E r k k i _ S v e n T r

Brett Dean
e

G E S U A L D O

T n u K a l j u s t e
Estonian Philharmonic Chamber Choir
Ta l l i n n C h a m b e r O r c h e s t r a

Er k k i _ Sve n T r
Brett Dean
C a r l o G e s u a l d o d a Ve n o s a

E s to ni a n Philh a r m o ni c Ch a mb e r Ch o i r
Ta llinn Ch a m b e r O r c h e s t r a
T nu K a lju s t e, c o n du c to r

Er k k i _ Sve n T r
Brett Dean
C a r l o G e s u a l d o d a Ve n o s a

E s to ni a n Philh a r m o ni c Ch a mb e r Ch o i r
Ta llinn Ch a m b e r O r c h e s t r a
T nu K a lju s t e, c o n du c to r

C a r l o G e s u a l d o d a Ve n o s a
1

Moro lasso

E r k k i _ Sve n T r
4: 3 3

Fr o m: Il S e s to L i b r o d i M a d r i g a l i (16 11)
Tr a n s c r i b e d fo r s t r i n g o r c h e s t r a b y T n u K a l j u s t e

(19 97 )

6: 57

D e d i c ate d to Ma nf re d Ei c h e r

Brett Dean
Carlo

(20 14)

For string orchestra

Lo m b r a d e l l a c r o c e

Psalmody

(19 9 3 / 20 11)

2 2: 0 9

F o r m i xe d c h o i r a n d o r c h e s t r a

20: 37

For choir and string orchestra

D e d i c ate d to R i c h a rd To g n e t t i
a n d t h e A u s t ra l i a n C h a m b e r O rc h e s t ra

C a r l o G e s u a l d o d a Ve n o s a
3

O crux benedicta
Fr o m: S a c r a r u m c a n t i o n u m l i b e r p r i m u s (16 0 3)
A r r a n g e d fo r s t r i n g o r c h e s t r a b y Er k k i _ Sve n T r

4: 1 4

T hi s a l b u m i s d e d i c a te d to t h e m e m o r y of M ai d o M a a d ik ,
o u t s t a n d i n g E s to ni a n r e c o r d i n g e n g in e e r. O n D e c e m b e r 12, 2014,
we h a d wo r ke d i n a ve r y g o o d a t m o s p h e r e w i t h M ai d o o n t h e
m i x , f i n e _t u ni n g d e t a i l s of t h e mu s i c an d t h e s o u n d of t hi s r e c o r d in g.
Two d ay s l a te r, h e d i e d, s u d d e n l y an d u n ex p e c te d l y.
We w i l l m i s s hi m.
T nu, Er k k i _ Sve n, M anf r e d

C a r l o G e s u a l d o d a Ve n o s a
1

Moro lasso

E r k k i _ Sve n T r
4: 3 3

Fr o m: Il S e s to L i b r o d i M a d r i g a l i (16 11)
Tr a n s c r i b e d fo r s t r i n g o r c h e s t r a b y T n u K a l j u s t e

(19 97 )

6: 57

D e d i c ate d to Ma nf re d Ei c h e r

Brett Dean
Carlo

(20 14)

For string orchestra

Lo m b r a d e l l a c r o c e

Psalmody

(19 9 3 / 20 11)

2 2: 0 9

F o r m i xe d c h o i r a n d o r c h e s t r a

20: 37

For choir and string orchestra

D e d i c ate d to R i c h a rd To g n e t t i
a n d t h e A u s t ra l i a n C h a m b e r O rc h e s t ra

C a r l o G e s u a l d o d a Ve n o s a
3

O crux benedicta
Fr o m: S a c r a r u m c a n t i o n u m l i b e r p r i m u s (16 0 3)
A r r a n g e d fo r s t r i n g o r c h e s t r a b y Er k k i _ Sve n T r

