Eduard Tubin. Works for Violin and Piano. Vol 1
Magic of Sound (Ralf Taal)
Joy and Sorrow Unmasked (European Union Baroque Orchestra, Lars Ulrik Mortensen)
Locus amoenus (René Eespere)
The Best of Arsis Bells (Arsis, Estonian National Symphony Orchestra, Estonian National Male Choir, Aivar Mäe)
Faust (Ain Anger, Estonian National Opera)
Modigliani − the Cursed Artist (Estonian National Ballet, Risto Joost)
The International Festival
of Oriental Music
Artistic director –
The first ever concentrated show of oriental music in Estonia, a tradition going back to the year 1992, has brought the most authentic performers from India, Siberia, Middle East, Central Asia, Far East, and South East Asia. It is certainly a leading musical event in the Baltic States where music lovers can enjoy performers like Hariprasad Chaurasia, ensemble Kodō, Ravi Shankar, Anoushka Shankar, Jivan Gasparyan, ensemble Huun-Huur-Tu, Alim Qasimov, Burhan Öçal, Sevara Nazarkhan, Gyuto and Gyume Buddhist monks, Wu Man, etc. Keep a close eye on our website and advertising – the show goes on.
Message from the Silk Road
More than 2000 years ago, long before the birth of Christ, caravans carried goods from the East to the West. They contained mainly objects of fine handicraft, precious stones and jewels, spices and perfumes and most important of all – silk. Merchants that organized one caravan trip along that famous trade route and managed to survive all the hazards threatening them on their way, usually increased their wealth ten-fold.
So enormous was the trade from the East that the West balanced finally on the verge of bankruptcy and economic crisis. Sounds familiar, doesn’t it? The only goods that the East accepted for their merchandise were money, slaves and – surprise, surprise! – women, several of whom built up glorious careers as official or unofficial rulers in their new homelands.
However, the afore-mentioned loads of goods were not the only ones carried on the back of camels. Parallel to them, or directly in their wake, moved great minds and their even greater ideas. Looking back in retrospect, this could be one of the greatest ironies in the history of humankind: philosophies travelling along the Great Silk Road had once brought up prophets, among them Christ. The same trade route had spread the message of peace and happiness further West, to the West that was on the verge of economic, political and ethical collapse: the huge Roman empire was rotten to the core and small barbarian rulers were fighting against each other like dogs over a cadaver. Slowly but surely the message made its way through to every western man until it was finally and completely accepted as their own creation and wisdom and until relative peace actually ruled the continent. A couple of centuries later it was then imported back to the East with the invaders. That seems to be the way the world rolls.
Today, in the XXI century, the West is facing a complete collapse of its ethical principles and looks around in confusion where to turn. Music and fine arts have always been carrying messages that are not perceived by purely logical mind. Music and fine arts from the East, its deep wells of authentic culture, might carry its reputedly existing secret wisdom lying in wait to be picked up one day.
Who knows? It might be worth a try...
In 2007 a caravan of 17 Estonians travelled through the Great Silk Road and this is what they saw and felt.
A traveller along the Silk Road
● Tue May 5th at 7 pm, Estonia Concert Hall, Tallinn
WU MAN (pipa, China)
MICHIKO AKAO ENSEMBLE & SHINGON BUDDHIST MONKS (Japan)
Wu Man is an internationally renowned pipa virtuoso, cited by the Los Angeles Times as the artist most responsible for bringing the pipa to the Western world. She is an inheritor of the Pudong School of pipa playing, one of the most prestigious classical styles of Imperial China, and is a graduate of the Central Conservatory of Music in Beijing. Wu Man was the first recipient of a master’s degree in pipa and is not only an outstanding exponent of the traditional repertoire, but is also recognized as a leading interpreter of contemporary pipa music.
