Ülo Krigul

WORKS FOR THE STAGE

Operas

• Swan Bone City

  opera in three scenes with prologue and epilogue
  2015
  80'
  soprano, mezzo-soprano, baritone, mixed choir, chamber orchestra
  Libretto: Taavi Eelmaa and Marianne Kõrver based on the short story of the same title by Kristiina Ehin (in English, Estonian and Latin)
  Fp: Iiris Vesik (soprano), Helen Lepalaan (mezzo-soprano), Marius Peterson (baritone), Estonian Philharmonic Chamber Choir, Tallinn Chamber Orchestra, Mari Stankus, Maria Goltsman, Egor Zadoya, Tuuli Peremees, (dancers), conductor Risto Joost, stage director Marianne Kõrver; July 25, 2016, Kuressaare Castle Opera House, Saaremaa Opera Festival
  

Musical and/or drama and/or dance works for stage

• Music for performance "Ocean" [Muusika lavastusele "Ookean"]

  2021
  60'
  mixed choir, chamber orchestra: percussion, strings, electronics
  Fp: Chamber Choir Voces Tallinn, Tallinn Sinfonia, conductor Risto Joost, Sander Mölder (electronics), stage director Ran Arthur Braun, dramaturgist Taavi Eelmaa; July 15, 2021, cruise area of port of Tallinn
  
• The Anxiety of the North Star [Põhjanaela paine]

  Multimedia performance for percussion, strings and voice, narrator and live electronics with dancers and video operator
  2001
  35'
  reciter, soprano, percussion (4 players), 2 violins, viola, cello, fixed media, live electronics, video, dancers
  Text: Arvo Valton
  Fp: Iris Oja, Chamber Ensemble of Estonian Academy of Music, conductor Risto Joost; May 23, 2002, Tallinn
  

WORKS FOR ORCHESTRA

Works for symphony orchestra

• Proteus Pulse

  Proteus pulse derives its flows and pulsations from an old greek God of Waters. Among other powers Proteus, the son of Poseidon and Phoenice, has got the ability to foretell the future and constantly transform to different shapes and forms. But he promises to tell the truth only to the one capturing him. Therefore also the skill of transorming himself to escape the catcher...
  
  The constantly changing nature, the slow shifts in the sameness are common to the world of sounds too. One way or another water has been a matter of my compositions in recent years. Its connective energy and everchanging still similar states of being, its qualities incorporating both ice and vapour, its endless source of symbolics and physics continues to be an inspiration.
  
  This piece is quite clearly devided into four parts. However, these parts are connected without any gap in between. Morevover, they share musical material organically evolving into eachother. So we can hear kind of foretellings of what might be coming next, what shape the material is about to take. And observe some motives escaping from the score. In orchestration we can follow musical material starting from little drops in background gaining powers to take over the entire soundscape. And in turn there are powerful waves ruling the course for certain time and then vaporising. Symphony orchestra has got all necessary characteristics to express the multiple manifestations of waters. The consitent entity of it rooted on personality of each musician and instrument in the band brings us the variety, flexibility and sensitivity passing through the whole vertical axis of the score. On the horizontal line we are driven by natural pulsating waves carrying on in time. As we can also hear, most of the material here has kind of a repetitive character variating in juxtapositions and couterpoint with others.
  
  For good reason there have been a lot of discussions in recent times about the states and circumstances in the oceanic body of the earth. It does not look good at all. At least as far our eyes can see. It seems we are reaching the limits of credit given us by the gods and nature. Of course it is more a problem for the human beings not the waters or earth. They would get clean quite soon (in terms of more universal timezone) and go on. Only without us on the boat.
  
  Different times, cultures and religions have their stories about water. Both as a master of genesis and also a master of flood when there is a need for a clean-up. And as we know from those stories that not always we have been too good listening to the foretellings.
  Also from this piece of music here I think we can somehow hear that the good old Proteus in is dire straits. He is winding up his horns, crying out loud as is appropriate in his position. We have captured him, keeping him in not very elegant conditions. And as promised he is now willing to foretell us the future. Do we take a listen to it?
  
  Ülo Krigul

  2022
  9'
  symphony orchestra
  Fp: The Flanders Symphony Orchestra, conductor Kristiina Poska; March 17, 2022, Brugge Concertgebouw, Belgium
  FpEst: The Flanders Symphony Orchestra, conductor Kristiina Poska; March 31, 2022 Pärnu Concert Hall, April 1, 2022 Vanemuise Concert Hall, April 2, 2022 Estonia Concert Hall, Tallinn
  Commissioned by: The Flanders Symphony Orchestra
  
• The Bow

  • Audio

  • The Bow / Estonian Festival Orchestra, conductor Paavo Järvi

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  Dedicated to the Estonian Festival Orchestra and Paavo Järvi
  2021
  7'
  symphony orchestra: 2220, 4230, 1+2, harf, strings
  Fp: Estonian Festival Orchestra, conductor Paavo Järvi; July 18, 2021, Pärnu Concert Hall, Pärnu Music Festival
  CD „Estonian Premieres“, Alpha Classics (2022); Estonian Festival Orchestra, conductor Paavo Järvi
  
• worlds… break the soundness [kuskil... kõlade murdudes]

  • Audio

  • worlds… break the soundness / Estonian National Symphony Orchestra, conductor Olari Elts

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  2019
  12'
  symphony orchestra
  Fp: Estonian National Symphony Orchestra, conductor Olari Elts; May 3, 2019, estonia Concert Hall, Tallinn, World Music Days 2019
  Commissioned by: Estonian Music Days/World Music Days
  
• Echo of a Bell [Tornikella kaja]

  • Audio

  • Echo of a Bell / Marius Peterson (text), symphony orchestras, conductor Kaspar Mänd

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  2017
  8'
  symphony orchestra
  Text: Marius Peterson and Ülo Krigul on the basis of the work of Fernando Pessoa and Juhan Viiding
  Fp: Symphony orchestra of the XXVII General Song Celebration, Marius Peterson (reader), conductor Kaspar Mänd; July 7, 2019, Tallinn Song Festival Grounds, XXVII General Song Celebration
  Commissioned by: Song and Dance Celebration Foundation
  
• Symphonic Slices

  • Audio

  • Symphonic Slices / Vanemuine Symphony Orchestra, conductor Paul Mägi

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  Dedicated to Veljo Tormis
  2017
  11'
  symphony orchestra
  Fp: Vanemuine Symphony Orchestra, conductor Paul Mägi; May 18, 2017, Estonia Concert Hall, Tallinn
  
• Chordae

  • Audio
  • Pdf

  • Chordae / Pärnu Festival Orchestra, conductor Paavo Järvi

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  2013
  8'
  symphony orchestra: 2222, 4230, 2, strings
  Fp: Pärnu Festival Orchestra, conductor Paavo Järvi; July 21, 2013, Pärnu Concert Hall, Pärnu Music Festival Järvi Academy
  Commissioned by: Pärnu Music Festival Järvi Academy
  CD „Estonian Premieres“, Alpha Classics (2022); Estonian Festival Orchestra, conductor Paavo Järvi
  Publisher: Estonian Music Foundation
  Distributor: EMIC YK 018
  
• send/receive/resound

  • Audio

  • send/receive/resound / Estonian National Symphony Orchestra, conductor Paul Mägi

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  in cooperation with Mariliis Valkonen and Timo Steiner
  2009
  29'
  symphony orchestra
  Fp: Estonian National Symphony Orchestra, conductor Paul Mägi; June 27, 2009, Vormsi island, Festival Glasperlenspiel
  Commissioned by: Festival Glasperlenspiel
  
• JenZeits

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  • JenZeits / Estonian Academy of Music Symphony Orchestra, conductor Paul Mägi

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  “Jenzeits” is a rare occurrence for me in the sense that the title of the work was in place before I started writing it. This is a fairly untranslatable German play on words, which could be rendered clumsily into English as “that side of time”.
  
  The moving force for my ideas was in part a quotation from musicologist Ernst Kurth: “An insight into music is shadowed by sound” (“Die Blick in die Musik ist durch Klänge verhängt”). Everyone may interpret this as they desire. It is not that my composition should illustrate the quotation or what Kurth was thinking—the phrase is simply one element of many components that have met more or less randomly, and which form the backdrop and the raison d’etre for this work. It gives some sort of emotional charge that is hard to put into words.
  
  The most important such component in the work is a certain principle for development of a harmonic structure, which for me is at present a new one – seeing chords and intervallic relationships as geometric patterns, graphic projections. Perhaps it all sounds a little abstract, but in practice this viewpoint has helped me overcome some sort of block, escape the rut of my personal internal “three-chord” system.
  
  In writing this work, I often found myself thinking that composing is almost like hiding something, the process of concealing. In that the “concept” amassed from semi-accidental impulses was itself so clear (even though verbally unaccountable) and it is pointless, and thus impossible, to say it directly. And second of all, the core of the work is so distilled that it cannot even be used in undiluted form.
  