4: 1 4

T hi s a l b u m i s d e d i c a te d to t h e m e m o r y of M ai d o M a a d ik ,
o u t s t a n d i n g E s to ni a n r e c o r d i n g e n g in e e r. O n D e c e m b e r 12, 2014,
we h a d wo r ke d i n a ve r y g o o d a t m o s p h e r e w i t h M ai d o o n t h e
m i x , f i n e _t u ni n g d e t a i l s of t h e mu s i c an d t h e s o u n d of t hi s r e c o r d in g.
Two d ay s l a te r, h e d i e d, s u d d e n l y an d u n ex p e c te d l y.
We w i l l m i s s hi m.
T nu, Er k k i _ Sve n, M anf r e d

N o t e s by t h e c o mp o s e r s
Ps al mo d y was w r i t te n fo r t h e e ar l y mu si c e ns e mb l e
H o r t u s Mu sicu s in 19 93. In a way, t h e c o mp o si t i o n was
a r et r o sp e c t i ve c o mm e nt ar y o n t h e mu si c I h a d c r e ate d
in t h e ye ar s 1979 19 82 fo r t h e p r o g _ r o c k b an d In Spe.
On the other hand, my overall goal at the time (19872000)
was to uni te t h e minim alis t di ato ni c ap p r o a c h w i t h t h e
c o mp l ex ato n al ap p r o a c h. In t h e n ew, sub s t ant i all y
ab b r ev i ate d ve r si o n of Ps al mo d y, I r et ain e d o nl y th e
fo r m e r an d r e m ove d t h e sy nt h e sis e d ato n al p as s a g e s
p e r fo r m e d by a c o mp u te r. T h anks to t h e l e a d e r of Hortus
Mu sicu s, A n dr e s Mu s to n e n, an d his unwave r in g fai t h in
t h e valu e of t his mu si c I r ev is e d Ps al mo d y in 20 0 5.
Ho r tu s Mu si c u s p e r fo r m e d i t th at au tumn to g et h e r w i t h
t h e L at v i an Ra di o Ch o ir at t h e Ri g a New Mu si c Fe s t i val.
L is te nin g to t h e r e c o r din g, I r e alis e d to my gr e at sur p r is e
t h at t his ve r si o n wo r ks mu c h b et te r th an t h e o n e
p e r f o r m e d at t h e N Y Y D Fe s t i val in 19 93. In S e pte mb e r
2011, i t was p e r fo r m e d at my c o n c e r t by Collegium
Mu sicale an d H o r t u s Mu sicu s un d e r t h e b ato n of A n dr e s

N o t e s by t h e c o mp o s e r s
Ps al mo d y was w r i t te n fo r t h e e ar l y mu si c e ns e mb l e
H o r t u s Mu sicu s in 19 93. In a way, t h e c o mp o si t i o n was
a r et r o sp e c t i ve c o mm e nt ar y o n t h e mu si c I h a d c r e ate d
in t h e ye ar s 1979 19 82 fo r t h e p r o g _ r o c k b an d In Spe.
On the other hand, my overall goal at the time (19872000)
was to uni te t h e minim alis t di ato ni c ap p r o a c h w i t h t h e
c o mp l ex ato n al ap p r o a c h. In t h e n ew, sub s t ant i all y
ab b r ev i ate d ve r si o n of Ps al mo d y, I r et ain e d o nl y th e
fo r m e r an d r e m ove d t h e sy nt h e sis e d ato n al p as s a g e s
p e r fo r m e d by a c o mp u te r. T h anks to t h e l e a d e r of Hortus
Mu sicu s, A n dr e s Mu s to n e n, an d his unwave r in g fai t h in
t h e valu e of t his mu si c I r ev is e d Ps al mo d y in 20 0 5.
Ho r tu s Mu si c u s p e r fo r m e d i t th at au tumn to g et h e r w i t h
t h e L at v i an Ra di o Ch o ir at t h e Ri g a New Mu si c Fe s t i val.
L is te nin g to t h e r e c o r din g, I r e alis e d to my gr e at sur p r is e
t h at t his ve r si o n wo r ks mu c h b et te r th an t h e o n e
p e r f o r m e d at t h e N Y Y D Fe s t i val in 19 93. In S e pte mb e r
2011, i t was p e r fo r m e d at my c o n c e r t by Collegium
Mu sicale an d H o r t u s Mu sicu s un d e r t h e b ato n of A n dr e s