WuMan hasreceived many awards in China, including1st prize in the National Music Performance Competition. Born in Hangzhou, China she currently lives in Boston, where she was selected as a Bunting Fellow at Harvard University’s Radcliffe Institute of Advanced Study. She has continued to champion new works and has inspired new pipa literature from composers Terry Riley, Philip Glass, Tan Dun, and many others. She was selected by Yo-Yo Ma as the winner of the City of Toronto Glenn Gould Protege Prize in music and communication. Wu Man also performed at the White House alongside Yo-Yo Ma, with whom she now performs in the Silk Road Project. She has collaborated with many other distinguished musicians, including Yuri Bashmet, Christoph Eschenbach, Esa-Pekka Salonen, Michael Stern, Kronos Quartet, Moscow Soloists, Boston and Seattle Symphony Orchestras, and the Los Angeles Philharmonic New Music Group. She has performed at many prestigious music centers, including Carnegie Hall, the Kennedy Center, Royal Albert Hall, the Concertgebouw, Theatre de la Ville, Opera Bastille. Wu Man’s current and future projects include a world tour with Silk Road Project; the world première of The Song and Dance of Tears by Bright Sheng with Yo-Yo Ma, Emanuel Ax and the New York Philharmonic; The Sound of A Voice by Philip Glass and David Henry Hwang for the American Repertory Theater; a new chamber work for Wu Man and Kronos Quartet by Terry Riley; and a featured appearance at the Ilkhom International Contemporary Music Festival in Tashkent.
Pipa (in Chinese 琵琶) is a plucked Chinese string instrument. The word “pipa” is made up of two Chinese syllables, “pi” (琵) and “pa” (琶). These are the two most common ways of playing this instrument. “Pi” is to push the fingers of the right hand from right to left, thus more than one finger can be used at a time striking multiple notes, and “pa” is to pull the thumb of the right hand from left to right, in the opposite direction. The strings were originally played using a large plectrum in the Tang dynasty, then gradually replaced by the fingernails of the right hand. Since the revolutions in Chinese instrument making during the XX century, the softer twisted silk strings of earlier times have been exchanged for nylon-wound steel strings, which are far too strong for human fingernails, so false nails are now used, constructed of plastic or tortoise-shell, and affixed to the fingertips with the player’s choice of elastic tape.
Download: photo of Wu Man, jpg, 300 dpi, 5.3 MB
Download: Wu Man, photo by Liu Jungi, jpg, 2.3 MB
Wu Man, Xu Lai, live rec from Orient 2009, fragm, 126 sec, mp3
Listen to the whole performance
Michiko Akao, born in Tokyo, is a pioneering artist of the yokobue. She is recognized for establishing traverse bamboo flutes as solo instruments in contemporary music. Michiko Akao commissioned an original repertory of over 100 compositions for the yokobue. She made her American debut in 1972 in Maki Ishii’s Sogu II with Seiji Ozawa and San Francisco Symphony Orchestra. She was awarded the distinguished Artist Prize by the Japan Ministry of Education. She has performed widely in Japan and North America and participated in major music festivals in Europe and Asia.
蓮曼荼羅 Program: Michiko Akao’s Ritual Of The Wind: Lotus Mandala
Performers: Kōjun Arai, Koe Arai, Shōdō Shinkō, Yūzen Yamanaka, Ryōshō Togashi (shomyō-singers from Shingon Buddhist sect), Michiko Akao & Ayako Ishii (yokobue-flute), Yaukazu Sato (percussion), Isohiro Yamagishi (recitation), Shizue Sato (stage director).
Shomyō is the form of chant in Buddhism, equivalent to Gregorian chants in Christianity. There are two schools in Japan that have a very detailed repertoire. Those two schools are the Shingon and Tendai. Shomyō is a kind of music that adds melodic patterns to the chanted words of Shingon, that is, sacred Buddhist words in Sanskrit, or other Buddhist texts in all kinds of languages. It originated in India, and then went to China. In China, the Buddhist scriptures were translated into Chinese as well as new texts were written and the forms of singing were arranged and adapted. In the V and VI centuries, this was transmitted to Japan along with Buddhism and was called shomyō.
Shingon Buddhist monks, “Lotus mandala”, live rec from Orient 2009, fragm, 3 min 31 sec, mp3
Listen to the whole performance
● Wed May 6th at 7 pm, Estonia Concert Hall, Tallinn
SHANBEHZADEH DUO (Iran)
ROZANEH ENSEMBLE (Iran)
Shanbehzadeh Ensemble was founded by Saeid Shanbehzadeh in 1990. Ensemble offers a rare aspect of the traditional music and dance of the Persian Gulf, more specially of the province of Boushehr, a little known region in the south of Iran. The music of Boushehr is an amalgam of the traditions of Persians, Arabs, Africans and Indians, thanks to the trading routes that intersected there.
