Estonian Philharmonic Chamber Choir Tuesday 30 January 2018 7.30Pm Milton Court Concert Hall

Estonian Philharmonic Chamber Choir Tuesday 30 January 2018 7.30pm Milton Court Concert Hall

Arvo Pärt Solfeggio Summa Magnificat Zwei Beter The Woman with the Alabaster Box Nunc dimittis Dopo la vittoria interval 20 minutes Cyrillus Kreek Õnnis on inimene (Blessed is the Man) Psalm 104 Jonathan Harvey Plainsongs for Peace and Light The Angels Veljo Tormis Jaanilaul (St John’s Song) Raua needmine (Curse upon Iron)

Estonian Philharmonic Chamber Choir Kaspars Putnin, š conductor

Part of Barbican Presents 2017–18

Programme produced by Harriet Smith; printed by Trade Winds Colour Printers Ltd; advertising by Cabbell (tel 020 3603 7930) Please turn off watch alarms, phones, pagers etc during the performance. Taking photographs, capturing images or using recording devices during a performance is strictly prohibited.

If anything limits your enjoyment please let us know The City of London during your visit. Additional feedback can be given Corporation is the founder and online, as well as via feedback forms or the pods principal funder of located around the foyers. the Barbican Centre 2 regained itsindependence.Singingisa late 1980s andearly1990s whenEstonia the timesof theSingingRevolution inthe The connectionwas even stronger at festival inEstonia in1869. have gonehandinsincethefirst song Choral singingandthestrivingfor freedom national identityduringforeign domination. turned to musicasaway of preserving their intertwined withmusic.Estonians have long world, thehistory of Estonia isastory Perhaps more thanany countryinthe Welcome

Evgeny Kissin,Maxim Vengerov andNicoMuhly. Iestyn Davies, Joyce DiDonato, SirHarrisonBirtwistle, Sir JamesMacMillan, George Benjamin,Andrew Norman, artists from around theworld. Recent artists include for exclusive interviews andcontent from thebestclassical Stream ordownload ourBarbican ClassicalMusicpodcasts Available on iTunes, Soundcloud and the Barbican website Barbican the and Soundcloud iTunes, on Available Barbican Classical MusicPodcasts Prime Minister of Estonia Jüri Ratas festive year. more of Estonia anditsculture duringthis you willenjoy itandwillreturn to discover Philharmonic ChamberChoir. We hope a concertof therenowned Estonian centenary celebrations intheUKwith We are delighted to opentheEstonian singing nation. This iswhy Estonians are often calleda vital partof Estonian culture andidentity.

less well-known figures intheUKbutboth Veljo Tormis andCyrillus Kreek may be setting of the decades, from theearly presents works ranging over nearlyfour Estonia’s best-known musicalexport – to themusicof Arvo Pärt–arguably The first halfof theconcert, dedicated Artistic Director Kaspars Putnin Philharmonic ChamberChoirundertheir Ratas. On-stage we welcome theEstonian have withusEstonia’s PrimeMinister Jüri Estonia’s centenary. We’re honoured to special event, celebrating asitdoes This evening’s concertisaparticularly Welcome Nunc dimittis Solfeggio from 2001. , š. š. to a Huw Humphreys, Head of Music,Barbican you enjoy it. It promises to beathrilling evening. Ihope Plainsongs for Peace andLight the posthumouspremiere of Harvey’s with tonight’s conductor, whogave composer, butalsohad adirect link was not onlyahighlyskilled choral The BritishcomposerJonathanHarvey their own stylesof composition. singing tradition, whichinturninfluenced of Estonia, championing thecountry’srich played aseminalrole inthemusic-making in2013.

3 Welcome 4 perfectly judgedmomentsof transcendant climax, Aside from their exquisitely controlled serenity and and Edinburgh, theseare precious gemsindeed. (Pärt’s cityof residence for many years from 1980) in 1989 and2001 for cathedral choirsinBerlin written 12 years apart.Composedrespectively (the Songof MaryandtheSongof Simeon)were of thesetwo texts from Luke Chapters 1and2 for theAnglicanevensong liturgy, Pärt’ssettings Magnificat andNuncdimittiswritten intandem Unlike many other composers’settingsof the sound world. flowing, strippedback andquasi-medieval inits established tintinnabulistprinciples:neutrally movement, itisatextbook display of Pärt’snewly and lower voice-pairings of stepwise andtriadic title concealsitsreligious nature. Withitsupper when Pärtwas stilllivinginSoviet-era Estonia, its the LatinMass,but,sinceitcamefrom atime in themid-1970s. Itisasettingof theCredo from the stylisticground zero of Pärt’stintinnabulism Summa of Music very different take onDo-Re-Mi in just four years onfrom Rodgers &Hammerstein’s investigations –and,it’shard to avoid mentioning, are presaged righthere, inthemidstof hisatonal composure andcontrol of 15 or20years hence glimpse of thecomposer’slater choral style.The C major scale/tone row gives atantalising years, thestrictserialtreatment of anascending unquestionably hissparest work from thoseearly account of Pärt’scompositionaljourney. Inwhatis mobile his denselydissonantorchestral work loveliness. Composedin1963, thesameyear as side writingbeautiful,other-worldly, white-note nearly adecade, andcamethrough theother cacophonous, serialnastiness–went quietfor bad boy –allblack-note complexity; screeching, Pärt isthathestarted outasanavant-garde The standard biographical synopsis for Arvo For texts, pleaseseepage7 100 at of Estonia song: land The , was oneof thefirst works to emerge from Solfeggio . rather disrupts this linear rather disruptsthislinear The Sound The Sound Perpetuum