  Ülo Krigul

  2005
  10'
  symphony orhestra: 2222, 4331, 3, harp, celesta, strings
  Fp: Symphony Orchestra of the Estonian Academy of Music, conductor Paul Mägi; August 8, 2005, Berlin, Konzerthaus, Festival young.euro.classic
  FpEst: Estonian National Symphony Orchestra, conductor Paul Mägi; March 31, 2006, Estonia Concert Hall, Estonian Music Days Festival
  Commissioned by: Estonian Academy of Music
  

Works for chamber orchestra

• Promenade [Promenaad]

  Dedicated to Pärnu City Orchestra
  2008
  chamber orchestra: 1111, 1110, 1, strings
  Fp: Pärnu City Orchestra, conducor Jüri Alperten; August 1, 2008, Kuressaare St. Lawrence's Church
  Manuscript
• In Pax

  2000
  9'
  chamber orchestra: 1111, 1111, baritone saxophone, vibraphone, harp, strings
  Fp: Chamber Orchestra of Estonian Academy of Music, conductor Toomas Kapten; October 18, 2000, Autumn Festival of the Estonian Academy of Music
  
• OFF

  2000
  7'
  chamber orchestra: 1111, 1110, 2, piano, strings
  Fp: Nõmme City Orchestra, conductor Hendrik Vestmann; April 27, 2000, Tallinn, Blackhead Brotherhood's House, Estonian Music Days Festival
  Commissioned by: Estonian Music Days Festival
  

Works for string orchestra

• Layers Playout

  Layers Playout
  
  “This composition was inspired by conductor Risto Joost’s desire to commission a piece for the Tallinn Chamber Orchestra that would present the sound of the orchestra through instrument groups and single instruments. This incited the idea that is also reflected in the title – Layers Playout. It is about the deconstruction of different orchestral structures into single layers: some accompanying parts become prominent solos, and solos mingle with accompanying parts; the orchestral tuttis are opposed by ensemble passages that seem to be picked out randomly from the orchestra part. Essentially, all the 18 members of the orchestra are soloists: every instrumental part is different and the development of the material brings out small nuances and changes in the phrasing of every musician.
  F
  rom the very beginning, the dramaturgy of form is conveyed by the combination and mutual push and pull of two contrasting worlds – one of them extremely mobile, the other very static.
  
  Reading what I just wrote, it seems to me that era-specific accusations of formalism would also be quite appropriate under these circumstances…”
  
  Ülo Krigul
  
  * In the 1950s, the accusation of formalism was one of the most common reasons for compositions or other works of art to be censored or forbidden.

  2016
  9'
  string orchestra
  Fp: Tallinn Chamber Orchestra, conductor Risto Joost; February 13, 2016, Tallinn House of Blackheads
  Commissioned by: Risto Joost, Tallinn Chamber Orchestra
  
• Musica lauteria

  • Audio

  • Musica lauteria / Tallinn Chamber Orchestra, conductor Risto Joost

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  2003
  7'
  string orchestra
  Fp: Tallinn Chamber Orchestra, cond. Risto Joost; April 06, 2003, Tallinn, Methodist Church, Estonian Music Days Festival
  Commissioned by: Estonian Music Days Festival
  

Works for wind orchestra

• Three Sounds [Kolm kõla]

  • Video

  3 Chorale Variations on Lutheran Songbook, dedicated to Aavo Ots
  I Dearest Jesus, we are here
  II Let the Earth Now Praise the Lord
  III Our Lord, our Ruler
  2017
  11'
  brass orchestra
  Fp: Tallinn Brass Academy, Ernesto Chulia (trumpet), conductor Aavo Ots; December 20, 2017, Estonia Concert Hall, Tallinn
  
• To the Boats [Laevadele]

  2016
  4'
  wind orchestra
  Fp: Wind orchestras of the XII Youth Song Celebration, conductor Hando Põldmäe; July 2, 2017, Tallinn Song Festival Grounds, XII Youth SOng and Dance Celebration
  
• Music from feature film "Men At Arms" ["Malev"] [Muusika mängufilmist "Malev"]

  • Audio

  • Music from feature film Malev / Joint orchestra of XXVI General Song Celebration, conductor Peeter Saan

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  2012
  wind orchestra
  Fp: Joint orchestra of XXVI General Song Celebration, conductor Peeter Saan; July 6, 2014, Tallinn Song Festival Grounds
  CD „Eesti capriccio“, Politsei- ja Piirivalveorkester (2014); Police and Border Guard Orchestra, conductor Hando Põldmäe
  
• Crumbling Foreboding [Lagunev eelaimus]

  1998
  8'
  wind orchestra: 3, 2, 4, 1, vibraphone
  Fp: Vambola Krigul (vibrafon), Brass-Academy, conductor Aavo Ots; April 17, 1998, Tallinn, Estonian Music Days Festival
  Commissioned by: Estonian Music Days Festival
  
• Extundo

  • Audio

  • Extundo / Brass-Academy, conductor Aavo Ots

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  1997
  11'
  wind orchestra: 3, 1, 3, 1, percussion (2 players)
  Fp: Brass-Academy, conductor Aavo Ots; March 11, 1997, Tallinn, Estonian Music Days Festival
  Commissioned by: Estonian Music Days Festival
  CD "Brass-Academy / Estonian Academy of Music", Estonian Radio (1998); Brass-Academy, conductor Aavo Ots
  

WORKS FOR SOLO INSTRUMENT(S) AND ORCHESTRA

Works for bassoon and orchestra

• Bassoon Concerto "Goin'"

  • Audio
  • Pdf
  • Video

  • Bassoon Concerto / Martin Kuuskmann (bassoon), Glasperlenspiel Sinfonietta, conductor Andres Mustonen

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  Ülo Krigul: „From the very beginning of composing this work, I decided to approach it from the traditional point of view on both form and content. This means that the soloist has the upper hand and upon Martin’s request I made his part rather challenging. The short but polysemantic word goin’ (go in) refers to constant motion and penetration. A similar equivocal approach has produced the titles of the movements. The first movement Doin’ creates the musical landscape and offers means to navigate it while at the same time giving a practical clue for moving between the different material. This clue in the form of minor third presents ways of getting from one musical situation into another during the course of the work. The second movement Stayin’ represents a congelation that is still in constant flow from the inside. The third movement Movin’ begins with the traditional cadenza by the soloist after which a rondo takes over. Here the minor third is best observed – in its way of unwinding the new material. The most important are the motion and its impetus, never mind where it finally takes us. Having entered a room, you discover another door at the other end of it and rush over, with a key in an oustretched hand. In the meantime you might get a feeling that the movements are frozen as if searching for the right key among several similar-looking ones. As usual, it is always the last one which fits the lock.
  
  Goin’ is also beautiful word resembling the sound of a gong. The afore-mentioned aspects and Martin Kuuskmann’s idiosyncratic style as bassoonist were constantly in my mind while composing this work.“
  
  Text from the booklet of Glasperlenspiel Festival 2014

  1. Doin'
  2. Stayin'
  3. Movin'
  2014
  25'
  bassoon, chamber orchestra: 1121, 1110, 2, strings
  Fp: Martin Kuuskmann (bassoon), Glasperlenspiel Sinfonietta, conductor Andres Mustonen; July 10, 2014, Tartu St. John's Church, Glasperlenspiel Sinfonietta
  Commissioned by: Glasperlenspiel Sinfonietta
  Distributor: EMIC YK 013
  

Works for trumpet and orchestra

• Presence

  • Audio
  • Pdf

  • Presence / Indrek Vau (trumpet), Tallinn Chamber Orchestra, conductor Eri Klas

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  2008
  4'
  trumpet, string orchestra
  Fp: Indrek Vau (trumpet), Tallinn Chamber Orchestra, conductor Eri Klas; April 12, 2008, Lahti Sibeliustalo, Finland
  FpEst: Indrek Vau (trumpet), Tallinn Chamber Orchestra, conductor Eri Klas; April 15, 2008, Tallinn Methodist Church
  Commissioned by: Eri Klas
  Distributor: EMIC YK 003
  

Works for percussion and orchestra

• Ringing Options

  • Audio

  • Ringing Options

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  2000
  10'
  solo percussion, symphony orchestra: 2222, 4231, 2, strings
  Fp: Vambola Krigul (percussion), Estonian National Symphony Orchestra, conductor Paul Mägi; May 2000, Eurovision Young Musicians, Estonian round, Tallinn
  

Works for violin and orchestra

• Cloudworks

  The title Cloudworks refers to shapes and shades around us. Clouds work both ways, they are endlessly taking shapes, continuously appearing and disappearing. They are transforming the light and covering the sun and the frozen water from them sometimes covers the ground. Clouds can be considered as intermediants between airs and waters above and below.
  With shading the sun and starlight they act as curtains, keeping our senses set on longing for something to appear. And reappear.
  
