Toivo Tulev

Estonian Music Days 2018 (Part 1)

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A few days ago i returned from spending a week in the city of Tallinn, experiencing most of this year’s Eesti Muusika Päevad, the Estonian Music Days, the country’s most important festival devoted to contemporary music. In previous years i’ve commented on the perception that what one hears during EMD often seems remarkably removed from the conventions and traditions that we associate with new music in western Europe, and in tandem with this, that the development of Estonian contemporary music can appear to have taken place – and, to an extent, continue to be exercised – in a kind of hermetically-sealed bubble. As my understanding and appreciation of this music has deepened, i’ve come to realise there’s both truth and falsehood in these perceptions, but to say that the situation is a complex one – due to a tangled mixture of political, geographical and cultural elements – is to put it extremely mildly.

For the last three years the artistic directors of EMD, composers Helena Tulve and Timo Steiner, have chosen an annual theme for the festival, which is deliberately pithy and allusive in order not to be too prescriptive and to allow composers and audiences the widest possible scope for interpretation (to date: ‘abundance’ in 2015, ‘green sound?’ in 2016 and ‘through dimness’ last year). For 2018 the theme was püha, the Estonian word for ‘sacred’ or ‘holy’, and this point of reference could be felt as a constant through pretty much every concert, though continually provoking a need for reassessment of what that word means and implies, and from much more than just a musical perspective. Read more

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Estonia in Focus weekend: New Estonian Choral Music, Tõnu Kõrvits – Moorland Elegies, Galina Grigorjeva – Nature Morte

Posted on by 5:4 in CD/Digital releases, Thematic series | 2 Comments

To bring this first Estonia in Focus weekend to a close, some excellent CDs of Estonian contemporary choral music have been released in the last few months. Together they admirably demonstrate the considerable range and richness of compositional thought typical of the country’s new music scene. For a broad but in-depth overview of this scene, there’s a superb new anthology released by the Estonian Music Information Centre, the primary and superbly supportive outlet for the country’s musical output (at present, the disc only appears to be available directly from there). It contains music by no fewer than ten composers, works all written within the last 15 years.

Folksong, whether clearly invoked or implied, is an influence in several of the pieces. Most obviously in Kristo Matson‘s Three Estonian Folk Songs, a strangely-structured work – the middle ‘song’ is so blink-and-you’ll-miss-it that it hardly counts – and perhaps a little too simplistic for its own good, but with some pretty moments, particularly in the opening song. Piret Rips-Laul‘s Paradisi Gloria is similarly simple, and regarding the album as a whole feels like the odd one out, more redolent of the sugary choral styles so prevalent in the US, tapping into a harmonic world not unlike Morten Lauridsen’s but without the scrunchy diatonics. Also with a folk sensibility, but greater invention and beauty, is Maria Kõrvits‘ work for female choir Haned-luiged (Geese-Swans), essentially homophonic but here and there enriched with sustained chords behind, while Mariliis Valkonen‘s Usalduse jõgi (River of Trust) widens the scope of such simplicity, combining relatively rigid underpinning (via drones) with a mixture of unified declamation and bursts of more textural music. Many of the works on this disc have love as a central theme. In Near by Evelin Seppar, setting texts by Elizabeth Barrett Browning, it’s implicit rather than stated (Seppar’s partner conducts the choir for whom it was written), though the work’s strong upward movements that coalesce around the phrase “mystic shape”, and the overwhelmingly passionate outpouring heard later, answered by a soft, heartfelt conclusion, make the subtext abundantly clear. Born in 1958, Toivo Tulev is the elder statesman here, and not simply in terms of age: Tulev has acted in the role of composition teacher for four of the other featured composers. Though the two movements from his 2007 vocal cycle Sonnets are unfortunately marred by an imperfect recording (afflicted with a low hum), the stirring melancholy that Tulev wrings from Dante’s La vita nuova is crystal clear. First the choir laments and consoles itself as a kind of close-knit support group, before turning outwards in a more emotionally raw episode that benefits from sounding intuitive, the contrast between loud, high outbursts and sustained softer passages making this arguably the most direct music on the disc. Read more

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