and resolution. Thechoral texture unites with against long-heldnotes, creating subtleclashes crystalline simplicity. Adjacent thirds interweave text from theGospelof St Matthew, hasasimilar Woman withtheAlabaster Box combined stepwise andtriadic movement, follows lessstrictlyhistintinnabulistroutemap of setting of theSt JohnPassion ( recitative-like way of storytelling withhismonolithic In 1982 Pärtestablished asyllabically deadpan, needless to say, ischarminganddistinctive too. harmonised words of Christ.Thefinal Amen, many assixparts–andtheimposing,thickly show of humility–closelyparallel tripletsinas the mostdistinctive passages for thePublican’s analysis of theparable. Thecomposerreserves Pharisee andthePublican,Jesus’sconcluding the Gospelnarrative, theprayers (‘Beter’) of the makes acleardistinctioninhiswritingbetween written in1998 for theHanover GirlsChoir. Pärt of theparable of thePhariseeandPublican, Also from St Luke’s gospel, like them. ‘Mag &Nunc’marketplace, there isnothing else these much-settexts isbreathtaking. Inacrowded the way Pärtalways avoids obvious responses to lightness thatisrelatively uncommonin Pärt’s the Te Deumlaudamustext) withanarrative saint of Milanandcredited astheauthorof ‘piccola cantata’ honours St Ambrose (patron Radio ChoirintheSanSimplicianoBasilica, this the Cityof Milan,andpremiered by theSwedish Pärt work, – was marked inanother new, andquite different of thedeathof SaintAmbrose 1600 years earlier The sameyear, amore distant anniversary –that anniversary of theKarlstad DioceseinSweden. This 1997 settingwas composedfor the350th again, mesmerising. control andsubtletyof expression are, once both upwards anddownwards, for effect; the I say unto you ...’.Thevocal compassexpands, pianissimo emphasisfor Christ’sfinal words ‘Verily Dopo lavittoria . Commissioned by . Commissionedby Zwei Beter Passio , whichtakes its ). Though it ). Thoughit is a setting isasetting The The thoroughly modern,post-Soviet lives. integration of anancientcultural inheritance into from kindergarten to pensioner homes–andthe and practical torchbearer for folk-singing revival – shamanic status inEstonia, hewas thepassionate January. Aswell asenjoying analmost mystic, country’s folk-song tradition untilhisdeathlast engaged withalifelong evangelism for his ‘Composer Emeritus’,thoughheremained fully on thedoorbellof hisTallinn apartment–as retire. Hesubsequently describedhimself–even chose, perhapsunusuallyfor acomposer, to The year 2000was alsothepointatwhichTormis choirs inaconcertTallinn. November 2000was marked by nofewer than55 turf over several decades. His70thbirthday in composer Estonia hascherishedmostonhome Pärt’s seniorandhisone-timeteacher –isthe lower-brow century. ButVeljo Tormis –five years household-name status around theworld in this composers to attain anything approaching one of avery smallnumberof livingclassical widespread international fame; indeed,heis Estonian composerto have achieved themost Arvo Pärt,anémigré since1980, may bethe interval sonorous. affirmative asthe‘Amen’thatfollows isstrikingly la miasperanza’ –apassage asmajesticand Deum’s final verse, ‘InTe, oSignore, hoposto a littlelater (‘LodiamoTe oSignore’), andtheTe Deum laudamus’earlyon,theItalian equivalent of key words from Ambrosius’s famous text: ‘Te climactic points,Pärtmakes particularemphasis biographer of Augustine writes’. Andatthree ancient solemnitythewords ‘Anunknown early the storyteller. Low solovoices markoutwith and closesuggesttheurgent enthusiasmof The pulsing,staccato brisknessof theopening the chantasifhehad known itfor ever.’ Deum, andAugustine joinedin,easilycontinuing ceremony was infullswing, beganto sing hisTe and unusualisthefact thatAmbrose, whilethe Pärt explains: ‘WhatIfound particularlyspecial describing thebaptismof Augustine by Ambrose. an oldRussianchurch-music encyclopaedia his chosentext –anexcerpt, intranslation, from is sharplydefined by sectionscloselyrelated to sweep of many of hischoral settings,thiswork output. Incontrast withthebroader homogenous 20minutes optimistic thatancientEstonian songwould character andsophistication,Tormis was forever lectures andchoral arrangements of remarkable varied asentry-level school songbooks, articles, and vibrant singingculture. Withmeansas within thebroader context of hiscountry’s proud – whathecalledhis‘musicalmother-tongue’ – was to bringback to life this ‘primeval’ heritage Subsequently, Veljo Tormis’s towering achievement Bartók andKodály inHungaryandRomania. Grainger andCecilSharpinBritain, and exercise similarto thatof Vaughan Williams, 20th centurytoo –animportant ethnographical song ‘collection’intheearlydecades of the Kreek was atthecentre of muchEstonian folk- and easy harmonicflow. characterised by theirprominent melodiclines 1923, two of whichare heard here, andwhichare works suchashisPsalmsof David settingsfrom Tormis would have beenanadmirer of Kreek and 500other folk-song-infused choral settings. responsible for over 700folk-song arrangements than Regilaul’s ruggedterrain. Kreek alonewas arrangements, more sentimental androunded a new andsubstantial bodyof choral folk-song such asCyrillus Kreek andMartSaar, created 1869. Composersfrom thegeneration before him, and thecountry’sfirst United SongFestival in Estonia’s ‘NationalAwakening’ inthe19th century revivalism was allpartof this,stemming from Germanic, songculture. Early20th-century folk on hewas steeped inEstonia’s rich,essentially teacher andchurch organist, andfrom early Tormis’s father was aLutheran his rigorous, formative training attheMoscow and compositioninTallinn, Tormis acquired After teenage studiesinorgan, conducting dedicated strictlyto ‘russifying’itssatellite peoples. he was aSoviet artist,the product of aregime to defining Estonian musicalnationhoodisthat whose life’s work was almostentirely devoted to 1991. Thecentral paradox, then, of aman Estonian Soviet SocialistRepublic from 1944 1941–44) andthentheenforced stability of the of wartime annexation (Soviet 1939–41, German subsequently witnessedasaboy theto-and-fro rule earlyinthe20thcentury(1920–39), Tormis Born inthemiddleof Estonia’s 20years of self- homogenised popculture. generations otherwise bombarded by globally hold itsown intheconsciousnessof younger Köster , a music , amusic

