{"id":15247,"date":"2019-05-27T13:12:48","date_gmt":"2019-05-27T10:12:48","guid":{"rendered":"https:\/\/www.epcc.ee\/?p=15247"},"modified":"2019-05-27T13:12:48","modified_gmt":"2019-05-27T10:12:48","slug":"estonian-incantations-i","status":"publish","type":"post","link":"https:\/\/www.epcc.ee\/en\/2019\/05\/estonian-incantations-i\/","title":{"rendered":"Estonian Incantations I"},"content":{"rendered":"<p><strong><em>Estonian Incantations I<\/em><\/strong><br \/>\n<strong>Tauno AINTS (b 1975)<\/strong><br \/>\nVitsa (Flogging) concerto for electric guitar and mixed choir (2013) [20:56]<br \/>\n\u2026teid t\u00e4name\u2026 (\u2026we thank you\u2026) for mixed choir and improvisers (2013) [6:36]<br \/>\n<strong>Sven GR\u00dcNBERG (b 1956)<\/strong><br \/>\nKas ma Sind leian? (Will I Find You?) for chamber choir and seven-string acoustic guitar (2016) [8:01]<br \/>\n<strong>Robert J\u00dcRJENDAL (b 1966)<\/strong><br \/>\nSee \u00f6\u00f6 oli pikk (The Night Was Long) for chamber choir and three electric guitars (2013) [11:05]<br \/>\n<strong>Raul S\u00d6\u00d6T (b 1969)<\/strong><br \/>\nVaikusestki vaiksem (Quieter than Silence) for chamber choir and two guitars (2013) [9:57]<br \/>\nMarzi Nyman (guitar)<br \/>\nAndre Maaker (seven-string acoustic guitar)<br \/>\nAin Agan (fretless guitar)<br \/>\nPaul Daniel (electric guitar)<br \/>\nAnnika L\u00f5hmus (vocals)<br \/>\nWeekend Guitar Trio<br \/>\nEstonian Philharmonic Chamber Choir\/Kaspars Putni\u0146\u0161<br \/>\nrec. 2016, United Methodist Church, Tallinn, Estonia<br \/>\nTexts and translations included<br \/>\n<strong>TOCCATA NEXT TOCN0002<\/strong>\u00a0[56:36]<\/p>\n<p align=\"justify\"><em>Estonian Incantations I<\/em>\u00a0represents the first disc I have encountered on Toccata Next, an imprint of Martin Anderson\u2019s exploratory and pioneering label Toccata. Without wishing to be too overt, it is instructive to quote directly the brief mission statement on Toccata\u2019s website: \u201c<em>Toccata Next maintains the spirit of discovery of Toccata Classics: interesting programmes of generally unknown music, and from as wide a catchment area \u2013 geographically, historically, stylistically \u2013 as possible. But Toccata Next has a more catholic policy on repertoire, free from the Toccata Classics policy of presenting one composer at a time. Like its parent label, though, Toccata Next generally presents first recordings \u2013 of fascinating music you won\u2019t find anywhere else<\/em>.\u201d<\/p>\n<p>With this disc, at least, Anderson has comprehensively delivered on this promise. The catalogue is hardly overflowing with music for choir and guitars, electric, acoustic and those in between. In this case the choir is the Estonian Philharmonic Chamber Choir, without question one of the finest groups on Earth. The guitarists and composers are less well-known, at least here in the UK; one suspects that if they came from London or New York this would not be the case. Tallinn may be less than four hours away by air but in musical terms it occupies another planet. There are five pieces by four composers on this disc whose names, I\u2019m ashamed to say, are totally unknown to me (and I thought I knew something about Baltic music in general and Estonian music in particular!). Take the guitars out of the equation completely and the quality of the choral\/vocal writing in each of these works is exceptional. But this isn\u2019t simply a case of a crack choir making anything sound good. These pieces are indeed often beautiful and sometimes challenging to the listener, but each is strikingly original in its own right and all seem to grow in impact on subsequent listens.<\/p>\n<p>I strongly suspect there can\u2019t be many works of any kind inspired by flogging and Tauno Aints\u2019s\u00a0<em>Vitsa<\/em>presumably sets a precedent. It\u2019s a two movement \u2018concerto\u2019 for electric guitar and choir whose texts derive from primitivist Estonian regional incantations against flogging (in the first movement) and pain (in the second). These chants take the form of evocative childlike rhymes (so an excerpt from the translation of the \u2018Charm against flogging\u2019 is \u201cWool to the whip end, fur to the birch rod, tufts to the alder rod\u2026\u201d The crashing distortions on the guitar that open this first movement are set against rapid, urgent syllabic chanting , while the instrumental part soon settles into a pattern of alternating calming Metheny-like figures with more confrontational, distortion drenched gestures. Slow episodes involve lots of atmospherics on the guitar. Soloist Marzi Nyman\u2019s effects pedal seems to be working overtime throughout this piece, while the choral writing is terrifically varied and often delicately beautiful. The central section concludes with the kind of extended high riffing (over a quiet choral backdrop) that recalls another ECM stalwart, Terje Rydpal, before Aints revisits the original section and adds a sequence of effects, which are by turn disarming and hypnotic. At times the recording engineers seem to face real challenges in maintaining an audible choral sound in the face of some deafening, metal guitar textures, but more often than not the sound emerges pretty cleanly and holds up unexpectedly well. The second movement\u00a0<em>Charm against pain<\/em>\u00a0features more conventionally consoling material for the singers. The Estonian choir project this serene music with consummate security. The guitar role in this shorter movement is more restrained and less obviously virtuosic; its gestures tending to delicacy rather than provocation. The last couple of minutes of\u00a0<em>Vitsa<\/em>\u00a0are unusual and unforgettable; the choir sustain a soft major chord over a quiet but complex riff, which is matched note for note by a single, wordless voice (presumably the guitarist\u2019s).