Evelin Seppar

Composer

Press


Kraft in Tallinn, Estonian Music Days in 2023:

ERSO’s concert led by Latvian conductor Normunds Šnē left a profound experience, the program of which – with the exception of Lepo Sumera’s 6th symphony – consisted of contemporary works by Estonian and Latvian female composers. The undisputed culmination of the concert was the premiere of Evelin Seppar’s clarinet concerto “Kraft” with a brilliant solo by Soo-Young Lee, concertmaster of the ERSO clarinet group. Everything spoke in favor of this work: a clear form, an expressive and versatile soloist part, a masterful orchestral treatment and excitingly contrasting parts, in which the inspiration of Bach’s music was organically woven into the work. The full potential of a complete and mature piece was unlocked by Lee’s truly absorbing performance, which was both touchingly fragile and powerful and stunning with the performer’s unflinching presence.

Sügava elamuse jättis ERSO kontsert läti dirigendi Normunds Šnē juhatusel, mille kava koosnes – erandina Lepo Sumera 6. sümfoonia – eesti ja läti naisheliloojate nüüdisloomingust. Kontserdi vaieldamatuks kulminatsiooniks kujunes Evelin Seppari klarnetikontserdi “Kraft” esiettekanne ERSO klarnetirühma kontsertmeistri Soo-Young Lee hiilgaval soleerimisel. Selle teose kasuks rääkis kõik: selge vorm, sisendusjõuline ja mitmekülgne solistipartii, meisterlik orkestrikäsitlus ning haaravalt kontrastsed osad, millesse oli orgaaniliselt põimitud teose inspiratsiooniks olnud Bachi muusika mõjutusi. Tervikliku ja küpse teose täispotentsiaali avas Lee tõeliselt endasse haarav mäng, mis oli ühtaegu puudutavalt habras ja jõuline ning interpreedi jäägitu kohalolekuga vapustav.

Meeta Morozov / Muusika


Kraft in Tallinn, Estonian Music Days in 2023:

“The highlight of the concert that was full of premieres, was Evelin Seppar’s clarinet concerto “Kraft” (“power” or “strength”), commissioned by the festival. The soloist part contains the greatest persuasion energy of the piece – perceivable already at the very beginning when the sound image emerges from the shadows of the initial gloom. However, towards the end, after recovering the shock waves that followed the climax of the tension, the soloist initiated to find the balance again. Despite the changeability of the texture, the soloist Lee Soo Young always managed to embody a determined guide with a sure destination, although during the comprehensive journey of the four-movements concert, she also went through the affective states etched in the mind as tortured howls. Comprehensiveness is by no means a superlative definition here, because the first performance was so thoroughly absorbing and full of details that thoughts revolved around this piece for a long time after. Soo-Young Lee, concertmaster of the ERSO clarinet group, for whom the clarinet concerto was written, enchanted with a completely dynamic performance – it would be difficult not to be inspired by such a playing style. Particularly pleasant were the moments when there were moments of sensitive mutual reflection between the orchestra – especially the clarinet group – and the soloist.

Esiettekannetest tulvil kontserdi tipphetk oli festivalitellimusena valminud Evelin Seppari klarnetikontsert „Kraft“ (’võimsus’ või ’jõud’). Teose suurimat sisendusjõudu kätkeb solisti­partii – see on tajuda juba kõlapildi algustumeduse varjudest esile kerkides. Lõpu lähenedes asus solist aga pingete haripunkti jõudmisele järgnenud lööklainest toibununa taas kõigepealt tasakaalu otsima. Faktuuri muutlikkusest hoolimata kehastas solist Soo-Young Lee otsekui alati kindlas suunas liikuvat teejuhti, kuigi neljaosalise kontserdi kõikehõlmaval teekonnal sai temagi muu hulgas läbi elada piinatud huiletena mällu sööbinud afekti­seisundeid. Kõikehõlmavus pole siinkohal sugugi superlatiivne määratlus, sest esimene ettekanne oli nii jäägitult endassehaarav ja detailiküllane, et mõtted keerlesid veel pikalt teose ümber. ERSO klarnetirühma kontsertmeister Soo-Young Lee, keda silmas pidades klarnetikontsert on kirjutatud, lummas üdini dünaamilise esitusega – sellisest mängustiilist oleks keeruline mitte inspireeruda. Iseäranis sümpaatsed olid hetked, mil orkestri –eriti selle klarneti­rühma – ja solisti vahel leidis aset tundlik vastastikune peegeldamine.

