Oxymoron (Music for Tirol)
dedicated to Olari Elts
2003
19'
1111, 1110, perc. pf(synth) str(11111)
Fp: 12.9.2003, Festival "Klangspuren" Schwaz; NYYD Ensemble, cond. Olari Elts
Commissioned by: Tirol Werbung and Klangspuren Festival Schwaz
Publisher: Edition Peters
CD Oxymoron ECM (2007) NYYD Ensemble, Olari Elts
Reviews
World premiere at Klangspuren Festival, Schwaz. 12.09.2003. NYYD Ensemble. Olari Elts
(---) Ein Komponist und ein Land: Sie kennen sich nicht. Die
Annäherung führt über einen Kompositionsauftrag. Als die Tirol-Werbung
bei Philipp Glass anklopfte, entstand naive Musik um ein altes Tiroler
Marienlied. Der estnische Komponist Erkki Sven Tüür sieht Tirol anders. Als
Land der Kontraste, von Statik und Dynamik, harmonischen Gesetzen und
Auflösung. Seine "Music for Tirol" heißt nach dem Gegensätze
benennenden Wort "Oxymoron". Die Tiroler Landschaft hat Tüür fasziniert,
"das innere Leben der Berge, ihre eingeschlossene Kraft."
Tiroler Gegensätze
Wer hier lebt, weiß noch andere Gegensätze. Und findet viele in Tüürs
"Oxymoron". Der Este hat sich hier anregen lassen, beschreibt nicht,
sondern verwandelt und bleibt in seiner Sprache. Er ist ein Mystiker des
Klanges, aus dessen Innerem die Bewegung wächst, sich transformiert, zur
Energie ballt und wieder entspannt. Er arbeitet mit den musikeigenen
Schubkräften, kann scharf sein, entwickelt jede Station aber sprunglos vor
dem Hörer, der sich dadurch Verständnis suggeriert.
Eine hochkomplexe, in sich ver-rückende Musik. Sie hört sich gut an.
"Oxymoron" lässt Assoziationen zu und weiß unbewusst viel vom
Widmungsland. Es ist eine Musik nicht aus oder auf, sondern respektvoll für
Tirol. Komponiert für solistisch besetztes, vom Klavier bereichertes
Kammerorchester. Am Beginn Tüürs typisches Initial. Am Ende zart
flirrendes Flageolett. Und die Flöte: Da geht einer, kaum hörbar pfeifend,
weg. (---)
Tiroler Tageszeitung
Queen's Hall, Edinburgh. 17.11.2007 Scottish Chamber Orchestra, Olari Elts
(---) The orchestra under the baton of their Principal Guest Conductor, Olari Elts, enjoyed an exciting rapport as they engaged in the second première of the evening, Erkki-Sven Tüür's Oxymoron. As the title of the work suggests, the piece attempted to invoke the fusion of musical opposites including (as the programme notes cite) 'tonality and atonality'. Despite the confusing description of these aims (by their nature, tonality and atonality are already forcefully joined), the performance was a sensationally exhilarating musical work and the highlight of the evening. The most thrilling moment came near the middle of the piece when the strings' harmonic interlocking rhythms gave way to a flurry of string crossing. Independent rhythmic patterns coupled with a dense texture and a skilful and extensive percussion section created a frenzy of intense sound. The orchestra certainly rose to the demands of the piece.
www.MusicalCriticism.com Mary Robb
String Quartet No 2 "Lost Prayers"
2012
13'
FP: 13. 09. 2012 Participants of the 61st ARD International Music Competition
Prinzregententheater, München
Commissioned by: The ARD International Music Competition
Publisher: Edition Peters
1) CD: Music for Strings BR Klassik 900715 Armida Quartet (2017)
2) CD: Lost Prayers ECM New Series 2666 Signum Quartet (2020)
String Quartet No 1
in memoriam Urmas Kibuspuu
1985
18'
Fp: Tallinn String Quartet; February 14, 1986, Tallinn
Publisher: Fennica Gehrman
1) CD “Baltic Elegy”, Collins Classics (1996); The Duke Quartet: Louisa Fuller, Rick Koster (violins), John Metcalfe (viola), Ivan McCready (cello)
2) CD “Chamber Music from Estonia”, BIS (1993); Tallinn String Quartet: Urmas Vulp, Toomas Nestor (violins), Viljar Kuusk (viola), Teet Järvi (cello)
Lichttürme
2017
16'
violin, cello, piano
Fp: Christian Tetzlaff (violin) Tanja Tetzlaff (cello) Lars Vogt (piano)
June 23. 2017 Kraftwerk Heimbach. Festival "Spannungen"
Commissioned by: Festival "Spannungen"
Publisher: Edition Peters
CD: Lost Prayers ECM New Series 2666 Yxus Trio
Reviews
Pärnu Music Festival, Pärnu Concert Hall.
