teoseidmeeskoorile2.jpg Veljo Tormis: Teoseid meeskoorile (Works for Male Choir)
Melodiya C10 13959-60
Recorded in Estonia. Released in 1979.
Sound Engineer:Enn Tomson; Executive Producer:J. Justsuk; Artist:J. Kaarma; Photos:P. Puks and Tõnu Tormis;

Compositions by Veljo Tormis (1930-)
Track 1. Laulja, ood meeskoorile, orelile ja löökpillidele (The Singer, ode for male choir, organ and percussion) [Kristjan Jaak Peterson] (1974) (5:20) with Rolf Uusväli:organ; Kalju Terasmaa & Ole Valgma:percussion.
Track 2. Katkuaja mälestus
(Plague memory) ballad for two male choruses and a soloist [Text in Estonian by Jaan Kaplinski, based on Estonian folklore] (1973) (5:44) with J. Annus:vocal solo.
Track 3. Pikse litaania
(Litany To Thunder) [folklore motifs adapted by Ain Kaalep] (1974) (4:47) with K. Räästas and I. Laide:vocal solos; Tauno Vahter:bass drum.
(Shrovetide Songs) from the cycle Eesti kalendrilaulud (Estonian Calendar Songs) (1966/67)
Track 4. Vistel-vastel
(Vistel-vastel) [text from folklore] (1.22)
Track 5. Lina loitsimine
(Spell Upon Flax) [text from folklore] (1.45)
Track 6. Liulaskmise laul
(Sledding Song) [text from folklore] (1.47)
Track 7. Põhja-Vene bõliina
(North Russian Bylina) for male chorus and soloists [Text from Russian traditional sources, primarily the bylina "Ilya Muromets and Sokolnik", arranged by Vyacheslav Shchurov] (1976) (10:03) with V. Mäeots:vocal solo.
Track 8. Hääled Tammsaare karjapõlvest
(Voices from Tammsaare's Herdboy Days) documentary cantata for male chorus, soloists, fonogram and percussion [Songs and calls as sung by Anton Hansen Tammsaare's sister Marta Hansen in 1971] (1977) (10:11) with J. Annus:vocal solo; Marta Hansen:vocal solo (from recording); Kalju Terasmaa & Ole Valgma:percussion.
Estonian State Academic Male Choir conducted by Olev Oja (1,2,4,5,6,7,8) or Kuno Areng (3).

Commissions, Dedications and Awards
Laulja (The Singer) is dedicated to conductor/composer Gustav Ernesaks, who was the founder of the Estonian State Academic Male Choir (now called the Estonian National Male Choir), and it includes quotes from his compositions Mu isamaa on minu arm (My Fatherland, My Love) and Lauliku talveüksindus (The Winter Solitude of the Singer) which can be distinguished during the solfeggio portions of the text.
Katkuaja mälestus is dedicated to conductor Olev Oja, who conducts the performance on this same LP.
Pikse litaania (Litany To Thunder) is dedicated to conductor Kuno Areng, who conducts the performance on this same LP.
Põhja-Vene bõliina is dedicated to Georgi Sviridov. A bylina is a traditional Russian epic song form.
Hääled Tammsaare karjapõlvest was composed in honour of the 100th anniversary of the Estonian writer Anton Hansen Tammsaare's (1878- 1940) birth. A.H.Tammsaare's 5 volume novel "Tõde ja õigus" (Truth and Justice) (1926-1933) is considered one of the pinnacles of Estonian literature. The fonogram/gramophone part of the score requires the playing of the small 7" disc entitled A.H.Tammsaare (Melodiya M92-40245-6 from 1977) on which the writer's sister Marta Hansen sings the Estonian folksong "Nuttev tamm" (The weeping oak tree). This occurs near the beginning and at the very end of the work.
Music Publishers
The current scores for Laulja (Track 1), Katkuaja mälestus (Track 2), Pikse litaania (Track 3), Vastlalaulud (Tracks 4,5,6)(and the complete Estonian Calendar Songs) are published by Fennica Gehrman Oy Ab. The current score for Hääled Tammsaare karjapõlvest (Track 8) is published by SP Muusikaprojekt. The score for Põhja-Vene bõliina (Track 7) is currently not in print.
Other Points of Interest and Links
The original Melodiya LP had a brief note from the composer in Estonian with a Russian translation. An English translation follows: "The present record is an acknowledgement of my longtime and ongoing working relationship with the ENSV State Academic Male Choir and its conductors G. Ernesaks, O. Oja and K. Areng. Here, on our second recording together, can be found my major works for male choir written in the last five years. RAM can be considered the co-composers of these pieces, as many of the tonal ideas were refined and achieved their final form during the course of rehearsals. [The undersigned considers the written note to be very conditional and indefinite, as it does not allow for the precise sense of style, timbre or nuances of pronunciation to be written down in vocal music, especially in the case of folkloric material]. Veljo Tormis

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