  The concerto has a rather classical structure in general, shaped in three movements with small introduction and coda and a cadenza. Nevertheless all that is played attacca without interrupting the continuity. The solo violin has a leading role throughout the piece, triggering different actions in music. Even if it sometimes is taking shelter by orchestral soundscapes it still remains giving impact from the inside until it emerges again onto the surface foreground. Like a little bird, making its paths through the trasparent labyrinths in the sky. Or like the wind, itself invisible in its powers.
  
  Ülo Krigul

  Concerto for violin and symphony orchestra
  2021
  17'
  solo violin, symphony orchestra: 2222, 4200, 1+2, harp, strings
  Fp: Dalia Kuznecovaite (violin), Kaunas City Symphony Orchestra, conductor Erki Pehk; February 24, 2022, Kaunas State Philharmonic, Lithuania
  Commissioned by: Orchestre National de Bretagne
  

Works for piano and orchestra

• Flow on the Water [Vool veel]

  • Audio
  • Video

  • Vool veel / Kristina Polov (piano), Tallinn Chamber Orchestra, conductor Lauri Sirp

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  Dedicated to Sonja
  2016
  4'
  piano (young pianist), string orchestra
  Fp: Participants of the competition Young Musician 2017; April 2017, Heino Eller Tartu Music School, Tubin Hall
  

Works for other instrument and orchestra

• Synthesizer Concerto "Synlith" [Süntesaatorikontsert "Synlith"]

  • Audio

  • Synthesizer Concerto Synlith / Taavi Kerikmäe (synthesizers), Estonian National Symphony Orchestra, conductor Olari Elts

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  2022
  30'
  synthesizers, symphony orchestra
  Fp: Taavi Kerikmäe (synthesizers), Estonian National Symphony Orchestra, conductor Olari Elts; November 4, 2022, Estonia Concert Hall
  

WORKS FOR ENSEMBLE

Duos

• streeeeeeeeeetch

  2021/2023
  10'
  bass flute, piano, electronics
  Fp: Monika Mattiesen (flute), Michael Wendeberg (piano); Decemebr 6, 2023, Emmaus-Kirche, Berlin, Germany, international contemporary festival Afekt
  FpEst: Monika Mattiesen (flute), Michael Wendeberg (piano); March 2, 2024, Arvo Pärt Centre
  
• From the Eye of the Storm [Tormisilmast]

  “From the Eye of the Storm was written thinking of a dear friend who, in her infinitely humble love, passed away this winter on an exceptionally beautiful and powerfully stormy night.”
  
  Ülo Krigul

  2022
  saxophone, organ
  Fp: Ulla Krigul (organ), Virgo Veldi (saxophone); April 16, 2022, Tartu St. Paul's Church, Estonian Music Days
  Commissioned by: Estonian Music Days
  
• Signs and Signatures / märgid ja märguanded

  2021
  organ, harpsichord
  Fp: Kristel Aer (organ), Ene Nael (harpsichord); July 15, 2021, Viljandi St. John's Church, Viljandi Organ Festival
  
• Toccatattack

  • Audio

  • Toccataattack / Anna-Liisa Bezrodny (violin), Sten Lassmann (piano)

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  2017
  violin, piano
  Fp: Anna-Liisa Bezrodny (violin, Sten Lassmann (piano); February 18, 2018 Tartu, Vanemuine Concert Hall, February 20, 2018 Tallinn, Estonia Concert Hall
  
• For the Stars [Tähtedele]

  2014
  saxophone, organ
  Fp: Virgo Veldi (saxophone), Ulla Krigul (organ); December 9, 2014, Pärnu St. Elizabeth's Church
  
• Airsong [Õhulaul]

  2011
  3'
  flute, piano
  Manuscript
• 1:2

  2004
  2 cellos
  Fp: Duo Violoncellissimo (Olga Veselina, Vadim Larchikov); October 7, 2004, Tallinn, Autumn Festival of the Estonian Academy of Music
  
• Sonata [Sonaat]

  in 2 movements
  2004
  10'
  alto saxophone, piano
  Fp: Virgo Veldi (saxophone), Kai Ratassepp (piano); November 20, 2004, Tallinn Town Hall
  Commissioned by: State Concert Institute Eesti Kontsert
  
• Four Steps for Two Pianos

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  • Four Steps for Two Pianos / Mati Mikalai, Kai Ratassepp

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  1. Trane
  2. Solo
  3. Silver
  4. Trane II
  2001/2003
  10'
  2 pianos
  Fp: Kai Ratassepp, Mati Mikalai (pianos); April 9, 2001, Chamber Hall of Estonian Academy of Music, Estonian Music Days Festival
  Commissioned by: Estonian Music Days Festival
  Distributor: EMIC YK 007
  
• Asylum

  2002
  7'
  violin, piano
  Fp: Liisa Suuster (violin), Mati Mikalai (piano); October 10, 2002, Tallinn
  
• Sonata [Sonaat]

  1. Allegro
  2. Adagio
  3. Allegro vivo
  1999
  13'
  bass trombone, piano
  Fp: Ivar Kiiv (trombone), Meeli Ots (piano); November 2, 2001, Autumn Festival of the Estonian Academy of Music
  CD "The Autumn Festival of Estonian Academy of Music: new music for brass", Estonian Academy of Music (2001); Ivar Kiiv (trombone), Meeli Ots (piano)
  
• Once Upon a Time… [Elas kord…]

  1998
  4'
  flute, guitar
  

Trios

• Brahm’s Glitch

  • Audio

  • Brahm's glitch / Trio '95: Robert Traksmann (violin), Marcel Johannes Kits (cello), Rasmus Andreas Raide (piano)

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  “Brahm’s Glitch proceeds from the linguistic notion that music is played, music is meant for playing. ‘Glitch’ means ‘malfunction’. The piece proceeds from Johannes Brahms’ Piano Trio No. 1, its musical material is as if inserted into and reproduced by an imaginary granular synthesiser. The partially preserved harmonic plan and melodic lines hint at what used to exist, and its particles are now floating around in this entirely new environment. The glitch-aesthetic used in electronic music and digital technology has been placed into a purely acoustic form. Also, by shifting the apostrophe in the original composer’s name, we can open up an entirely different horizon of meanings.”
  
  Ülo Krigul

  2022
  10'
  violin, cello, piano
  Fp: Trio ’95: Robert Traksmann (violin), Marcel Johannes Kits (cello), Rasmus Andreas Raide (piano); April 17, 2022, University of Tartu Museum, Estonian Music Days
  Commissioned by: Estonian Music Days
  
• Bass Constructions

  • Audio

  • Bass Constructions: I / Heigo Rosin (percussion), Madis Vilgats (tuba), Kristi Hinsberg (piano)

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  I
  II
  2013
  11'
  tuba, piano, percussion
  Fp: Heigo Rosin (percussion), Madis Vilgats (tuba), Kristi Hinsberg (piano); February 26, 2013, Estonia Concert Hall
  
• Horn Players [Sarvetajad]

  • Pdf

  2013
  3 French horns
  Fp: Nikita Matsuk, Jaagup Illak, Mariel Oserov, Vigo Uusmäe; February 21, 2014, Tallinn Music High School
  Commissioned by: Tallinn Music High School
  Publisher: Estonian Music Foundation
  Distributor: EMIC EMF 020
  
• circlesquare [ringruut]

  • Audio

  • circlesquare / Mihkel Peäske (flute), Vambola Krigul (percussion), Madis Metsamart (percussion)

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  There are a decreasing number of works that are born “freely” – without a definite performer and without a deadline for completion. Nor was “circlesquare” – it is directly tied to the desire of Mihkel Peaske to perform it. Of course, perhaps (and even probably) would it have been as yet unwritten. And thus it would remain. I leave it up to the listener to decide whether this is fortunate or unfortunate… Why such a title? Because a square can be circumscribed and a circle can be surrounded by a square… Why the lower case letters? A capital letter would make one end of the word closed, in a fateful way. As we could also write “squarecircle” (“ringruut”, or circlesquare simply sounds better to my ear) I would not confer capital honours on either side of the word.
  
  Ülo Krigul

  2002
  8'
  flute, percussion (2 players)
  Fp: Mihkel Peäske (flute), Vambola Krigul (percussion), Madis Metsamart (percussion); March 14, 2002, Tartu, March 17, 2002, Tallinn, Rotermann Salt Storage
  Commissioned by: NYYD Group
  
• The Walls [Seinad]

  • Audio

  • The Walls / Harry Traksmann (violin), Kaido Kelder (cello), Marrit Gerretz-Traksmann (piano)

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  I have tried writing music everywhere. And I have succeeded – at work, at home and anywhere I happen to be. Insofar as at the moment I am constantly in the Composers’ Union building due to my work there, it is understandable that a majority of the works that will be performed were written between these walls. If you consider that the soul of the building is formed by the people who have worked and do work within it, I could not imagine an environment more fertile for the writing of music. Not that I would like to put someone else’s feather in my cap or cover my back somehow, but I simply hope to be worthy of these walls.
  
