Review Metadata:
Composer: Veljo Tormis (b. 1930)
Works: Childhood Memory (Herding Calls) for soprano and male chorus (1982), Voices from Tammsaare’s Herdboy Days – documentary cantata for male chorus, soloists, phonogram and percussion (1977), Songs of the Ancient Sea (1979), North Russian Bylina for male chorus and soloists (1976), Conscript’s Escape from Toompea Castle Home to Kuusalu (1969), Vepsian Winter for male chorus (1984), God Protect Us From War for male chorus and tam-tam (1984)
Performers: Estonian National Male Chorus / Olev Oja
Recording: 1994, Tallinn, Estonia
Label: FORTE CLASSICS – ARTISTS ONLY! AOR-17 [50.36]
Release Date: November 2001
In the realm of choral music, Veljo Tormis stands as a formidable figure whose work resonates with the very essence of Estonian folk traditions. The recording of Tormis’s choral music performed by the Estonian National Male Chorus under the direction of Olev Oja captures a unique sonic landscape that is at once virile and sincere. Tormis’s compositions, drawn from the rich well of Estonian folklore, engage listeners not only with their musicality but also with their deep historical and cultural roots.
Tormis’s Childhood Memory (Herding Calls) presents a striking opening to this collection. The soprano’s ethereal delivery of the cattle calls is both haunting and evocative, conjuring images of pastoral life that are central to Estonia’s agrarian history. The male chorus, with its robust timbre, further enriches these textures, illustrating Tormis’s deft ability to blend solo and ensemble voices seamlessly. Throughout this piece, one can hear echoes of Nordic traditions, particularly in the way the music oscillates between moments of introspection and exuberant exclamations, reminiscent of the vocal techniques employed by Sibelius.
The Voices from Tammsaare’s Herdboy Days, a documentary cantata, demonstrates Tormis’s innovative incorporation of phonogram and percussion. The juxtaposition of live performance with recorded sounds—such as the resonant clang of cowbells—creates a rich tapestry of auditory experiences that transcends mere choral performance. Oja’s ensemble navigates this complexity admirably, their precision and coordination lending an orchestral quality to the choral sound. The rhythmic interplay between the chorus and the electronic elements is particularly noteworthy, offering a fresh perspective on choral music’s potential to engage with contemporary themes while remaining rooted in tradition.
Tormis’s Songs of the Ancient Sea showcases the composer’s ability to evoke natural elements through sound. The male chorus’s vigorous vocalizations imitate the sounds of wind and waves, creating a vivid auditory picture that transports the listener to the shores of the Baltic Sea. The use of dynamic contrasts here is masterful; the male voices swell and recede like the tide, allowing for a visceral connection to the primordial forces being depicted.
In contrast, the North Russian Bylina, steeped in Slavic folklore, is characterized by its dark, resonant tones. The male chorus here exhibits remarkable control, sustaining long, flowing lines with a richness that recalls the choral traditions of Russia. The absence of breath throughout the piece emphasizes the weight of the narrative being sung, evoking themes of struggle and resilience that are prevalent in Slavic epics.
The lighter-hearted Conscript’s Escape from Toompea Castle Home to Kuusalu introduces a playful element to the collection. The chorus’s heartiness and the spirited delivery evoke the joys of liberation, providing a delightful contrast to the more somber works. Similarly, God Protect Us From War employs a tam-tam to enhance the sonority, creating a rich, resonant backdrop against which the chorus’s pleas resonate with profound effect.
The recording quality is commendable, with a clarity that allows the intricate details of Tormis’s compositions to emerge without distortion. The spaciousness of the Tallinn venue contributes to the overall atmosphere, allowing the vocal harmonies to blossom. This engineering choice effectively mirrors the expansive landscapes of Estonia itself, where both the natural environment and cultural heritage are inextricably linked.
Historically, Tormis’s work is significant not only for its musical value but also for its role in preserving and revitalizing Estonian folk traditions during a period of cultural upheaval. The composer’s commitment to collecting and adapting folk songs from remote villages speaks to a deep respect for the oral traditions that have shaped Estonian identity.
In conclusion, this recording serves as an inviting portal into the world of Veljo Tormis, offering a refreshing departure from more conventional choral repertoires. The Estonian National Male Chorus, under Olev Oja’s expert direction, delivers performances imbued with both technical precision and emotional depth. For those seeking a choral experience that resonates with authenticity and historical significance, this collection is an indispensable addition to the canon of choral literature. Whether one is well-versed in the choral tradition or new to Tormis’s oeuvre, this recording is a compelling testament to the power of music to connect us with the roots of our shared humanity.
