Estonian Philharmonic

Sergei Rachmaninov - All-Night Vigil op. 37
Estonian Philharmonic Chamber Choir / Paul Hillier
EAC+LOG+CUE | FLAC: 194 MB | Full Artwork: 188 MB | 5% Recovery Info
Label/Cat#: Harmonia Mundi # HMU 907384 | Country/Year: US 2005
Genre: Classical | Style: Sacred, Vocal, Early 20th Century

…Paul Hillier is arguably the finest living conductor of spiritual choral music, a conductor with a complete mastery of the technique of singing and a consummate understanding of the transcendence of music. The Estonian Philharmonic Chamber Choir is probably the best Baltic choir, a chorus with the sonorous depths of the best Russian choirs, the supple strength of the best Scandinavian choirs, plus the soulful longing of the best choruses in the world. And, of course, Rachmaninov's All-Night Vigil is beyond all argument the greatest, the deepest, the most transcendent choral work ever composed by a Russian and one of the highest musical embodiments of humanity's spirituality. Together, Hillier and the Estonians turn in a performance of the All-Night Vigil of supreme musicality and sublime spirituality, a performance to convert the unconverted and bring the apostate back to belief. Harmonia Mundi captures the performance in sound that can only be described as stupendous.

Tractus emphasizes Arvo Pärt compositions that blend the timbres of choir and string orchestra. New versions predominate, with focused performances from the Tallinn Chamber Orchestra and the Estonian Philharmonic Chamber Choir under Tõnu Kaljuste’s direction that invite alert and concentrated listening. From the opening composition Littlemore Tractus, which takes as its starting point consoling reflections from a sermon by John Henry Newman, the idea of change, transfiguration and renewal resonates, setting a tone for a recording whose character is one of summing up, looking inward, and reconciling with the past.

Alfred Schnittke and Arvo Pärt lived through times of remarkable change in the last decades of the Soviet Union. From the 1970s, state restrictions on religion were gradually relaxed and this was reflected in the arts and especially in music. Schnittke’s adoption of Christianity was triggered by the death of his mother in 1972, and culminated in his later conversion to Catholicism. Pärt was from a nominally Lutheran background in Estonia, but embraced the Orthodox faith in the 1970s, following intensive study of liturgical music. Both composers began to incorporate religious themes into their work, moving away from the modernist abstraction that had characterized their early careers.

The music of the Russian Orthodox Church was an essential part of Sergei Rachmaninov’s musical background. As a boy he was deeply moved by the sound of St Petersburg’s cathedral choirs, and phrases reminiscent of liturgical chant permeate his music. His Vespers has long been admired as a summit of Russian liturgical music. It has unfortunately tended to overshadow the Liturgy of St John Chrysostom, his earlier large-scale sacred composition. Named after the fourth-century Archbishop of Constantinople and Church Father, the Liturgy consists of a sequence of prayers, psalms and hymns, which are sung or chanted by the different participants in the service.

The Danse macabre the idea that Death comes for everyone regardless of status or importance has fascinated musicians for centuries. In 2011, inspired by a vast 16th c. painting by Bernt Notke in St Nicholas Church in Tallinn, the English composer Gregory Rose (b. 1948) set the mediaeval German texts which sit below each panel, turning Notkes terrifying vision into a bleak but grimly humorous ritual. The recording features the world-renowned Estonian Philharmonic Chamber Choir. It was recorded in the very church that houses Notkes paintings and is conducted by the composer.

The elemental power of ancient folk music is the lifeforce that drives the compositions of Veljo Tormis (1930-2017). As the great Estonian composer famously said, “I do not use folk song. It is folk song that uses me.” This sentiment is echoed in definitive performances by the Estonian Philharmonic Choir and the Tallinn Chamber Orchestra under the direction of Tõnu Kaljuste, for decades one of Tormis’s closest musical associates. Four orchestral cycles celebrate the changing seasons: Autumn Landscapes, Winter Patterns, Spring Sketches, Summer Motifs. And three pieces – Worry Breaks The Spirit, Hamlet’s Songs and Herding Calls – feature new arrangements by Tõnu Kaljuste, continuing and commemorating Tormis’s work. The album opens with The Tower Bell In My Village which Kaljuste commissioned 45 years ago. It sets words by Fernando Pessoa that seem entirely pertinent in the context of this tribute. “Oh death, it’s a bend in the road/You can’t be seen when you’ve passed by/But still your steps continue…” Reminiscentiae was recorded at Tallinn’s Methodist Church in October and November 2020.

Estonian composer Tõnu Kõrvits (b. 1969) belongs to his country’s most prominent composers. His works are rich with delicate atmosphere possessing a particularly Northern feel combined with a romantic and Impressionistic touch. This new album by the award-winning Estonian Philharmonic Chamber Choir, Tallinn Chamber Orchestra and conductor Risto Joost is the final volume in a trilogy of works for choir and orchestra.