The principal instruments the ensemble are the neyanbān-bagpipe, neydjofti-flute, dammām-drum, zarbetempo (percussion), traditional flute, senj-cymbal and boogh (a goat’s horn).
The Ensemble has delighted audience in Iran, Europe and North-America. At this festival the Ensemble will play as a father-son duo.
Saeid Shanbehzadeh (neyanbān, neydjofti, dammām), started playing music at the age of 7 in his native town of Boushehr with the old masters of the music of the region. He began with percussions, singing, and traditional dance. At 20 he founded the group of Shanbehzadeh Ensemble and won the 1st prize at the Fajr Festival in Tehran in 1990. The leading Internet portal for cultural tips in Tehran says: Saeid Shanbehzadeh swirls across the stage, falls into a state of trance and rouses the audience and band alike. He also researches and writes articles on the music of Southern Iran. In 1996 he was invited by the University of Toronto to teach a half-a-year course and in 1998 he was named the professor and director of the House of Culture, Music and Dance of the Isle of Kish in Iran.
Naghib Shanbehzadeh (tombāk, zarbetempo).
Listen to the whole performance
Rozaneh Ensemble: Parvin Javdan (vocal), Zohreh Bayat (vocal), Nastaran Kimiavi (tar-lute), Bita Ghassemi (kamancheh-violin), Saghar Khadem (tonbāk-drum), Golnaz Khazei (daf-drum).
Program: Chahar Mezrab Chahargah, Avaz Daramad Chahargah, Avaz Hesar, Tasnif Badehe Mansour, Avaz Mansouri, Siamak Aghai, Tasnif Bigah Shod, Pish Daramad Homayoun, Avaz Daramad Homayoun, Avaz Chakavak, Chahar Mezrab Homayoun, Tasnif Abe Tarabnak, Avaz Shoushtari, Tasnif Fash Migouyam. Lyrics by Mawlānā Jalāl ad-Dīn Muhammad Rūmī (1207–1273, on the picture) ja Khwāja Šamsu d-Dīn Muhammad Hāfez-e Šīrāzī (1315–1390).
● Thu May 7th at 7 pm, Estonia Concert Hall, Tallinn
ABHAY PHAGRE TRIO (bānsurī-flute, tablā, tānpūrā; North-India)
KĀBUL ENSEMBLE (Afghanistan)
Imbibing the musical temperament from his family, Abhay Phagre was initiated into the world of Indian classical music at a very young age. He had his initial training in the percussion instrument tablā under the guidance of Prof Kiran Deshpande at Bhopal and later he graduatedfrom the Khairagarh University of Music. Simultaneously, flute the instrument interwoven so intimately with the Indian music ethos, culture mythology and mysticism, inspired him and thereafter became the medium of expression of his musical creativity. Abhay received his training in flute from Shri Ravindra Garuda at Bhopal thereafter he became a disciple of the flute maestro Pt Raghunath Seth at Mumbai. Apart from Abhay’s formal training it was his close association with the eminent vocalist Shri Madhup Mudgal at Delhi that helped him in refining his sensibilities and gained him insight into the profundities of Indian classical music. Later, years of interaction with Ms Meera Rao, one of the senior most disciples of Pt Kumar Gandharva at Bhopal, further broadened Abhay’s comprehension of rāgas.
Enriched with his wide exposure to the most insightful in classical music, Abhay’s pursuit of excellence in his art form has lead him to delve in and explore the intricacies of flute and make suitable innovations in his instrument.
An accomplished and experienced soloist, Abhay extends his sensibilities to composing and conducting music for theatre and providing accompaniment for classical dance. Besides, he is a committed teacher and has been imparting training to students for the past several years.
He has performed at many prestigious festivals in India and has toured extensively in Russia, Europe, South America, Japan, New Zealand.
Presently he is associated with the All-Indian Radio.
