{"id":15206,"date":"2019-05-07T17:09:29","date_gmt":"2019-05-07T14:09:29","guid":{"rendered":"https:\/\/www.epcc.ee\/2019\/05\/blossomings-a-stunning-display-of-contemporary-choral-music-in-tallinn\/"},"modified":"2019-05-14T11:54:19","modified_gmt":"2019-05-14T08:54:19","slug":"blossomings-a-stunning-display-of-contemporary-choral-music-in-tallinn","status":"publish","type":"post","link":"https:\/\/www.epcc.ee\/en\/2019\/05\/blossomings-a-stunning-display-of-contemporary-choral-music-in-tallinn\/","title":{"rendered":"\u201cBlossomings\u201d: a stunning display of contemporary choral music in Tallinn"},"content":{"rendered":"
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\u201cIt is enough when a single note is beautifully played,\u201d wrote Arvo P\u00e4rt, expounding on his tintinnabuli<\/em> style, whose music is characterised by the blending of diatonic scales and triadic arpeggios, emulating the lingering overtones produced by a bell \u2013 a single moment spread out through time. In developing this language, P\u00e4rt \u2013 described to me by Madli-Liis Parts, music advisor to the Ministry of Culture, as the grandfather of Estonian contemporary music \u2013 established a relationship to sound that was, paradoxically, both ancient and radically new. Here was a music in which tonality becomes the common basis for expression \u2013 its strength and purity a manifestation of God; one where asceticism and acoustic sensitivity takes precedence over the more lavish aspects of neoclassicism and serialism that defined P\u00e4rt\u2019s earlier compositions.<\/div>\n
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\"Kaspars<\/p>\n

Kaspars Putni\u0146\u0161 and the Estonian Philharmonic Chamber Choir<\/div>\n
\u00a9 Sven Tupits<\/div>\n
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It was this reverence to sound \u2013 the urge to explore single moments through time \u2013 that united each of the exceptional works presented by the Estonian Philharmonic Chamber Choir<\/a> on Saturday evening. \u201cBlossomings\u201d, under the glowing direction of Kaspars Putni\u0146\u0161<\/a>, was a programme so perfectly suited to the deathless acoustic of Tallin\u2019s St Nicholas\u2019 Church that one felt each piece must surely have been written with the building in mind. In fact, only two \u2013 Toivo Tulev\u2019s Ek het jou lief<\/em> (I Love <\/em>You) and Helen Tulve\u2019s N\u00e4chtliche Ges\u00e4nge <\/em>(Nocturnal Songs<\/em>) \u2013 actually were. Both were commissioned by the Estonian Music Days festival, the elder composer Tulev being something of a bridge between Tulve and the previous generation (P\u00e4rt, Jaan R\u00e4\u00e4ts et al), whose music was born out of Soviet censorship.<\/p>\n

Tulve sets two texts by the German-Jewish poets Paul Celan and Hilde Domin, her shimmering microtones capturing perfectly the moonlit landscape: \u201cOut in the distance from a dream-blackened grove, a spirit-vapour streams to us.\u201d In Tulev\u2019s Ek het jou lief <\/em>all melodic movement stemmed from a single, unfaltering note shared between sections. The piece represents, in his words, an \u201cacknowledgement of the deficit in understanding, sympathy and willingness to listen that we all encounter in our daily lives\u201d, and through this combination of textural homogeneity and ever-mutating tonality \u2013 the constant versus the ephemeral \u2013 the music reflects both Tulev\u2019s acceptance and his quest for consolation. The text combines pithy phrases from a multitude of languages, and hats off to both Putni\u0146\u0161 and his singers for pulling off such an immense feat of choral articulation. If only I could bottle the luxuriant sound of that bass section and divvy it up between each choral society in Britain \u2013 we would be much better for it.<\/p>\n

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Only one of the works performed \u2013 Luk\u00e1\u0161 Borzik\u2019s Credo \u2013 <\/em>set a sacred text. Using this declaration of faith as his starting point, the Slovakian composer weaves a compelling musical narrative that aims to explore the great mystery of our creation. The most memorable moment of the evening, however, came at the climax of Thomas Simaku\u2019s La Leggiadra Luna<\/em> (The Beautiful Moon<\/em>), in which a thundering eight-note chord reverberated around the St Nicholas\u2019 rafters for what felt like an eternity. The magisterial final piece, Blossomings <\/em>by Belgian composer Wim Henderickx<\/a>, was originally written for the BBC Singers as a tribute to the late English composer Jonathan Harvey. Breaking formation, the EPCC \u2013 joined by trumpeter Indrek Vau \u2013 split into six cells spread in a semicircle around the front ten rows of pews. Against the background of a single, dusty chord on the organ, the trumpet introduces each section of text \u2013 a mix of Buddhist, Catholic and Sufi poems in whose melding Henderickx emphasises both the power of cultural reconciliation and individual beauty.<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

Call me old hat, but I\u2019ve always thought the primary appeal in a cappella<\/em> choral music, when compared to instrumental or electronic, lies in its constraints. If I can, for a moment, use the allegory of rugby\u2019s offside law: a rule put in place for the benefit of both the players and the crowd \u2013 but equally one with room for a little bending. The same logic applies to choral music. One is forced to play within the rules of tonality \u2013 stray too far from its moorings and the music becomes impossible to sing. The skill therefore lies in knowing how far the rules can be bent, and equally, when to simply let a moment hang \u2013 untainted \u2013 in space. P\u00e4rt understood the power in such music, as do Tulve, and Tulev. After all, sometimes it is enough when a single note is played beautifully.<\/p>\n

Timmy’s press trip to Tallinn was funded by Estonian Music Days<\/em><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

\u201cIt is enough when a single note is beautifully played,\u201d wrote Arvo P\u00e4rt, expounding on his tintinnabuli style, whose music is characterised by the blending of diatonic scales and triadic arpeggios, emulating the lingering overtones produced by a bell \u2013 a single moment spread out through time. In developing this language, P\u00e4rt \u2013 described to […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[9],"tags":[],"class_list":["post-15206","post","type-post","status-publish","format-standard","hentry","category-media"],"acf":[],"yoast_head":"\n\u201cBlossomings\u201d: a stunning display of contemporary choral music in Tallinn - Estonian Philharmonic Chamber Choir<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.epcc.ee\/en\/2019\/05\/blossomings-a-stunning-display-of-contemporary-choral-music-in-tallinn\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u201cBlossomings\u201d: a stunning display of contemporary choral music in Tallinn - Estonian Philharmonic Chamber Choir\" \/>\n<meta property=\"og:description\" content=\"\u201cIt is enough when a single note is beautifully played,\u201d wrote Arvo P\u00e4rt, expounding on his tintinnabuli style, whose music is characterised by the blending of diatonic scales and triadic arpeggios, emulating the lingering overtones produced by a bell \u2013 a single moment spread out through time. 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