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Veljo
TORMIS (b. 1930) An aboriginal song (1981) [2:31]
Double Dedication (1983) [4:25]
Crosswind (1993) [4:13] Our Shadows (1969) [4:39] Forging the Sampo (1997) [7:52]
The Bishop and the Pagan (1992)
[10:05] Incantation for a Stormy Sea (1996)
[7:52]
songs 1-3, 5, 7-8 from Men's Songs
(1964-65) [16:32] Curse Upon Iron (1972) [10:17]
Svanholm Singers/Sofia Soderberg Eberhard
Veljo Tormis (shaman drum); Stefan Engstrom
(log drums, counter-tenor); Emil Johansen
(tenor); Staffan Lindberg (tenor); Johannes
Midgren (tenor); Johan Sternby (bass);
Martin Sterbvander (whistling); Erik Emilsson
(bass).
rec. Lomma kyrka, Lomme, Skåne,
9-11 October, 6, 8 November 2006.
Texts and translations into English are
provided; notes in English, German, French,
Estonian
TOCCATA CLASSICS TOCC 0073 [67:49]
Tormis is fascinating
and that fascination is in no way diluted
by this collection of his music for
male voice choir.
For all the precision
of ensemble and the uniform garb of
the choir this music seems to speak
of ancient times. There is little in
the way of dissonance. Effects, texture,
dynamic range and rhythmic topography
are constantly varied but all within
a distinctive tonal universe. Superficially
he may occasionally remind you of Orff.
Listen however to the explosive shamanic
drumming – courtesy of the composer
as player - that assertively opens An
aboriginal song. Often the singing
conveys a sense of awe in the face of
nature or primeval forces. The tolling
and crooning murmur of Crosswinds
and Our Shadows contrasts
with the initial plainsong curve of
The Bishop and the Pagan. The
latter recounts the story of the death
of Bishop Henry near the town of Turku
in 1158 and the plainsong element contrasts
with the sharply rhythmic and growling
pagan voices. More upfront and relishably
masculine is Forging the Sampo,complete with its clanging hammer
and anvil. There is more of the devotional
strain in Incantation for a Stormy
Sea. Then comes a selection from
the earliest sequence here: The Men’s
Songs which date from the 1960s.
These are typically Scandinavian, mixing
testosterone-charged working songs with
more gentle and lighter-hearted inspirations
(Betrothal Visit Song). Song
of the Turkish War is cheery and
is freshened and lofted by eruptive
whistling – nothing like ‘Colonel Bogey’.
More whistling and clapping enlivens
Dancing Song. The blanched devotional
strain returns for Serf’s Song.
After six selections from the 1960s
sequence comes the 1972 Curse Upon
Iron which takes as its material
the spells and incantations in ‘The
Kalevala’. Whispers, whoops and chittering
are resourcefully used amid the usual
rousingly inventive writing. There is
perhaps a touch of Penderecki in those
Hiroshima sliding wails towards
the end of Curse Upon Iron; must
have been in the air at the time. For
all the choir’s well drilled technical
accomplishments they retain an indispensable
grainy roughness that is essential to
convey the nature, wildness and gothic
terror that sustains Tormis’s inspiration.
There is no shortage
of Tormis’s choral music on disc. I
hope that there will also be a chance
to hear a selection from the composer’s
film music as well as the big works
with orchestra such as Kalevipoeg
for tenor, baritone, SSAATTBB and
orchestra (1954–9), Vanemuine for
SSAATTBB and orchestra, 1967 and Sünnisõnad
for choirs and orchestra (1999).
This is a superbly
recorded and performed selection which
is well worth tracking down. Tormis
is receiving some attention but is desperately
neglected on the world stage in relation
to his worth as a composer. Merits the
effort of discovery especially if you
favour choral work or are a choral conductor
and are looking to clamber out of the
rut.
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