RECORDING OF THE MONTH
Carlo GESUALDO DA VENOSA (1566 – 1613)
Moro lasso (1611, orch. Tõnu Kaljuste) [4:33]
O crux benedicta (1603, orch. Erkki-Sven Tüür) [4:14]
Brett DEAN (b. 1961)
Carlo (1997) [20:37]
Erkki-Sven TÜÜR (b. 1959)
L'ombra della croce (2014) [6:57]
Psalmody (1993, rev. 2011) [22:08]
Estonian Philharmonic Chamber Choir
Tallinn Chamber Orchestra/Tõnu Kaljuste
rec. Tallinn Methodist Church, February 2014
ECM NEW SERIES 2452 (4811800) [58:31]
At first glance these composers may seem to be strange bedfellows
but the programme as a whole will readily clear any misgivings. As the cover
of this disc makes it quite clear: Gesualdo is the central figure although
he is represented here by a mere nine minutes of music.
The programme opens with a piece by Gesualdo - Moro lasso from Il
Sesto Libro di Madrigali of 1611 - heard here in a very fine arrangement
for strings made by Kaljuste. This piece provides most of the basic material
for Brett Dean's Carlo. This was originally scored for strings,
sampler and tape and in this version was released some time ago on BIS CD-1576
that I
reviewed here. Suffice to say that it draws both on Gesualdo's
music and life since its main climax may be experienced as an almost graphic
representation of Gesualdo's stabbing his wife and her lover. When
reviewing that performance I concluded by saying that it was the most impressive
work in that most welcome release. However, what is heard now is somewhat
different in that Kaljuste suggested that the Gesualdo madrigal — Moro
lasso — heard on tape in the original version as well as some material
from the sample might be sung 'live'. The composer admits that
he had always been fascinated by “the eerie phenomenon that emerges
in the work through hearing yet not seeing the recorded voices”. The
presence of 'live' voices somewhat modifies the music's
global perspective and when given a committed performance as the one here,
the impact is truly shattering. The score is imbued with an otherworldly element
which complements the work's tale of love, death and passion.
The other Gesualdo item (O crux benedicta from Sacrarum cantionum
liber primus of 1603) is also heard in a transcription for strings made
this time by Erkki-Sven Tüür and provides the basic material for Tüür's
L'ombra della croce composed for this recording. It is a free
fantasia on Gesualdo's theme somewhat in the same vein as Vaughan Williams'
Tallis Fantasia albeit shorter and in a rather different stylistic
vein. This short but very beautiful work is dedicated to Manfred Eicher.
The final item here is not related in any way to Gesualdo; at least not as
far as I can make out. Psalmody has had a rather chequered genesis
and has been subject of a number of revisions and re-workings before achieving
the form heard here. It was originally written for Hortus Musicus, an Estonian
early music ensemble, in 1993. It seems that the composer was not entirely
satisfied with the results and eventually revised it in 2005 for mixed chorus
and early music ensemble. This version is available on an Estonian disc ERR
ERRCD 0005. Later still (2011), Tüür undertook yet another revision and it
is now scored for mixed chorus and orchestra. Although the 2011 revision is
much in tune with the 2005 one Tüür admits that having recomposed part of
it, “brought balance to the form”. The changes also involved additions
to the choir parts. Psalmody nevertheless preserves much of its original
character as well as the three original sections and the music firmly harks
at American Minimalism. It sometimes brings to mind the music of John Adams
rather than Steve Reich. As implied by the title, Psalmody sets words
from Psalm 67, Psalm 136 and Psalm 150 respectively. This relatively early
work remains one of the most attractive and endearing entries in his catalogue.
I wish that it was heard more often.
This intelligently planned and superbly performed programme is a pure delight
from first to last. Recording and presentation are up to ECM's best
standards. The composers' notes express what they have to say with
most welcome clarity and avoid sliding into the nebulous indulgences sometimes
to be found in this label's liner-notes. Allow me however to mention
that Tüür's Psalmody is scored for chorus and orchestra and
not for string orchestra as stated on the inside cover of the booklet. This
need not deter anyone from enjoying this well planned and superbly performed
release. My Recording of the Month, for sure, and it will be high
up in my Recordings of the Year.
Hubert Culot
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