At first, Beethoven and Schoenberg might seem like total opposites. Beethoven is known for his classical masterpieces, while Schoenberg broke new ground with atonality and the twelve-tone method. Yet, they had something important in common: both found inspiration and peace in Mödling, a quiet town just south of Vienna.

Why Mödling?

Both composers came to Mödling for the same reasons: peace, quiet, and being close to nature. Beethoven, dealing with hearing loss and the stress of city life, found space here to focus and create. A hundred years later, Schoenberg also used Mödling as a retreat, where he could work on new ideas, paint, teach, and spend time with his family.

What Beethoven Composed in Mödling

Beethoven spent several summers in Mödling between 1817 and 1819, staying in what is now the Beethovenhaus Mödling. This modest dwelling witnessed the birth of some of his most profound and complex works:

The Hammerklavier Sonata (Op. 106)

Beethoven wrote this piano sonata during his first stay in Mödling. Many consider it one of the hardest pieces to play. It belongs to his late period, when his music became more thoughtful and daring. The calm of Mödling gave him the space to work through its challenges.

Missa Solemnis (Op. 123)

Beethoven started this spiritual piece while walking the trails in Mödling. He finished it later, but many of his first ideas came from his time here, showing how he searched for meaning through music.

Diabelli Variations (Op. 120)

This piece started as a small part of a publishing project but grew into a major work exploring musical variation. Beethoven wrote the first drafts in Mödling.

Ludwig van Beethoven’s Residence in Mödling

• Address: Hauptstraße 79, 2340 Mödling, Austria
• Name of House: Beethovenhaus Mödling
• Period: Summers of 1818 and 1819
• Today: A museum dedicated to Beethoven’s time in Mödling. It contains manuscripts, period instruments, and exhibits on the Missa Solemnis and the Hammerklavier Sonata, which he worked on here.
• Website

What Schoenberg Created in Mödling

A hundred years later, in 1918, Arnold Schoenberg moved to Mödling and lived at Bernhardgasse 6, close to where Beethoven once stayed. Schoenberg was starting a new chapter in his life. He was recovering from the war, teaching, and spending a lot of time painting.

Die Jakobsleiter (Jacob’s Ladder)

Schoenberg worked on this unfinished oratorio for years, and he wrote key parts of it in Mödling. The piece is full of spiritual meaning, inspired by the Biblical story of the ladder to heaven and Schoenberg’s own search for understanding.

Move Toward Twelve-Tone Technique

Schoenberg didn’t fully create the twelve-tone method until the 1920s, but his time in Mödling was important for his growth. He wrote several pieces using free atonality and tried out new musical ideas. The beginnings of his new method were already there.

Arnold Schoenberg’s Residence in Mödling

• Address: Bernhardgasse 6, 2340 Mödling, Austria
• Name of House: Arnold Schoenberg-Haus Mödling
• Period: 1918–1925
• Today: A museum and cultural site featuring Schoenberg’s music, paintings, and personal items. This is where he composed parts of Die Jakobsleiter and developed key ideas leading to his twelve-tone method.
• Website

What Can We Learn from Mödling?

Both Beethoven and Schoenberg came to Mödling when they needed a change and time to think. Their time here shows that creativity often starts in quiet places, away from the city, where artists can walk, reflect, and work in peace.

If you visit Vienna, consider stopping by Mödling. You can walk the same trails where Beethoven worked on his music and see the windows where Schoenberg dreamed up new ideas. Who knows, you might find your own inspiration there too.

At this moment, I live in Mödling and wish that the creativity that emerges from these composers will find its way to me.

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Last weekend, I traveled to Haapsalu for the summer symphony.

Haapsalu is a town on the seashore about an hour away from Tallinn. Both the setting and the idea appeal to me, particularly for an outdoor performance on a long summer evening in an old castle. These ingredients aroused my curiosity, and in addition, Estonian composers as well as Mozart’s works were on the program.

Highlight of the evening: Songs by Eduard Tubin

The evening started with Tormis. Suite from the Estonian film “The Spring.” The relatively modern composition was a good start to the concert. The audience could get settled with an Estonian narrative that was familiar to them. Later that evening, they performed songs by Tubin arranged by R. Puur. “Õnne ootel” and Kõrvits. “Puudutus.” For me, this was the highlight of the evening: new music to my ears, sung in the beautiful Estonian language, by a performer who felt the meaning of each word, and an audience who opened up. The interpretation and reception of Rubin’s songs was great, or as my former Estonian language teacher would say: “Tubli, tubli.”