5 Programme note 6 iron itselfforms apartof theshamanicprocess. describing andexplaining of thebirthof iron to communicates knowledge to theobject.Thus power over amaterial orimmaterial thing, one derives from shamanism:inorder to acquire choral techniques. Theideaof thecomposition drum. Icombinedthoseelementswithmodern repetitive ostinato accompanied by ashamanic I found aperfect form for itinanenchanting Tormis wrote, ‘was inmy mindfor years, before written in1972. ‘Theideaof Tormis’s mostcelebrated andadventurous works, Curse uponIron haunting andcumulatively ecstatic. increasing harmoniccomplexity into something simple melodicmaterial andworks itwith and drinking.Tormis’s setting takes ritualistically celebrations includedbonfires, dancing,eating beginning of haymaking, Estonian midsummer the endof springtimework inthefields andthe – Jaanipäev (Midsummer)on24June.Marking traditions of themostimportant feast inEstonia Day Songs St John’sSong 1960 to 1989. in 1956. Andthere are KGB files onTormis from Chairman of theJury for hisgraduation portfolio Gennady Rozhdestvensky. Shostakovich was included Rodion Shchedrin,Edison Denisov and Vissarion Shebalin,andfellow classmates at Prokofiev’s funeral in1953. Histeacher was Conservatoire intheearly1950s. Hewas present (1967), whichdescribescustoms and belongsto thecycle (‘Raua needmine’)isoneof Curse uponIron St John’s St John’s ’, ’, Programme note ©MeurigBowen College, Cambridge,onChristmasEve 1994. the Serviceof NineLessonsandCarols atKing’s Cathedral from 1975 to 1985. Itwas written for Angels hummed accompaniment inasettingof A senseof eternal calmisevoked withalilting, the 16-part texture atcertain points. through rhythmic freedoms given to each lineof VIII –have momentsof smudgedharmonicterrain Alleluia IIandOrdinary TimeWeek III,Alleluia plainsongs –Easter Graduale II,Christmas Kaspars Putnin the LatvianRadio Choirandtonight’s conductor, premiered inRigathefollowing year, 2013, by Light throughout hiscareer. a committed anddistinctive choral composer his pioneeringelectro-acoustic works, butalso Harvey, probably bestknown internationally for two works by theBritishcomposerJonathan Between theworks by Kreek andTormis come elements from modernreality.’ Paul-Eerik RummoandJaan Kaplinski added Kalevala based ontheritualincantations of theFinnishepic composed inEstonian by August Annistwere used withoutrespect towards theliving.Thelyrics by manmay turnagainst manhimselfwhen hiding insideiron. Each andevery thingcreated The magical rite isperformed to restrain theevil was written inthelastyear of hislife, and by JohnTaylor, Bishopof Winchester , to whichmodern-day Estonian poets , š. These‘elaborations’ of three Plainsongs for Peace and The The Suscepit Israel, puerumsuum, et divites dimisitinanes. Esurientes implevit bonis: et exaltavit humiles. Deposuit potentes desede, dispersit superbosmente cordis sui. Fecit potentiam inbrachio suo: timentibus eum. Et misericordia eiusaprogenie inprogenies et sanctumnomeneius. Quia fecit mihimagna quipotens est: beatam medicentomnesgenerationes. ecce enimex hoc ancillae suae: Quia respexit humilitatem Et exsultavit spiritusmeusinDeo,salutari meo. Magnificat animameaDominum. Magnificat et vitam venturi saeculi. Amen. Et exspecto resurrectionem mortuorum, baptisma inremissionem peccatorum. et apostolicam ecclesiam.Confiteor unum Et unamsanctam catholicam et conglorificatur: quilocutusestperprophetas. qui cumPatre etFiliosimuladoratur et vivificantem: quiex Patre Filioqueprocedit, Et inSpiritumSanctum,Dominum et mortuos:cuiusregni noneritfinis. Et iterum venturus estcumgloria,iudicare vivos sedet ad dexteram Patris. scripturas. Etascenditincaelum: Et resurrexit tertia die,secundum sub Pontio Pilato passus,etsepultusest. Crucifixus etiampro nobis: ex Mariavirgine, ethomofactus est. Et incarnatusestdeSpirituSancto salutem descenditdecaelis. Qui propter noshomines,etpropter nostram sunt. consubstantialem Patri, perquemomniafacta Deum verum deDeovero, genitumnonfactum, omnia saecula, DeumdeDeo,lumenlumine, Filium Deiunigenitum,etex Patre natumante Christum, et invisibilium. EtinunumDominumJesum factorem caeli etterrae, visibiliumomnium, Credo inunumDeum,Patrem omnipotentem, Summa do, re, mi,fa, so,la,si… Solfeggio Arvo (born1935) Pärt

