Tormis: "Lauliku Lapsepõli"
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| The tiny Baltic country of Estonia might be small in size but it is enormous in its choral singing traditions. Like the communal singing in South Africa, the history of singing in Estonia is also very community centered. In one of the most extraordinary movements in recent political history, Estonia and its Baltic neighbors Latvia and Lithuania, literally sang their way to freedom during the "Singing Revolution" of 1989-91. These three Baltic countries comprised the western-most border of the old Soviet Union held rallys and continued with their "song festivals" -- singing in their native languages and singing works by native Estonian rather than by Soviet-approved composers. The Estonian "Song Festival" or "laulupidu" would have a choir of 20,000+ singers and and audience of 300,000+!! |
| Estonian folk music strongly influences many contemporary Estonian composers, especially Veljo Tormis. In "Lauliku" the main melody is a short tune with a narrow range, resembling the ancient runic tunes. The 'singers' remembers his/her childhood and the experience of learning to sing. Each verse of "Lauliku" is sung by a different solo singer with the choir providing a haunting modal accompaniment. |
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"I
do not use folk song," Tormis has said. "It is folk music that
uses me. To me, folk music is not a means of self-expression;
on the contrary, I feel the need to express the essence of folk
music, its spirit, meaning and form."
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| To explore the choral music of Veljo Tormis is to journey the heart and soul of the Estonian culture and singing tradition. Born during Estonia's free years, Tormis composed during and following both the German and Soviet occupations in the mid-20th C. Based on the ancient runic song idioms, Tormis' music is both accessible and powerful. |
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The following are comments from the composer about "runic song" and Lauliku:
| "Runo-song melodies are enchantingly repetitive short recitatives, whereas the same melody may be applied for the performance of several different runo-poems. One melody-line usually extends to one or two verse lines without forming periods. Runo-songs are performed as a call and response between a lead-singer and the chorus ... I have tried to preserve the original runo melodies without revising them." |
| Lauliku
lapsepõli (from the larger collection "Laulud Laulust
ja Laulikust / Songs about Song and the Singer") was written
in 1966 for female choir. Tormis says, "It presents a theme
frequently occurring in Estonian songlore describing the process
of becoming a singer. The music is of rather melodious contour,
dominated by the refrain al'leaa. The folk melody is complemented
by an intentionally minimal harmony. My artistic credo insists tha
the folk song should retain as much of its authenticity as possible,
and I try to avoid disturbing 'arrangements' ... Deep concern for
the fate of my tiny homeland, my people and our culture have keyed
my creative work through time and change." |
| Quotes from composer's notes in booklet to cd (EMI 1687; 465223-2) |
TEXT GUIDE
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here
• Choir: Estonian
Philharmonic Chamber Choir
CD = "Litany to Thunder"
(EMI: ECM
1687 CD 465 223-2)
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