Another experience with Mozart

As you undoubtedly know, Mozart is my classical music superhero; his compositions and life story are a huge source of inspiration to me. As a teenager, I loved to play his music, now listening to it, feeling it, experiencing it, and wanting to know more about it every time. In that regard, this evening went differently than expected. I liked the music performance less, which made the evening primarily educational.

The first introduction: La Clemenza di Tito

Sandra Laagus climbed the stage to perform Sesto’s aria “Parto, ma tu ben mio.” A nice choice was to set up the clarinet as a second vocal alongside the singer on the stage; it created an interesting interpretation of this passionate song. Once again, Mozart proves to me how beautifully he brings out the singers’ sound. Go to this YouTube link to see for yourself.

This aria, sung initially by Sesto, expresses Sesto’s dichotomy between his loyalty to Tito and his desire to succumb to his love for Vitellia, who pushes him to attempt the assassination of his best friend. What will he choose? So, a song with a huge emotional charge and also an essential message to all of us. Although I desperately wanted to feel it, I didn’t.

The central theme of La clemenza di Tito is forgiveness. No matter how severe the betrayal, in this case by his wife, Vitellia, and his best friend, Sesto, Tito chooses to demonstrate moral leadership and grants both forgiveness and mercy.

The second chance: Mozart’s Violin Concerto No. 1

The last composition before the break was Mozart’s Violin Concerto No. 1 in B-flat major, K. 207. And once more, the same feeling occurred, namely, none at all. So, I started wondering, was it due to the outside air that caused details to be lost? Although we were in a secure walled place, some things did blow over. It certainly could. However, I found that explanation insufficient, so I sought a more satisfactory answer.

Why was this performance thin, as if the musicians didn’t feel the music? And simultaneously, why didn’t it resonate with the audience? There should be an interaction between the two, the interpretation of the music and its reception.

Final proof: Mozart’s Symphony No. 40

Mozart’s Symphony No. 40 in G minor, K. 550, composed in 1788, is one of his most well-known works. Also called the “Great G minor Symphony,” this piece stands out due to its emotional depth. Written in a minor key, it expresses deep feelings of tragedy and unrest. Unlike much of Mozart’s music, which is elegant and balanced, Symphony No. 40 feels urgent, stormy, and psychologically restless. Once again, it didn’t do enough for me. It was as if they misinterpreted the “syncope” where to stress, to articulate more, to accentuate, to feel.

Philosophical Meaning of the Symfony

Many interpret this symphony as Mozart’s expression of personal despair and a confrontation with mortality. He composed it during a challenging period characterized by financial stress and loneliness. Unlike other Classical era symphonies that focus on form and balance, this one reveals emotional honesty, psychological depth, and human vulnerability.

Did they understand Mozart?

With they, I mean musicians and audience. Mozart is on one hand mischievous and rebellious, and on the other he wants to bind people and deepen relations in harmony with counterpoint. As a member of the free masons, he had aspirations for a better world and also had a tendency to go against the establishment. Like, for example, his operas where he showed that the nobility are just like us ordinary people and are also capable of bad things. In Prague, they celebrated his Don Giovanni as a testament against the ruling power. An idea of freedom that is just as relevant in Estonia, after centuries of oppression by foreign powers, they can finally enjoy their own language, culture and country in complete freedom! So my advice: acquire a broader understanding. Not only of Mozart’s works, but in general. With the people and cultures we meet. Don’t judge, open up and respect the differences and similarities.

Da Capo: Pärt

Due to the audience’s enthusiasm, the orchestra played another encore, namely a work by Pärt. Music composed of quiet tones that fly unnoticed in the Estonian landscape. This one arrived noticeably with everyone; it was the familiar mix of recognition and comfort. What I want to give everyone, not just with music: go on a journey of discovery and dare to feel. Try to break away from your own framework to understand new music or other cultures better, as it may be misleading you.

Learning to discover and feel?

I strongly encourage everyone to read this book and listen to the accompanying music. Engaging with these stories will not only challenge your limits but also deepen your understanding of music. Don’t miss out on this enriching experience!

Buy the book

It was a beautiful and interesting summer evening.