And Iawait theresurrection of thedead, baptism for theremission of sins. and apostolic church. Iconfess one And inoneholy, catholic and glorified; whospoke through theprophets. who withtheFather andtheSonisadored andtheSon, giver of life: whoproceedeth from theFather And intheHolySpirit,Lord and noend. and thedead: of whosekingdomthere shallbe living And heshallcomeagain withgloryto judgethe he sitteth attherighthandof theFather. to thescriptures. Andascendedinto heaven: And thethird day herose again according buried. under Pontius Pilate hesuffered death andwas He was crucified alsofor us: through thevirgin Mary, andwas made man. And was incarnate by theHolySpirit came down from heaven. Who for usmen,andfor oursalvation, thingswere made. consubstantial withtheFather, by whom all true Godfrom trueGod,begotten not made, before allages, Godfrom God,light from light, the only-begotten Sonof God,bornof theFather Christ, and invisible things.Ibelieve inoneLord Jesus maker of heaven andearth,of allvisible I believe inoneGod,Father almighty, He hassustained hisservant, Israel, and therichhehas sentemptyaway. He hasfilled thehungry withgoodthings: and hasexalted thehumbleandmeek. He hasputdown themightyfrom theirseat, he hasscattered theproud intheirconceit. He hasshown thepower of hisarm: throughout all generations. And hismercy isuponthemthatfear him things for me:andholyishisname. For hethatismightyhasdonewondrous all generations shallcallmeblessed. behold, from henceforth of hishandmaiden: For hehaslooked withfavour onthelowliness And my spiritrejoices inGod,my saviour. My soulproclaims thegreatness of theLord. and thelife of theworld to come.Amen.

7 Texts 8 Matthew 26:6–13 a memorialof her.’ also this,thatthiswoman hathdone,betold for shall bepreached inthewholeworld, there shall Verily Isay unto you, wheresoever thisgospel body, shediditfor my burial. For inthatshehathpoured thisointmentonmy have not always. for ye have thepooralways withyou; butmeye wrought agoodwork uponme, ‘Why trouble ye thewoman? For shehath When Jesusunderstood it,hesaidunto them: and given to thepoor.’ For thisointmentmighthave beensoldfor much, waste? indignation, saying, ‘To whatpurposeisthis But whenhisdisciplessaw it,they had at meat. ointment, andpoured itonhishead, ashesat having analabaster box of very precious Simon theleper, there cameunto himawoman Now whenJesuswas inBethany, inthehouseof The Woman withthe Alabaster Box Luke 18:9–14 Amen. sich selbsterniedrigt,wird erhöhtwerden.’ erhöht, wird erniedrigtwerden; undjeder, der Hause, jenernicht.Dennjeder, dersichselbst Ich sage euch:Dieserginggerechtfertigt nach “Gott seimirSündergnädig!” sondern erschluganseineBrustundsprach: die Augen nichtzumHimmelzuerheben, Der Zöllneraberbliebhinten stehen undwagte Zehnten von allem,was ichbesitze.” Ich faste zweimal inderWoche undgebeden Ehebrecher, oderauchwiedieserZöllnerda. die übrigenMenschen,Räuber, Ungerechte, “O Gott, ichdanke dir, dassichnichtbinwie Der Pharisäer stellte sichhinundbetete also: andere einZöllner. um zubeten. Dereinewar einPharisäer, der ‘Zwei MenschengingenhinaufindenTempel, verachteten, diesesGleichnis: waren, gerecht zuseinunddieanderen Jesus sprach zueinigen,diedavon überzeugt Zwei Beter Luke 1:45–55 Abraham, etseminieiusinsaecula. Sicut locutusestad patres nostros, recordatus misericordiae suae.

Amen. humbleth himselfshallbeexalted.’ exalteth himselfshallbeabased;andhethat justified rather thantheother: for every onethat I tell you, thismanwent down to hishouse to measinner.” smote uponhisbreast, saying, “Godbemerciful lift upsomuchashiseyes unto heaven, but And thepublican,standing afar off, would not possess.” I fast twiceintheweek, Igive tithesof allthatI even asthispublican. other menare, extortioners, unjust,adulterers, or himself, “God,Ithankthee,thatamnot as The Phariseestood andprayed thuswith one aPharisee,andtheother apublican. ‘Two menwent upinto thetemple to pray; the and despisedothers: trusted inthemselves thatthey were righteous, And hespake thisparable unto certain which Abraham andhissonsfor ever. As hepromised to ourforefathers, in remembrance of hismercy. primo verso eAgostino cantava quelloseguente. alla SantissimaTrinità. Sant’Ambrogio diceva il Così entrambi cantarono l’intero innodigloria A Te cantano gliangeli etutte lepotenze deicieli.’ ‘A Te, Padre Eterno, tutta laterra rende gloria. Agostino proseguiva: Signore.’ ‘Lodiamo Te, oSignore, inTe crediamo, o Sant’Ambrogio diceva: Lodando eringraziando ilSignore proclamare lasuafede nellagloriadiDio.’ Santissima Trinità eindusselostesso Agostino a ‘Sant’Ambrogio allora convoce lieta lodòla L’antico eignoto biografo diAgostino scrive: cerimoniale religioso. entrarono afar parte daquelmomento del dagli officianti edaibattezzati equindi quelle strofe diringraziamento furono cantate dei potenti di Milano venne battezzato Agostino, Trascorsi dueanni,quandodavanti alconsesso ringraziamento. in occasionedicerimoniesolenni … daallora questo canto vieneripetuto ‘Te Deumlaudamus’; di ringraziamento: Sant’ Ambrogio composeuninnosolenne Dopo lavittoria definitiva sugliAriani, Dopo lavittoria Luke 2:29–32 et insaecula saeculorum. Amen. et nunc,semper, Sicut erat inprincipio, et SpirituiSancto. Gloria Patri, etFilio, et gloriamplebistuae Israel. lumen ad revelationem gentium, quod parasti ante faciem omniumpopulorum, quia videruntoculimeisalutare tuum, secundum verbum tuuminpace, Nunc dimittisservumtuum,Domine, Nunc dimittis