Vinod Lele (b 1965) learned the art of tablā playing from his guru Pt Kashinat Khandekar of Banaras gharana epitomized by the style of playing celebrated Pt Anokhe Lal Ji. Vinod obtained the degree of Sangeet Praveen (maestro) in tablā from Prayag Sangeet Samiti, Allahbad (the most well-known university of classical dance and music in India), securing a Gold Medal. He has won 1st prize in tablā playing on several competitions including Indian Radio Music Competition in 1983. Since 1984 he is top soloist of All Indian Radio and TV. He has accompanied a galaxy of top-artists in public performances. He has toured in New Zealand, Australia, Holland, Switzerland, Belgium, Austria, Germany and Japan, several times also demonstrated Indian classical music as a lecturer.
Bānsurī – a transverse flute made of bamboo, known as Kŗşņa’s main attribute. While bānsuri usually has 7 or 8 holes, the instrument used in this recording has 9, which makes the range of the instrument wider.
Tablā – a set of 2 drums; the most common rhythm instrument in the North Indian and Pakistani classical music. The inventor of tablā is thought to be Amir Khusro (13th cent), but some musicologists believe tablā to have existed in the 10th cent already.
Tānpūrā – one of the most important background instruments in Indian classical music. Usually a tānpūrā has 4 strings. The hellow neck gives the instrument an unique timbre.
Program: evening-rāgas Shree, Kalyan and Chandrakauns, Indian folk tune
Abhay Phagre, Sound Zero, fragm, 57 sec, mp3
Listen to the whole performance
Kābul Ensemble, devoted to the performance of traditional music from Afghanistan, was formed in 1995 (within the framework of the Ateliers d’ethnomusicologie) by Hossein Arman, a renowned singer in his native Afghanistan who was forced into exile by the political situation there. As in most oriental music, the repertoire of the Kābul Ensemble is based on a traditional corpus of melodic modes (rāga) and time cycles (tāla). Kabul Ensemble shows deep respect for the musical heritage of Afghanistan (including the various influences that have been assimilated over the centuries), while retaining its own individual character. The Ensemble’s repertoire draws from the classical and folk heritage of the various regions in Afghanistan, but its interpretation is refined by Khaled’s very careful arrangements. The Kābul Ensemble’s characteristic sound is produced by a unique blend of timbres, those of the rubāb and the santūr – the latter rarely been used in Afghanistan, at least not over the past forty years. The group also brings together several percussion instruments: the tablā of Indian origin, the Afghan zirbaghali (similar to the Iranian zarb and the darbuka of the Islamic Middle East), thus reflecting the various facets of Afghan music and influences. In 2001 the Ensemble made his first CD Nastarn (Wild Rose).
Khaled Arman is an outstanding musician. His musical training was threefold: he learned the traditional music of Afghanistan from his father, and he has also studied Indian music and Western music. After playing the guitar with the Orchestra of Radio-Kabul, he went to study in Prague, then Paris, where he was awarded first prize on the International Guitar Competition organized by Radio-France.
He has taken the technique and music of the rubāb-lute) to a high degree of perfection, basing his playing on that of the sarod of Indian and Pakistan which itself evolved directly from the Afghan rubāb.
Osman Arman grew up in a family of musicians and quite naturally became also a musician. He is a flutist, playing tulāk – a transverse flute made of bamboo. His solos show the distinctive aesthetics of the traditional Afghan style and its many regional ramifications.
Dimitri Psonis (tar-lute, santūr-dulcimer) is an internationally acclaimed music having close co-operation with ensembles and musicians like Hesperion XXI and Jordi Savall.
Seiar Hashemi (tablā, zerbaghali) was born in 1981 in Kabul. He started learning tablā at the age of 4 with the master Ustad Wali Mohammad. He completed his studies in India and Germany with the great maestros Zakir Hussain, Anindo Chaterjee and Kumar Bose. Beside tablā he is mastering traditional drums as zerbaghāli, dolāk and daf.
Mashal Arman was born in Kabul and has grown up in the traditional music, as her family taught her since childhood. She has a double culture in music: traditional by her family and classical by her studies in flute and classical singing. She joined the Kabul Ensemble in 2005 for a concert tour and since then is a member of the group.