I found the line-up of the works appropriate to environment and background. I noticed how much Estonians are, rightly so, proud of their heritage, and thus also got to know better the country I love to live in. Afterward, I allowed myself another pleasant drink at Wow Bao while enjoying the white midsummer night.

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What happens when music becomes a doorway—not just to another time or feeling, but to a deeper understanding of ourselves?

In 4 Classical Music Stories, author Roel Arnold invites readers to experience the transformative power of classical music through fiction. Each story is inspired by a great work of classical music and reimagined as a rich narrative that explores human complexity, beauty, and resilience. But this book is more than a celebration of music—it is a philosophical meditation. Beneath each story lies a question: What does it mean to live well? To seek the truth? To be moved by something we cannot explain? Let us enter these four vivid worlds, each shaped by a different composer and era, and discover the harmony between music, narrative, and philosophy.

1. Antonin in New York

Inspired by: Antonín Dvořák – Symphony No. 9 “From the New World”

Set in the 1890s, “Antonin in New York” tells the story of the Czech composer Antonín Dvořák as he journeys to America, where he is commissioned to write what would become his iconic New World Symphony. The tale fictionalizes his travel, time and assignment in New York as a young violin prodigy, focusing on his encounters with New Yorkers, musicians, and Native American traditions.

Through this fictionalized journey, the story raises powerful questions: Can an outsider truly represent another culture through music? What does it mean to listen with empathy? Can do undertake challenges all by ourselves?

What begins as a story about cultural exchange soon transforms into a philosophical reflection on displacement, identity, cooperation, and artistic listening. Dvorak asked himself: Can a symphony truly capture the soul of a land not your own? What does it mean to honor another’s story without appropriating it?

Philosophical core:

This story taps into the ethics of cultural encounters and the philosophy of belonging. It recalls the ideas of Martin Buber, who emphasized genuine dialogue and the sacredness of encountering “the Other.” Dvořák’s listening becomes a model for empathy—not speaking for others, but with them.

2. Elise the Courier

Inspired by: Ludwig van Beethoven – Piano Concerto No. 5 “Emperor”

In the forests, a young woman named Elise works as a courier. Her mission is to transport packages hidden within the musical scores she plays for the ruling elite.

The story honors Beethoven’s Piano Concerto No. 5 “Emperor.” Elise undertakes a long voyage to deliver a package, with a message. At the receiver’s address, she plays the ‘Hammerklavier’ sonata, a work that would mark a new period in Beethoven’s pianoforte compositions, indicating a significant shift in his style and approach. 

Along the way she encounters challenges and peril, she never shies away from them and courageously pursues them. She does what she loves and dares to risk her life for it. Her choices go against the mainstream and instead of opting for safety and security, she prefers to pursue her dreams and passions. Is this, how does music become a voice when words are forbidden?

Philosophical core:

The tale speaks to moral courage and resistance, inspired by thinkers like Hannah Arendt and Immanuel Kant. What does it mean to live courageously in silence? Elise’s quiet bravery reminds us that freedom isn’t just a political or societal condition—it’s a personal ethic, a decision to live with integrity, even when no one is watching.

3. Amadé and the Popcorn Night

Inspired by: Wolfgang Amadeus Mozart – Eine kleine Nachtmusik

This whimsical yet deeply poignant story follows a boy named Amadé, a lover of sports, the garden, and the mischief of nighttime adventures. One evening, after sneaking through the castle, he is met with a magical turn of events—one where music shapes the world around him.

What begins as a playful escapade unfolds into a journey of self-discovery and wonder. Mozart’s Eine Kleine Nachtmusik, known for its elegance and charm, becomes a portal for Amadé to confront his fears, desires, and sense of time.

The story is playful and surreal, this story is about imagination, childhood, and rediscovering joy. The narration questions us why we lose our sense of wonder as we grow, and what it teaches us about play and freedom?

Philosophical core:

At heart, this story engages with the philosophy of play and imagination, recalling Friedrich Schiller’s concept of the “play drive”—the idea that beauty and play are not just pleasures but essential to our humanity. Amadé learns that to play, dream, and be moved by beauty are acts of both joy and resistance.

4. Sammy’s Walk

Inspired by: Béla Bartók – Divertimento for String Orchestra

“Sammy’s Walk” is a story without rush. It follows Sammy, a quiet, introspective dog who walks through a forest on the edge of town. Along the way, he meets other animals, hears distant echoes of music, and encounters moments of obedience that seem to speak louder than sound.

