasperlenspiel Sinfonietta» под руководством Мустонена удалось подчеркнуть скупую выразительность сочинения, с его опорой на напряженную «семантику каданса», параллельно-переменный лад и узнавемую интонационно-гармоническую пластику православных церковных песнопений... (Мария Кузнецова, Музыкальная жизнь, 10 / 2016, Russia, whole article)

Klaaspärlimängu” avakontserdi sisustas Glasperlenspiel Sinfonietta /.../ kontsert lõi seniste Tartus toimunud festivalide publikurekordi. Kava oli huvitav. /.../ Täpse, kuid väljendusrikka žestiga Leontjev lasi Mozarti muusika võlul maksvusele pääseda. /.../ Andres Mustoneni /.../ veidi ekstsentrilisena mõjunud orkestri ette tormamine ja loo lennult lahtilöömine oli ilmselt mõeldud efektina publikule, kuid mõjus minu meelest hoopis kerge ehmatusena orkestrile /.../ pala lõpetati uhkelt. /.../ Kontserdile pani ilusa punkti Mozarti Divertisment F-duur, KV 138: muusika oli kaasakiskuv ja dirigent andis orkestri kaudu sellele veelgi hoogu juurde. (Mart Jaanson, Sirp, 10.08.12, whole article)

... annab festivalile kaalu ja värvi Andres Mustonen Klaaspärlimäng Sinfoniettaga. On näha, et selle orkestriga saavad nii Mustonen kui ka festivali kunstiline juht Peeter Vähi oma ideid hästi ellu rakendada. Orkestrist on välja kasvanud rahvusvahelise kaaluga kollektiiv. Saavutatud on selline tase ja mobiilsus, mis võimaldab osaleda arvukatel festivalidel üle maailma. Esinetud on paikades, kuhu ei ole varem pääsenud ükski teine Eesti orkester. Nii oldi esimese eesti kollektiivina Brüsselis Henry Le Boeufi saalis ja Amsterdami Concertgebouw’ suures saalis. (Alo Põldmäe, Sirp, 27.07.18, Estonia, whole article)

Orkestrikontsertide hingeks oli ergas, võimekas ja entusiastlik Klaaspärlimäng Sinfonietta − kontsertmeister Sigrid Kuulmann), millest õhkus ehedaimat musitseerimislusti. Seda viimast dirigendid igatsevad ning ei Andres Mustonen ega USAs tegutsev serblane Darko Butorac jätnud seda kasutamata − tulemuseks tõeline muusikaelamus. (Alo Põldmäe, Sirp, 02.08.13, Estonia, whole article)

... Vähi viiulikontsert oli täidetud välja­kutset pakkuvate detailidega ja kõik teose osad mõjusid ka eraldi läbimõeldud tervikuna. Orkester mängis Andres Mustoneni juhatusel ilmekalt ja ka publikul oli üllatuslikult täita väike muusikaline roll orkestrantidega kaasa plaksutades. (Anna Humal, Sirp, 1 / 2010, Estonia, whole article)

Kauni terviku moodustab plaadi ulatuslikem teos “Te Deum” /.../ ülistuslaul suurele loojale. /.../ pühaliku hoolega vormib orkester instrumentaalseid saarekesi. (Kersti Inno, Muusika, 1 / 2010, Estonia)

Vabakutseline muusikaajakirjanik Robert Hugill kiitis... Õhtu kõige meeldivam üllatus oli Hugilli jaoks Klaaspärlimäng Sinfonietta. “Olen briljantselt kõlanud orkestrist ja suurepärasest dirigendist Andres Mustonenist täiesti lummatud, nagu ka äärmiselt huvitavatest teostest, mida ette kanti (Erkki-Sven Tüüri “Illusion” ja Peeter VähiIn Memoriam Helle Mustonen”)... (Riina Luik, Postimees, 16.02.14, Estonia, whole article)

