Round Around│2025 │ Percussion group & solo cello │Commissioned by Estonian Percussion Group I

Waters Within│2025 │ string quartet & 2 bass clarinets │Commissioned by Creative Dialogue I Listen

Taevanihe I 2025 I mixed choir I Comissioned by festival Hullunud Tartu

Ülestõusmise serval I 2025 I mixed choir I Commissioned by Kammerkoor Kolm Lindu

PÕRMULINE / THE DUSTBORN│2025 │ chamber opera │Commissioned by Ensemble U:

DER KLEINE PRINZ ODER SEINE ERSTE REISE IN DIE HERZEN │2024 │chamber opera │Commissioned by Forum Neue Kunst

DIOTIMA’S LOVE│ 2024│string quartet│Commissioned by Forum Neue Kunst│Premiere in Oldenburg November 2024

This piece entails two different layers of inspiration. In Plato’s Symposium, the priestess Diotima talks of love as metaxu (in between). The piece Diotima’s Love represents this idea using constantly changing musical processes.

The musical material of the piece is based on my reflection on the piece Silent woods (Klid) by Antonín Dvořák that was at first published under the German title Waldesruhe. This is the fifth part of the cycle initially written for piano, later transcribed for cello and orchestra.

It seems to me that people are more familiar with the feeling of constant moving rather than arriving. But we are all longing for Waldesruhe, aren’t we?

This piece is dedicated to my dear friend and cellist Irene Enzlin.

AND NOW IT IS STILL NOW (Ja nüüd on ikka veel nüüd)│ 2024│symphony orchestra│Commissioned by Estonian Music Days 2024│Performed by Estonian National Symphony Orchestra│ Listen to the piece

According to Liisa Hõbepappel, her wish as a composer is to respond to all destructive events around us, and at the same time create safe havens where to find solace. The piece And Now It Is Still Now (2024, premiere) was inspired by the verses of the French poet Bernand Noël “The Ink’s Path I”.

THE HOUR GLIMMERING (second version)│ 2023 │countertenor, cello, accordion│Written of my own accord│Performed by Nicholas Tamagna, Nina Behrends, Liisa Hõbepappel│Premiere: Anna-Elizabeth Palace in Oldenburg (Germany)

ANLAGE I: Whalesong │ 2023│bass clarinet│Commissioned by AFEKT festival│Performed by Taavi Orro│Premiere: 27.10 at 7 PM Tartu, Heino Eller Music College, Eduard Tubin Hall│Listen to the piece

A solo work is for the composer as a creative laboratory. Writing it provides an opportunity to delve into the specific details of the instrument, and often solo tracks serve as a starting point for later major works. The title of this work expresses just that thought. Anlag, or nucleus or germ, denotes the initial substance—the part of the cell that is the basis for later development. This bass clarinet piece is the first in a series of solo works that will hopefully grow larger.

Regarding the subtitle of the work, the composer writes the following: “Last winter, when my children were sick and woke up frequently at night, listening to the song of whales helped them fall asleep again. On such nights, the line between wakefulness and sleep, as well as between sounds and images, is constantly changing and blurred. So these whale songs, the light and smell of the night, were transformed in my consciousness into one moving mass with its own variety and direction. My request in this piece is not to imitate the song of whales, but to study and record their melodies, timbres, and my own experience. “

LUHALE│ 2023│solo violin, fipple flute, sound objects│Written of my own accord│Performed by Kristjan Kannukene, Liisa Hõbepappel│Premiere: home concert for composers of Estonian Academy of Music

ROSA MAJALIS│ 2023 │flute, clarinet, violin, cello, piano, percussion│Commissioned by Discovering Young Composers of Europe (DYCE)│Performed by Ensemble U: (Estonia), Taller Sonoro (Spain), Divertimento Ensemble (Italy), Cikada (Norway)│Premiere: concerts of DYCE project │ Listen to the piece

“The starting point for “Rosa majalis” was a poem by Gil Vicente (1465— ca 1536) “Del rosal vengo, mi madre”. A German translation of this poem was used by Robert Schumann (1810—1856) as an opening song of his Spanisches Liederspiel (for soprano, alto and piano). Vicente’s poem is about a girl, who tells her mother that she saw love by the riverside. I was intrigued by the little voice inside us all, calling: Mother, mother, did you see? Mother, mother, did you see what I have seen? And sometimes: Mother, mother, did you see… for I cannot see. Somewhere out there is a wild rose bush—life—so beautiful in the warm summer sun and so fragrant. Yet so sharp it’s thorns. The Latin title of this piece Rosa majalis means cinnamon rose, a wild thorny bush native to forests of Europe and Siberia. Based on these reflections, the piece entails a musical journey, ending with a tribute to Robert Schumann.”