Bartók’s Divertimento weaves itself into the fabric of the natural world—the rustling leaves, the bird calls, even the rhythm of Sammy’s footsteps. The story becomes a meditation on nature, listening, and the hidden harmonies of the universe.

Sammy walks through a forest filled with music—literally. Every leaf, breeze, and echo carries a sound. As he listens, he begins to understand his connection to all living things. And asks us: Can silence be a kind of music? How do we attune ourselves to the world around us?

Philosophical core:

This piece engages with ecological philosophy and phenomenology, drawing from thinkers like Merleau-Ponty and David Abram. Sammy’s journey isn’t just through the forest—it’s a journey into the interconnectedness of all life. He learns to listen—not just to music, but to the world itself.

Music as Mirror and Meaning

What binds these four stories together is their musical inspiration and their shared belief that music is more than entertainment. Music is a mirror, a map, a metaphor.

Each story asks timeless philosophical questions:

• What is identity in a new world?
• What does it mean to act morally?
• Why do we need to play and wonder to stay whole?
• How can silence and sound teach us to live more fully?

“4 Classical Music Stories” combines narrative with classical music to offer a unique reading experience. You don’t need to be a music expert to appreciate it; it’s perfect for anyone who has ever felt touched by a melody, captivated by a harmony, or comforted by an unexplained song.

Each story can be paired with the piece that inspired it. Read while listening—or read in silence and let your imagination provide the score. The QR code offers a direct link to a recording of that opus on SoundCloud. Each chapter can be read on its own, but together they create a kind of quartet—a literary composition that flows through movements of boldness, grace, curiosity, and stillness.

Music Meets Meaning

4 Classical Music Stories is more than a literary collection. It’s a bridge between two worlds:

• Art and thought
• Emotion and reflection
• Music and philosophy

It’s perfect for lovers of classical music, fans of thoughtful fiction, educators, and anyone curious about how art can deepen our understanding of life. You don’t need to know music theory to enjoy the stories. Each piece is accessible, poetic, and emotionally rich.

For Readers, Listeners, and Seekers

Whether you are a lifelong lover of classical music or just starting to explore its depths, 4 Classical Music Stories’ offers an invitation. It’s not just about listening; it’s about feeling, reflecting, and rediscovering. This book is for the sensitive thinker, the quiet rebel, and the late-night dreamer. It’s for anyone who believes that stories and songs can still change the world—or at least help us change ourselves

Where to Get the Book?

4 Classical Music Stories is now available in paperback. To buy it, follow this link to books.by or via this site.

Buy here

Read It. Feel It. Listen Along.

Each story can be paired with the piece that inspired it. Read while listening—or read in silence and let your imagination provide the score.

• Dvořák: Symphony No. 9 “From the New World”
• Beethoven: Piano Concerto No. 5 “Emperor”
• Mozart: Eine kleine Nachtmusik, KV 525
• Bartók: Divertimento for String Orchestra, Sz.113 BB.118

Let your ears and your mind travel together.

A Final Note

In times of noise and distraction, stories like these invite us to slow down, listen deeply, and think clearly. Classical music reminds us of what’s timeless. And stories—like the ones in this book—remind us of what it means to be human.

The post 4 Classical Music-Inspired Stories That Unlock the Heart of Great Composers first appeared on .

“Without music, life would be a mistake.”
— Friedrich Nietzsche

Welcome to MusikRoel, a space where music and philosophy meet, interact, and resonate.

This site has grown from a simple curiosity — how music moves us — into a deeper investigation:
Can we think through music? Can a piece of music express an idea as clearly as a line from Plato or Nietzsche? And what happens when we listen, not just for melody, but for meaning?

Why Music and Philosophy?

At first glance, music and philosophy might seem worlds apart. One is emotional, wordless, abstract. The other — rational, structured, and concept-driven.

But look closer, and you’ll find they’ve always been connected:

• Pythagoras believed the cosmos was structured by musical ratios.
• Plato saw music as essential for shaping the soul.
• Nietzsche — philosopher and composer — called music “a universal language of the will.”
• Even modern thinkers like Adorno or Susan Sontag have wrestled with music’s power to reveal truths we can’t always say.

Here at MusikRoel, we’re not choosing sides. We’re asking better questions.