... juhatas Andres Mustonen Tallinn Sinfoniettat, kavas eri rahvusest heliloojate-dissidentide muusika. /.../ Ehkki Mustoneni dirigeerimisstiil mõjub veidi pealetükkivana, oli tulemus igati kvaliteetne. Aeglase, vaikse ja enamasti heakõlalise muusika fraasid olid hästi välja joonistatud. Kontserdi suurima elamuse sain Galina Ustvolskaja eepilis-ekspressionistlikust Kontserdist klaverile, timpanitele ja keelpilliorkestrile (1946): tõsise inimese muusikasse valatud kõne tõsistest asjadest. (Mart Jaanson, Sirp, 05.08.11, Estonia, whole article)

Üheks intrigeerivamaks kuulamis­kogemuseks sai Estonia galakontserdil kõlanud Bachi kahe viiuli kontsert d-moll BWV 1043... ... Klaaspärlimäng Sinfonietta Toomas Vavilovi taktikepi all oli solistidele tähelepanelik ja usaldusväärne saatja. Siiski oleks nende Bachi-tõlgendusse soovinud rohkem nüansse, vähem ühtlase usinusega esitatud kaheksandiknoote, rohkem dünaamilist reljeefsust. (Saale Fischer, Sirp, 10.01.15, Estonia, whole article)

Üles astusid Tallinna Poistekoor, Collegium Musicale, Arsise kellade ansambel, Klaaspärlimäng Sinfonietta. /…/ Oratooriumi avakoor… haaras juba esimeste võngetega vaimu kaasa lõputule mõtterännakule 2000 aasta tagusesse pöördelisse olustikku. ... hääled koos vaimu virgutavate muusikainstrumentidega kandsid kõrgele lae alla vahelduvalt saladuslikku süngust koos optimistlike kõlakäikudega. /…/ Ruumis laialt hargnenud esinejate koostöö sujus meisterlikult. Pillide helikaja... vaheldus, tuues esile kord rahulikke harmooniaid, kord tormilisi ärevaid momente, sümboliseerides sellega filigraanselt keerulist atmosfääri 2000 aastat tagasi... (Andre Tamm, Telegram, 17.04.19, Estonia, whole article)

Toomas Vavilovi juhatatud Klaaspärlimäng Sinfonietta justkui kommenteeris soolot ja lasi Angeril väärikalt oma osa laulda. Selle teose esitus oli kindlasti kontserdi tipp. (Sandra Kalmann. Muusika, 2 / 2015, Estonia, whole article)

Klaaspärlimäng Sinfonietta koosneb umbes 25st mängijast. Orkestri kohta väike koosseis, mis muudab eranditult kõik lavalolijad asendamatuteks. Nad kõik mängivad kui solistid. Vahelduseks oli ka tore näha, et klassikalise muusika kontserdil on inimesed laval mingites muudes toonides kui mustas − orkestri naised kandsid kauneid värvilisi kleite ja meestelgi olid ees kirjud lipsud. (Greesi Langovits, Postimees, 10.02.15, Estonia, whole article)

Sama orkestrit juhatas Serbia juurtega ameeriklane Darko Butorac, aga orkestril oli hoopis teine käik ja ilme. ... kõik oli selgemast selgem, pärl sädeles ja muusika säras kiirete käikude särinas nii Mozarti Divertismendis /.../ kui ka Klaverikontserdis /.../, milles soleeris Lisa Smirnova, Venemaalt pärit Viinis elav pianist. (Virge Joamets, Muusika, 8−9, 2013, Estonia)

Download the logo of Glasperlenspiel Sinfonietta (different file formats): PDF, on white background JPG, without background PNG
Special thanks: Estonian Ministry of Culture

Exclusively managed by ERP from Sep 1st, 2009
Contact: Kaidi Ugandi (manager), phone +372 56 606156, This email address is being protected from spambots. You need JavaScript enabled to view it.
See also other musicians represented by ERP

Dec 31st, Glasperlenspiel Sinfonietta in Vanemuine Concert Hall (Tartu) and Estonia Concert Hall (Tallinn). Organizer: Eesti Kontsert.