  Ülo Krigul

  in 3 movements
  2002
  8'
  violin, cello, piano
  Fp: New Tallinn Trio; April 4, 2002, Chamber Hall of the Estonian Academy of Music, Estonian Music Days Festival
  Commissioned by: Estonian Music Days Festival
  CD "Estonian Composers IV. Estonian Music Days 2002", Estonian Radio (2003); New Tallinn Trio
  

Quartets

• Section Music

  • Audio

  • Section Music / Saxophone Quartet Quasar

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  2014
  10'
  saxophone quartet
  Fp: Quasar Saxophone Quartet; October 7, 2014, Estonian Radio I Studio
  Commissioned by: Quasar Saxophone Quartet
  
• Five Vulgar Waltzes [Viis vulgaarset valssi]

  2000
  13'
  2 euphoniums, 2 tubas
  Fp: The Sleeping Tuba Quartet; September 2000, Tallinn
  Commissioned by: State Concert Institute Eesti Kontsert
  
• Tambet

  • Audio

  • Tambet / Vambola Krigul, Terje Terasmaa, Lauri Metsvahi, Kaspar Eisel

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  2000
  8'
  percussion ensemble (4 players)
  Fp: PaukenfEST Ensemble; May 5, 2000, Tallinn, PaukenfEST Festival
  Commissioned by: State Concert Institute Eesti Kontsert
  

Sextets

• Earth... to Become Earth Again

  • Pdf

  2007/2009
  10'
  flute, clarinet, piano, percussion, violin, cello
  Distributor: EMIC YK 006
  

Septets

• Earth... to Become Earth Again

  • Audio

  • Earth... to Become Earth Again / Ensemble Phoenix Basel, conductor Jürg Henneberger

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  2007
  10'
  flute, clarinet, piano, percussion, violin, viola, cello
  Fp: Ensemble Phoenix Basel, conductor Jürg Henneberger; October 18, 2007, Estonia Concert Hall, festival "Nyyd"
  Commissioned by: festival "Nyyd"
  

Works for large ensemble (8+)

• streeeeeeeeeetch

  • Audio

  • streeeeeeeeeeeeeeeetch / Ensemble for New Music Tallinn

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  Streeeeeeeeeetch
  
  There have been times in music history when the developmental leaps in technology have expanded the opportunities of creative expressive means. Just like it is possible to enhance and analyse very small or very distant objects through a microscope or telescope, technology has also enabled us to reach a point in music which our ears cannot. The microphone and telephone serve a similar purpose.
  
  In one way or another, this is, of course, a distortion. The human desire to see further over the edge, behind the horizon. Or deep into one’s eye, through the cornea. The distortion mainly becomes visible due to changes in the objects. One of the key features of sound – especially musical sound – is its temporal dimension. Placing a “magnifying glass” on a sound fragment, we can “make a mountain out of a molehill”.
  
  Already for some time, the capacities of computer processors are so extensive that we can manipulate the characteristics of sound, thus enabling us to monitor its change over time with a different kind of attention. Streeeeeeeeeetch – as the title indicates – is based on a stretch, the 10-fold stretch of one recorded sound. In the creative process, sometimes the original source or form of the material loses its initial point and dimension. Here, too – one short random sound defines the temporal flow of a 10-minute composition. This provides the form and one only has to choose which parts to shed more light on, and which ones to leave in the background. The instruments are edited on the recorded sound, following and enhancing the processes according to their performance style and technique.
  
  Ülo Krigul

  2021
  11'
  flute, clarinet, percussion, electric guitar, piano, violin, viola, cello, electronics
  Fp: Ensemble for New Music Tallinn; May 2, 2021, online from Tallinn, Estonian Public Broadcasting Studio 1, Estonian Music Days & Baltic Music Days
  
• Aquaspherics

  • Audio
  • Pdf
  • Video

  • Aquaspherics / Piano orchestra: Nata-Ly Sakkos – Toivo Peäske; Reet Kopvillem-Ruubel – Piret Habak; Kai Ratassepp – Mati Mikalai; Piret Väinmaa – Lauri Väinmaa

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  2010
  20'
  4 pianos, 16 hands
  Fp: Nata-Ly Sakkos and Toivo Peäske, Kai Ratassepp and Mati Mikalai, Piret and Lauri Väinmaa, Reet Kopvillem-Ruubel and Piret Habak; October 27, 2010, Estonia Concert Hall, international pianists' festival "Klaver"
  Commissioned by: International pianists' festival "Klaver"
  Distributor: EMIC YK 001
  
• The Passing

  • Pdf

  2010
  bass flute, bass clarinet, contrabassoon, horn, trombone, percussion, piano, viola, cello, double bass
  Fp: Ensemble OrchestrUtopica; June 6, 2010, Lisbon, concert within the framework of the 57th International Rostrum of Composers
  Commissioned by: Radio France and International Music Council
  Distributor: EMIC YK 005
  

WORKS FOR SOLO INSTRUMENT

Works for French horn

• Horn´tology

  2018
  4'
  French horn
  Fp: Obligatory piece at the Estonian National Competition for Wind Instruments, December 12, 2018, Estonian Academy of Music and Theatre, Chamber Hall
  

Works for trombone

• suite-case II [kohvri juhtum II]

  2007
  5'
  trombone
  Fp: Andres Kontus (trombone); April 14, 2007, Tallinn Town Hall, Estonian Music Days Festival
  Commissioned by: Estonian Music Days Festival
  

Works for percussion

• Kamenna tšjarodjeinitsõ

  2003
  percussion
  Fp: Vambola Krigul; July 2003, Trsténice, Czech Republic
  FpEst: Vambola Krigul; March 1, 2006, Winter Garden of the Estonian National Opera, Tallinn
  

Works for piano

• Sample Library

  2018
  piano
  Fp: Arko Narits (piano); October 10, 2018, Estonia Concert Hall, Tallinn, International festival "Piano"
  
• suite-case I [kohvri juhtum I]

  • Audio
  • Pdf

  • suite-case / Mati Mikalai (piano)

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  suite-case…suite-like in form, a hastily packed travel case in content.
  just as surprises can emerge upon opening a hastily packed suitcase – the content do not necessarily match what is later extracted – so too in the case of a musical little suitcase, much is left to the opener to decide – what and how he removes items, with greetings to Mati Mikalai
  
  Ülo Krigul

  2004
  11'
  piano
  Fp: Mati Mikalai; October 26, 2004, Estonia Concert Hall, Tallinn, international pianists´ festival “Klaver”
  Commissioned by: International pianists´ festival “Klaver”
  Distributor: EMIC YK 010
  Manuscript

Works for guitar

• Ajakeevitaja

  • Audio

  • Ajakeevitaja / Karl Laanekask

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  2005
  10'
  electric guitar
  Fp: Karl Laanekask; April 9, 2005, Tallinn Cinema House, Estonian Music Days Festival
  Commissioned by: Estonian Music Days Festival
  Distributor: EMIC

Works for organ

• Over-tour

  • Audio
  • Pdf

  • Over-tour / Ulla Villenthal (organ)

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  2003
  4'
  organ
  Fp: Ulla Villenthal; November 13, 2003, Tallinn, St. Nicholas's Church, Artur Kapp Festival
  CD "Bernsteinstrasse", Musica Delicata (2007); Ulla Krigul (organ)
  Distributor: EMIC YK 011
  

VOCAL AND CHORAL MUSIC

Works for mixed choir and orchestra

• And the Sea Arose

  • Audio
  • Video

  • And the Sea Arose / Estonian Philharmonic Chamber Choir, Tallinn Chamber Orchestra, conductor Kaspars Putniņš

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  2019
  15'
  mixed choir, string orchestra
  Text: From the Gospel of John and Gospel of Matthew, compiled by Hedi Rosma (in English)
  Fp: Estonian Philharmonic Chamber Choir, Tallinn Chamber Orchestra, conductor Kaspars Putniņš; April 19, 2019, Tallinn St. John's Church
  Commissioned by: Estonian Philharmonic Chamber Choir
  CD "Ülo Krigul. Liquid Turns", BIS Records (2022). Estonian Philharmonic Chamber Choir, Tallinn Chamber Orchestra, conductor Kaspars Putniņš
  
• Christmas Power [Jõulujõud]

  • Audio

  • Christmas Power: Final Song / Pirjo Püvi, Andres Köster, Priit Volmer, children choir and orchestra of Tallinn Music High School, conductor Risto Joost

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  oratorio
  2008
  65'
  soloists, mixed choir, symphony orchestra
  Libretto: Jaan Pehk
  Fp: Symphony Orchestra of Tallinn Music High School, conductor Risto Joost, Tallinn Music High School Youth Choir, soloists Pirjo Püvi, Andres Köster, Priit Volmer and Jaan Pehk; 19.12.2008, I Studio of Estonian Radio
  

