European Commission - Culture - Interviews - Reet Remmel talks to Anthony Gardner

Reet Remmel talks to Anthony Gardner

It is curious, Reet Remmel reflects, how perceptions of distance can change. To Estonians of her generation, growing up in the Soviet era, neighbouring Finland seemed infinitely far away, accessible only through the television programmes which some viewers in the north of the country could pick up. 'Now,' she observes, 'you can travel from Tallinn to Helsinki by helicopter in only a few minutes. It's extraordinary.'

One can imagine Reet receiving a warm welcome in Finland, for - with her large eyes and finely chiselled nose - she has the appealing quality of some of the daintier creations in Tove Jansson's Moomin books for children. But at present her charm is being expended on Britain in her role as cultural attaché to the Estonian Embassy in London. 'When I came here two years ago my life changed completely,' she says. 'I never thought that I could feel at home in a city as large as this, but I do.' She is one of a select band, for to date Estonia has only four other cultural attachés across the world, in Brussels, Berlin, Paris and Moscow.

Her background is in music: she plays the organ, piano and accordion, is a graduate of the Estonian Music Academy, and has written a biography of Heino Eller, whom she describes as 'the grandfather of Estonian symphonic music and composition' - a deeply influential figure responsible for teaching, among others, Arvo Pärt. Reet's first steps towards her present role were taken at the Ministry of Culture in the mid-Nineties, when she began organising performances by Estonian artists overseas - for example, at the Vale of Glamorgan Festival and Expo 2000 in Hanover.

Such interchange with other countries, helped by Estonia's accession to the EU, has transformed the artistic life of her homeland. 'I remember when you could pass the summer there without coming across any cultural activities at all,' she says. 'Now, in the course of the year, we have approximately 200 festivals taking place. And because a lot of people are travelling these days, our attitude has changed: when you see what other artists are doing, you can look at your own work with different eyes. I think that there is nothing more important for a creative person than to realise that you can communicate with colleagues from any country and feel yourself their equal.'

It is, she acknowledges, a great help that Estonia has a composer of international renown in the form of Arvo Pärt; but she feels that it would be a mistake simply to ride on his coat tails. 'Arvo Pärt is a unique composer, and his style is very close to the people's heart,' she says. 'But sometimes it's too easy to use his name. He's a composer of the world - he doesn't belong to Estonia any more.'

Those keen to keep abreast of contemporary music in Estonia would do well to visit one of the four festivals devoted to it. These range from the NYYD (Now) international biennial to the Estonian Music Days, which features as many as 30 newly commissioned pieces by the country's composers.

At the other end of the spectrum are early-music groups, such as the Estonian Orthodox Choir (who specialise in Russian devotional works, and will be performing at this year's Chelsea Festival). Another, Vox Clamantis, has revived a national interest in Gregorian chant, which fell completely into abeyance in Soviet times. 'At the beginning of the Nineties, when the borders opened, a lot of Estonian musicians went to study abroad,' Reet Remmel explains. 'The conductor of Vox Clamantis, Jaan-Eik Tulve, studied in Paris, where he specialised in Gregorian chant - and he now also conducts the Paris Gregorian Choir.'

Not that Estonian musicians allow themselves to be pigeonholed: Vox Clamantis perform contemporary pieces as well, and have appeared in concert with the Tunisian singer and oud player Dhafer Youssef. Another example of versatility is the pianist and composer Rein Rannap, who straddles the worlds of classical music, rock and jazz ('He has so much energy that he cannot be confined to one thing,' says Reet). Rannap too will be performing at the Chelsea Festival.

There is also a well-established link between Estonia and Wales, their two names easily eliding for the WALESTONIA Festival which takes place in the autumn. Among those performing will be Estonian national male voice choir, and its national opera company. In August, too, five Estonian and five Welsh artists will spend a week working together on a sculpture project.

As for the other arts, a number of Estonia's contemporary dancers will be taking part in a festival at London's South Bank being organised with the backing of the European Union National Institutes for Culture in September; the country is known in the film world for its strong animation industry, and its poets have appeared - despite the language barrier - at events such as the Cheltenham Festival.

Reet's own interests include psychology, which led her to study as a gestalt therapist. Has she, then, been able to apply clinical techniques to the task of spreading Estonian culture? 'The honest answer would be no,' she says. 'I don't use it in everyday life. But it's interesting to know about yourself, and how a human being can be built up.'

She is now looking forward to 2011, when Tallin will be twinned with Turku as joint European Capital of Culture. Helicopters will be at a premium, so order yours now.