Read more: Glasperlenspiel Sinfonietta Concert Schedule


The State Choir Latvija – the largest professional choir in Latvia – was founded in 1942. The chorus gained the title of the State Choir in 1947 and since early 90s its name includes Latvija. The State Choir Latvija received the Latvian Grand Music Award in 1998, 2000 and 2002, and the Prize of the Cabinet of Ministers of Latvia in 2003. 


The founder and first conductor of the State Choir Latvija was Janis Ozolins followed by Janis Dumins and Daumants Gailis. In 1969 the leadership of the choir was taken over by Imants Cepitis who together with Ausma Derkevica have been polishing the choir’s mastery for almost a quarter of a century. Since 1997, the artistic director and principal conductor of the choir is Māris Sirmais and the general manager − Māris Ošlejs. 
The cornerstones of the choir’s repertoire are large-scale compositions − oratorios, cantatas, masses, requiems, symphonies and concert performances of operas. Their repertoire also encompasses extensive a cappella programs as well as compositions for chorus and organ. This covers music from early Renaissance to the present day (Messiaen, Britten, Honegger, Vasks, Pärt, Kancheli among others), and recently with a special emphasis on Latvian conductors.
The State Choir Latvija has developed a creative co-operation with leading symphony orchestras in Latvia, Israel, Germany, Estonia, Lithuania, Spain, Moscow, St Petersburg, and successfully collaborated with many conductors – Māris Jansons, Neeme Järvi, Mstislav Rostropovich, Valerij Gergiyev, Gintaras Rinkevicius, Andres Mustonen, Kristjan Järvi, Zubin Mehta, Vladimir Fedoseyev, Risto Joost, Tõnu Kaljuste et al.
Most significant recent achievements include the debut in Lucerne festival (Mar 2009, Chapter Eight by Alexander Knaifel), the debut in  Finlandia Hall (Sep 2008), the world première of Deer’s Cry by Arvo Pärt (2008, Ireland), world première of Russian Requiem by Lera Auerbach (Sep 2007, Bremen Music Festival), performance of Mass by Leonard Bernstein (2007, the 10th International Sacred Music Festival), the performance of Arnold Schönberg’s opera Moses and Aaron (Graz), etc.
Latvija has participated in recording the soundtrack for the film Perfume (Das Parfum; directed by Tom Tykwer). In September 2006, this music was also released as a CD by EMI Classics under the title Perfume (Original Soundtrack). Other participants of the recording were the Berlin Philharmonic Orchestra and conductor Sir Simon Rattle. The Choir has also taken part in records of such recording companies as Warner Classics as well as in CDs of many Latvian, German and countless foreign producers and labels.

ImagetextMāris Sirmais (1969) graduated from the choral conducting class at the Latvian Academy of Music in 1992. Soon after, he continued his studies at the Academy, where he acquired his Master’s degree in Prof I Kokars’ class in 1996. Māris Sirmais continued to study orchestral conducting at the University of Music and Drama in Graz, Austria in the class of Prof Sieghart. Already in 1990, before completing his studies, Māris Sirmais founded the Youth Choir Kamēr (‘While’). From 1992 until 1997, Māris Sirmais was also the conductor for Female Choir Dzintars. Since then, the quality performances of this outstanding choir have merited honorary awards in more than 43 choir competitions such as: Rigas Zile Youth Choir Competition (1992), The National Choir Competition of the XXI Latvian Song and Dance Festival (1993), C A Seghizzi (Italy, 1996), International Choir Competition (Spain, 1996), International Choir Competition (Debrecen, 1996), Torrevieja-Certamen Internacional de Habaneras y Polifonia (Spain, 1997), International Choir Competition (Switzerland, 1997), Let the People Sing (Belgium, 1997), International Choir Competition (Ireland, 1998), International Choir Competition (Poland), Spittal an der Drau (Austria, 1999). In 1999, Māris Sirmais and Kamēr participated in the world renowned Chamber Choir Competition in Marktobersdorf and received awards for the Best Choir, the Best 20th Century Music Interpreter and the Best Renaissance Music Performer. In the same year, the choir participated in the festival Harmonia ’99 (Germany) and came in first place in the Mixed Choir, Female Chamber Choir and Mixed Chamber Choir categories, as well as received the Grand Prix.