Dar Damané Sahra, Kābul Ensemble, 4 min 15 sec, mp3
Download: pic – Kābul Ensemble, jpg, 300 dpi, 4.8 MB
● Thu May 7th at 7 pm Ventspils Culture Centre, Latvia
MICHIKO AKAO ENSEMBLE & SHINGON BUDDHIST MONKS (Japan)
● Fri May 8th at 7 pm, Pärimusmuusika Ait, Viljandi (in co-operation with Viljandi Muusika Bureau)
KABUL ENSEMBLE (Afghanistan)
FAREED AYAZ QAWWAL & BROS (Pakistan)
Performances of the Uyghur Muqam Group Sanam are based on rich traditions of muqam. The word mugham came from Azerbaijan. It is based on many different modes and tonal scales where different relations between notes and scales are envisaged and developed. Uyghur muqam include songs, dances, folk and classical music and is characterized by diversity of content, choreography, musical style and instruments used. The songs vary in rhyme and meter and are performed solo as well by groups. The lyrics contain not only folk ballads but also poems written by classical Uyghur masters. Thus, the songs reflect a wide range of styles such as poetry, proverbs, and folk narrative, bearing witness to the history and contemporary life of the Uyghur society. In muqam ensembles, the lead instruments are made of local materials and vary in form (they may be bowed-strings, plucked or wind instruments). The dancing skills involve unique steps, rhythms and formations as well as figures such as flower-picking-by-mouth, bow-carring-on-head and imitation of animals in solo dances. The Uyghur muqam has developed 4 main regional styles, namely twelve-muqam, Turfan muqam, Dolan muqam and Hami muqam. Today, community festivities, such as meshrep and bezme in which everybody would participate in the muqam, are held less frequently. The responsibility for passing on the tradition to new generations of performers has fallen on the shoulders of folk artists, but the interest of young people in muqam is gradually declining. Several muqam pieces are no longer part of the twelve muqam, which in all consists of more than 300 pieces and runs over 20 hours in twelve instrumental and vocal suites.
Uyghur Muqam Group Sanam: Tukhluk Rozi (vocal, tämbür, satar), Akram Khashimov (dutar), Arkin Ayupov (ghijäk), Rakhmatilla Samadov (dap), Shakhrizat Tokhtiyeva (dance).
Ensemble Sanam, Maqam Rak, fragm, live recording from Orient 2009, 5 min 41 sec, mp3
Listen to the whole performance
Qawwali is the traditional form of Islamic song in India and Pakistan. The word qawwali is derived from the Arabic qaol and means axiom or dictum. A qawwal is one who sings qawwali, or the dictums of the prophets and praises of God. The qawwali is closely linked to the spiritual and artistic life of northen India and Pakistan. The qawwali is inextricably linked to the Sufi traditions.
Qawwali’s tradition stretches back more than 700 years. Often listeners, and even artists themselves, are transported to a state of wajad, a trance-like state where they feel one with God, generally considered to be the height of spiritual ecstasy in Sufism, and the ultimate goal of the practice.
Although the qawwali is famous throughout the world, its spiritual hub remains the Punjab province of Pakistan.
There is a very specific psychological process which qawwali follows. One starts with the singing of the song. In this psychological state the song is received in a manner that is not unlike standard forms of musical expression. The words are sung, quite repeatedly with variations intended to bring out deeper means of the lyrics. After a while there is a repetition to the extent that the words cease to have a meaning; it is the ideal situation the participant is moved to a state of spiritual enlightenment.
Fareed Ayaz belongs to the best known gharana of qawwali, namely, Qawwal Bachon Ka gharana of Delhi. He started his training in classical music at a tender age under the rigorous and critical tutelage of his late father, Ustad Munshi Raziuddin Ahmed Khan, who himself was an outstanding qawwal and classical musician and a recipient of the Pride of Performance medal.