writes: An unknown earlybiographer of Augustine became partof thegreat bodyof church chants. baptising andthebaptisedthereafter these verses of thanksgiving were sungby the be baptisedbefore thedignitaries of Milan, Two years later, whenAugustine cameto thanksgiving ever since. … thishymn hasbeensungatservicesof ‘We praise you, Lord’; St Ambrose composedasolemnhymn of thanks: After thevictory over theArianswas complete world withoutend.Amen. is now, andever shallbe, As itwas inthebeginning, and to theHolySpirit. Glory beto theFather, andto theSon, and thegloryof thy peopleIsrael. a lightto lighten thegentiles, people, which thouhastprepared before theface of all for mineeyes have seenthy salvation, in peace according to thy word, Lord, now lettest thouthy servant depart first line,Augustine thenext. in honourof theHolyTrinity. Ambrose sangthe Thus, inconstant interplay, they sangtheHymn heavens andallthepowers therein.’ everlasting. To theeallangelscryaloud,the ‘All theearthdoth worship thee,theFather Augustine continued: to beLord.’ ‘We praise thee,OGod,we acknowledge thee said: Ambrose blessedandpraised theLord and to confess hisfaith inthegloryof God.’ with joyful singingandencouraged Augustine ‘The blessedAmbrose praised theHolyTrinity

9 Texts 10 quia hodiedescendit luxmagna superterram. venite gentes etadorate Dominum, Dies sanctificatus illuxit nobis; Alleluia Psalm 117:1 quoniam insaeculum misericordia eius. Confitemini Domino,quoniam bonus Psalm 118:24 laetemur inea. Haec diesquamfecit Dominusexultemus et Plainsongs for Peace andLight Jonathan Harvey (1939–2012) Psalm 104:1, 24 igavest. Aamen. Au olguIsale,Pojale, PühaleVaimule nüüdja Sa oledkõiktargasti teinud. Kui suured onSinuteod Issand! Sa oledsuur. Kiidetud oledSina!Issand,muJumal, Kiida, muhing,Issandat! Psalm 104 Psalm 1:1, 6;Psalm2:IIa,12b; Psalm3:7 igavest. Aamen. Au olguIsale,Pojale jaPühaleVaimule, nüüdja Tõuse üles,Issand,päästa mind,muJumal. Väga õndsad onkõik,kes Tema juurde kipuvad. ja olgerõõmsad värisemisega. Teenige Issandatkartusega aga õelate tee lähebhukka. Sest Issandtunnebõigete teed, kes eikäi õelate nõujärele. Õnnis oninimene, Õnnis oninimene Taaveti laulud Cyrillus Kreek (1889–1962) interval ringraziamento. in occasionedicerimoniesolenni … daallora questo canto vieneripetuto e maidovrò dolermene.Amen.’ ‘In Te, oSignore, hoposto lamiasperanza L’ultimo verso venne proclamato daAgostino: 20minutes

Amen. Glory to theFather, theSonandHolySpirit. Thou hastmade allby thy wisdom,… O Lord. Countless are thethingsthouhastmade, O Lord, my God,thouartgreat indeed… Bless theLord, my soul: Amen. Glory to theFather, theSonandHolySpirit. Rise up,Lord, save me,Omy God. Blessed are allwhofind refuge inhim… tremble, andkisstheking… Worship theLord withreverence, but theway of thewicked isdoomed. The Lord watches over theway of therighteous, who doesnot take thewicked for hisguide… Blessed istheman Blessed istheMan Psalms of David thanksgiving ever since. … thishymn hasbeensungatservicesof let menever beconfounded. Amen.’ ‘O Lord, intheehave Itrusted, And Ambrose proclaimed thelastline: today agreat light hasdescendedto the earth. all ye peopleandworship theLord: because This mostholyday has brought lightto us:come Alleluia. because hismercy endureth for ever. O give thanks unto theLord; for heisgood: Let usrejoice andbeglad init. This istheday whichtheLord hathmade.

kaara tõiekaindlõn. rüa tõierüpügä, madaligu võiupunna, Jaan tõipika piimapütü, kaasa tõiekarjaõnne. ligi tõieliiaõnne, jaanika, kõnde kullastkondu müüda, Jaan tull’põldumüüdä, kaara katsõkandilidse. sis ommakesvä keerulidse, jaanika, kas omJaanil kahhar pää, Läämi vällä Jaani kaima, jaani. kaara katsõkandilidse, sis ommakesvä keerulidse, jaani, kas omJaanil kahhar pää, Läämi vällä Jaani kaima, Jaanilaul (Hargla) Veljo Tormis(1930–2017) permission of Faber MusicLtd John VTaylor (1914–2001); reproduced by and thesewere holy, holy. the touch of fingers attherare, rightmoment, the spiralling turnof adance,thefall of words, You have heard itintherhythms of thehills, one chord of limitlesscommunication. but, like apainting,hangsthere entire, Their melodystridesnot from barto bar, but oneduration, now. knowing butonedirection, into God, after, that never learntrightfrom left,before from they are intelligences oldassunrise do not imagine ardent, fledgling children; or whisperingsecrets of awiserworld, Should you hearthemsingingamongstars The Angels Psalm 97 insulae multae. Dominus regnavit, exsultet terra: laetentur Alleluia jaani, jaanika, jaanika, jaanika, jaani, jaani,