Mu s to n e n. Af te r t h e c o n c e r t i t o c c ur r e d to m e t h at t h e
m ate r i al n e e d s a n ew o r c h e s tr at i o n. T nu K alju s te, w h o
h a d li s te n e d to t h e c o n c e r t s r a di o b r o a d c as t , e n c o ur a g e d
m e to m ake i t h ap p e n. D ur in g my Au s tr ali a _to ur in No v e m b e r 2011, I r e _ o r c h e s tr ate d t h e e nt ir e Ps al mo d y o r r at h e r,
I r e c o mp o s e d i t , b r o u ght b al an c e to t h e fo r m an d eve n
m a d e a d di t i o ns to t h e c h o ir p ar t. S o, in a way, t hi s is a
uni qu e p i e c e fo r m e, as I h ave n ot r ev i s e d any ot h e r
c o mp o si t i o n s o m any t im e s. B e s i d e s, s in c e t h e mu si c al
i d e a b e hin d t h e c o mp o s i t i o n d ate s b a c k ove r t hir t y ye ar s,
I c o ul d s ay t h at t hi s i s t h e k in d of mu s i c I wo ul d h ave like d
to p e r fo r m dur in g my I n S pe p e r i o d, b u t w as n ot yet ab l e
to. T h e l ate s t ve r si o n w as p r e mi e r e d in D e c e mb e r 2012
un d e r t h e b ato n of T nu K alju s te. It e s s e nt i all y r e p r e s e nt s
a s o r t of minim ali s m d e r i ve d f r o m t h e r hy t hmi c p at te r ns
an d into n at i o ns c h ar a c te r i s t i c of t h e var i o u s tr a di t i o ns
t h at p r evail e d in e ar l y Eur o p e an mu s i c. W i t h t hi s I d e lib e r
ate l y aim e d to s te p into a di al o gu e w i t h t h e m ains t r e am
of minim ali s m t h at o r i gin ate s f r o m A m e r i c a.

Lombra della c roc e was writ ten on Tnu K aljustes req uest
e sp e c i all y fo r t his alb um. T h e s am e g o e s fo r t h e s tr in g s
arr angement of the motet O c rux benedic ta by C arlo Gesu
al d o, w hi c h b o as t s s o m e f r a gil e s o un d c l o u ds in a d di t i o n
to t h e o r i gin al m ate r i al. T h e ini t i al m ot i f of t h e m otet al s o
s e r ve s as a b asis fo r Lo mb ra de l la c ro c e. W hil e c o mp o s
in g t his p i e c e, I im a gin e d my s e l f b a c k to t h e b e ginn in g of
t h e 19 9 0 s by t his t im e I h a d c o mp o s e d t h e s tr in g o rc he s tr a pie c e s Ins ula de s er ta and Ac tion. Pas s ion. Illus ion.
I am awar e t h at my mu si c al s t y l e mi ght h ave d eve l o p e d
in a dir e c t i o n e nt ir e l y di f fe r e nt to t h e c ur r e nt o n e, an d s o
I set of f b ase d on this other, im agin ar y p ath. It was p e c uli ar
to r e alis e t h at t his ot h e r m e is s t ill r e a d y fo r a c t i o n
d e sp i te b e in g in a d o r m ant s t ate. Lo mb ra de l la c ro c e is
d e di c ate d to my f r i e n d M anf r e d Ei c h e r e n c o mp as sin g
b ot h e ar l y an d c o nte mp o r ar y mu si c, h e c r e ate d t h e
ECM New S e r i e s t h at h as a c c umul ate d an a dmir ab l e
c at al o gu e ove r t im e.
Er k k i _ Sve n Tr