Works for voice(s) and orchestra

• Tulikeel

  2018
  vocal, electronics, symphony orchestra
  Text: Hasso Krull
  Fp: Kadri Voorand (vocal), Tammo Sumera (electronics), Estonian National Symphony Orchestra, conductor Andres Kaljuste; August 25, 2018, Haven Kakumäe marina, Night of Ancient Lights, Nargenfestival
  
• Understandards

  • Audio

  • Understandards / Estonian Voices, Estonian National Symphony Orchestra, conductor Anu Tali

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  In Understandards, I have used text excerpts from jazz standards as my inspiration. My choice of excerpts was purely text-driven and I did not pay much attention to the musical material that goes together with those texts in the original songs. It was very exciting to deconstruct a collection of texts from its original setting and connotations – jazz standards comprise a steady musical constant – and then reconstruct these texts in a new way in a new environment. In doing that, Hasso Krull helped me a lot. The fact that all these texts has a deep, even if hidden, connection adds another kind of energy level. While I worked with these texts, they also brought some of their original music with them. In a way, it is word sampling – a technique widely used in popular music. It is like taking an old button from an old coat and making a whole new coat while using that one old button. I was surprised how well this sampling technique fits together with the EMD’s recycling theme this year. I was similarly surprised to find out that my text sampling technique in Understandards pays hommage to Luciano Berio Sinfonia that is certainly one of the most significant works in the vocal-symphonic chamber genre.
  
  Ülo Krigul
  (text from booklet of Estonian Music Days 2016)

  2016
  11'
  vocal ensemble, symphony orchestra
  Text: Hasso Krull and Ülo Krigul on the basis of jazz standards
  Fp: Estonian Voices, Estonian National Symphony Orchestra, conductor Anu Tali; April 15, 2016, Estonia Concert Hall, Tallinn, Estonian Music Days
  Commissioned by: Estonian Music Days
  
• Swan Bone City

  • Audio

  • Swan Bone City / Iiris Vesik, Estonian National Symphony Orchestra, conductor Risto Joost

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  2012
  9'
  soprano, symphony orchestra: 2222, 4331, percussion (3), harp, piano, strings
  (arrangement also for soprano, ensemble (flute, clarinet, violin, percussion, piano) and chamber orchestra
  Text: Kristiina Ehin, translated by Ilmar Lehtpere (in English)
  Fp:

  Iiris Vesik (voice), Estonian National Symphony Orchestra, conductor Risto Joost; 23.03.2012, Estonia Concert Hall, Estonian Music Days Festival
  Commissioned by: Estonian Music Days Festival
  

• The Night Remains... [Jääb öö…]

  • Audio

  • The Night Remains... / Aile Asszonyi, Estonian Academy of Music Symphony Orchestra, conductor Toomas Kapten

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  1999
  8'
  soprano, chamber orchestra: harp, strings
  Text: Andres Ehin
  Fp: Aile Asszonyi (soprano), Chamber Orchestra of Estonian Academy of Music, conductor Toomas Kapten; September 15, 1999, Autumn Festival of the Estonian Academy of Music
  

Works for voice(s) and piano

• Three Songs on Texts by Indrek Hirv [Kolm laulu Indrek Hirve sõnadele]

  • Pdf

  Dedicated to Ain Anger
  2008
  bass, piano
  Text: Indrek Hirv
  Fp: Ain Anger (bass), Jendrik Springer (piano); April 1, 2008, Vienna Musikverein, Gläserner Saal
  FpEst: Ain Anger (bass), Ralf Taal (piano); July 22, 2008, Kuressaare Castle chapter hall, Saaremaa Opera Days
  Commissioned by: Ain Anger
  Distributor: EMIC YK 012
  

Works for voice(s) and other instrument(s)

• Sügis. Maastikud (Autumn. Landscapes)

  • Audio

  • Sügis. Maastikud / Iris Oja (mezzo-soprano), Endrik Üksvärav (tenor), Indrek Vau (trumpet), Peep Lassmann (piano)

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  Inspired by Veljo Tormis's choir cycle "Autumn Landscapes")
  2020
  10'
  2 voices, trumpet, piano
  Text: Viivi Luik
  Fp: Iris Oja (mezzo-soprano), Endrik Üksvärav (tenor), Indrek Vau (trumpet), Peep Lassmann (piano); February 2, 2021 Pärnu Concert Hall, February 8, 2021 Estonia Concert Hall
  
• Quilty Pleasures in Open D from the Real Fakebook

  • Video

  2019
  8'
  voice, harp, harpsichord, kannel
  Fp: Ensemble Una Corda; November 16, 2019, St. Nicholas's Church, Tallinn
  
• Random Airs

  1. Silhouetted against the desert sky (the two cut different figures)
  2. Dwellings
  3. And she danced
  2014
  soprano, viola
  Fp: Kai Kallastu (soprano), Talvi Nurgamaa (viola); May 24, 2014, Pärnu St. Elizabeth's Church
  
• Die Ernste Wandlungen

  • Audio

  • Die Ernste Wandlungen / Ensemble Resonabilis

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  2007
  10'
  voice, flute, Estonian zither kannel, cello
  Text: Ernst Jandl (in German)

  * * *
  im
  
  wolken
  
  ticken
  
  es musikt
  
  durch die wand
  
  wolken
  
  ticken
  
  schreienfenstern
  
  * * *
  
  H
  
  * * *
  
  sieben kleine geschichten
  
  es war einmal ein mann, der hiess THOMAS. dieser beugte sein knie.
  
  “wie du dein knie beugst”, sagte die frau. “und ob”, erwiderte der mann,
  
  “es regnet weiss ich nicht”
  
  es war einmal ein mann, der hiess JAKOB. “entschuldigung”, sagte dieser zu der frau, “aber du bist schmutzig”. “wohin?” fragte die frau.
  
  “nicht so hastig. nicht so hastig”, sagte die frau zu dem mann, der ZEBORIUS hiess. “hast”, erklärte ZEBORIUS der frau, “du mich lieb?”
  
  es was einmal ein mann, der hiess NEPOMUK. Diesen fragte die frau:
  
  “wieviel uhr ists? wieviel uhr ists?” “halb”, sagte NEPOMUK, “ich dir nicht
  
  gesagt du sollst deine finger davon lassen?”
  
  es war einmal ein mann, der hiess THADDÄUS. diesen fragte die frau:
  
  “was für eine farbe hat es?” “grü”, sagte THADDÄUS bescheiden, “ssgott.”
  
  “warum denn? warum denn? warum denn? warum denn?” fragte die frau den reichen JONATHAN. “damit”, gab der reiche mann zur antwort,
  
  “kannst du nicht umgehen, frau”
  
  es war einmal ein mann, der hiess PETER. “wieviel uhr ists? wieviel uhr ists? wieviel uhr ists?” fragte diesen die frau. “ach” sagte PETER traurig, “t”.

  
  Fp: Ensemble Resonabilis: Iris Oja (mezzo-soprano), Kristi Mühling (kannel), Tarmo Johannes (flute), Aare Tammesalu (cello); November 3, 2007, Tallinn Town Hall
  CD "Contemporary chamber and solo music for kannel", Kristi Mühling (2009). Ensemble Resonabilis: Kristi Mühling (kannel), Iris Oja (voice), Tarmo Johannes (flute), Aare Tammesalu (cello)
  
• Three Songs [Kolm laulu]

  • Audio

  • Three Songs: To the Garden (Risto Joost (voice), Reval Ensemble: Neeme Punder (flute), Eda Peäske (harp), Aare Tammesalu (cello)

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  2. To the Garden
  2. Tomorrow Is Such a Long Time
  3. Cello’s Song
  2005
  11'
  voice, flute/bass flute, harp, cello
  Text: Nick Drake (in English)

  Three songs
  Nick Drake
  
  To the garden
  
  In the bright red sky
  In the heat of an evening
  When only prisoners sleep
  She said she couldn’t
  Come to the garden
  See an old man weep
  
  She said her dreams
  What too far to be thought of
  As scars too wide to view
  She said she couldn’t
  Come to the garden
  See a blind man kneel
  
  She sailed away
  To a blue horizon
  In floating thoughts she’d sway
  She said she couldn’t
  Come to the garden
  See an old man pray
  
  She wished the luck
  As they left on their journey
  Maybe she’d join them soon
  But she lost her grip
  At the tip of life’s finger
  Went home and worshipped the moon
  
  Tomorrow is such a long time
  
  If today were not an endless highway
  If tonight were not a crooked trail
  If tomorrow weren’t such a long time
  Then lonesome would mean nothing to me at all
  
  And only if my own true love were waiting for me
  And if I could hear her heart softly pounding
  If only she was lying by me
  Then I’d lie in my bed once again
  
  I can’t see my reflection in the water
  Can’t speak the sounds that show no pain
  I can’t hear the echo of my footsteps
  Can’t remember the sound of my own name
  
  And only if my own true love were waiting for me
  And if I could hear her heart softly pounding
  If only she was lying by me
  Then I’d lie in my bed once again
  
  There’s beauty in the silver, singing river
  There’s beauty in the sunrise in the sky
  None of these and nothing else can touch the beauty
  That I remember in my true love’s eyes
  
  And only if my own true love were waiting for me
  And if I could hear her heart softly pounding
  If only she was lying by me
  Then I’d lie in my bed once again
  
  Cello’s song
  
  Strange face, with your eyes
  So pale and sincere.
  Underneath you know well
  You have nothing to fear.
  For the dreams that came to you when so young
  Told of a life
  Where spring is sprung.
  