and theoatsbeoctagonal. then thebarley willcurl jaani and seeifhehasbushy hair– Let’s gooutandlookatJohn, St John’sSong(from Hargla parish) multitude of islesbe glad thereof. The Lord reigneth; lettheearthrejoice: letthe Alleluia. and oatsunderhis arm. brought inhis laprye and ahundredweight patof butter, John brought atall churnof milk brought with himcattle-luck. brought with himmuchgoodluck, jaanika walked across thegoldenchaff, John cameacross thefield, and theoatsbeoctagonal. then thebarley willcurl jaanika and seeifhehasbushy hair– Let’s gooutandlookatJohn, jaani jaani jaani jaani jaanika jaanika jaanika

11 Texts 12 uu-üü-öö-ää-ee-ii kes pani pahalletööle? Kes suküllvihallekäskis, rabarooste, pehmepiima! Ohoi rauda, laukalapsi, karu käppade kohale. soe jalgade jälile, Kasvid raudased orased, raba karu käpa alta. soo tõusissoejalusta, karu kõmberdas rabassa, Susi jooksis soodamööda, arvan algustsuõela! Tean masündisusõgeda, Hurjuh sinda,rauda raiska! vedelassa väntsuteldi. kui sindsoossasolguteldi, ei veel suuri,eiveel uhke, Ei sasiisveel suuriolnud, rauda raiska, rähka kurja! Ohoi sinda,rauda raiska, sellest malmiilmatulnud. kolmas seeveripunasta, sellest tehtus onteraksed; teine valgeta valasi, sest sairauda pehme’eda; Üks seelüpsismusta piima, soo päälepiimasida. lüpsid maale rindasida, taeva tütarta tulista, Käisid kolme ilmaneitsit, arvan algustsuõela! Tean masündisusõgeda, Hurjuh sinda,rauda raiska! üleliia ülbe’eksi? Kust saidkurja,kange’eksi, vere süütumavalaja! liha sööja,luupureja, rauda raiska, rähka kurja, Ohoi sinda,rauda raiska, joi-joi… jou-jou-jöü-jöü-jöi-jöi-jei-jei-jäi-jäi-jai-jai-joi-joi- oi-joi-joi-joi-jai-jai-jäi-jäi-jäü-jäü-jau-jau-jou-jou- Raua needmine jaani, jaanika. kaara katsõkandilidse. sis ommakesvä keerulidse, jaani, kas omJaanil kahhar pää, Läämi vällä Jaani kaima, jaani, jaanika, Then you were not highandmighty, Wretched iron! Cursedbogore! Ohoy, villain!Wretched iron! this gave birthto bogiron ore. The third maidspouted blood-red milk, this was thesource of tempered steel. White milksquirted thesecondmaid, this turnedinto soft wrought iron. From thefirst maidspurted black iron, they squeezedtheirmilkonto thefens. They milked theirswelling breasts to earth, three fiery daughters of thesky. Once there walked three nature spirits, I know well your source, you villain! I know your birth,you purblindfool, Damn you, bastard! Wretched iron! Tell how you becamesohaughty! Wicked, how didyou getpower? You spillerof innocentblood! You flesh-eater, gnawer of bones, Wretched iron! Cursedbogore! Ohoy, villain!Wretched iron! joi-joi-joi… jou-jõu-jõu-jöü-jöü-jöi-jöi-jei-jei-jäi-jäi-jai-jai-joi- oi-joi-joi-joi-jai-jai-jäi-jäi-jäü-jäü-jau-jau-jou-jou- Curse uponIron and theoatsbeoctagonal. then thebarley willcurl jaani and seeifhehasbushy hair– Let’s gooutandlookatJohn, uu-üü-öö-ää-ee-ii Who decreed your works of mischief? Tell me,whomade you sobaleful! Swamp’s red rustandgentlesmooth milk! Ohoy, iron! Childof boghole! in thehollows of the beartracks. in thetraces of thewolf’s claws, And there sprouted iron seedlings and themoorfrom underthebear’spaws. And theswamp rose from thewolf tracks, a shamblingbearwalked inthemoor. A wolf thenran across thefen, I know well your source, you evil! I know your birth,you purblindfool! Damn you, bastard! Wretched iron! when inbogholesyou were trampled. when you sloshedinswamps andmarshes, not yet mighty, not yet haughty, jaani jaanika jaani jannika kaitse kaunike Jumala, Varja nüüdvägeva Looja, halliparda vommi päälta: Taat seeahjulta ärises, aa-oo-uu-öö-ee-ää-öö-üü-ii-ee … mao musta mürkideta. ilma ussideilata, Ei seeraud kuriolekski musta maolta mürgikesta. Toodi ussilta ilada, terakseksi tehtaneks? miska sindkarastatakse, Veel sarauda pehmekene, voolates valutulesta. veerdes alla ääsi’ilta, ila kombel valgunekse, Rauda rasvana venikse, aa-oo-öö-ee-ii halliparda vommi päälta: Taat seeahjulta ärises, vingusid vasara alla. kui saääsillaägasid, ei veel suuri,eiveel uhke, Ei sasiisveel suuriolnud, Ohoi sinda,rauda raiska! tule kurjakutsumista. kuulis kuitulenimeda, jo värises, jovõbises, Rauda, vaene mees,värises, o-hoo …oi-oi-joi-joi- rauda tampima tigedaks. raua roostet lõõtsumaie, hakkan rauda keetamaie, siia tõstan lõõtsad laiad, siia ahjumaasetan, siin saab surmasepipada, talu aitade tagana: põllulla külapäralla, mäe allamännikussa, taudi tappaja tähendas: Nii kõnelessuurisurma, uu-üü-ii-ee-ää-aa-ohoo … raua rooste lauka’alta. leidis soostterakse taime, taudi talveteeda mööda, Surma sõitissoodamööda, aa-oo-öö-ee-ii the greybeard from thefurnace roof: Scolded theoldmanfrom upontheoven, whined underbeatinghammers. when you moanedinthewhite-hot furnace, not yet mighty, not yet haughty, Then you were not highandmighty, Ohoy, villain!Wretched iron! heard thepleafor wicked fire. when heheard fire beingcalledby name, shivered, trembled, shuddered, quavered, Iron, poorman,shivered, trembled, o-hoo…oi-oi-joi-joi- … hammer angerinto iron. fan andblasttherust-red bogore, here I’llstart to boiltheiron, here I’llplace thewidestbellows, Here I’llbuildtheforge’s furnace, right here willbetheforge of death. far beyond thefarmers’ granges, in afield behindthevillage, In apinegrove onahillside, the killerplague thenspoke andsaid: The great deaththenbeganto talk, uu-üü-ii-ee-ää-aa-ohoo ... rusty iron inaboghole. Seedling steel itfound inswampland, plague was onawinter journey. Death was ridingthrough themarshes, Keep us safe, God Almighty! Shelter us now, supreme Creator! the greybeard from thefurnace roof: Scolded theoldmanfrom upontheoven, aa-oo-uu-öö-ee-ää-öö-üü-ii-ee … without venom from black snakes. without saliva from vipers, For iron wouldn’t harbourevil venom from ablack snake! Saliva was brought from aviper, to make steel from you? How have you yet to betempered Iron, you’re stillsoft andgentle. flowing from thescorching fire. oozing from theblazingfurnace, spreads like saliva, Iron stretches, like blubber,