Press resonance

It appears that this is the moment where monotony could strike, or one’s attention could fade, but the previously dormant bass vocals along with “Latvija” raise emotion once again. There, the necessary repletion, expression and inspiration! (Ugis Vilcins, Literatura Un Maksla Latvija, Latvia)

The movements with the choir are particularly uplifting, and the singers’ ability to quickly switch from the meditative, self-absorbing sections to full-force exaltations is truly admirable. Even in sequences such as Et incarnatusCrucifixusEt ressurexit the timing and especially the expression of the choir’s connection to the verse is continuous throughout every moment. (Ievina Liepiņa, The Independent Morning Newspaper, 04.09.00) 

There were no such misgivings, however, over the spellbinding, zealously-projected choral singing of the State Choir “Latvija”, which was fervent, full-voiced, resonant, bitingly incisive in diction whether in full, rolling legato in the Song about Nevsky or in their upbeat call-to-arms, and with tenors attacking their high B-flats fearlessly. (Lionel Chio, The Straits Times, 11.04.01, Singapore)

Choral vocals are provided by the State Choir Latvija and the Riga Cathedral Boy’s Choir. /.../ Both mixed voice and boy’s choruses are on excellent form... Highly recommended for a novel experience. (John Miller, SA-CD.net, 15.12.12, Australia, whole article)

Der Staatschor der Republik Lettland bot ein Festspielniveau aller erster Klasse. Man hörte die Stille klingen. Maris Sirmais dirigierte nicht, sondern malte plastische Bewegungen vor den Chor hin, die aus sich heraus schon zu klingen schienen. Die hohe Qualität der Chorstimmen in ihrer Einheit und zugleich deutlichen Unterschiedlichkeit und Klarheit der Stimmführungen war ein Erlebnis. (Friedwald Blume, Südkurier No 13, 17.05.01, Germany)

Dominiert wird der Chor “Latvija” von den Frauenstimmen, denen die Männer eine dezente, trotzdem präsente grundierung geben. Diese Frauenstimmen singen kompakt und gerade, wie auf Schienen, können sich zu einem faszinierendem Superstrahl steigern, aber auch (zusammen mit den Männem) ins kleinste Piano zuruckgehen, was der Chor unter seinem Leiter Maris Sirmais nicht weniger gern und für die Zuhörer vielleicht noch eindrücklicher tut. Der gesamte Vortrag ist dynamisch höchst plastisch und gewinnt einen Ausdruck von Energie und überlegtem Aufbau. (Gunther Dahinten, Zentrale Dienste, 31.05.00, Germany)



