Music in Mustpeade maja. (Interesting how words themselves have a musical dimension to them. Mmm.)
Arthur C. Clarke once said: "The limits of the possible can only be defined by going beyond them into the impossible." This is the heart of all exploration, I believe. And music offers a beautiful terrain to explore.
The journey began with Kannel Revisited by Anna-Liisa Eller (http://elia-artschools.org/festival/work/kannel-revisited). It was a performance based not on repertoire, but on sounds. Anna-Liisa spent half an hour showing the audience the beauty of what a kannel can do. Like a small child feverishly at play, only with years of experience, excellent instruments and technology, and superb aesthetic sense. I will never look at another kannel (or any instrument, for that matter) in quite the same way again.
Next came Pram Tak Mir by Sander Saarmets (http://elia-artschools.org/festival/work/pram-tak-mir), which might be described as a piece written for a violin and a tram or an experimental audio-visual violin piece inspired by trams. In a word: trippy. I especially enjoyed the first part, where the score was visualized on a screen so the listener-viewers could see the music. It was like watching someone creating every intricate detail of the sound a tram makes. When God created sounds, he most probably used a similar method.
In Kanuti, I saw Hole by Wojtek Pustola (http://elia-artschools.org/festival/work/hole). It put me at a strange ease for some reason. The scenery and the feeling of flying as a golf ball gave me a weird sense of liberation. I wonder if this is how the golf ball felt when Wojtek and his father and grandfather talked to it about themselves and their relationships. I hope so. I mean why shouldn't golf balls be allowed to experience art?
Especially when it's all gathered in one place like right now during the NeuNow LIVE festival in Tallinn. Oh do experience some of it for yourself. You can thank me later.
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