Mu s to n e n. Af te r t h e c o n c e r t i t o c c ur r e d to m e t h at t h e
m ate r i al n e e d s a n ew o r c h e s tr at i o n. T nu K alju s te, w h o
h a d li s te n e d to t h e c o n c e r t s r a di o b r o a d c as t , e n c o ur a g e d
m e to m ake i t h ap p e n. D ur in g my Au s tr ali a _to ur in No v e m b e r 2011, I r e _ o r c h e s tr ate d t h e e nt ir e Ps al mo d y o r r at h e r,
I r e c o mp o s e d i t , b r o u ght b al an c e to t h e fo r m an d eve n
m a d e a d di t i o ns to t h e c h o ir p ar t. S o, in a way, t hi s is a
uni qu e p i e c e fo r m e, as I h ave n ot r ev i s e d any ot h e r
c o mp o si t i o n s o m any t im e s. B e s i d e s, s in c e t h e mu si c al
i d e a b e hin d t h e c o mp o s i t i o n d ate s b a c k ove r t hir t y ye ar s,
I c o ul d s ay t h at t hi s i s t h e k in d of mu s i c I wo ul d h ave like d
to p e r fo r m dur in g my I n S pe p e r i o d, b u t w as n ot yet ab l e
to. T h e l ate s t ve r si o n w as p r e mi e r e d in D e c e mb e r 2012
un d e r t h e b ato n of T nu K alju s te. It e s s e nt i all y r e p r e s e nt s
a s o r t of minim ali s m d e r i ve d f r o m t h e r hy t hmi c p at te r ns
an d into n at i o ns c h ar a c te r i s t i c of t h e var i o u s tr a di t i o ns
t h at p r evail e d in e ar l y Eur o p e an mu s i c. W i t h t hi s I d e lib e r
ate l y aim e d to s te p into a di al o gu e w i t h t h e m ains t r e am
of minim ali s m t h at o r i gin ate s f r o m A m e r i c a.

Lombra della c roc e was writ ten on Tnu K aljustes req uest
e sp e c i all y fo r t his alb um. T h e s am e g o e s fo r t h e s tr in g s
arr angement of the motet O c rux benedic ta by C arlo Gesu
al d o, w hi c h b o as t s s o m e f r a gil e s o un d c l o u ds in a d di t i o n
to t h e o r i gin al m ate r i al. T h e ini t i al m ot i f of t h e m otet al s o
s e r ve s as a b asis fo r Lo mb ra de l la c ro c e. W hil e c o mp o s
in g t his p i e c e, I im a gin e d my s e l f b a c k to t h e b e ginn in g of
t h e 19 9 0 s by t his t im e I h a d c o mp o s e d t h e s tr in g o rc he s tr a pie c e s Ins ula de s er ta and Ac tion. Pas s ion. Illus ion.
I am awar e t h at my mu si c al s t y l e mi ght h ave d eve l o p e d
in a dir e c t i o n e nt ir e l y di f fe r e nt to t h e c ur r e nt o n e, an d s o
I set of f b ase d on this other, im agin ar y p ath. It was p e c uli ar
to r e alis e t h at t his ot h e r m e is s t ill r e a d y fo r a c t i o n
d e sp i te b e in g in a d o r m ant s t ate. Lo mb ra de l la c ro c e is
d e di c ate d to my f r i e n d M anf r e d Ei c h e r e n c o mp as sin g
b ot h e ar l y an d c o nte mp o r ar y mu si c, h e c r e ate d t h e
ECM New S e r i e s t h at h as a c c umul ate d an a dmir ab l e
c at al o gu e ove r t im e.
Er k k i _ Sve n Tr

