Although Estonia is almost 4,000 square kilometres larger than the Netherlands, it has barely more inhabitants than the province of Utrecht. For centuries, superpowers such as Denmark, Germany, Russia, Sweden and Poland disputed rule over this country on the Baltic Sea. Indeed, its geographical location made it an important link between East and West.
It was not until 1918 that a state of its own was declared, but its fledgling sovereignty was regularly violated. From 1944 to 1991, for instance, Estonia suffered under the yoke of the Soviet Union. Yet this year it proudly celebrates the centenary of its independence. Cappella Amsterdam joins in with the programme Baltic souls, named after the book of the same name by Jan Brokken.
Estonian choral conductor and singer Endrik Üksvärav will perform an all-Estonian programme. Naturally missing Arvo Pärt not, but relatively unknowns like Pärt Uusberg, Galina Grigorjeva and Veljo Tormis are also represented. There are three Dutch premieres, starting with Little Litany by Pärt. There will also be first performances by Tõnu Kõrvits and Erkki-Sven Tüür, who will be present in person. The concert on 28 February at Muziekgebouw aan het IJ is the prelude to a short tour.
Stabat Mater: text of the texts
Tõnu Kõrvits (b. 1969) composed his Stabat Mater commissioned in 2014 by the British choir The Sixteen. Although this short but stirring piece has since appeared on CD, it has never before been performed in our country. While composing, Kõrvits listened to many other settings, he says. 'Among others by Pergolesi, Rossini and Pärt. It is the text of texts, long and complicated. Everything is in it: substance, sonority, sensitivity and concentration. And especially a lot of empathy. As a composer, you just have to set this poem to music once in the second half of your creative life.'
His colleague Erkki-Sven Tüür (b. 1959) may be better known here in the country. The Royal Concertgebouw Orchestra performed the world premiere of his piccolo concerto Solastalgia; the Radio Philharmonic Orchestra presented the impressive De profundis. Now Cappella Amsterdam sings the first Dutch performance of his Missa Brevis. Tüür composed it in 2013, commissioned by the Deutscher Musikrat, as fringe programming for a choir competition.
Personal affinity
'The Latin Mass has been set to music by others an awful lot over the centuries,' says Tüür. 'As a result, there are many archetypes attached to this "oh-so-milked-out" text. That made composing a new version exciting and challenging. I really had to dig deep to let my individual voice resonate naturally in the text. Without my personal affinity, it would have been impossible to set the Latin Mass to music.'
'Although I had no specific other settings in mind while composing, I have to acknowledge that everything in this world is implicitly connected. I have listened to and studied an enormous amount of other people's music in my life, which has undoubtedly left its mark. But you will find in my Missa Brevis searching in vain for quotes from colleagues. - Besides, the brief was to write something for a semi-professional choir, which sets limits. On reflection, however, the score turns out to be more suitable for professional choirs.'
Text dictates form
Which is more important to you: that we understand the text verbatim or that we experience its meaning?
'We cannot have one without the other. If we do not understand the text, we cannot fathom its deeper meaning either. I have "underlined" some phrases, or even words. For instance, by making them sound more or less colourful, more or less filled with light, tension or emotion. I get these nuances from the harmony, the consonances.'
'With vocal music, my approach is completely different from when I compose abstract, instrumental music. This is because the musical form is largely predetermined by the text. Yet there are countless ways to give it shape. That is what I find most fascinating: how do different composers experience the meaning of these very old phrases? How do they respond to the challenge of adding their voices to the very long tradition of writing a mass? I myself have long searched for a way to put my own stamp on this.'
Journey into the light
You once told me that you want listener creativity address. To this end, what means did you employ in the Missa Brevis?
'I just write music, do not intentionally use tools to manipulate the audience. Once the work is finished, I cherish the humble hope that it appeals to the listener's inner imagination. While composing, one of my main criteria is to what extent the music can take me on a journey into the light. All means serve this purpose - how I deal with texture, colours, rhythms, harmonies, dramatic tensions etcetera. It has to help me. Only then can I hope it will be able to work like this for others too.'
More info and tickets here.
On 28 February, Jan Brokken will sign his book after the concert.
On April 14, the Chamber choir Amphion in shelter church the Parrot also looked eastwards, including music by Indra Rise, Ester Mägi and Veljo Tormis.
Retrieved from 1 April NTR will broadcast a recording in the Evening Concert on Radio4, including interviews I conducted with the two composers at Muziekgebouw aan ´t IJ on 28 February.
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