Ēriks EŠENVALDS (b. 1977)
From the dim and distant past - Folk
songs and legends
State Choir Latvija/Māris Sirmais
rec. 2017, St John’s Lutheran Church, Riga
Texts & English translations included
STATE CHOIR LATVIJA (no catalogue number) [60:24]
Latvia is lucky enough to have two formidable professional
choirs: The Latvian Radio Choir and State Choir Latvija. It
is the latter ensemble that concerns us here. I’ve encountered
them on a couple of previous discs: Mariss Jansons’ recording
of Mahler’s Eighth on which they combined with other choirs (review)
and, singing by themselves, on a superb disc of music by Gabriel Jackson
(review).
The present disc has been issued on the choir’s own label to mark
the ensemble’s 75th anniversary – it was founded
in 1942. It’s fitting on two counts that they should have chosen
to celebrate this anniversary by recording a programme of music by Ēriks
Ešenvalds: in the first place he is one of Latvia’s most
celebrated living composers and secondly, he was a member of the choir
for nine years; indeed, he was listed among the singers who made the
aforementioned Gabriel Jackson disc. Actually, this is the choir’s
second all-Ešenvalds release. They’ve previously recorded,
again on their own label, a programme entitled At the Foot of the
Sky. I’ve not heard that disc though I’m determined
to rectify that omission. They’ve also recorded his important
Passion and Resurrection, coupled with the Te Deum
by Rihards Dubra.
This particular programme explores two themes. One is the extent to
which Ešenvalds is captivated by folk melodies and by legends.
The other is his strong preoccupation with aspects of nature.
I’ve heard previously some of the pieces here recorded but others
were new to me. I don’t recall hearing the arrangements of My
Luve is Like a Red, Red Rose or O Danny Boy before. Both
are pleasant enough and the addition of a tin whistle at the beginning
and end of the former is a nice touch. Both of these settings feature
the same pair of soloists – a soprano and a baritone. Neither
is listed as a member of the choir and both are recorded quite closely
in a rather pop-style balance – the baritone is a bit of a crooner,
too. It has to be said that O Danny Boy isn’t advantageously
placed in the running order: it’s a big anti-climax after the
very inventive The First Tears.
Also new to me were Ancient Prairie and Rasa. The
former comes from a larger work, Whispers on the Prairie Wind,
a work written for the Utah Symphony and various choirs from Utah. I’ve
not heard the complete work but on the evidence of this excerpt I’m
keen to do so. Ancient Prairie is a setting of a short poem,
in English translation, by the Chinese poet Bai Juyi (772-846). The
choir sings the poem in slow, calm and richly harmonised homophonic
music. After they’ve sung the poem a pure and ethereal solo violin
(Ilze Zariŋa) plays the melody, adding ornamentation that brings
out the folk-like nature of the tune. Violin and singers then combine
to bring the piece to a close. Rasa is a setting for a
cappella choir of a poem written in 1995 by Rasa Maija Armale,
a pupil at the same school, Liepāja State Gymnasium, that Ešenvalds
himself had previously attended. In the poem Rasa explores and reflects
upon her given name. As with Ancient Prairie the music, though
sophisticated, has a simplicity of utterance that communicates very
directly – to the heart, in fact.
Ainava ar ganiem is quite remarkable. The composer has assembled
his own text from various Latvian folk songs and woven them into a celebration
of and reflection on the often-rugged life of herdsmen. The score includes
important parts for five vocal soloists, some of whom are drawn from
the choir. There’s also telling but sparing use of percussion.
The vocal soloists often use a deliberately edgy, rustic timbre, which
is most effective. For much of the time the choir is used in a subsidiary
role to support the soloists, often wordlessly. The sound of the music
is fascinating and highly original: the composer has synthesised the
sophistication of modern-day composition with the primitive herdsmen’s’
calls in a most imaginative way. Later in the programme Aizej, lietiŋ
also uses Latvian folk instruments including an accordion and a kokles,
a traditional Latvian stringed instrument. This is another imaginative
and successful fusion of traditional Latvian folk music and modern choral
writing.
Ešenvalds’ strong identification with nature finds expression
in two pieces linked to the Northern Lights. In both Rivers of Light
and Northern Lights he combines traditional songs – sung
by soloists – with texts written about the Northern Lights by
various travellers and explorers. I’ve heard both pieces before
and here, once again, I’m impressed by them – all the more
so since the performances are so fine. I’ve also heard before
the longest piece on the programme, The First Tears, most recently
in a very fine recording by the Portland State Chamber Choir from the
USA (review).
The piece sets a text, in English, which is Ešenvalds’ own
re-telling of an ancient Inuit legend. I think this is a marvellous
piece; the composer makes highly original use of many layers of choral
textures for narrative and dramatic effect. The legend is re-told for
the twenty-first century in a compelling fashion. The performance by
State Choir Latvija is fabulous and made me appreciate even
more this highly original composition.
The singing of State Choir Latvija is mightily impressive throughout
this disc. Clearly, they’ve been superbly trained by Māris
Sirmais, their Artistic Director and conductor since 1997. Not only
is Sirmais’ great ability as a choral trainer evident at every
turn, so too is his empathy with the music. Ēriks Ešenvalds
is, I believe, one of the most exciting and interesting choral composers
of our time and his music is superbly served here. This is a terrific
way for the choir to mark 75 years of singing.
The recorded sound is excellent. The musical textures are reported with
clarity, which is crucial, but there’s also a pleasing natural
ambience around the performers. There are valuable notes by Christopher
Walsh Sinka who also contributes overtone chanting to the performance
of The First Tears.
John
Quinn
Disc contents
My Luve is Like a Red, Red Rose (2016) [4:05]
Ainava ar ganiem (Landscape with Herdsmen) (2014) [7:22]
There will Come Soft Rains (2017) [3:51]
Rivers of Light (2014) [5:54]
Northern Lights (2013) [5:45]
The First Tears (2015) [13:31]
O Danny Boy (2014) [3:35]
Aizej, lietiŋ (Go Away, Rain) (2005) [6:20]
Ancient Prairie (2015) [5:04]
Rasa (Dew) (2017) [4:57]