C arlo s t ar t s w i t h p ur e Ge su al d o. O n e h e ar s t h e o p e nin g
f r o m Mo ro la s s o, o n e of his m o s t fam o u s c o mp o si t i o ns,
t ake n f r o m his S ix t h B o o k of Madrigal s. F o ll ow in g t h e tr a gi
c all y sink in g c hr o m at i c lin e of t his o p e nin g, a vo c al c o ll a g e
unfo l ds, t h e var i o u s qu ote s f r o m t h e m a dr i g al ini t i all y link
in g h ar m o ni c all y, t h e n g o in g t h e ir ow n way, s o m et im e s
br ighter and fas ter, at other p oint s slower and more solemn.
Gr a du all y t h e o r c h e s t r a b e c o m e s invo l ve d in t his p r o c e s s,
at f ir s t disp l a c in g qu ote s f r o m Mo ro la s s o w i t h ot h e r G e su al d o m ot i ve s, an d eve ntu all y l e a din g u s to al tog et h e r
m o r e t we nt i et h _ c e ntur y r e alms of s o un d. O c c as i o n all y t h e
vo i c e s t r ansp o r t u s m o m e nt ar il y b a c k into t h e wo r l d of
Ge su al d o, o nl y fo r t h e o r c h e s tr a to e mb ar k o n t h e ir ow n
inte r p r et at i o n an d r ewo r k in g of t his m ate r i al. At t h e e n d of
t h e j o ur n ey b et we e n t h e s e t wo di f fe r e nt t im e zo n e s,
Ge su al d os m a dr i g al s ar e eve ntu all y r e du c e d to m e r e w his
p e r in g s of his tex t s an d n e r vo u s b r e at hin g s o un ds. T h e s e
eventu all y also grow in dr am atic intensi t y into w h at m ay b e
s e e n as an o r c h e s t r al e c h o of t h at fatef ul ni ght in N ap l e s.

C arlo s t ar t s w i t h p ur e Ge su al d o. O n e h e ar s t h e o p e nin g
f r o m Mo ro la s s o, o n e of his m o s t fam o u s c o mp o si t i o ns,
t ake n f r o m his S ix t h B o o k of Madrigal s. F o ll ow in g t h e tr a gi
c all y sink in g c hr o m at i c lin e of t his o p e nin g, a vo c al c o ll a g e
unfo l ds, t h e var i o u s qu ote s f r o m t h e m a dr i g al ini t i all y link
in g h ar m o ni c all y, t h e n g o in g t h e ir ow n way, s o m et im e s
br ighter and fas ter, at other p oint s slower and more solemn.
Gr a du all y t h e o r c h e s t r a b e c o m e s invo l ve d in t his p r o c e s s,
at f ir s t disp l a c in g qu ote s f r o m Mo ro la s s o w i t h ot h e r G e su al d o m ot i ve s, an d eve ntu all y l e a din g u s to al tog et h e r
m o r e t we nt i et h _ c e ntur y r e alms of s o un d. O c c as i o n all y t h e
vo i c e s t r ansp o r t u s m o m e nt ar il y b a c k into t h e wo r l d of
Ge su al d o, o nl y fo r t h e o r c h e s tr a to e mb ar k o n t h e ir ow n
inte r p r et at i o n an d r ewo r k in g of t his m ate r i al. At t h e e n d of
t h e j o ur n ey b et we e n t h e s e t wo di f fe r e nt t im e zo n e s,
Ge su al d os m a dr i g al s ar e eve ntu all y r e du c e d to m e r e w his
p e r in g s of his tex t s an d n e r vo u s b r e at hin g s o un ds. T h e s e
eventu all y also grow in dr am atic intensi t y into w h at m ay b e
s e e n as an o r c h e s t r al e c h o of t h at fatef ul ni ght in N ap l e s.