<\/p>\n<p>Sven Gr\u00fcnberg\u2019s bewitching\u00a0<em>Kas ma Sind leian?<\/em>\u00a0(Will I Find You?) sets a text which simply repeats the four words of the title over a spectacularly written accompaniment for a seven string acoustic guitar, brilliantly played by Andre Maaker. Given the simplicity of the words, this short work covers an extensive emotional terrain, exploring as it does the constant quest of each human being to find companionship, love, self-acceptance and ultimately meaning. The variety and directness of Gr\u00fcnberg\u2019s accomplished vocal writing is superbly conveyed by the Estonian Philharmonic Chamber Choir whose sound here at times approaches sonic velvet.<\/p>\n<p>While all the pieces on this disc have much to commend them, for me the pick of the bunch is Robert J\u00fcrjendal\u2019s\u00a0<em>See \u00f6\u00f6 oli pikk<\/em>\u00a0(The Night Was Long) where the choir is accompanied by three electric guitars (one of which is played by the composer) and some telling electronic effects. The text is drawn from a poem by the contemporary Estonian poet Doris Kareva whose title translates as \u2018Gardens of Nothingness\u2019; it alludes to the anxieties and hopes experienced during hibernal sleep and to the warmth provided by another. The spectrally magical effects with which the piece begins at once provide a mysterious, yet oddly comforting cocoon of sound. When the choir enter, the drone upon which the whole is built could represent the soil itself. Odd sounds reveal themselves in fragmented form, eventually making the listener more aware that these are indeed guitars and while the choral writing is close and serious, the overall effect is otherworldly. If J\u00fcrjendal\u2019s music unfailingly projects the essence of the words, in the work\u2019s latter stages the synthetic sounds do seem to communicate the awakening of nature. The choir\u2019s final entry at 8:32 is entrancing and magical, the voices swell and melt into an ethereal electronic halo.<\/p>\n<p>Raul S\u00f6\u00f6t\u2019s\u00a0<em>Vaikusestki vaiksem<\/em>\u00a0(Quieter than Silence) for chamber choir and two guitars utilises a short text by the composer in an attempt to explore the hinterland between sound and silence, and the intersections between music of devotion and entertainment. The two guitars are subtly amplified here \u2013 one is fretless. After an extended introduction the choral material unfolds from an austere, refined monody, which seems to owe something to Gregorian chant. The solo voice of one of the choir\u2019s sopranos, Annika L\u00f5hmus, hovers spectrally above the choral and instrumental textures that merge as the work heads to its conclusion, when the voices combine to evoke the percussive sounds of the outside world, both human and natural.<\/p>\n<p>The album concludes with a short prayer of gratitude by Tauno Aints,\u00a0<em>\u201c\u2026 teid t\u00e4name\u2026\u201d<\/em>\u00a0(\u2026we thank you\u2026) which alternates brief strophic verses with amplified guitar improvisations; the last but one of which seems to owe something to Rhythm \u2018n\u2019 Blues. Like all the items on this issue here too, Toccata\u2019s engineers somehow succeed in finding a convincing balance between voices, instruments and amplification.<\/p>\n<p>One of the best things I haven\u2019t mentioned about this disc is its title.\u00a0<em>Estonian Incantations I<\/em>\u00a0invokes the hope, perhaps even the expectation that\u00a0<em>Estonian Incantations II<\/em>\u00a0will follow in due course. I for one cannot wait.<\/p>\n<p align=\"justify\">\n<p align=\"justify\">Look more: <a href=\"http:\/\/www.musicweb-international.com\/classrev\/2019\/May\/Estonian_incantations_v1_TOCN0002.htm\">MusicWeb International<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Estonian Incantations I Tauno AINTS (b 1975) Vitsa (Flogging) concerto for electric guitar and mixed choir (2013) [20:56] \u2026teid t\u00e4name\u2026 (\u2026we thank you\u2026) for mixed choir and improvisers (2013) [6:36] Sven GR\u00dcNBERG (b 1956) Kas ma Sind leian? (Will I Find You?) for chamber choir and seven-string acoustic guitar (2016) [8:01] Robert J\u00dcRJENDAL (b 1966) [&hellip;]<\/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-15247","post","type-post","status-publish","format-standard","hentry","category-media"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.3 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Estonian Incantations I - 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\/estonian-incantations-i\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Estonian Incantations I - Estonian Philharmonic Chamber Choir\" \/>\n<meta property=\"og:description\" content=\"Estonian Incantations I Tauno AINTS (b 1975) Vitsa (Flogging) concerto for electric guitar and mixed choir (2013) [20:56] \u2026teid t\u00e4name\u2026 (\u2026we thank you\u2026) for mixed choir and improvisers (2013) [6:36] Sven GR\u00dcNBERG (b 1956) Kas ma Sind leian? 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