What You’ll Find Here

MusikRoel is an ongoing journey. Expect:

• Blog posts that explore music with a philosophical lens — from classical to experimental, jazz to ambient.
• Travel notes that share experiences and new learnings.
• Philosophical profiles of musical thinkers (like Nietzsche or Coltrane)
• Listening guides that teach you how to listen deeply and reflectively
• Playlists designed to inspire contemplation and dialogue
• Occasional audio essays, community submissions, and more

Whether you’re a musician seeking meaning, or a thinker seeking a soundtrack, you’ll find something that resonates here.

The post How Music Inspires Deep Thought: The Philosophy of Sound and Storytelling first appeared on .

What could be better than listening to music that takes you back to your memories of Mediterranean life during a gentle rain shower?

A concert at a special location

Relaxed, I sit in the rehearsal room of an award-winning harmony and listen to a beautiful combination of music that briefly revives my images and feelings of life in the Mediterranean. It wasn’t that long ago that I lived on a pearl on the Adriatic coast and walked with the sea air in my nose along the shore where the waves were breaking apart. The birds were busy fishing their food out of the water. Over the years, I have adopted a Mediterranean lifestyle and still see the atmospheric evenings and beautiful sunsets before me just as much as I smell the delicious scents from the kitchen and the land.

Maastricht as a radiant starting point for many emotions

I am in Maastricht, the city of my alma mater, where my passion for classical blossomed. In recent years I have traveled through Europe and am back again. It is pleasant to find a musical connection between all my travels. With compositions by the wandering pianist Albeniz, the impressionist Faure, the Spanish fury of Bizet (do you know his Symphony in C?), and my favorite, Mozart. His overture from ‘Die Entführung aus dem Serail’ was played with beach sand between the toes and served as an intro full of enthusiasm for what was to come. The concert felt like a barefoot beach walk in the setting sun, where you occasionally stepped on sharp pebbles. The enthusiasm of the conductor and the university orchestra was invigorating, the selection of works a proper one, and the collaboration with the Ravelin marching band a surprising one.

The music the orchestra played

• Isaac Albéniz – Serenata Espagnola
• Georges Bizet – Carmen Suite (‘Toreadorlied’, ‘Segeduilla’ and ‘Habanera’ )
• Gabriel Fauré – Masques et Bergamasques
• Gabriel Fauré – Pavane in F-sharp minor (a slow processional dance)
• Wolfgang Amadeus Mozart – Overture from Die Entführung aus dem Serail. (In other words: Turkish percussion in a Spanish setting)

Funnily enough, this music made me strongly desire to travel again to Estonia, which I jokingly call the Monaco of the East Sea.

It is nice to note that people working and studying in higher education in Maastricht make music themselves without virtuosity but with a lot of fun. It is proof that music and education are indeed a powerful combination.

MusikRoel

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It’s a beautiful summer’s day when I leave Tallinn. The weather and trees remind me of an Indian summer in another climate. It enhances the positive vibe with which I’m leaving town. Grateful for the many beautiful memories and new friends I was allowed to make. My stay has had an enormous impact and will be cherished for all the days to come. I get on the bus and head for Warsaw, reminiscing all the good memories while watching the lush green pass.

First stop Warsaw

Warsaw is covered in a typical Sunday morning rain when I arrive. Still tired from the night bus, my first city tour brought less joy than expected. The next day would compensate for that entirely. As I booked my guest room online, I wasn’t aware that opposite my building would be a B&B hosting a series of piano recitals. During the day, I could hear the players practice as their excerpts blew over the street and ventured into my kitchen. So I enjoyed the scent of liberty those sounds accompanied. With elevated spirits, I endeavored into the city and paid a visit to the Jewish museum, which was very enlighting. Little, as a true West-European, did I know about how progressive and liberal Poland was about 1000 years ago and how often they fell victim to occupying forces in the past centuries. The neighboring countries were very eager to occupy this wealthy nation.

During my stay in Warsaw, I had unexpected meetings with Ukrainian refugees. Their stories made me thankful for being able to live in a peaceful society and, at the same time, warned me how little is needed for peace to be broken. Peace seems like a beautiful porcelain vase, which deserves to be treated well. On my way back, I had time to attend the piano recital and was blown away by their quatre mains and more hand performances. The piece de resistance was an opus for eight hands, played by three skilled piano players, the ‘Galop Marche‘ by Albert Lavignac (an unknown composer to me). Despite the laughter and cheer, the craziest and most hilarious piece I have ever heard and played without a miss.