Liis Rull / Sirp 


Seesama meri in Tallin, World Music Days in 2019:

Evelin Seppar – Seesama meri (World Première)


Psalm 129 in Utrecht, September 2, 2017:

”Seppar weeft een ingenieus web van donker en licht en maakt een enorme innerlijke kracht los bij dit koor.”
(”Seppar weaves an ingenious web of darkness and light and releases an enormous inner strength from this choir.”)
Ben Taffijn / NIEUWE NOTEN

Psalm 129 in the NY times:

”For a concert called “Pilgrimage of Life,” Ms. Seppar, an Estonian composer, has been asked to set the so-called “song of ascents,” which will be sung by the Norwegian Soloists’ Choir.”
NY Times


Поля ли мои, поля / Fields, oh my fields in Tallinn, April 8, 2017:

”…the emotional atmosphere of Seppar’s piece was palpable. Seppar used multiple overlapping voices, to create a sense of lamenting with a musical line, sometimes sung by unaccompanied solo voices, which was very mobile and at times angular. The piece gradually moved from solo to choral texture, always with a melancholy sense of loss. Musical material was re-visited multiple times in different ways, always with Seppar’s distinct sound-world, reaching an impressive climax.”
Robert Hugill / Planet Hugill

”In the first performance of Поля ли мои, поля (“Fields, My Fields”), Evelin Seppar opted for a declamatory style with a distinct, folk-like core. /… / its lengthy, subdued conclusion was arresting, oblique strands of harmony glancing off each other and jelling in various ways, garnished with infinitesimal whispers.”
Simon Cummings / 5:4


Time and the Bell in Rapla, November 6, 2016: 

Seppar has captured Eliot’s poetry perfectly and conveyed it thoughtfully in sound language. The message and the sound form a pleasant whole in the choral work.

Seppar on Elioti luulet suurepäraselt tabanud ja seda helikeeles läbimõeldult edasi andnud. Sõnum ja heli moodustavad kooriteoses meeldiva terviku.
Jaanika Vilipo / Sirp


Lighthouse at the Estonian Music Days new music festival April 11, 2016:

The large-scale masterpiece “Lighthouse” (2014) by the young and stunningly determined composer Evelin Seppar, performed by the French Macadam Ensemble based on Cummings’ poetry and Canadian lighthouse keeper Patrick James Dillon’s diary excerpts, alternately moved the listener from poetry to prose, from poetry to everyday life, from the inner world to the Canadian seaside landscape, from life to the moment of death, from joy to sadness, from the expectation to its unfulfillment. Musically, however, it was all well composed: there was no excessive overdramatization, but there was also no lack of illustrating the tense moments of the text with the culmination in music. Such a large work can be compared to a landscape painting with an extremely large so-called shifted color selection in the impressionist style. In essence, it started somewhere, ran and ended up in the air, requiring the listener to take a few steps back in order to grasp its real dimension, peculiar timbres and introspection that goes nowhere.

Noore ja vapustavalt kindlakäelise helilooja Evelin Seppari mastaapne suurteos „Majakas“ (2014) prantsuse Macadam Ensemble’i esituses Cummingsi luule ja kanada majakavahi Patrick James Dilloni päevikukatkendite põhjal nihutas kuulaja vaheldumisi luulest proosasse, poeesiast argipäeva, sisemaailmast Kanada mereäärsesse maastikku, elust surmahetkeni, rõõmust kurbusesse, ootusest selle täitumata jäämiseni. Muusikaliselt oli see kõik aga pigem läbi komponeeritud: ei olnud liigset üledramatiseerimist, kuid ei puudunud ka teksti pingeliste hetkede kulminatsiooniga illustreerimine muusikas. Sellist suurteost võib võrrelda impressionistlikus stiilis ülisuure n-ö nihkes värvivalikuga maastikumaaliga. Sisuliselt algas see kuskilt, kulges ja jäi lõpuks õhku, nõudes kuulajalt paari sammu tagasiastumist, et hoomata selle tegelikku dimensiooni, omapäraseid kõlavärve ja ei kuhugi kulgevat sisenduslikkust.

Gerhard Lock / Sirp