  You would seem so frail
  In the cold of the night
  When the armies of emotion
  Go out to fight.
  But while the earth sinks to its grave
  You sail to the sky
  On the crest of a wave.
  
  So forget this cruel world
  Where I belong
  I’ll just sit and wait
  And sing my song.
  And if one day you should see me in the crowd
  Lend a hand and lift me
  To your place in the cloud.

  
  Fp: Risto Joost (voice), Reval Ensemble: Neeme Punder (flute), Eda Peäske (harp), Aare Tammesalu (cello), October 22, 2005, Tallinn Town Hall, festival „Nyyd”
  
• If My Guardian Angel Falls... [Kui linnuteede kruusa langeb ingel...]

  • Audio

  • If My Guardin Angel Falls / Raul Mikson, Mikk Üleoja, Tõnis Kaumann, Taniel Kirikal, Ensemble Voces Musicales, conductor Risto Joost

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  2003
  17'
  2 tenors, 2 baritones, oboe, horn, trumpet, trombone, percussion, 3 violins, 2 violas, 2 cellos, double bass
  Text: Aurelius Augustinus, Indrek Hirv (in Latin and Estonian)
  Fp: Raul Mikson, Mikk Üleoja (tenors), Tõnis Kaumann, Taniel Kirikal (baritones), Voces Musicales Ensemble, conductor Risto Joost; October 17, 2003, Tallinn, Estonia Concert Hall, NYYD Festival
  Commissioned by: NYYD Festival
  
• For Ulla on the Tavern-Window, in a Springtime [Ullale kõrtsiaknal, ühe kevadpäeva lõuna paiku]

  • Audio

  • For Ulla on the Tavern-Window, in a Springtime / Risto Joost (vocal), Tiit Peterson (guitar)

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  2000
  2'
  countertenor (or alto), guitar
  Text: Carl Michael Bellmann (in Estonian)

  Ullale kõrtsi aknal, ühel kevadpäeva lõuna paiku
  Ulla, mu Ulla, kas maitsta sa sooviks
  maasikaid piima ja veiniga?
  Või vahest siplevat särge sa prooviks,
  allikal käin ehk toon vett sulle ma?
  
  Pilvede peidust päikene paistab,
  nagu näed.
  
  Tervitus sulle seal aknal, mu kallis!
  Kuula, kuis linnas lööb kelli veel!
  Aknast, kus all istus unisel ratsul,
  ulata mulle, mu silmarõõm,
  
  esmalt tükk kooki, siis leida katsu
  veinisõõm!
  
  Kas pole kaunis paik me ümber see!?
  Nii lahke on siin olla.
  Või need haljad puud ja rohtund tee…
  
  Ratsule tallipoiss järel võib tulla,
  hirnub ja trambib täkk püstipäi.
  Kuid talliukselt veel, näed sa, mu Ulla,
  just sinu poole pilk üles tal käib.
  
  Kuum kaunis kiirgus su silmade vaates
  sütitab looduse igal pool.
  
  Tõstan nüüd klaasi sul’ pilkusid saates –
  tervist joon!

  
  Fp: Risto Joost (countertenor), Tiit Peterson (guitar); April 28, 2000, Tallinn, Estonian Academy of Music, Estonian Music Days Festival
  Commissioned by: Estonian Music Days Festival
  

Works for mixed choir a cappella

• liquid turns

  • Video

  2022
  13'
  mixed choir, electronics
  CD "Ülo Krigul. Liquid Turns", BIS Records (2022). Estonian Philharmonic Chamber Choir, conductor Kaspars Putniņš
  
• But Always Look Upwards [Aga vaata aina üles]

  • Audio
  • Pdf

  • Aga vaata aina üles: II Öö on pime / Estonian Philharmonic Chmaber Choir, conductor Kaspars Putniņš

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  1. Hingamisi (Breathings)
  2. Öö on ikka pime (The Night Is Still Dark)
  3. Puud aina kasvavad (Trees Grow Ever)
  4. Ainuski pilv ei tule tagasi (No Cloud Returns)
  5. Lahkuda onnidest (To Leave the Shacks)
  6. Kui vanasti räägiti tuulest (Once We Spoke About the Wind)
  2019
  21'
  mixed choir
  Text: Uku Masing, Hedi Rosma
  Fp: Estonian Philharmonic Chamber Choir, conductor Kaspars Putniņš; November 12, 2019 Tartu St. Paul's Church, November 13, 2019 Tallinn St. Nicholas's Church
  CD "Ülo Krigul. Liquid Turns", BIS Records (2022). Estonian Philharmonic Chamber Choir, conductor Kaspars Putniņš
  Distributor: EMIC YK 017
  
• Vesi ise

  • Audio
  • Video

  • Vesi ise / Estonian Philharmonic Chamber Choir, conductor Kaspars Putniņš

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  Water Is
   
  As for its origin, nature and perhaps purpose, Water Is positions itself in an intermediate sphere between meditational practices and concert music. The work takes its text and title from the eponymous work of sound poetry by Ilmar Laaban (1921-2000), the Estonian surrealist poet. What made me choose Laaban’s work was the compositional similarity, that state of suspense or in-betweenness: although there certainly is a peculiar logic to its progression, the message is rather more guided by the perceptions of sound. Arranging the text for choir, I tried to follow Laaban’s logic – the mixed semantics emerging from the sounded syllables. The choir part, however, utilises just the very first segment of the original text. On the most elementary level, this composition deals with the meeting between the earth and water. The pitch of the composition is based on the three main frequencies of the Earth – day (G), year (Cis) and era (F) – and the text springs from the innards of water. The presence of the earth was there from the very beginning, since I started composing and recorded the phonogram with gongs that were tuned as specified above. The choral part, actually, is quite a precise transcription of the freely improvised gongs recording. The theme of water came to be added later on, when I was looking for a text for my half-completed music.
   
  Ülo Krigul

  2015
  15'30''
  mixed choir, fixed media
  Text: Ilmar Laaban's sound poetry

  vesi ise see vesi see see vesi see seisev vesi see ise see seisev
  vesi see ise seisev vesi see sinul sees see sinu oma see sinu
  oma maa oma vesi oma maa
  
  Ilmar Laaban
  
  water is the water this is water the still water this self-
  standing water this self-standing water this in you this
  your own earth own water own earth
  
  Ilmar Laaban (translated by Jaan Malin)

  
  Fp: Estonian Philharmonic Chamber Choir, conductor Kaspars Putniņš; October 3, 2015, Tubin Hall of the Heino Eller Tartu Music School
  Commissioned by: Estonian Philharmonic Chamber Choir
  CD "Ülo Krigul. Liquid Turns", BIS Records (2022). Estonian Philharmonic Chamber Choir, conductor Kaspars Putniņš
  CD „New Estonian Choral Music“, Estonian Music Information Centre (2021); Estonian Philharmonic Chamber Choir, conductor Kaspars Putniņš
  
• Preces ad lucem

  • Audio
  • Pdf

  • Preces ad lucem / Estonian Philharmonic Chamber Choir, conductor Daniel Reuss

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  2008
  9'
  mixed choir
  Text: (in Latin)
  Fp: Estonian Philharmonic Chamber Choir, conductor Daniel Reuss; October 23, 2008, Tallinn St. Nicholas's Church
  Commissioned by: Estonian Philharmonic Chamber Choir
  Distributor: EMIC YK 015
  
• Anywhere You Walk [Kõikjale saab kõndida]

  2006
  3'
  mixed choir
  Text: Jaan Pehk

  kõikjale saab kõndida...
  paremale, pahemale...
  ülespoole, allapoole...
  keegi ei saa sundida.
  
  põhja poole...
  põhja pole..
  kaugemale...
  lõunamaale...
  hakkan teele sättima...
  
  Küll on käidud ilma kaared,
  jalge all taas omad rajad
  selja taha jäävad jäljed
  jäljed jäävad kauaks veel
  
  kailu lõhnast suurtes soodes
  tunnen ära oma maa.