Film director, cpomposer – Tom Tykwer
Music – Soundtrack
Together with the Berliner Filharmoniker, Sir Simon Rattle, Kristjan Järvi
2006, EMI
Peeter Vähi – oratorio Mary Magdalene Gospel
Together with Sevara Nazarkhan (soprano), Juris Jēkabsons (tenor), Eduards Fiskovičs (baritone), Priit Volmer (basso), Uģis Meņģelis (basso), Peeter Volkonski (narrator), Riga Dom Cathedral Boys Choir, Latvian National Symphony Orchestra, conductor Risto Joost
2012, ERP 5412
playerMary Magdalene Gospel, Mov I Peuangelion kata Marihamm, fragm, 3 min 18 sec, mp3, 128 Kbps
Music by I Ramiņš, Ē Ešenvalds, V Miškinis, A Pärt, P Vasks, R Dubra, P Butāns, G Pelēcis, V Tormis
Conductor: Māris Sirmais
2008, VAK-0801
player V Tormis Curse Upon Iron, fragm, 3 min 53 sec, mp3
R Dubra – Mass Signum Magnum
Conductor Māris Sirmais
2002, VAK-0202
J Rheinberger – Mass in E-flat, F Poulenc – Mass in G, E Rautavaara – Cancion de nuestro tiempo
Conductor: Māris Sirmais
2002, VAK-0201
Choral songs of Leonids Vigners
Soloists: Antra Bigaca, Dace Zemzare, Viesturs Jansons, conductor: Māris Sirmais
2001, VAKL-0103
G Fr Händel – Ode zu Ehren der heiligen Cäcilia von John Dryden
Soloists: Cornelia Götz, Hans-Jürgen Schöpflin, Egbert Junghanns, Süd-West Rundfunk Symphony Orchestra, conductor: Alexander Sumski
With Liepaya City Orchestra, Kristīne Galīte – soprano, Riga Dom Church Boys’ Choir, Riga Dom Cathedral Female Choir, conductor Māris Sirmais
2006, VAK-0601
Imagetext Lucija Garuta, Andrejs Eglitis
Soloists: Aleksandrs Polakovs, Viesturs Jansons, conductor: Māris Sirmais
1999, State Choir Latvija
Anton Bruckner. Mass in F minor
Conductor: Alexander Sumski
2004, Boodensee-Festivak, Südwestrundfunk, BSF 04
Imagetext CONRADIN KREUTZER (1780–1849)
Mass in B major Meßkircher Messe, Te Deum in D major, Missa de Sta Francisca in E-flat major
Soloists: Cornelia Götz, Ruth Sandhoff, Hans-Jürgen Schöpflin, Egbert Junghanns, Süd-West Rundfunk Symphony Orchestra, conductor: Alexander Sumski
1999, Süd-West Rundfunk Baden-Baden
player Mass in B major, fragm, 51 sec, mp3
Conductors: Māris Sirmais, Inita Mazone
1998, State Choir Latvija
The Mostar Symphony Orchestra
Conductor: Ilmar Lapinsch
player Symphony No 9 by Beethoven, 4th movement, fragm, 59 sec, mp3

