The new Toccata Classics
label has been created expressly to
explore unjustly neglected repertoire.
The small but growing Toccata catalogue
reveals riches such as music by Baltic
20th- and 21st-century
composers, music by neglected composers
from earlier times such as Mysliveček,
Taneyev, Nín and Kapsberger and treasures
from British music of the likes of Donald
Tovey, Havergal Brian and Matthew Taylor.
It is quite remarkable
that a tiny country such as Estonia
should produce more than its fair share
of great conductors and remarkable composers.
This is all the more notable when one
considers how ‘young’ the country is
as far as having any kind of classical
music tradition. Although many of Estonia’s
best-known composers were pupils of
the ‘father of Estonian music’, Heino
Eller (1887-1970), Veljo Tormis travelled
to Moscow to study under Vissarion Shebalin.
Tormis was fascinated by the ancient
runic and shamanistic singing traditions
of the Finno-Ugrian people (this includes
Estonians). He was also heavily influenced
by the choral music of Bartók
and Kodály he experienced on
a visit to Budapest in 1962. The vast
majority of his large output is for
a cappella choir and in choral
circles he is now regarded as one of
the most important living composers
writing for massed voices, although
he deserves far more widespread recognition
than he currently attracts.
For those unfamiliar
with Tormis’ music, let me say his choral
music is totally unlike that of his
compatriot and close contemporary Arvo
Pärt. Whereas Pärt’s music
is often serene and spiritual, that
of Tormis is rugged, muscular, full-throated,
packed with rhythmic drive and often
reinforced with percussive effects.
This is not to say it is any less accessible
than Pärt’s works, only that it
demands a very different mindset when
listening. A large number of Tormis’
choral works are available on CD and
nearly all the works on this disc are
available elsewhere; many of them on
the Visions of Estonia series
of CDs on Alba dedicated to Tormis’
music. However, we are given here what
I think is the first recording of the
Aboriginal Song (although not
so credited) and an opportunity to hear
male-voice versions of two works originally
written for women’s voices (Forging
the Sampo) and mixed choir (Curse
upon Iron). The latter work is Tormis’
most often performed and recorded work
and its raw and terrifying power seems
enhanced in the version here for men’s
voices alone with the composer himself
on a brutal shaman drum. Curse upon
iron is a metaphor for man’s wanton
misunderstanding of and disregard for
the effect his development of destructive
forces (weapons of mass destruction
in particular) and the threat it poses
to the planet and mankind. The symbolic
words call for respect, understanding
and education when dealing with powerful
man-made forces.
None of the other works
on the disc can claim the currency enjoyed
by Curse upon iron but their
quality is none the worse for that.
The CD opens with the previously mentioned
Aboriginal Song a short ‘little
bit of a song’ as Tormis describes it
in the excellent accompanying booklet.
Here we get our first taste of the primeval
vocal writing and primitive percussion
effects Tormis uses so effectively throughout
the disc. The word Aboriginal
of the title is used in a generic way
and actually refers to the composer’s
compatriot Estonians. Using motives
by Polynesians and Estonian Martinmas
mummers, and with its references to
traditional ancient rituals, so restricted
in at the time of writing (1981), the
piece was something of a stab at the
old Soviet authorities. The other song
which makes effective use of percussion
is Forging the Sampo with a rather
obvious imitation of the striking of
an anvil and colourful log drums. Its
text is taken from the Kalevala, that
epic poem drawn from Finnish and Karelian
folklore that so inspired Sibelius as
well as other Nordic composers. The
Kalevala also provides the text for
Incantation for a Stormy Sea
(in its Latin translation) and the inspiration
behind Curse upon Iron.
The works on this disc
that show the most obvious allegiance
musically to ancient runic folk songs
are those with Latin texts, The Bishop
and the Pagan and Incantation
for a Stormy Sea, fascinating mixtures
of medieval-sounding chants and ingenious,
colourful arrangements. No less ancient
in their textual sources but much more
modern-sounding are the testosterone-charged
Men’s Songs – tales of battle,
debauched craving and drink – complete
with drunken slurring of words, whistling
and the slapping of thighs!
The Svanholm Singers,
founded in 1998, comprises only 20 voices
but is a formidable choir with a massive
sound. Under their obviously inspirational
conductor, Sofia Söderberg Eberhard,
they are more than technically and musically
able to cope with the strenuous demands
made upon them by Tormis’ often uncompromising
music, while also managing to convey
a grainy rustic quality to the sound.
This is their recording début
and I hope their discography grows quickly
so that we can enjoy more of their exceptional
artistry. The acoustics of the Lomma
kyrka in Skåne suits the singers
and the music perfectly, lending just
the right degree of resonance to the
music, allowing the words perfect clarity
yet adding an appropriate bloom to the
overall sound.
This disc presents
absolutely superb performances of important
and premier quality choral music with
first rate sound and excellent booklet
notes by the composer himself. This
is a ‘must’ for any serious classical
collection.
Derek Warby
see also review
by Rob Barnett
Toccata
Classics Catalogue
Sound
Sample 
Veljo Tormis (shaman drum; anvil); Stefan
Engström (log drums; counter tenor);
Emil Johannisson; Staffan Lindberg; Johannes
Midgren (tenors); Johan Sternby; Erik
Emilsson (basses); Martin Stervander (whistling)
