Peeter Süda A way to the ‘heart’ of Estonia through Germany The history of this research began several years ago, when I visited Tallinn for the first time. There was an International organ festival, and I was a participant of masterclasses. At one concert I heard music by the Estonian composer Peeter Süda. Within a couple of days I bought scores of his organ pieces. Two years later I was invited to play a concert in Tallinn, and I decided to play his pieces “Ave Maria” and Prelude and fugue. After a concert one Estonian organist told me: “Thank you very much, here almost nobody plays the Prelude and fugue! It was nice to hear it”. After some silence he continued: “But, you know, we have our own tradition of performance for these pieces”. In September of 2013 I became a Master degree student and decided to dedicate my research work in Codarts to Peeter Süda and his organ music, trying to answer the question: “How can I perform organ pieces by P. Süda, using his ideas and examples of different performance traditions?” I could just play this music without any research, but I liked it so much that I wanted to find out more about this composer and his pieces, I had a lot of questions, I was not sure about what I was doing, but I wanted to perform his music. At the beginning of my research I wished to make a recording of all the completed pieces by P.S., but things which seemed so easy to do became more complicated and interesting, and the research grew and brought me not only new things about this composer and his music, but also about German styles of performing, and other new knowledges and skills.
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