  
  Fp: Mixed Choir of the Estonia Society, conductor Heli Jürgenson; March 24, 2006, Glasshall of the Tallinn Song Stage, Estonian Music Days Festival
  Commissioned by: Estonian Music Days Festival
  
• Salve Regina

  2000
  4'
  mixed choir
  Fp: Voces Musicales Chamber Choir, conductor Risto Joost; October 18, 2000, Autumn Festival of the Estonian Academy of Music
  

Works for male choir a cappella

• Light of the Clouds! [Pilvede valgus!]

  • Pdf

  2013
  4'
  male choir
  Text: Indrek Hirv
  Publisher: Estonian Music Foundation
  Distributor: EMIC EMF 012
  

Works for vocal ensemble

• Exploring Rich Town from the 12th Century [Rikka linna avastamislaul 12. sajandist]

   

  2009
  3 male voices
  Text: Maarja Kangro

  Rikka linna avastamislaul   12. sajandi lõpust (tõenäoliselt on tegu Tallinnaga)   Läksin metsa kõndima,   hommikult huiluma,   tahtsin soosse sõstarelle,   päeva alla pähkelalle,   läbi sita, läbi sopa   tulin kaugelt kaema,   kaigas oli kainelasta.   Mis ma metsast eesta leidsin?   Sääl on kuldsed kaukoogud,   valgest vasest väravad,   selgest tinasta tänavad.   Kes sääl kargab kullast linnas?   Kas on karu karjumassa,   ahvikarjad kargamassa?   Ei sääl karga ahvikarjad,   hundid, hullud uisutajad,   sihistajad sisalikud,   Ei seal kuika kurjad kullid,   ei seal krooksu kärnas konnad.   Sääl on velled hellakesed,   mukid mehed magusamad,   sininoori neitsikesed,   kullerkupu kroonikesed,   virgukesed valged mamslid.   Inimkeeli kõnelevad,   riides ringi astuvad,   ued ummiskingadessa,   vennad vikkel-sukkadessa.   Sääl on meri õue alla,   kalajärve kalda alla,   sisse sääl käivad siidilaevad,   mööda käivad mütsilaevad.   sead seal söövad siigasid,   härjad häida ahvenaida,   lammad laia latikaid.   pudru puud sääl ei ole,   raha puudu sääl ei ole!   See on minul meelta mööda,   mehikesel mokkamööda.   Sääl ma õnnula elaksin,   mesimarjala magaksin.   See on minul mokkamööda,   mokkamööda, mokkamööda...

  
  Fp: Martin Lume, Aarne Talvik, Allan Vurma; April 17, 2009, Estonian Academy of Music and Theatre Chamber Hall, Estonian Music Days Festival 2009
  Commissioned by: Estonian Music Days Festival 2009
  Manuscript

ELECTRONIC, ELECTRO-ACOUSTIC AND MULTIMEDIA WORKS

• House of Veils

  Prephase
  I Wailing of the Unborn
  II Moving into
  III Wailing of the Universe
  IV The most tired woman
  V The House
  VI The Window
  VII The Dance
  2023
  22'
  mezzo soprano, percussion (2 players), electronics
  Text: Anaïs Nin’s book "House of Incest" (compiled by by Hedi Rosma and Ülo Krigul)

  Prephase 
  the morning I got up…
  the morning I got up to begin…
  the morning I got to begin
  I got to begin
  I got to begin this book
  this book I coughed
  I coughed something
  something was coming
  coming out of my throat
  my throat was strangling me
  
  I Wailing of the Unborn
  I broke the thread
  moving into the body
  cathedrals wavering
  feeling their own weight
  and my eyes
  and my bones move
  far beneath the level of storms
  I spat out my endless bottoms of peace        
  
  II Moving into
  perfumes suspended in darkness
  lemons hang like lanterns
  as I am drinking her pollen and honey
  two shells of an oyster
  unglued from its frame
  soldered together
  her eyes reflect water
  white flame of her breath
  the brown crust of earth
  the soft secret yielding
  
  III Wailing of the Universe
                                                                                         
  IV The most tired woman
  I am the most tired woman of the world
  life requires an effort which I can not make
  don´t say anything
  be cause I see that you understand me
  and I am afraid of your understanding
  I have such a fear of finding another like myself
  and such a desire to find one
  when I sit before my mirror I laugh at myself
  I can not tell how these separate pieces can be me
  I do not exist   
                                                                                                               
  V The House
  Lies create solitude 
  
  VI The Window
  blood spilled out of my ears
  painted eyes weep
  my feet under the pillows always
  burn down the walls of our secret house
  
  VII The Dance
  without arms
  inside
  needles me
  swelling skin
  curtains away

  
  Fp: Iris Oja (mezzo-soprano), Vambola Krigul (percussion), Lauri Metsvahi (percussion), Tammo Sumera (electronics); April 30, 2023, Arvo Pärt Centre, Estonian Music Days
  Commissioned by: Estonian Music Days
  
• Vesi ise

  • Audio
  • Video

  • Vesi ise / Estonian Philharmonic Chamber Choir, conductor Kaspars Putniņš

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  Water Is
   
  As for its origin, nature and perhaps purpose, Water Is positions itself in an intermediate sphere between meditational practices and concert music. The work takes its text and title from the eponymous work of sound poetry by Ilmar Laaban (1921-2000), the Estonian surrealist poet. What made me choose Laaban’s work was the compositional similarity, that state of suspense or in-betweenness: although there certainly is a peculiar logic to its progression, the message is rather more guided by the perceptions of sound. Arranging the text for choir, I tried to follow Laaban’s logic – the mixed semantics emerging from the sounded syllables. The choir part, however, utilises just the very first segment of the original text. On the most elementary level, this composition deals with the meeting between the earth and water. The pitch of the composition is based on the three main frequencies of the Earth – day (G), year (Cis) and era (F) – and the text springs from the innards of water. The presence of the earth was there from the very beginning, since I started composing and recorded the phonogram with gongs that were tuned as specified above. The choral part, actually, is quite a precise transcription of the freely improvised gongs recording. The theme of water came to be added later on, when I was looking for a text for my half-completed music.
   
  Ülo Krigul

  2015
  15'30''
  mixed choir, fixed media
  Text: Ilmar Laaban's sound poetry

  vesi ise see vesi see see vesi see seisev vesi see ise see seisev
  vesi see ise seisev vesi see sinul sees see sinu oma see sinu
  oma maa oma vesi oma maa
  
  Ilmar Laaban
  
  water is the water this is water the still water this self-
  standing water this self-standing water this in you this
  your own earth own water own earth
  
  Ilmar Laaban (translated by Jaan Malin)

  
  Fp: Estonian Philharmonic Chamber Choir, conductor Kaspars Putniņš; October 3, 2015, Tubin Hall of the Heino Eller Tartu Music School
  Commissioned by: Estonian Philharmonic Chamber Choir
  CD "Ülo Krigul. Liquid Turns", BIS Records (2022). Estonian Philharmonic Chamber Choir, conductor Kaspars Putniņš
  CD „New Estonian Choral Music“, Estonian Music Information Centre (2021); Estonian Philharmonic Chamber Choir, conductor Kaspars Putniņš
  
• Flight No JK025 [Lend nr JK025]

  Dedicated to the 25th birthday of festival Jazzkaar
  2014
  vocal, keyboards, saxophone, bass, percussion, electronics, live electronics
  Fp: Ülo Krigul (prepared piano, harmoniums, live electronics), Kadri Voorand  (vocal), Siim Aimla (saxophones), Mart Taniel (prepared piano, electronics, visual solutions), Peedu Kass (bass), Reigo Ahven and Kaia Karjatse (percussion), Tammo Sumera (sound engineer); April 18, 2014, Tallinn Sea Plane Harbour, festival Jazzkaar
  
• *.ram

  • Audio

  • *.ram / Estonian National Male Choir, conductor Kaspars Putninš

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  2008
  25'
  male choir, fixed media
  Fp: Estonian National Male Choir, conductor Kaspars Putninsh; April 10, 2008, Estonia Concert Hall, Tallinn, Estonian Music Days Festival
  Commissioned by: Estonian Music Days Festival
  
• ...Wachet auf...die Stimme!

    ...Wachet auf...die Stimme! - Choralfantasie zum Gedenken György Ligeti DESCRITPION   100 alarmclocks with previously equalized time have to be placed (hangig from the ceiling, placed on the floor, on tables…) in a room according to its specifics. The timers of all the clocks have to be also set to the same hour. It is recommended, that at least third of the clocks are digital. This is to achieve better control over the beginning and duration of the piece, be cause the mechanical clocks all have a deflection up to 10 minutes back or fourth.
  A common collection can be organised in advance for people giving away their old or lending out alarmclocks. This also creates a positive connectivity with at least 100 people personally involved with the performance. EQUIPMENT Besides 100 alarmclocks mentioned additional equipment depends on the specifics of the location and how the clocks are placed there. Also dependant of the set 1-2 assistants are required to build up and run the performance. The performance can be executed as a single event or as an everyday installation. The installation was created after György Ligeti´s death in 2006 to honour and commemorate one of the createst figures in contemporary music history. As a source of inspiration, of course, has been the “Poéme Symphonique for 100 metronomes”. Another dimension emerges through the two polarities of “awakening” – one, maybe more temporary represented by alarmclocks and the other, more eternal represented by the title which naturally is a recall of well known anthemn “Hey wake up, the voice calls to us”. "...Wachet auf...die Stimme!" had its first performance in NYYD festival in Tallinn 2008. The piece worked there as some kind of a signal for the evening concerts to start: the clocks were hung in the ceiling of the lobby of the concert hall and were set to ring every night 15 minutes.

