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Korvits: Kreek's Notebook / Gough, Royal Holloway Choir, Britten Sinfonia

Korvits / Britten Sinfonia / Gough
Release Date: 07/09/2013 
Label:  Hyperion   Catalog #: 67968   Spars Code: DDD 
Composer:  Tőnu KőrvitsPeteris PlakidisArturs Maskats
Performer:  Kate Telfer
Conductor:  Rupert Gough
Orchestra/Ensemble:  Britten SinfoniaRoyal Holloway Choir
Number of Discs: 1 
Length: 1 Hours 1 Mins. 

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Notes and Editorial Reviews

Another fascinating exploration of choral music from the Baltic States, superbly performed.

In recent years Hyperion have been doing collectors a signal service - not for the first time - by issuing recordings that have opened the ears of many of us, myself included, to the important repertoire of recent and contemporary choral music from the Baltic states. Rupert Gough and his excellent Royal Holloway Choir have been in the vanguard, with programmes by Rihards Dubra, Bo Hansson and Vytautas Miškinis. These have all been stimulating releases, expertly performed.
Nearly all the music on this, their latest offering, was new to me. I say nearly all because I heard them perform two of the pieces,
Read more In memoriam by Plakidis and, as an encore. L?gums naktij by Maskats, during a splendid recital that they gave earlier this summer at the Cheltenham Music Festival, when they were joined by one of the college’s most distinguished alumni, Dame Felicity Lott. It was hearing those pieces then that whetted my appetite to seek out this disc.
The main work on the programme is Kreek’s Notebook, a homage to one Estonian composer by another. T?nu K?rvits’ piece celebrates the work of Cyrillus Kreek (1889-1962). Starting in 1911, Kreek collected a substantial number of the traditional folk hymns of his native land. As Rupert Gough tells us in his notes, Kreek was the first person systematically to research these melodies, many of which originated in 18 th century Lutheran hymns. Kreek’s labours made these hymns widely available for Estonian choirs to sing. However, during the Soviet years this part of the repertoire was banned and the hymns only resurfaced when Soviet rule ended.
In his eight-movement work K?rvits has taken seven of these hymns - the third movement is for strings alone but is also based on a folk melody - and has used them as the basis for a remarkable piece of musical re-imagining. The tunes are those collected by Kreek but the highly inventive instrumental accompaniments are K?rvits’ own as are the equally imaginative choral arrangements. The piece starts off innocently enough with a beguiling, joyful hymn for women’s voices accompanied by mainly pizzicati strings. However, in the following hymn, an Evening Hymn for male voices, the music takes on a much more serious countenance. There follows a short movement for strings only which Rupert Gough perceptively compares to the Playful pizzicato movement in Britten’s Simple Symphony. The fifth movement contains a haunting soprano solo, which is beautifully done by a member of the choir, Gillian Franklin. The seventh movement also caught my attention. It’s the only movement for unaccompanied choir and it features some very searching choral writing and harmonies. I’m sure it requires expert intonation and tuning. The last hymn opens with an extended and increasingly complex string introduction. When the choir come in they have a splendid, broad tune to sing which makes a fine, affirmative close to Kreek’s Notebook. This work seems to me to be a most imaginative and successful reinterpretation of music of the past and I’m very glad to have heard it, especially in a performance as committed as this one.
The other short work by K?rvits is a setting of a poem by Emily Brontë - I’m unsure if the whole poem has been set. This piece for unaccompanied choir has a prominent mezzo solo part which is sung with plaintive purity of tone and fine expression by Kate Telfer. Her colleagues in the choir have some ravishingly elusive choral textures, which they deliver splendidly.
The remaining works are by Latvian composers. Lacrimosa by Arturs Maskats is a response to the Estonia ferry disaster of 1994 in which nearly 1,000 people perished. He sets the last six lines of the Dies Irae for choir, strings and organ. It’s a very intense - and effective - piece though it ends calmly, perhaps accepting fate? The austere beauty of the closing pages is particularly impressive. I heard Maskats’ L ?gums naktij at the Cheltenham concert that I mentioned earlier. It’s an early piece, dating from his student days, and it’s serenely beautiful.
I also heard In memoriam by P?teris Plakidis at Cheltenham. Essentially the piece is a slow chorale around which, almost continually, soprano voices sing gently lilting, decorative lines in triple time. The piece is direct in expression and haunting and when I first heard it I resolved to get this disc in order to hear it again. Well, now I have heard it again and, if anything, it makes a stronger impression here. I think that may have something to do with the fact that this recording has been made in a more resonant acoustic than the building in Cheltenham. There’s more space around the voices and I think that the carolling sopranos may be placed at a distance from the main choir. It’s a lovely piece: do try to hear it.
Plakidis’ Fatamorg?na is also very interesting. It consists of three short movements and confirms that he has a fine feeling for inventive choral textures. The middle movement is scored for soprano solo and sopranos and it’s quite enchanting. The last movement has a slow, beautiful melody sung, I think, by the altos and amid the surrounding choral textures it’s once again carolling soprano lines that really catch the ear. The ravishing end has the music seemingly vanishing into thin air.
This is a programme packed with interesting music. Yet again Hyperion’s enterprise in issuing a disc like this shows us what fine choral music is to be heard in the Baltic States. The performances are out of the top drawer. The quality of the singing is consistently excellent and the requirement to sing in challengingly unfamiliar languages seems to pose no problems at all for this choir. They already have a deservedly high reputation which this new release confirms is fully justified. The recorded sound is first class and the documentation is up to the usual high standards of the house, though I do wish Hyperion would print at least their texts and translations in a slightly larger font.
-- John Quinn, MusicWeb International
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Works on This Recording

Kreek's Notebook by Tőnu Kőrvits
Conductor:  Rupert Gough
Orchestra/Ensemble:  Britten Sinfonia,  Royal Holloway Choir
The night is darkening round me by Tőnu Kőrvits
Performer:  Kate Telfer (Soprano)
Conductor:  Rupert Gough
Orchestra/Ensemble:  Royal Holloway Choir
In memoriam by Peteris Plakidis
Conductor:  Rupert Gough
Orchestra/Ensemble:  Royal Holloway Choir
Period: 20th Century 
Written: 1990 
Fatamorgana by Peteris Plakidis
Conductor:  Rupert Gough
Orchestra/Ensemble:  Royal Holloway Choir
Period: 20th Century 
Written: 1980 
Prayer to the night by Arturs Maskats
Conductor:  Rupert Gough
Orchestra/Ensemble:  Royal Holloway Choir
Lacrimosa by Arturs Maskats
Conductor:  Rupert Gough
Orchestra/Ensemble:  Britten Sinfonia,  Royal Holloway Choir
Period: 20th Century 
Written: 1995; Latvia 

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