13 About the performers 14 Kaplinski onKalevala motifs Texts by August Annist,Paul-Eerik Rummo andJaan maad meilküllaltsiismõlemal. ühe maa seeskokku saame, ühe maa päälmeelame, musta muldamemõlemad, sina maasta, minamaasta, ühest seemnestmesiginud, Oleme ühesta soosta, Hurjuh sinda,rauda raiska! sina teras, nurjatõugu! rauda rähka, kuldakilpi, mõõka sõjasünnitaja, Ohoi sinda,rauda kurja, jöi-jöi-jei-jei-jäi-jäi-jai-jai-joi-joi-joi-joi-joo jou-jou-jöu-jöu-jöü-jöü- Oi-joi-joi-jai-jai-jäi-jäi-jäu-jäu-jau-jau-jou-jou- ja paljudeteiste elementidega. kroomi, titaani, uraani, plutooniumi, tapma, tapma raua, terase, haavama, teadmata kaotama, võitlusvõimetuks tegema, hävitama, peatama, rivistvälja lööma, kõrvalekaldumatult sihtitabama, valmis liikumaigassepunkti, elektroonika viimanesõna, Uus jakõigekaasaegsem tehnika, tuhk jatõrv, napalmjasüsi. küüned, hambad, liivjasool, ammud, nooled,kivid,kaikad, lingud, tomahawkid, bumerangid, kirved, taprid, saablid, Noad, odad, raketid. tõrjerelvadele kättesaamatud tuumalaengut kandvad, automaatsete sihtimisseadmetega täpsed, vägevad tapjad, uhiuued, targad, Uus raud jateras, tankid, kuulipildujad. Kahurid, lennukid, Uued ajad. Uuedjumalad. Jumala alustatusta. Looja loodusta elusta, hoopistükkis emalapsi, et eikaoks seemeeskoguni, jou-jou-jöu-jöu-jöü-jöü- Oi-joi-joi-jai-jai-jäi-jäi-jäu-jäu-jau-jau-jou-jou- and withamultitudeof other elements. with chromium, titanium, uranium, plutonium, and kill,killwithiron andwithsteel, wound, listmissing, disable, obliterate, paralyse, andknockoutof action, stay undeflected onitscourse,hitthetarget, ready to fly inany direction, the ultimate word inelectronics, Brand-new andup-to-date technology, dust andtar, napalmandcoal. and claws andteeth, sand and salt, bows andarrows, rocks andwarclubs, and slingstomahawks andboomerangs, axes, halberds, sabres, Knives andspears, rocketry. Missiles invulnerable to defensive armed withnuclearwarheads. equipped withautomated guidingdevices, precise powerful killers, Brand-new, intelligent, New iron andsteel. and tanks andmachine guns. And cannonsandairplanes New eras. New gods. commenced by God. from life created by Creator, mother’s childvanish withouttrace So thatmankindwould not perish, adapted by Kristin Kuutma Translated from theEstonian by Eero Vihman, Then there will belandenoughfor both. and inthatearthwe two willmerge. For we both live onthesameearth we are both black soil. You are earth-born,Iam of thesameseedwe have sprouted, We are kinsmen,of the samebreed, Damn you, bastard! Wretched iron! you, steel, of vile breed! Boghole ore’s goldenshield, Blade of thesword, mother of war! Ohoy, villain!Eviliron! jöi-jöi-jei-jei-jäi-jäi-jai-jai-joi-joi-joi-joi-joo with theEstonian PhilharmonicChamberChoir. recently released Schnittke’s Flemish Radio Choirfor Glossa.BISRecords has Divine Liturgy of St JohnChrysostom Choir. Hehasalsorecorded Rachmaninov’s Maskats andSilvestrov, allwiththeLatvianRadio Hyperion andworks by Bryars, Vasks, Esˇ envalds, Saule His discography includes Pe vocal technique. them into entirely uncharted territories interms of develops the abilitiesof hisperformers andtakes choral music.Thisnew repertoire challengesand has always beento promote outstanding new works of theRomantic period,hisprimarygoal choral repertoire from Renaissance polyphony to While hiswork encompassesawiderange of Radio Choir, amongothers. Radio Choir, CollegiumVocale GentandFlemish Rundfunkchor, NDRKammerchor, Netherlands the BBC Singers,RIAS Kammerchor, Berliner with other leading European choirssuchas He regularly appearsasaguestconductor from themembersof theLatvianRadio Choir. Chamber Singers,anensembleof soloistsformed since 1992. In1994, heformed theLatvianRadio been theconductor of theLatvianRadio Choir Chamber ChoirinSeptember 2014. Hehas Chief Conductor of theEstonian Philharmonic Kaspars Putnin Kaspars Putnin About the performers Kaspars Putnin for BIS Records, Harvey’s , š , , š becameArtisticDirector and š conductor - teris Vasks’s Psalms of Repentance The Angels