Main repertoire

Bach – St Mathew Passion, St John Passion, Easter-Oratorio, Cantatas Nos 4, 7, 9, 18, 21, 44, 96, 112;  Mass in B minor;  Christmas Oratorio, Magnificat in D major; motets Komm, Jesu, komm, Jesu, meine Freude, and Singet dem Herrn ein neues Lied
Barkauskas – Stabat Mater
Beethoven – Symphony No 9, Choral Fantasy, Missa Solemnis in D major
Berlioz – Grande messe des morts (Requiem), La Damnation de Faust, Roméo et Juliette, Messe Solennelle
Bortnyansky – Gloria; Concertos for choir Nos 1, 3, 15, 32
Brahms – Ein deutsches Requiem, Alto Rhapsody 
Britten – War Requiem
Bruckner – Te Deum, Mass in E minor
Bruk – oratorio Vaeltava laulaja
Charpentier – Stabat Mater
Cherubini – Requiem Mass in D minor
Dvořák – Requiem, Te Deum, Stabat Mater, Mass in D
Elgar – The Dream of Gerontius
Fauré – Requiem
Franck – oratorio Les Béatitudes
Glass – Itaipu (symphonic portrait)
Gounod – oratorio Mors et Vita
Gubaidulina – Oracion para el Era de Acquario, Lauda
Händel – dramatic oratorios Alexander’s Feast and Messiah
Haydn – The Creation, Salve Regina
Holst – The Planets
Honegger – Joan of Arc at the Stake (Jeanne d’Arc au Bûcher), Christmas Cantata 
Janácek – Glagolitic Mass (Glagolska Mse)
Kagel – St Bach Passion (Nach einer Sankt-Bach-Passion)
Kodaly – Te Deum
Ligeti – Lux Aeterna, Drei Phantasien nach Friedrich Hölderlin
Liszt – Mass for 4 male voices and organ, oratorio Christus, Psalm 13
Mahler – Symphonies Nos 2, 3, 8
Mascagni – opera Cavalleria Rusticana
Mendelssohn – Eliah, Hymn of Praise (Lobgesang)
Messiaen – Cinq Rechants
Mozart – Requiem in D minor, Coronation Mass in C, Mass in C minor
Orff – Carmina Burana (cantiones profanae), Triumph of Aphrodite (Trionfo di Afrodite)
Pärt – Berlin Mass, Te Deum, 7 Magnificat Antiphons, Magnificat
Penderecki – Polish Requiem
Poulenc – Gloria, Stabat Mater
Prokofiev – cantata Alexander Nevsky
Puccini – Messa di Gloria in A
RachmaninoffThe Bells, Liturgy of St John Chrysostom
Ravel – ballet with chorus Daphnis et Chloé
Reger – Psalm 100
Rossini – Stabat Mater
Saint-Saëns – Oratorio de Noël
Schnittke – cantata History of Dr Johann Faust, Requiem
Schönberg – Gurre-Lieder, opera Moses and Aron
Shostakovich – cantata The Execution of Stepan Razin
Schubert – Mass in G, Mass in E-flat
Sibelius – symphonic poem Kullervo
Stravinsky – Requiem Canticles, Introitus, Les Noces, Symphony of Psalms
Sviridov – Spring Cantata
Taneyev – After reading the Psalm, John of Damascus
Tchaikovsky – Liturgy of St John Chrysostom
Theodorakis – Symphony No 7
Tormis – cycles Ingeria Evenings and Latvian Burdon Songs
Vähi – oratorio Mary Magdalene Gospel
Vasks – choral poems Fire-Guard and Litene, Dona nobis pacem
Vaughan – cantata Dona nobis pacem
Verdi – Requiem, Four Sacred Pieces
Vivaldi – Gloria, Magnificat
Wagner – opera The Flying Dutchman
Webber – Requiem

Photos for printing

Download: State Choir Latvija (in the church, colour, jpg, 300 dpi, 1.3 MB); State Choir Latvija (outdoors, colour, jpg, 300 dpi, 6.3 MB)

Booking (non-exclusive)

ERP (Estonian Record Productions)
Estonia Avenue 4, 10148 Tallinn, Estonia
Phone +372 50 93766
Fax +372 6484571
E-mail This email address is being protected from spambots. You need JavaScript enabled to view it. , '; document.write(''); document.write(addy_text84153); document.write('<\/a>'); //-->\n This email address is being protected from spambots. You need JavaScript enabled to view it. This email address is being protected from spambots. You need JavaScript enabled to view it.

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with Gidon Kremer

Kremerata Baltica – an outstanding chamber orchestra consisting of 27 young Baltic musicians. “Kremer and his new string orchestra, made up of extraordinary young players from the Baltic States, are special. They animate everything their bows touch.” (Los Angeles Times)


