On this CD the Estonian Philharmonic Chamber Choir, conducted by Paul Hillier, sings music by Baltic composers. Curiously enough, this claim is not fulfilled: a contribution from Lithuania is missing and it is also somewhat curious that, for the sake of convenience, Swedish and Finnish composers now apparently also count as Baltic (instead of Scandinavian). It will be opened with four psalm settings
… by Cyrillus Kreek (1889-1962). This Estonian composer, who studied in St. Petersburg, was an enthusiastic collector of Estonian folk songs. This fascination is clearly conveyed in the choral works: these are without any doubt surprising settings, with idiosyncratic melodic and rhythmic profiles. Furthermore, five Latvian bourdon songs from 1982 by Veljo Tormis (1930) can be heard; despite the title clearly referring to national origin, these works sound much more anonymous than those of Kreek. The settings are more reminiscent of those of Le mystère des voix bulgares than of Baltic states. Estonia's most famous composer Arvo Pärt (1935) provides the recording premiere of ... which was the son of ... from 2000, a strikingly elated work, compared to the meditative tone that usually dominates Pärt's music. Dona nobis pacem has been recorded by the Latvian composer Peteris Vasks (1946). Musically Vasks is mainly formed by the music of the Warsaw Autumn festivals, which pushes the Baltic content of his music into the background. Penderecki seems more important here than national origin. Hear my prayer, O Lord (1986) and Es ist genug (1986) were written by the Swede Sven-David Sandstrom (* 1942) who, as the titles suggest, was based on older models, namely Purcell and Buxtehude. The CD is further filled with the Lorca Suite from 1973 by the Finn Einojuhani Rautavaara. Why the latter works have been recorded on a CD with 'Baltic voices' is the question. But it is also striking that in the Baltic music after Kreek hardly a national sound is heard: instead, the internationally accepted neo-religious neo-tonal idiom dominates. Thus, despite the quality of the performance, this CD offers a rather skewed portrait of the 'Baltic voices'. (JvG) But it is also striking that in the Baltic music after Kreek hardly a national sound is heard: instead, the internationally accepted neo-religious neo-tonal idiom dominates. Thus, despite the quality of the performance, this CD offers a rather skewed portrait of the 'Baltic voices'. (JvG) But it is also striking that in the Baltic music after Kreek hardly a national sound is heard: instead, the internationally accepted neo-religious neo-tonal idiom dominates. Thus, despite the quality of its performance, this CD offers a rather skewed portrait of the 'Baltic voices'. (JvG)more