C arlo was c o mmi s s i o n e d by t h e Au s tr ali an Ch amb e r

O r c h e s t r a fo r t h e 19 97 Hunt in g to n F e s ti val. It w as o r i gin al
l y s c ore d for f i f te en solo s tr ings, s amp ler and pre _ re c orde d
t ap e, b u t T nu K alju s te su g g e s te d p r e s e nt in g t h e p i e c e
w i t h li ve sin g e r s. T hi s ve r s i o n w as f ir s t p e r fo r m e d un d e r
his dir e c t i o n in t h e B e r w al dh all e n, Sto c k h o lm, w i t h t h e
Swe di s h Ra di o Ch o ir an d O r c h e s tr a in 20 02. W hil e I h a d
al w ay s b e e n f as c in ate d by t h e e e r i e p h e n o m e n o n t h at
e m e r g e s in t h e wo r k thr o u gh h e ar in g ye t n ot s e e in g t h e
r e c o r d e d vo i c e s, I w as t hr ill e d by t h e v i s c e r al dr am atur g y
b r o u ght to i t t hr o u gh su c h a li ve p e r fo r m an c e.
Br et t D e an

10

11

C arlo was c o mmi s s i o n e d by t h e Au s tr ali an Ch amb e r

O r c h e s t r a fo r t h e 19 97 Hunt in g to n F e s ti val. It w as o r i gin al
l y s c ore d for f i f te en solo s tr ings, s amp ler and pre _ re c orde d
t ap e, b u t T nu K alju s te su g g e s te d p r e s e nt in g t h e p i e c e
w i t h li ve sin g e r s. T hi s ve r s i o n w as f ir s t p e r fo r m e d un d e r
his dir e c t i o n in t h e B e r w al dh all e n, Sto c k h o lm, w i t h t h e
Swe di s h Ra di o Ch o ir an d O r c h e s tr a in 20 02. W hil e I h a d
al w ay s b e e n f as c in ate d by t h e e e r i e p h e n o m e n o n t h at
e m e r g e s in t h e wo r k thr o u gh h e ar in g ye t n ot s e e in g t h e
r e c o r d e d vo i c e s, I w as t hr ill e d by t h e v i s c e r al dr am atur g y
b r o u ght to i t t hr o u gh su c h a li ve p e r fo r m an c e.
Br et t D e an

10

11

Re c o r d e d F e b r u a r y 20 14
a t T h e Ta l l i n n M e t h o d i s t Ch u r c h
To n m e i s t e r : M a i d o M a a d i k
Ed i t e d a n d m i xe d D e c e m b e r 20 14
b y M a i d o M a a d i k , M a n f r e d Ei c h e r,
Er k k i _ Sve n T r a n d T n u K a l j u s t e
C o ve r p h o to: J a n K r i c ke
L i n e r p h o to s: Ro b e r to M a s o t t i (4) ,
M a r c o A n e l l i (8) , Paw e l Ko p c z y n s k i (11)
D e s i g n: S a s c h a K l e i s
P r o d u c e d b y M a n f r e d Ei c h e r
A n E CM P r o d u c t i o n

> < 20 15 E CM Re c o r d s G m b H
Po s t f a c h 6 0 03 3 1, 8 120 3 M n c h e n
w w w. e c m r e c o r d s . c o m

Re c o r d e d F e b r u a r y 20 14
a t T h e Ta l l i n n M e t h o d i s t Ch u r c h
To n m e i s t e r : M a i d o M a a d i k
Ed i t e d a n d m i xe d D e c e m b e r 20 14
b y M a i d o M a a d i k , M a n f r e d Ei c h e r,
Er k k i _ Sve n T r a n d T n u K a l j u s t e
C o ve r p h o to: J a n K r i c ke
L i n e r p h o to s: Ro b e r to M a s o t t i (4) ,
M a r c o A n e l l i (8) , Paw e l Ko p c z y n s k i (11)
D e s i g n: S a s c h a K l e i s
P r o d u c e d b y M a n f r e d Ei c h e r
A n E CM P r o d u c t i o n

> < 20 15 E CM Re c o r d s G m b H
Po s t f a c h 6 0 03 3 1, 8 120 3 M n c h e n
w w w. e c m r e c o r d s . c o m

E CM N e w S e r i e s 24 52
4 8 1 18 0 0