Founded in 1997 by the renowned violinist Gidon Kremer, the Grammy-award winning chamber orchestra Kremerata Baltica is already considered one of the most prominent international ensembles in Europe. Although it originally began as a “birthday present to myself” to celebrate his 50 years of life in 1997, Gidon Kremer immediately envisaged the potential behind the 27-member ensemble of young musicians drawn from Estonia, Latvia and Lithuania as a medium to share his rich artistic experience with the new generation and, at the same time, to promote and inspire the musical and cultural life of the Baltics.
Having opted to make the world their permanent home, Kremerata Baltica annually performs about 60 concerts during six annual tours throughout Europe, Asia, and the Americas. Regular performances in Vienna, Berlin, Paris, London, Moscow, and New York in the greatest halls are followed by appearances at renowned music festivals such as Salzburg, Schleswig-Holstein, the Prague Spring, the BBC Proms in London, Glasperlenspiel, etc.
In addition to its performances as a full chamber orchestra, Kremerata Baltica also shines in ingeniously-programmed chamber music performances under the label Kremerata Musica with small- to medium-sized formations comprised of members of the group.
Naturally, the musical scene of the Baltics is of great importance to Kremerata Baltica. Supported by a joint-program of the Ministries of Culture of all 3 countries, numerous performances are held every year in Estonia, Latvia and Lithuania. While the majority of the concerts are led by and performed with Gidon Kremer, Kremerata Baltica has appeared with celebrated conductors and soloists such as Jessye Norman, David Geringas, Boris Pergamenschikow, Tatiana Grindenko, Sir Simon Rattle, Christoph Eschenbach, Kent Nagano and Esa-Pekka Salonen.
Programming and performing an unusually extensive and versatile repertoire, Kremerata Baltica give much importance to contemporary music. The ensemble regularly performs music of living Eastern European conductors and has commissioned new works by Pärt, Kancheli, Vasks, and Desyatnikov.
With the Nonesuch Records label, Kremerata Baltica has made 7 recordings under the label, one of which “After Mozart” received the Grammy Award 2002 in the cathegory of classical music. Their last Nonesuch recording, “Russian Seasons”, was released last year. Their first recording with Deutsche Grammophon, “Kremerland”, including contemporary works dedicated to and premiered by the ensemble, was recently released.
The general manager of Kremerata Baltica is Dr Ingrida Zemzare.


Gidon Kremer

In the thirty year course of his distinguished career, violinist Gidon Kremer, born in Riga, Latvia in 1947, has established a worldwide reputation as one of the most original and compelling artists of his generation, praised for his high degree of individualism, his rejection of the well-trodden paths of interpretation, and his search for new possibilities.
Gidon Kremer began studying at the age of four with his father and grandfather, who both were professional violinists. At the age of seven, he entered the Riga Music School. At sixteen he was awarded the 1st Prize of the Latvian Republic and two years later he began his studies with David Oistrakh at the Moscow Conservatoire. He went on to win prestigious awards including the 1976 Queen Elizabeth Competition and the 1st Prize in both the Paganini and Tchaikovsky International Competitions.
Gidon Kremer has appeared on virtually every major concert stage with the most celebrated orchestras of Europe and America. He has collaborated with the foremost conductors, including Leonard Bernstein, Herbert von Karajan, Christoph Eschenbach, Nikolaus Harnoncourt, Lorin Maazel, Riccardo Muti, Zubin Mehta, James Levine, Valery Gergiev, Claudio Abbado and Sir Neville Marriner, among others.
ImagetextAn exceptionally prolific recording artist, Gidon Kremer has made more than 100 albums, many of which brought him prestigious international awards and prizes in recognition of his exceptional interpretative powers. These include the Grand prix du Disque, Deutscher Schallplattenpreis, the Ernst-von-Siemens Musikpreis, the Bundesverdienstkreuz, the Premio dell’ Accademia Musicale Chigiana, the Triumph Prize 2000 and in 2001 the Unesco Prize. In February 2002 he and Kremerata Baltica were awarded with the Grammy for their latest Nonesuch recording “After Mozart” in the category of “Best Small Ensemble Performance”.
In 1981 Gidon Kremer founded Lockenhaus, an intimate chamber music festival that continues to take place every summer in Austria. For two years from 1997 to 1998, Gidon Kremer took over the artistic leadership of the Gstaad Festival from its founder, Sir Yehudi Menuhin. In 1997, he founded Kremerata Baltica chamber orchestra to foster the talent of outstanding young musicians from the three Baltic States. Since then, Mr Kremer has been touring extensively with the orchestra, appearing at the world’s most prestigious festivals and concert halls. He has also recorded a number of CDs with the orchestra for Teldec and Nonesuch, the first releases featuring music by Peteris Vasks and Astor Piazzolla, the latest recording released on Nonesuch being a collection of works under the theme “Happy Birthday”. In 2002 Gidon Kremer became the artist director of a new festival in Basel called “les muséiques”. Gidon Kremer is equally a gifted writer, he is the author of three books in German that refect his artistic philosophy.
Gidon Kremer plays a Guarneri del Gesù “ex-David”, dated from 1730.


