Composer: Significatio
Works: Significatio for violin, cello and guitar (1999); Duo for flute and guitar (1967); Two Romances for soprano and guitar (1966/98); Three Miniatures for guitar (1996); Two Songs – The Night and With Eyes Closed (1998); Dance of the Goddess for guitar (1996); Odalisques for flute, guitar and cello (1997/9); Allegro Op.93 for violin and guitar
Performers: Kaia Urb, soprano; Janika Lentsius, flute; Urmas Vulp, violin; Henry-David Varema, cello; Heiki Matlik, guitar
Recording: Recorded October 1999 in the Art Museum-Toompea, Tallinn
Label: Estonian Radio ERCD 030
The recording of Estonian Chamber Music presents a compelling tapestry of works from significant Estonian composers, notably René Eespere, Ester Mägi, Peeter Vähi, Lepo Sumera, and Jaan Rääts. This diverse anthology reflects not only the rich cultural heritage of Estonia but also the evolution of its compositional voice, particularly as it emerges from decades of artistic suppression. Each piece is a window into the contemporary Estonian musical landscape, marked by distinctive instrumental choices and a willingness to explore the nuances of texture and timbre.
The performances are commendable, with each musician bringing a deep commitment to the music. Urmas Vulp’s violin work is particularly noteworthy; his intonation throughout the challenging passages of Eespere’s Significatio is impeccable, weaving a delicate polyphonic structure that demands both technical prowess and interpretive sensitivity. The interplay between cello and guitar, masterfully executed by Henry-David Varema and Heiki Matlik, respectively, creates a rich dialogue that enhances the overall texture. The recording captures the acoustic of the Art Museum-Toompea beautifully, allowing the guitar’s bass notes to resonate while maintaining clarity in the upper registers.
Ester Mägi’s contributions, particularly the Two Songs, highlight her lyrical prowess. The settings of texts by Viivi Luik are lush and expressive, with Kaia Urb’s soprano voice conveying a poignant melancholy that lingers long after the final notes. The absence of text in the booklet is a missed opportunity, as the emotional weight of the songs would benefit from a deeper understanding of the poetry. Nevertheless, the music stands robustly on its own, exemplifying Mägi’s unique ability to blend folk influences with contemporary harmonies.
Lepo Sumera’s Odalisques is a standout piece that showcases his distinctive voice. The work’s opening movement creates a shimmering soundscape, as Vulp and Varema navigate Sumera’s intricate textures with remarkable agility. The third movement, Sorrowful Odalisque, features a striking monophonic passage that intricately layers color and emotion, underscoring Sumera’s ability to evoke a visceral response through minimalist means. Janika Lentsius’ execution of the final movement, with its virtuosic demands, is a testament to her technical skill and interpretative insight.
While some works may not resonate as strongly, the overall selection is an engaging introduction to Estonian music that merits further exploration. The engineering quality is commendable, striking a balance between the instruments and allowing each voice to shine without overshadowing the others. The recording serves as both a celebration of contemporary Estonian composers and a call to a broader audience to engage with these rich musical narratives.
This collection serves as a vital contribution to the chamber music repertoire, offering listeners a glimpse into the innovative spirit of Estonian composers. The artistry of the performers, combined with the thoughtful selection of repertoire, creates a compelling case for further exploration of this often-overlooked musical landscape. The disc is a noteworthy addition to the catalog, inviting both seasoned listeners and newcomers to discover the vibrant textures and emotive power of Estonian chamber music.