Later, I spoke with two of the three piano players: Anna Hajduk, the feel-good rhythm section of any music orchestra, and Maurizio Moretti, the eminence who was phlegmatically elated to accompany talented players. Both piano virtuosos share my opinion that classical music is fun, like any other. Her laughter and his profound smile supported their view. Music is to enjoy people, to give energy, inspire, and give a break from everyday life. To live in a society where we can play and listen to the music of our choice at our initiative is a freedom, a spirit of liberty we have to savior, like a beautiful vase.

Next stop on the train to Berlin and Eindhoven

Still delighted with the discoveries and thinking about my meetings, I left Warsaw. Knowing nothing will happen during the train ride, I’m keen on getting to Eindhoven. I will read one of my classical music stories to children at the Van Piere Bookstore. What my first experience when I arrived in the city was? Did the Dutch even get louder, or did I become used to this calm and quiet attitude in Tallinn? And yes, the air quality is not very accommodating for my lungs. But first, touch base and share my passion for classical music with children. Can’t wait.

Enjoy the music!

Nägemist

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Already an unforgettable memory of my stay in Estonia is the language class. I find it natural that you try to learn the country’s language when you stay somewhere for a more extended period, so I joined an Estonian language course. What does the house have to do with this? Continue reading.

How to settle in Estonia?

Through “Settle Estonia,” I could get acquainted with the Estonian language for free; two lesson nights a week and homework gave me a thorough introduction. The lessons and teaching materials were up to date, and I learned quite a bit. But how difficult this language is. First of all, because the language is entirely new to me, as a Western European, I am familiar with the Germanic and Latin languages, and now I find myself in a world where all this knowledge is useless. Secondly, the step from learning to applying turned out to be bigger than I expected. The language has so many rules and irregularities that it takes me longer than usual to feel at home in it.

Never before had a letter added or left out had so much influence as now; it can give a sentence or word a completely different meaning. Add to this that this language has twelve forms (we learned the first three), and then you understand how this language can be a challenge. However, it is beautiful and worth knowing in that or for that very reason. We were given different assignments during the lessons: interviewing each other, watching videos, and unraveling the language and speaking exercises. So it came to pass that we went around the diligent students in every class, and everyone had to/got to say a few words in Estonian. We’ll never know how intense the stage fright was, but everyone always tried to do as well as possible. During these rounds, we had to use adjectives or learn prepositions, which go differently in Estonian. And so it happened that during these rounds, many of us had something to do with a yellow house. We all lived in a yellow house next to, behind, near, or in front of. And when that frequently happens in several rounds, it becomes a bit of the class’s mantra, “the yellow house.”

Peer Gynt travels to new worlds

When I reminisce on these lessons, the music of Peer Gynt comes to mind. Could it be because they have a lot of wooden houses in Norway too, or because the protagonist is taking a faraway journey to new places? Many know a part of this music often used in advertising, The prelude to Act 4. But the story of Peer Gynt is not as beautiful as the music would have you believe. Peer, a true legend, is a villain who deliberately prefers self-interest, loses sight of his great love, commits crimes, breaks hearts, and seeks pleasure in chasing profits. Although a misfortune finally brings him to repentance, he realizes that he has misinterpreted the advice he received. Upon returning to his native village, he ultimately lays himself down in the arms of his love. She kept waiting for him all this time. The music accompanying the play, composed by Grieg, fleshes out this story in a romantic way. And I can recommend you listen to the version with vocals; it is less well-known but much more captivating—still pretty romantic but more into life. The beautiful songs and the choir’s support create an intensely deep emotion that wouldn’t be there without it. “Solvejg’s cradle song” is so much more impressive with actual singing.

Tubli, Tubli

Like Peer Gynt’s journey to faraway places, my stay here is also a wonderful experience gaining new impressions. Language is more than a collection of words and grammar rules; it is also the sounds and colors, the rhythms of pronunciation, and the music in the intonation. Language is also the mood of people and the barometer of culture, and it is the country’s soul.

“My dear students,” is how our motivated teacher began the lessons, guiding us into a new world. The most significant benefit of this course is that it has allowed me to understand words I encounter on the street, exchange a few words at the cash register, understand some terms on the classical radio, and gain a little insight into Estonian culture. It is a great treasure, a wealth without a numerical value. It is an additional room in my (yellow?) house full of travel experiences.

By the way: kollane maja

Enjoy the music!

Nägemist

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