Fareed Ayaz is an accomplished musician in the genre of traditional classical music. He has been performing professionally for the last 30 years, and not only extensively at the national and international level but has been also a cultural representative for Pakistan abroad. Fareed Ayaz Qawwal & Bros have performed in the UK, the USA, Canada, France, Germany, Italy, Holland, Portugal, Austria, India, Kenya, Nepal, Zimbabwe, Bangladesh, Croatia, Turkey, Morocco, Greece, Egypt, Bulgaria, Tunisia, Belgium, Iran, UAE, Saudi Arabia, Jordan, Qatar, etc. Fareed Ayaz performs various genres of classical music, such as dhrupad, khayāl, thumri, and dadra, which he blends beautifully during his performances of qawwali. His mastery over classical music was acclaimed at the All Pakistan Music Conference’s annual festival in 2005, where he was invited to perform as a classical musician. Fareed Ayaz is well-versed and can perform in several languages, namely Urdu, Sindhi, Punjabi, Pushto, Hindi, Bengali, Marathi, Persian, Arabic, and Turkish.
Members of the ensemble: Ustad Ghulam Fariduddin (Fareed) Ayaz Al-Hussaini, Abu Muhammad, Ali Akbar, Gayoor Ahmed Alhassani, Ghulam Akram, Moizuddin Haydar, Mubark Hassan Haris, Shah Blaeegh Uddin, Shahzad Hussain, Zarar Ahmed.
Fareed Ayaz Qawwal & Bros, live recording from Orient 2009, fragm, 3 min 9 sec, mp3
Fareed Ayaz Qawwal & Bros, live recording from Orient 2009, fragm, 3 min 15 sec, mp3
Listen to the whole performance
● Sat May 9th at 6 pm, Great Guild Hall, Riga, Latvia (in co-operation with Origo Folk Festival)
SHANBEHZADEH ENSEMBLE (Iran)
MICHIKO AKAO ENSEMBLE & SHINGON BUDDHIST MONKS (Japan)
● Sun May 10th at 7 pm, Estonia Concert Hall, Tallinn
SUFI FOLK ENSEMBLE (Kashmir)
BURHAN ÖÇAL (darbuka, saz, vocal, Turkey) & ÜMİT ADAKALE (darbuka, Turkey)
Burhan Öçal is a Turkish music specialist, multi-instrumentalist and singer. He is recognized worldwide as a virtuoso specializing in a variety of percussion instruments, interested in combining many genres and cultural traditions. He also plays some string instruments and sings.
With his latest project New Dream Burhan Öçal brings new wealth to Turkish classical music. He performed and recorded with internationally acclaimed musicians including Joe Zawinul, Jamaaladeen Tacuma, Paco de Lucia, Kronos Quartet, Sting, ao. Winner of German Record Critic s Award twice and the Prix Choc.
Sufi Folk Trio, live rec from Orient 2009, fragm, 3 min 19 sec, mp3
Burhan Öçal, Legend Two, fragm, 71 sec, mp3
● Sun May 10th at 11 am, Riga, Latvia (in co-operation with Origo Folk Festival)
UYGHUR MUQAM GROUP SANAM (Uyghuristan / Usbekistan)
FAREED AYAZ QAWWAL (Pakistan)
Opening: May 5th at 11 am – procession with camels from Tallinn Railway Station to Estonia Concert Hall
From May 5th to July 1st, Estonia Concert Hall: Exhibition at photos from the Great Silk Road
Orient Club in Mercado (Ülemiste City, Lõõtsa Str 6, Tallinn) – free entrance
- Oriental lounge
- Apr 29th at 4 pm: press conference and opening of the exhibitions
- Orient influenced drinks and snacks by Imre Kose
- Apr 29th – May 8th: Calligraphy from Japan
- May 8th at 6 pm: workshop of Japanese master-class with Ai Yoshida (assisted by Kertu Bramanis)
- Apr 29th – May 8th: Oriental carpets from Vaibagalerii
- May 8th at 8 pm: bansūrī-flute player Ashok Mehta from Varanasi (India) performs evening-rāga Marwa
- May 8th at 10 pm: auction of handmade silk and woollen carpets
- May 8th from 4 pm to midnight: Silk Road Marathon – 16 series of 30-min TV-program about Silk Road Tour 2007 (film director Aivo Spitsonok, co-project of Osakond & Estonian TV)