15. 08. 2017
Yxus Trio
Harry Traksmann (violin) Leho Karin (cello) Marrit Gerretz-Traksmann (piano)
(---)The stunners, though, were two one-movement piano trios by Tüür. Fata Morgana was composed in 2002, a shimmering mirage which had to end in an extraordinary way (it did, with pianist Raide striking the depths of the keyboard while violinist, young Robert Traksmann, and cellist Marcel Johannes Kits vanished into the ether). Lichttürme (Lighthouses) of 2016 took the marine magic several leagues further, plunging in the middle this time and reaching out to the metaphysical in its closing stages. The premiere, given by Christian and Tanja Tetzlaff with Lars Vogt, had been incomplete owing to lack of preparation time, but not this extraordinary performance, where violinist and pianist joining cellist Leho Karin happened in a lovely touch to be the parents of Fata Morgana’s violinist, Harry Traksmann and Marrit Gerretz-Traksmann (---)
theartsdesk.com David Nice
Fata Morgana
2002
14'
violin, cello, piano
Fp: Grieg Trio; March 22, 2003, Wigmore Hall, London, UK
Commissioned by: Grieg Trio
Publisher: Edition Peters
CD: Lost Prayers ECM New Series 2666 Yxus Trio
Reviews
Phillips Collection Leading European Composers concert series
Washington DC
24. 02. 2011 New Tallinn Trio
(---) But the most purely beautiful music of the evening came at its close, with Tuur's "Fata Morgana," a work that, like the mirage it is named for, drew you in with shimmering, irresistible allure.
Washington Post, Febr. 25. 2011. Stephen Brookes
Motus II
1998
9'
percussion 4 players
Fp: Cabaza Percussion Quartet; October 17, 1998 Nürnberg
Commissioned by: Cabaza Percussion Quartet
Publisher: Edition Peters
CD “In The Eye Of The Storm”, CPO (1999); Cabaza Percussion Quartet
Transmission
1996
16'
6 pianos
Fp: Piano Circus; September 10, 1996, Vale of Glamorgan Festival, Cardiff, Wales, U.K.
Commissioned by: Piano Circus
CD “Piano Circus: Transmission”, PCD003; Piano Circus
Reviews
Piano Circus, Cardiff University Concert Hall. 13. 04. 2010
(---) The strongest impact was made at the outset with Transmission by Erkki-Sven Tüür. Deceptively simple initially, this music becomes increasingly elemental, with cascades of notes like a thawing waterfall and is compelling throughout.
The Guardian 14. 04. 2010 Rian Evans
Symbiosis
dedicated to Helge Slaatto and Frank Reinecke
1996
10'
violin, double bass
Fp: Helge Slaato (violin), Frank Reinecke (double bass); May 7, 1996, Berlin, Germany
Commissioned by: Helge Slaato and Frank Reinecke
Publisher: Edition Peters
1)CD “Nyyd Ensemble: Now. Estonian Composers”, Elwood Muusik (2001); NYYD Ensemble
2)CD "Street Music" Helge Slaatto and Frank Reinecke. Ambitus Music Production (2005)
Reviews
Sophie Appleton, violin
Sian Hicks, double bass
25. 02. 2016 Sage Gateshead. UK
(---)The quartet lived and breathed together as you would expect, but the piece that followed, Erkki-Sven Tüür’s Symbiosis, a duet for double-bass and violin demanded an entirely different relationship between its two performers, Sian Hicks and Sophie Appleton. The title suggested that the two parts were feeding off each other, each needing the other to survive, but still remaining as two independent organisms, and the music backed up the imagery as the parts shifted in and out of phase with each other. After a languid start, the piece picked up energy, with Sian Hicks at one point sounding like a bass guitarist in a rock band under Sophie Appleton’s wildly vigorous fiddle line.