  Choralfantasie zum Gedenken György Ligeti
  2007
  100 alarmclocks
  Fp: 2007, Lobby of Estonia Concert Hall, Tallinn, NYYD Festival
  
• Glasperlenspiel [Klaaspärlimäng]

  This piece is for playing – containing what is for the composer a meditative and intellectual game, hopefully holding in store enjoyment for musicians, and, in leaving the work open-ended in terms of form, the opportunity, based on the performance venue and conditions – to let the audience play along. The inception of the work is dramatic. I had just about completed writing music commissioned for the same concert when I suddenly developed a completely new and completely different idea which developed so quickly that in basically an hour’s time the new piece was finished. Naturally putting it into writing and formulating took much longer…
  
  If anyone wants to know whether we can find some kind of connections to the Hermann Hesse’s novel of the same name, well, yes, some can be found, if necessary.
  
  It’s a curious thing with connections: when one writes music, especially when one writes programme notes for one’s own work, initially the entire material seems completely free-floating – disconnected from the world outside of music and from the world that could be expressed in words. And so it seems that there is in fact nothing to write about. But then, at some moment, after some pondering and analysis of the matter from a peripheral vantage point, the connections are made and somehow become so intimidatingly obvious that now one dares not write about them… Odd.
  
  Maybe it is because “for although in a certain sense and for light-minded persons non-existent things can be more easily and irresponsibly represented in words than existing things, for the serious and conscientious historian it is just the reverse. Nothing is harder, yet nothing is more necessary, than to speak of certain things whose existence is neither demonstrable nor probable. The very fact that serious and conscientious men treat them as existing things bring them a step closer to existence and to the possibility of being born. Albertus Secundus (in Joseph Knecht’s translation)
  Ülo Krigul

  dedicated to the festival Glasperlenspiel 2004
  2004
  10'
  percussion (4 players), fixed media, live electronics
  Fp: PaukenfEST Ensemble; July 22, 2004, Crossroads of the Rüütli and Nikolai Streets, Pärnu, Estonia, Opening of the Glasperlenspiel Festival
  Commissioned by: Glasperlenspiel Festival
  
• MIDI-eval Experience

  2003
  30'
  electronics
  Fp: June 7, 2003, Viljandi Early Music Festival
  Commissioned by: Viljandi Early Music Festival
  

MUSIC FOR CHILDREN

Instrumental works for children

• The Wolf Queen [Hundikuninganna]

  • Audio
  • Pdf
  • Video

  • The Wolf Queen / Taavi Orro (clarinet)

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  The Wolf Queen is a secret recording of a walk in a forest of high trees, where kind and longing thoughts of the howling queen quietly echo among trees.
  
  Ülo Krigul

  2021
  2'
  clarinet
  Fp: Taavi Orro (clarinet); May 2021, online from Tallinn, Estonian Public Broadcasting Studio 1, Estonian Music Days & Baltic Music Days
  Commissioned by: Estonian Music Days
  Distributor: EMIC YK 014
  
• Just Three Pieces [Kolm iseseisvat pala]

  1997
  5'
  piano
  

INCIDENTAL MUSIC

Film music

• Music for animated film "Urbanimatio"

  Directed by Hardi Volmer and Urmas Jõemees
  2016
  
• Music for puppet film "Lisa Limone and Maroc Orange"

  Directed by Mait Laas, Nukufilm OÜ
  2013
  Fp: March 7, 2013, Solaris Cinema, Tallinn
  
• Music for animated film "Domestic Fitless" ["Olmeheidutus"]

  Directed by Hardi Volmer, OÜ Nukufilm
  2011
  
• Music for feature film "Idiot" ["Idioot"]

  Homeless Bob Production, directed by Rainer Sarnet
  2011
  
• Music for film "60 seconds of solitude in year zero" [Muusika filmile "60 sekundit üksindust aastal Null"]

  Onetime film, part of the program of the end of the year of European Capital of Culture. Different directors from all over the world. Creators and producers Veiko Õunpuu and Taavi Eelmaa. The copy was destroyed after the screening.
  2011
  Fp: December 22, 2011, Port of Tallinn Cruise area
  
• Music for feature film "The Temptation of St. Tony" ["Püha Tõnu kiusamine"]

  Homeless Bob Production (Estonian, Swedish, Finnish co-production), directed by Veikko Õunpuu
  2009
  symphony orchestra
  
• Music for feature film "Autumn Ball" ["Sügisball"]

  Kuukulgur Film, directed by Veiko Õunpuu
  2007
  
• Music for the puppet film „The Closing Session” [„Lõpuõhtu”]

  Nukufilm, directed by Hardi Volmer
  2007
  
• Music for feature film "Empty" ["Tühirand"]

  Kuukulgur Film, directed by Veiko Õunpuu
  2006
  
• Music for feature film "Men At Arms" ["Malev"]

  Õ-Fraktsioon, directed by Kaaren Kaer
  2005
  
• Music for short feature film "Slavek the Shit"

  Czech, Icelandic and Estonian co-production, directed by Grķmur Hakonarson
  2005
  

Music to plays

• Music for Andri Luup's play "(D)arkhh" [Muusika Andri Luubi näidendile "(p)ÖÖ"]

  Co-author Lauri-Dag Tüür
  2018
  Fp: April 29, 2018, NUKU Theatre, stage directors Tiina Mölder and Christin Taul
  
• Music to performance "Dancing tower"

  For the 30th anniversary of Turku AB Dance Company, in the framework of European Capitals of Culture 2011 Turku and Tallinn
  2011
  Fp: April 14, 2011, Logomo, Turku, Finland; Aurinkobaletti, Apparatus Theatre, Engineering Theatre Akhe, concept, choreography and direction: Sasha Pepelyaev
  FpEst: June 8, 2011, Katel, Tallinn
  

POPULAR MUSIC

Popular songs

• Under the Asp [Haava all]

  • Audio

  • Under the Asp / Maian Kärmas (vocal), Ülo Krigul (piano)

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  3'
  voice, accompaniment
  Text: Maian-Anna Kärmas
  Fp: Maian-Anna Kärmas (voice), Ülo Krigul (piano); April 15, 2007, Estonian Radio First Studio, Estonian Music Days Festival
  

JAZZ MUSIC

Works for big band

• Kaz Dream

  • Audio
  • Pdf

  • Kaz Dream / Estonian Dream Bigband, conductor Örjan Fahlström

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  2004
  10'
  big band: 5 saxophones, 4 trumpets, 4 trombones, guitar, bass guitar, drum set
  Fp: Estonian Dream Big Band, conductor Örjan Fahlström; April 20, 2004, Tallinn, Estonian Music Days Festival
  Commissioned by: Estonian Music Days Festival
  Distributor: EMIC YK 016
  

ORCHESTRATIONS AND ARRANGEMENTS

• Boat Ride to Land of Wonder [Sõit imemaale]

  • Audio

  • Boat Ride to Land of Wonder / Liisi Koikson (vocal), Estonian National Symphony Orchestra, conductor Kristjan Järvi

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  arrangement of Veljo Tormis's female choir song of the same title
  2020
  4'30''
  voice, chamber orchestra: strings, harp
  Text: traditional
  Fp: Liisi Koikson (vocal), Estonian National Symphony Orchestra, conductor Kristjan Järvi; August 15, 2020, park Hirvepark, Tallinn
  
• Words of Wisdom of Väinämöinen [Väinämöise tarkussõnad]

  • Audio

  • Words of Wisdom of Väinämöinen / Young male choirs and symphony orchestra of the 13th Young Song Celebration, conductor Andrus Siimon

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  Orchestral arrangement of the song by Veljo Tormis (1984/1987)
  2020
  3'
  male choir, symphony orchestra
  Text: Kanteletar 1:90, translation from Finnish: August Annist ja Ruth Mirov
  
• Poème d’amour [Armastuse poeem]

  • Audio

  • Poème d’amour / Robert Traksmann (violin), Estonian National Symphony Orchestra, conductor Paul Mägi

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  orchestration of Artur Lemba's violin piece (1916)
  2008
  3'
  symphony orchestra
  Fp: Tallinn Music High School Symphony Orchestra, conductor Risto Joost; April 3, 2008, Estonia Concert Hall, Estonian Music Days Festival
  Publisher: Eres Edition