“Shorescape depicts a scene from my imagination, influenced by my visits to beaches near Tallinn and Laulasmaa and the island of Muhu. It is directly inspired by a poem I wrote in October 2021:

The sun’s rays dance along the shore,
Jagged mounds of stone halt the roaring waves;
The soft sounds of a distant stream
Meander to your ears –
Resigned to its painless destiny,
Sinking into the oblivion
Of the vast blue expanse beyond.”
(Pranav Sivakumar)

Sinfonietta No. 2. “This sinfonietta is a trip among different sound landscapes and textures combined with the searching of colours in the sound. A combination of different techniques that allow us to imagine whatever story or pictures that the music evokes us.” (Eladio Barreto Aguilar)

Landscape for the Sinfonietta of the Estonian Music and Theatre Academy is inspired by the most beautiful and, at the same time, scariest element found on this earth – mother nature. Her strength is enormous. At the same time, she can be so gentle and light. In this composition, the composer has chosen to paint using the soft tones representing mother nature, reflecting the tranquillity of the world of peace and sound, making one listen to individual sounds, the clouds formed by them and the dialogues forming in different layers.” (Alise Bērziņa)

“The 1st movement of Symphony No 3 is partly based on the flute’s multiphonics, and partly on clusters and their inversions. Microtones reflect sounds from daily life – the sounds of ship pipes in thirds and fifths, the sounds and overtones of highways. The mystery of the human soul and the battle against the reality of ordinary life in music lasts until the very end of the composition.” (Inessa Green)

w/e(a)st triptych. “This piece, which consists of three parts, will take you from west to east when you close your eyes and dive into the music. You might hear its predictable beauty at first, but then you will get lost while trying to track the inequality of Aksak rhythms. This might be extraordinary for you and you will find yourself in an oriental environment where I use special elements of Maqam music.” (Serhat Günay)

Sinfonietta. “During a journey, change is an inevitable factor. You necessarily gain and lose something on the way. When you’re back you are someone entirely different.” (Leonardo Tommasini)

Sinfonietta No. 2. “A continuous try after Sinfonietta No. 1 (premiere in 2021). Sinfonietta No. 2 involves two cyclically presented contrasting materials. The first material changes internally, becoming denser and more complex gradually with repetition. The second material is thin and always repeats perfectly as insertion. They comprise the entire piece together without obvious transition.” (Yang Ren)

“emrof enilsüüf is a multi-movement piece that was conceived in October 2021.  Creating this work has allowed incredible room for me to experiment and grow as a composer. The most central movement, “Prologue: Aria: Epilogue”, focuses heavily on the violin as a solo instrument.” (Syrn Adma)

Tuohon tapaan, tuohon tapaan. “The third movement of a piece I wrote in 2018. This version was heavily revised in 2021 to make it less rhapsodic and more linear.” (Juuso Salonen)

Sitting on Top of a Beehive. “This composition reflects the emotions that came over me when writing it. All of a sudden, we find ourselves sitting on top of a beehive that we didn’t climb on voluntarily. Only one question buzzes around in our heads: can we get away without being stung?” (Paul Daniel)