THE HOUR GLIMMERING (first version)│ 2022 │tenor, viola, accordion│Written of my own accord│Performed by Ryan Adams, Kristjan Kannukene, Liisa Hõbepappel│Premiere: home concert

THE JANGLING LIGHTNESS OF SOLACE │2022 │flute, clarinet, violin, viola, cello│Commissioned and performed by Ensemble for New Music Tallinn│Premiere: Sound Plasma Festival Berlin

This piece is inspired by poems by Fernando Pessoa. Look the light is glowing / upon the mountaintop... / Aimlessly I ponder upon I know not what... /…/ Now upon the mountain the light begins to fade… / As in a rushing river, / my soul in it is bathed, / but it does not soothe me, /. nor ease my deep dismay… / Oh, poor little wandering child  / Lost along the way!…

LYDIA│2022 │female choir│Written of my own accord│Waiting for a performer

FIRST STEP, LAST WHITE │2022 │violin, cello, piano│Commissioned by Estonian Music Days 2022│Performed by: Trio 95′ │Premiere: Estonian Music Days 2022

YOU ARE A CONTINENT, MY DEAR │2021 │violin, cello, piano │Commissioned by Tallinn Music Week │Performed by: Trio 95′

ON THE SEASHORE OF ENDLESS WORLDS CHILDREN MEET │2021 │flute, clarinet, violin, cello, piano│Commissioned and recorded by Fractales Ensemble│Listen to the piece

SUM OF PATHS │2020 │ sinfonietta

HYPATIA│2020 │female choir│Written of my own accord│Waiting for a performer

Hypatia (born c. 350–370; died 415) was a Hellenistic astronomer, mathematician and a prominent philosopher of the Neoplatonic school. She lived in Alexandria, the greatest city of the Eastern Roman Empire. Her life was devoted to finding a philosophical doctrine for the old gods to exist in peace with the new Christian teaching.

Through the ages, Hypatia has represented different values and ideals. Immediately after her death, she was seen as “martyr for philosophy” and inspired many future Neoplatonists to become fervent opponents to Christianity. In the following centuries, Hypatia was revered as a saint (Catherine of Alexandria), became a symbol of opposition to Catholicism, and was romanticised as “the last of the Hellenes”. In the twentieth century, Hypatia became seen as an icon for women’s rights. Quite recently, some have associated Hypatia’s death with the destruction of the Library of Alexandria and the decline of the Hellenic world, despite the fact that the library no longer existed during Hypatia’s lifetime.

What has been made of Hypatia throughout the ages—always reflecting what is required, ignoring the details of historic truth—provided the method of compiling the text for this piece. The artificiality of her myth inspired me to do something similar. To find poets who have been loosely associated with Neoplatonic thinking (Shelley, Coleridge and Blake), search for Hypatia-related motifs in their work, tear these lines out of context and compile them in my own way. To tell my own “truth”.

L’AVONS NOUS PERDUE? / HAVE WE LOST HER?│2020 │ soprano, harpsichord, zither │Commissioned by TAHE │Performed by Liisi Promet, Kadri Toomoja, Anna-Liisa Eller

LEVIATAN │2019 │female choir │Performed by Ellerhein Girl’s Choir (conductor Ingrid Kõrvits) at Estonian Music Days

KUI SA NÕNDA JOOKSED MINU POOLE│2018 │drum set│Commissioned by Ludus Tonalis│Performed by Kristjan mängelListen to the piece

INFERNO│2018 │soprano, saxophone, accordion, piano, electric guitar│Commissioned and performed by Ensemble L’Arsenale (Italy) │Listen to the piece

When we think of Renaissance-era Europe, we often think of great artists and scientists. It was a time when the World was „discovered“ and our modern economic system began to take root. Albeit there is no escape from the progress and splendor of the era, early modern Europe was plagued by famine, great social disparity and religious strife. Like a wolf in sheep’s clothing, blossoming Florence was one’s home and one’s gallow at the same time.

I BELONG TO THIS DREAM CONTINUITY│2017│piano │Performed by Estonian pianist Sten Heinoja