Critical acclaim

Kremer and his new string orchestra, made up of extraordinary young players from the Baltic States... are special... They animate everything their bows touch. (Los Angeles Times, USA)

Die Kremerata Baltica ist ein Kammerorchester von seltener Qualität. Die jungen Musikerinnen und Musiker sind geübt, ohne eigentlichen Dirigenten zu spielen, sie kommunizieren wie ein Kammerensemble miteinander, intensiv. Ihr Streicherklang ist eindrücklich homogen, farbig und warm. (Neue Zürcher Zeitung, Germany)

So many phrases were beautifully turned, you almost had to smile. The concertmaster and principal cellist played sweetly to each other against the delicately humming background of the slow movement, their melodies having a natural ease and fluency... Though the piece, originally scored for sextet, was being played by about four times as many musicians, the rhythm was joyously precise. (The New York Times, USA)

Zwei Kremer(ata)-Sternstunden im Konzerthaus. Seele gesucht, Seele gefunden. (Die Welt, Germany)



A Raskatov, W A Mozart, V Silvestrov, A Schnittke
Gidon Kremer, Kremerata Baltica
Nonesuch 2001
T Bor, J Gys / F Servais, P Heidrich, V Kakhidze, L Kupkovic, A Schnittke, P Tchaikovsky, F Waxman
Gidon Kremer, Kremerata Baltica
Nonesuch 2002
A Vivaldi, A Piazzolla
Gidon Kremer, Kremerata Baltica
Nonesuch 2000
Gidon Kremer, Kremerata Baltica, Dzeraldas Bidva, Ula Ulijona, Marta Sudraba, Andrius Zlabys
Nonesuch 2002
F Liszt / S Dreznin, L Chizhik, A Vustin, G Kancheli, A Bakshi, G Pelēcis, I Dunayevsky / S Dreznin
Gidon Kremer, Marta Sudraba, Leonid Chizhik, Andrej Pushkarev, Danelius Rubinas, Kremerata Baltica
Deutsche Grammophon 2004
474 8012
L Desyatnikov, A Raskatov
Gidon Kremer, Julia Korpacheva, Kremerata Baltica
Nonesuch 2003
Imagetext SILENCIO
A Pärt, P Glass, V Martynov
Gidon Kremer, Kremerata Baltica, Tatiana Gridenko, Reinut Tepp, Eri Klas
Nonesuch 2000
A Piazzolla
Gidon Kremer, Kremerata Baltica, Ula Zebriunaite, Marta Sudraba, Per Arne Glorvigen, Alois Posch, Vadim Sakharov
Teldec 1999
A Piazzolla, G Sollima, G Pelēcis, L Desjatnikov
Gidon Kremer, Kremerata Baltica, Ula Ulijona, Marta Sudraba, Sol Gabetta, Leonid Desjatnikov, Horacio Ferrer
Nonesuch 2001
Gidon Kremer, Kremerata Baltica
Teldec 1999
player A Piazzolla. Verano Porteno, live rec, fragm, 92 sec, mp3
player A Schnittke. Polka, fragm, 67 sec, mp3

Booking for Baltic States

ERP Artist
Estonia Avenue 4
10148 Tallinn
Fax +372 6484571
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