Tiia-Ester Loitme
Tiia-Ester Loitme (born December 19, 1933) is an Estonian choir director and teacher.
Tiia-Ester Loitme began her music studies at the music school belonging to the Tallinn State Conservatory, where she studied piano in 1944–1949 under the supervision of Erika Franz. In 1949, his deportation to Russia from Krasnoyarsk interrupted his studies. Loitme returned to Estonia in 1956. [1] In 1965, he graduated from the Tallinn State Conservatory in the conducting class of Gustav Ernesaks.
In 1970, Tiia-Ester Loitme started working as the conductor of the Ellerhein girls' choir alongside Heino Kaljuste. At the same time, he also worked as a music teacher at Tallinn 7th Secondary School and led the school choir.
In 1975–1981, Tiia-Ester Loitme worked as a lecturer at the Tallinn State Conservatory, in 1980 she did an internship at the Moscow State Conservatory in the conducting class of V. Sokolov.
Since 1987, Tiia-Ester Loitme has been working as a music teacher at Tallinn English College again.
From 1989 to 2012, he was chief conductor of Ellerhein. In 2017, the choir was named Auditor Conductor. Under the leadership of Tiia-Ester Loitme, Ellerhein has won several international competitions.
Tiia-Ester Loitme has been the leader and general leader of children's and women's choirs at Estonian general and school youth song festivals. Together with Heino Kaljust, he has compiled high school music textbooks.
Artist: Alice Kask (Estonia)
(Image credit: Aapo Pukk)
Artist
Alice Kask (1976) is a painter whose work is often associated with new figurative painting. Kask’s paintings are characterised by a sketch-like quality and taking the quotidian into a territory where it becomes detached from reality. At first glance, the paintings seem to solely centre on the figure and human body, however, a focus on space and environment is nevertheless always there – through shadows, black holes, images rising out of emptiness, and juxtaposition of planes and spaces. The power of her pieces relies in the inseparability of the work and the physical object, the image’s contact with the underlying surface or detachment from it.
In the interaction between absolute generalisation and anatomical detail, Kask’s approach to human becomes agonising, yet powerful, forging a monumentality that consists of an equal part of existential angst. Kask’s world is schematic, the fine modelled figure is in contrast with the background that refuses to give any details on the scene, the image seemingly only existing in a vacuum of its own making.