Bachtrack. Jane Shuttleworth
Synergie
Dedicated to Renaud and Gautier Capuçon
2010
9' 50''
violin, cello
Fp: Renaud Capuçon (violin), Gautier Capuçon (cello); Sept. 2. 2010
Chambéry, Cathédrale de Chambéry
CD: Lost Prayers ECM New Series 2666 Florian Donderer, violin Tanja Tetzlaff, cello
Lamentatio
1995
9'
saxophone quartet
Fp: Stockholm Saxophone Quartet; January 31, 1995, Tallinn
Commissioned by: Stockholm Saxophone Quartet
1) CD “Amstel Saxophone Quartet: Straight Lines”, Eramus Music & Media MVH (2002); Amstel Saxophone Quartet
2) CD "sonic.art Saxophonquartett" ; Genuin Classics GEN 10164 (2010)
3) CD "Dedicated" ; Chamber Sound CSCD 13050 (2013); Stockholm Saxophone Quartet
Conversio
1994
11'
violin, piano
Publisher. Eres Edition (distrib. Edition Peters)
1) CD “From My Home”, Teldec (1997); Gidon Kremer (violin), Vadim Sacharov (piano)
2) CD "Estonian composer V", Estonian Public Broadcasting (2008); Andres Mustonen (violin), Ivo Sillamaa (piano)
3) CD "Music for violin and piano", Brilliant Classics 94814 (2014) Andrea Cortesi (violin), Marco Venturi (piano)
Program note
(---) Conversio is here taken to mean a turning around or revolution. When the music starts it feels like a piece of buoyant American minimalism, but given Erkki-Sven Tüür’s history we quickly realize it will not turn out that simple. Nonetheless a groove is established, neither fast nor slow, that we can settle down to enjoy. Gradually we sense the Conversio creeping up on us like the incoming tide, a gradual but systemic change until we are undeniably in a different world, chords ring out like rifle shots, silence proliferates, the ground shifts under our feet, where will this end?
© Francis Humphrys
Reviews
28. 02. 2024 Leila Josefowizc & John Novacek. Walt Disney Concert Hall. Los Angeles
(---) After Arvo Pärt, Tüür is probably Estonia’s best-known composer. His career made an interesting shift when he went from performing as a rock ’n’ roller to working as a post-minimalist composer. The lengthy opening of his Conversio seems like a jaunty piece of rather traditional minimalist patterning built on an accented pulse, influenced as much by the Beatles as by the minimalist religiosity of Pärt.
Then, like a marriage that’s hit the skids, the violin and piano begin to argue in ever-increasing slashing staccato attacks that almost cause blood to flow. Josefowicz and Novacek clearly took delight in leading their audience down a romantic garden path that turns into a battle to the death. (---)
San Francisco Classical Voice. Jim Farber. 5. 03. 2024
https://www.sfcv.org/articles/review/leila-josefowicz-shreds-while-being-soulful
10. 11. 2015 Leila Josefowizc & John Novacek. Carnegie Hall. New York
(---) This was Schumann looking forward, particularly from the final movement’s propulsive drive to the Post-Minimalism of the program’s second half. Ms. Josefowicz took every rhythmic detour in Erkki-Sven Tuur’s “Conversio” (1994), which starts stuck in a rut, confused and circling, and seems to get out by remembering how to be silent, despite interruptions by slashing chords. (---)
New York Times. David Allen. 11.11.2015
(---) Tüür’s Conversio is a compelling work that one would like to hear again and again. It begins with the violin repeating short, rhythmic phrases, kicked along with wisely placed accents. There are quiet, precise chords in the piano, and while the music sounds delicate, the structure is clearly made of steel. As the piece moves along, the music grows denser, tension builds, everything gets more interesting. The violin briefly takes flight in songful outbursts.
As the music grows more crunchy and complex, it becomes clear that the piece is much more than an exercise in building activity. The music breaks through into a completely different idea, a kind of fantasia that overwhelms the original music. The piece ends by dissolving with the lingering effect of a rich dream.