Orient-week in Klassikaraadio (Estonian Broadcasting Corporation)
- May 4th–10th at 8.15 am: introduction to Orient Festival
- May 4th–10th at 9.10 am: Oriental Morning Music
- May 5th–8th at 3.15 pm: Orient on CDs
- May 5th, 6th, 7th, and 9th at 7 pm: Live from the festival
Special thanks: Estonian Ministry of Culture, Estonian Ministry of Foreign Affairs, Urmas Paet, Mai Jõgimaa, Turkish Embassy in Estonia, Her Excellency Fatma Şule Soysal, Tallinn Cultural Heritage Department, Ene Vohu, Eesti Kontsert, Bilal Chapri, Annemari Oherd, Taimi Paves, Hideko Arai, Aleksandrs Nemirovskis, Ilze Apsina, Tiia Teder, Peeter Salmela, Elle Himma, Bakhrom Primkulov, Leho Rubis, Drikung Kagyu Ratna Shri Centre, Merike Kokajev
Tiina Jokinen – managing director
Inna Kivi – producer
Mart Kivisild – design
Olavi Sööt – logistics
Kadri Kiis – accountant
Agu Tammeorg, Roland Urva, Tanel Klesment – sound engineers
Margit, Mai, Pille, Jana, Kristina, Julika, Anneli, Ave – hostesses
animated logo of Orient
Video-clip “Orient 2009”
Download: flyer in English and Estonian, pdf, 564 KB
Wu Mani mängus oli kõike, mida hing oskaks ihaldada: meditatiivset helidesse süvenemist, flažolettide peeni kõlamustreid, ülikiirelt ja -täpselt helisevaid arabeske ning tormiliste tremolo’te pööraseid kaskaade. Tema improvisatsioonide fantaasialend pani kohati lausa hinge kinni. Vaat, mida võib hiina traditsioonilisest muusikast välja nõiduda! Kuulajate standing ovations näitas, et ka publik tunnetas ülihästi – niisugune “nõidumine” on ikka väga kõva sõna. (Igor Garšnek, Kaur Garšnek, Sirp, 15.05.09, Estonia, whole article)
“Nautinud Siiditeel paljude muusikute ja tantsijate esinemisi, ei suutnud me kuidagi loobuda kiusatusest neid seekordsele Oriendile ning lisada festivalile alapealkirja Siiditee sõnum.” Staaresinejaist on tuntumaid nimesid kindlasti festivali avakontserdil Wu Man, hiina traditsioonilise pirnikujulise pilli pipa mängija, kelle meisterlik mäng on inspireerinud pipa-muusikat kirjutama nii Terry Riley kui ka Philip Glassi ja Tan Duni. (Kersti Inno, Äripäeva nädalalõpulisa, 30.04.09, Estonia, whole article)
Võib-olla kõige eksootilisem on uiguuri muqami-teater, mis hõlmab tantsu, jutustusi ning rahva- ja klassikalist muusikat. (Valner Valme, Postimees, 21.04.09, Estonia, whole article)
Oriendil astub üles Sanami kuueliikmeline “rahvusvaheline” koosseis, kuhu kuuluvad Usbekistanis ja Kasahstanis sündinud, aga ka Hiina Rahvavabariigist lahkunud väljapaistvad uiguuri muusikud (Sirp, 30.04.09, Estonia, whole article)
...energiaga, mis kulub ühe “Oriendi” korraldamiseks, võiks teha kolm “Klaaspärlimängu”. (Indrek Kuus, Linnaleht, 30.04.09, Estonia)
... откуда на улицах Таллинна появились верблюды. Ответ прост: вчера начался фестиваль восточной музыки «Ориент». Фестиваль, который продлится до 10 мая, проходит под девизом «Послание Великого шелкового пути», и двугорбые верблюды, или бактрианы, прибывшие из Азербайджана... (Urmas Tooming, Postimees, 06.05.09, Estonia, whole article)
Seekord on tegemist seitsmenda ettevõtmisega, mis kestab 5.–10. maini. Festivali esinejad on suures osas need, kellega eestlased oma idamaise rännaku ajal kokku puutusid ja nad Tallinna kutsusid. (Urmas Tooming, Postimees, 28.04.09, Estonia, whole article)
See also: Orient festivals, Orient presents in 2010, Orient 2011, Orient presents in 2008, Orient 2007, Orient presents in 2006, Orient 2005, Festival archives, Orient in Palmyra, The Path To The Heart Of Asia (CD recorded with featuring musicians of Orient 1992)
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