with the withthe Ma - for for te te The The

Galina Grigoryeva, Toivo Tulev, TõnuKõrvits Arvo Pärt,Veljo Tormis, Erkki-Sven Tüür, the work of Estonian composers,suchas century, withaspecialfocus onintroducing chant viatheBaroque to themusicof the21st The choir’srepertoire extends from Gregorian its chiefconductor hasbeenKaspars Daniel Reuss (2008–13). SinceSeptember 2014 succeeded by Paul Hillier(2001–07) andthen and ChiefConductor for 20years. Hewas by TõnuKaljuste, whowas itsArtisticDirector in theworld. TheEPCCwas founded in1981 one of thebest-known Estonian musicensembles The Estonian PhilharmonicChamberChoiris Estonian PhilharmonicChamberChoir Science. Ministers Award for Achievements inCulture and Music Grand PrixandtheLatvianCouncilof Kaspars Putnin masterclasses internationally. artists. Healsofrequently gives lectures and choir incollaboration withvisualandtheatre projects, whichinvolve theparticipationof his Kaspars Putnin Symphony orchestras, Concerto Copenhagen, Symphony Orchestra, BerlinandFrankfurt Radio and Tallinn Chamberorchestras, London Basle, Mahler, Norwegian, Prague, Stuttgart class orchestras, amongthemtheAustralian, The EPCChasalsoworked with many world- Orozco-Estrada andGustavo Dudamel. Davis, LouisLangrée, Paul McCreesh, Andrés Marc Minkowski, Christoph Poppen, Colin Roland Böer, FriederBernius,Stephen Layton, Alekseyev, Olari Elts,Andrew Lawrence-King, Ward Swingle, NeemeJärvi,Paavo Järvi,Nikolai Claudio Abbado, HelmuthRilling,EricEricson, outstanding conductors andorchestras, including The EPCChascollaborated withanumberof concerts both inEstonia andinternationally. Each seasonthechoirgives about60to 70 and HelenaTulve, to awideraudience. , , š hasinitiated several theatrical š istherecipient of theLatvian Putnin , š .

15 About the performers 16 Cätly Talvik Ave Hännikäinen Anna Dõtõna Maarja Helstein Karin Salumäe Marianne Pärna Alto Triin Sakermaa Ülle Tuisk Karolis Kaljuste Annika Lõhmus Hele-Mall Leego Kristine Muldma Karoliina Kriis Soprano Chamber Choir Estonian Philharmonic Gosh Festival, HongKong ArtsFestival and included theBBC Proms, Mozartwoche, Abu Singapore. Itsfestival appearances have Center andtheEsplanade ConcertHallin Concert Hall,Metropolitan Museum,Lincoln Washington DC,CarnegieHall,Walt Disney Amsterdam Concertgebouw, Kennedy Center, Sydney Opera House,ViennaKonzerthaus, venues allover theworld, includingthe The EPCChasbeenaguestatleading Estonian NationalSymphony Orchestra. Philharmonic, theSarasota Orchestra andthe Grenoble, thePhilipGlassEnsemble,Los Angeles Salzburg Camerata, LesMusiciensduLouvre- upon Iron’ * soloistsin‘Curse Kaarel Kukk Viikholm * Olari Henry Tiisma Rainer Vilu Tõnu Tormis Aarne Talvik Bass Danila Frantou Sander Sokk Joosep Trumm Madis Enson Raul Mikson TohertToomas * Kaido Janke Tenor d’or also won other awards, including Tüür andother Baltic/Nordic composers.Ithas nominations for discsof works by Pärt,Erkki-Sven The choirhasreceived nofewer than14 Grammy Adam’s Lament conductor Paul Hillierandin2014 in 2007for thealbum and Ondine.Ithaswon two Grammy awards – ECM, Virgin Classics,Carus,Harmonia Mundi recordings onawiderange of labels,including Another important strand to thechoirisits Bergen andSchleswig-Holstein festivals. Provence, Cervantino, Vale of Glamorgan, the Bremen, Salzburg, Edinburgh, Aix-en- andtheGermanRecord Critics’Awards.

withconductor TõnuKaljuste. Arvo Pärt:Dapacem Diapasons Diapasons Arvo Pärt: with with