Josefowicz and Novacek played the music with skill and fire (---)
http://newyorkclassicalreview.com George Grella. Nov. 2015
http://newyorkclassicalreview.com/2015/11/josefowicz-hits-late-groove-with-contemporary-works/
Drama
dedicated to Camerata Tallinn
1994
12'
flute, violin, guitar (alternative version: vibraphone, violin, guitar)
Publisher: Eres Edition (distrib. Edition Peters)
1) CD “Cantus – Estonian Chamber Music from the 1990’s”, Finlandia (1998); Janika Lentsius (flute), Urmas Vulp (violin), Heiki Mätlik (guitar)
2) CD “Drama”, Estonian Radio (2001); Terje Terasmaa (vibraphone), Arvo Leibur (violin), Heiki Mätlik (guitar)
3) CD “Reinbert Evers: Drama – Baltic Music for Guitar”, Ambitus Musikproduktion (2000); Konrad Hünteler (flute), Midoro Goto (violin), Reinbert Evers (guitar)
Spiel
Dedicated to Martin Ostertag and Boris Björn Bagger
1992
8'
cello, guitar
Fp: Martin Ostertag (cello), Boris Björn Bagger (guitar); April 7, 1992, Karlsruhe, Germany
Commissioned by Europäische Kulturtage, Karlsruhe
Publisher: Edition 49 (distrib. Edition Peters)
CD “Desert Island”, Finlandia (2001); Henry-David Varema (cello), Heiki Mätlik (guitar)
Spectrum II
1994
11'
trumpet, organ, percussion ad lib.
Fp: Andres Uibo (organ), Jüri Leiten (trumpet), Madis Metsamart (percussion); July 29, 1994, Tallinn
Publisher: Eres Edition (distrib. by Edition Peters)
CD "Spectrums" , EMIC CD024 (2019) Ulla Krigul (organ) Indrek Vau (trumpet) Lauri Metsvahi (percussion)
Spectrum IV
2004
15'
cello, organ
Fp: Allar Kaasik (cello), Markku Mäkinen (organ)
June 29, 2004, St. Elizabeth Church, Pärnu, Estonia, David Oistrakh Festival
Commissioned by: David Oistrakh Festival
Publisher: Edition Peters
CD "Spectrums" , EMIC CD024 (2019) Ulla Krigul (organ) Leho Karin (cello)
Dick and Toff in Wonderland
1991
6'
flute, tuba (alternative version flute, bass clarinet)
Publisher: Fennica Gehrman
CD “Sisemonoloog – Inner Monologue”, PM CD01 (1999); Peeter Malkov (flute), Toomas Vavilov (bass clarinet)
Dedication
1990
7'
cello, piano
Publisher: Edition Peters
CD „Oxymoron”, ECM (2007); Leho Karin (cello), Marrit Gerretz-Traksmann (piano)
Prints
1985
7'
flute, harp
Fp: Raivo Peäske (flute), Eda Rajasalu (harp); June 1, 1985, Tallinn
Publisher: Fennica Gehrman
CD “Inner Monologue”, PM CD 01; Peeter Malkov (flute), Tatjana Lepnurm (harp)
Architectonics I
1984
5'
wind quintet (flute, oboe, clarinet, bassoon, horn)
Fp: Jaan Tamm Wind Quintet; May 25, 1985, Tallinn
Commissioned by: Jaan Tamm Wind Quintet
Publisher: Fennica Gehrman
1) CD “Erkki-Sven Tüür: Architectonics”, Finlandia (1996); NYYD Ensemble, conductor Olari Elts
2) CD “Erkki-Sven Tüür: Architectonics”, CCn’C (2001); Absolute Ensemble, conductor Kristjan Järvi
3) CD Winter Songs, BIS ; Berlin Philharmonic Wind Quintet
Architectonics II
1986
10'
clarinet, cello, piano
Fp:Vahur Vurm (cl.) Andres Narma (c) Ivo SIllamaa (p); March 21, 1987, Tallinn
Publisher: Fennica Gehrman
1) CD “Erkki-Sven Tüür: Architectonics”, Finlandia (1996); NYYD Ensemble, conductor Olari Elts
2) CD “Erkki-Sven Tüür: Architectonics”, CCn’C (2001); Absolute Ensemble, conductor Kristjan Järvi
Architectonics III "Postmetaminimal Dream"
1990
10'
flute(alto flute), clarinet(bass clarinet), 2 pianos(synthesizer), percussion (2 players), violin, cello
Fp: California EAR Unit; April 23, 1991, Los Angeles, USA
Commissioned by: California EAR Unit
Publisher: Fennica Gehrman
1) CD “Erkki-Sven Tüür: Architectonics”, Finlandia (1996); NYYD Ensemble, conductor Olari Elts
2) CD “Erkki-Sven Tüür: Architectonics”, CCn’C (2001); Absolute Ensemble, conductor Kristjan Järvi
