To celebrate Veljo Tormis’s 95th anniversary, the Veljo Tormis Virtual Centre, in cooperation with the Estonian Choral Association and the cultural attachés of the Estonian Ministry of Culture, organized the global Tormis 95 Singing Contest, which became a true international celebration of choral music.

A total of 90 ensembles, choirs, and soloists from around the world took part in the competition. In the international choir category, the unanimous jury declared Switzerland’s Junger Kammerchor Basel the winner for their performance of “Curse Upon Iron”, which the jury described as “beyond incredible.” The award was received in Estonia by the choir’s tenor, Julian Schmidlin.

Paula:
Hello Julian! Welcome to Estonia. I'm delighted to have you here today with us in Kõrveaia to celebrate Tormis’s 95th birthday anniversary. Your choir has won the global singing competition. Would you please tell, how did this competition or opportunity even found you?

Julian:
I think we were really lucky to have this opportunity. We performed “Raua needmine” / * Curse Upon Iron* by Veljo Tormis in Basel, Switzerland, and I later uploaded a clip of that performance to Instagram. That’s how Iti reached out to me and told me about the competition. We already had a recording, not from this year’s performance, but an earlier one, so we decided to send that in and take part. We’ve actually performed the piece several times.

Paula:
The performance has truly amazed everyone who’s seen it — including Tormis’ family. What would you say is the driving force behind such a powerful interpretation?

Julian:
I think in the first place there's the music which speaks to you, even if of course we have translations. It's not our native language so somehow the music is the first contact and this world of sound and then the context. Also growing together as a choir, as an ensemble, together with the conductor, with the soloists. I think this is really a collective experience. We are encouraging each other but also trying out different things. It's about having a good mix between joyfulness as well as seriousness. And of course, we try to find a balance to turn our own personal and collective experience into something that truly resonates with the audience.

Paula:
You mentioned that the music comes first, and then you dive into the lyrics and their meaning. What was your first impression of the piece before you knew what the words meant? And how do you understand Estonian culture as a whole?

Julian:
It doesn’t really matter where you come from — we all feel the same sense of empowerment through music. In the end, it’s not about nationality, but about the people who are connected through it. I find it interesting because, even though it’s not exactly the same, in Switzerland we have a somewhat similar collective tradition through yodeling. Historically, Swiss mercenaries serving in foreign armies during medieval times would yodel — not just for courage, but as a way to feel connected to home and to one another. It’s not so much about courage, but about remembering where you come from and keeping that feeling of connection even when you’re far from your people. Music has the power to bridge distance and time, linking generations together through shared emotion. It’s the same feeling passed down through centuries.

Paula:
I found it fascinating that you mentioned fear as one of your first impressions of Curse Upon Iron. Do you see the act of performing Curse Upon Iron as a collective way of confronting or transforming fear? Could it also be viewed as a process of releasing that fear — of finding empowerment and positive energy through the music? How would you personally describe that experience as you move through the piece?

Julian:
In relation to fear, yes — I think it’s a universal emotion we all experience. It’s not something we can simply eliminate; it exists. What truly matters is how we respond to it.

Paula:
You mentioned that the music comes first, and only afterwards you explore the lyrics and their meaning. How would you describe your first impression of the music before you understood the words? And how did learning the lyrics change the way you experience the piece — and perhaps even the way you understand Estonian culture?

Julian:
Often, you find pieces that are either very emotional but somewhat repetitive — revisiting what’s already been done. On the other hand, very abstract and detached. But in Tormis’ music, these elements come together beautifully. There’s a fresh sound, a search for new ways of expression within the choral tradition, yet it never loses its aesthetic depth or emotional honesty. That’s where its sophistication lies — in how all these aspects are woven together. It becomes an emotional transformation, and to me, that’s what music is all about.

Paula:
When did you first come across Vejlo Tormis' music and how has your perception changed over time?

Julian:
That’s a difficult question. I’ve sung in a boys’ choir since I was quite young, so I came into contact with a lot of music early on, including some of Tormis’ works, like The Singer's Childhood / "Lauliku lapsepõli" and God Protect Us From War / "Kaitse, Jumal, sõja eest! (Varjele, Jumala, soasta!)" — I still remember that phrase vividly. For me, the connection began in childhood, when I approached music in a kind of positively naive way — simply by accepting it and living it. Later, as I grew older, I began to engage with it more intellectually.
So, my relationship with Tormis’ music has really evolved alongside my own journey as a singer and musician. With a piece like Curse Upon Iron, the deeper you prepare it, the more layers you uncover. The first impression — that emotional instinct you had as a child — remains part of the final performance, but it becomes enriched and more nuanced over time.
Still, I think it’s important as a performer to always try to reinterpret the music as if you were encountering it for the first time. That’s when the story feels most alive — when it carries that sense of truth and discovery.

Paula:
What are your plans regarding Tormis's music in the future? Where do you see yourself in regards to Veljo Tormis?

Julian:
I don’t think I could ever step away from Tormis’ music. Once you’ve encountered it, it becomes part of you — something you feel the need to stay connected to. There’s always this desire to return to that world and experience it again in new ways. How exactly that will unfold for me, is hard to say, but I’m definitely eager to explore more of his work. There are still so many pieces I don’t know yet, and I’d love to dive into them — both as a singer and as a conductor.

Paula:
I’m sure many Estonians would be thrilled to experience a live performance of the Curse Upon Iron performed by you and the Junger Kammerchor Basel. Thank you for this inspiring performance and for sharing your thoughts with us today here in Kõrveaia!

Julian:
Yes, absolutely — if the opportunity comes, we’d be very happy to return and perform here. It’s a wonderful way to stay connected with the music and to share it with more people.

Paula:
Yes and I’m sure it will give a lot of people goosebumps! Thank you so much.

Julian:
You’re very welcome. It was a pleasure to meet you, and I hope you have a wonderful day here in Kõrveaia.

Paula:
Thank you! The place is beautiful, the weather’s perfect, and let's enjoy the Estonian Philharmonic Chamber Choir performing Estonian Women's Songs and Men's Songs.

Julian:
Exactly — thank you.

WATCH THE VIDEO: Veljo Tormis – Curse Upon Iron performed by Junger Kammerchor Basel, conducted by Tobias Stückelberger.

The interview was conducted by Paula Hakkaja at the birthplace of Veljo Tormis in Kõrveaia during the celebrations of the composer's 95th anniversary (August 7, 2025).
Photo: Iti Teder