3) CD "Tüür" Warner Apex (2003); NYYD Ensemble, conductor Olari Elts
Architectonics IV "per Cadenza ad Metasimplicity"
1990
9'
violin(electric violin), bassoon, baritone saxophone, piano(synthesizer)
Fp: Sound Pressure; May 27, 1990, Border Crossings Festival, Toronto, Canada
Commissioned by: Sound Pressure
Publisher: Fennica Gehrman
1) CD “Erkki-Sven Tüür: Architectonics”, Finlandia (1996); NYYD Ensemble, conductor Olari Elts
2) CD “Erkki-Sven Tüür: Architectonics”, CCn’C (2001); Absolute Ensemble, conductor Kristjan Järvi
3) CD "Tüür" Warner Apex (2003); NYYD Ensemble, conductor Olari Elts
Architectonics V
1991
12'
electric guitar, amplified piano
Commissioned by: John Tamburello
1) CD “Erkki-Sven Tüür: Architectonics”, Finlandia (1996); NYYD Ensemble, conductor Olari Elts
2) CD “Erkki-Sven Tüür: Architectonics”, CCn’C (2001); Absolute Ensemble, conductor Kristjan Järvi
3) CD “Desert Island”, Finlandia (2001); NYYD Ensemble, conductor Olari Elts
Architectonics VI
1992
10'
fl, cl, vibraphone, string quartet
Fp: members of the Avanti! Chamber Orchestra; August 21, 1992, Helsinki, Finland
Commissioned by: Helsinki Festival
Publisher: Fennica Gehrman
1) CD “Erkki-Sven Tüür: Architectonics”, Finlandia (1996); NYYD Ensemble, conductor Olari Elts
2) CD “Erkki-Sven Tüür: Architectonics”, CCn’C (2001); Absolute Ensemble, conductor Kristjan Järvi
Version for fl, cl, vibraphone, string orchestra
CD “Crystallisatio”, ECM (1996); Tallinn Chamber Orchestra, conductor Tõnu Kaljuste
NB! 2004 New version for flute, oboe, clarinet, bassoon, horn, trumpet, trombone, percussion, string quintet OR string orchestra
Fp: NYYD Ensemble, conductor Olari Elts; May 8, 2004; Estonian Radio, Tallinn
YOUTUBE:
http://www.youtube.com/watch?v=cFXUEfW6xJU
Architectonics VII
1992
9'
flute, cello, harpsichord (or: flute, bass clarinet, piano)
Fp: Algirdas Vizgirda (flute), Teet Järvi (cello), Aina Kalnciema (harpsichord); October 6, 1992, Strasbourg, France
Commissioned by: Musica Festival Strasbourg
Publisher: Fennica Gehrman
1) CD “Erkki-Sven Tüür: Architectonics”, Finlandia (1996) NYYD Ensemble, conductor Olari Elts
2) CD “The Baltic Trio: Pastoral of Computerized World”, Finlandia (1997); Baltic Trio: Algirdas Vizgirda (flute), Teet Järvi (cello), Aina Kalnciema (harpsichord)
3) CD “Erkki-Sven Tüür: Architectonics”, CCn’C (2001); Absolute Ensemble, conductor Kristjan Järvi
Reviews
Phillips Collection Leading European Composers concert series
Washington DC
24. 02. 2011 New Tallinn Trio
(---)Take, for instance, the composer Erkki-Sven Tuur, whose chamber music was the focus of the evening. Spare, probing, intense and extraordinarily characterful, Tuur's compositions work on an almost physical level, using insistent gestures to build structures of sound that are both powerful and deeply moving - and even, in the case of the final piece, downright exalting.
And Tuur couldn't ask for more committed interpreters than the New Tallinn Trio, superb Estonian musicians who turned in ear-searing playing throughout the evening. The concert (part of the Phillips's "Leading European Composers" series) opened with the trio "Architectonics VII," and many of the hallmarks of Tuur's music were quickly apparent. Evocative and unabashedly expressive, even playful, it spoke a modern but completely accessible language in which melody was never far from the surface, building repeated gestures and phrases into a powerhouse of momentum that was nothing less than exhilarating. (---)
Washington Post, Febr. 25. 2011. Stephen Brookes