Estonia

Estonia in focus weekend: Erkki-Sven Tüür – Prophecy (UK Première)

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Another of the works at the BBC Symphony Orchestra’s Maida Vale concert of Estonian music on 4 July was Erkki-Sven Tüür‘s 2007 accordion concerto Prophecy, which received its first UK performance with Olari Elts conducting and Mika Väyrynen (for whom it was written) as soloist. Any composer who writes a concerto has to make a decision about the nature and significance of the relationship between soloist and orchestra, and in the case of Prophecy the entire structure of the piece was dictated by that relationship in this performance.

The BBC Symphony Orchestra interpreted the opening of the work – which starts with the accordion playing a single loud chord, like a huge sigh, after which it falls silent – by biding their time, with rich, sustained chords and quivering pitches, all seemingly uncertain how to proceed, as if they were watching the soloist and waiting for him to do something else. However, when the accordion finally does begin to play again, its material rapid and detailed, the orchestra’s response is contrary, continually steering the music back to their sustained chords from before, seemingly anxious about moving beyond their comfort zone. It gradually becomes clear that the accordion’s role is that of a catalyst, a firestarter acting in order to get the orchestra properly motivated and animated. Eventually it succeeds, resulting in everyone becoming caught up in that most quintessential element of pretty much all Tüür’s music: waves of rhythmic energy and momentum, all syncopations and frivolity. Read more

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Estonia in focus weekend: Helena Tulve – Extinction des choses vues (UK Première)

Posted on by 5:4 in Premières, Thematic series | 3 Comments

In the UK, while it’s not that difficult to find performances of music from many parts of the world, opportunities to hear music from Estonia – with the obvious exception of Arvo Pärt – are extremely rare. So the decision of the BBC Symphony Orchestra to include in their season a concert devoted to Estonian music – celebrating the one-hundredth anniversary of the country’s independence – came as a surprise and a very real treat. The concert took place on 4 July at the BBC’s famous Maida Vale Studios, and was broadcast earlier this week. Conducted by Olari Elts, the orchestra performed works by three generations of Estonian composers, Eduard Tubin (who died in 1982), Erkki-Sven Tüür and Helena Tulve, all three of them pieces that have been around for some time, but which could do with being a lot better known. In this Estonia in focus weekend i’m going to explore two of them, starting with the piece by the most junior composer of those three generations represented at the concert, Helena Tulve’s Extinction des choses vues (Extinction of things seen), composed in 2007 but only now receiving its UK première.

The way Tulve uses the orchestra in this piece – and in all her orchestral pieces – is to transform it into a kind of giant organism, a single entity comprising innumerable interconnected elements. This is something she and i discussed in some depth during our Dialogue together earlier this year. By keeping the title deliberately abstract, Tulve has also made it interestingly misleading: the musical ‘things’ in the piece are indeed ‘seen’ (or, rather, heard), but often not clearly: we glimpse them, but we cannot necessarily grasp or understand them. Read more

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The Arvo Pärt Centre

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18 months ago, i was standing in a forest. It was located on the Lohusalu peninsula, near the village of Laulasmaa on the north-west Estonian coast. This is the site of Aliina, Arvo Pärt’s country retreat, as well as the enormous archive of his scores, sketches and a myriad other materials that have been collected throughout Pärt’s life and which, at the time of my visit, was still being catalogued and organised in a separate building facing Aliina. In addition to this, about 100 metres away into the forest, was a large construction site where diggers and cranes were starting to make preparations for The Arvo Pärt Centre, a hub for the composer’s complete life and work, intended not only to make the archive accessible but also to feature a museum and a concert hall.

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Erkki-Sven Tüür – Illuminatio/Whistle and Whispers from Uluru/Symphony No. 8, Arvo Pärt & Alfred Schnittke – Choral Works, Arvo Pärt – The Symphonies

Posted on by 5:4 in CD/Digital releases | 1 Comment

Returning to one of my occasional themes, there have been some interesting releases of Estonian music in the last few months. In February, i wrote about the Ninth Symphony by one of the country’s most dynamic composers, Erkki-Sven Tüür, so it’s nice timing that the Ondine label has brought out a disc featuring his Symphony No. 8, performed by the Tapiola Sinfonietta conducted by Olari Elts. The disc also features two slightly older, large-scale pieces, Tüür’s 2008 viola concerto Illuminatio and Whistle and Whispers from Uluru, a work for recorder and string orchestra composed in 2007. One of the primary traits of Tüür’s music is energy, and large amounts of it, though the works on this disc demonstrate (as does the Ninth Symphony) that the way this energy is wielded is not only with devil-may-care abandon – though Tüür is hardly afraid of doing this – but just as often with considerable caution and care. Illuminatio, featuring soloist Lawrence Power, is a case in point, placing the viola within a context that encompasses both the monumental and the fantastical, guided by the soloist’s veering between momentum and lyricism. Particularly striking are its second and third movements; the former charting a complex journey between two poles but where the poles themselves are never fully revealed, the latter starting with the viola rhapsodising but somehow ending up in a barrage of orchestrated machine gun fire. The work’s final thrust towards a place of ethereal transcendence makes sense in pretty much the same way that dreams make sense. Read more

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The Dialogues: Helena Tulve

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i’m thrilled to to present a new addition to my series The Dialogues, which, on this occasion, finds me in conversation with the Estonian composer Helena Tulve, whose work i’ve admired for many years. Although widely-known across Europe, Tulve’s music – like most Estonian music (with one obvious exception) – is very rarely heard in UK concert halls. Considering how radical and unconventional her music is this is unfortunate, though there’s some mitigation to be found in the two albums of her music released by ECM, Lijnen (2008) and Arboles Lloran Por Lluvia (2014) (an earlier album, Sula, released by Estonian Radio in 2005, is extremely hard to find but well worth the effort). Discussion about Tulve’s work is similarly neglected, and as far as i’ve been able to ascertain, this Dialogue may be the first really in-depth interview with Tulve to have been published anywhere, in which case i’m glad to have been able to shed some light on her music and the compositional thinking behind it.

As usual, i’ve interpolated numerous excerpts from Tulve’s music throughout the Dialogue to expand upon and illustrate some of the points being made in our conversation. A complete list of these excerpts can be found below, together with links to buy the music – though it should be noted that many of them are taken from live recordings and are not presently available. Please also note the small number of footnotes i’ve added below which address a couple of ambiguities and errors (on my part) that cropped up in the discussion.

i want to thank Helena for being so generous with her time and so forthcoming in our conversation. It’s my sincere hope that this Dialogue will go some way to the whetting of appetites and a deeper understanding of her music and compositional outlook, and that as a consequence we might hear a lot more of her work, both live and on recordings, in future. In my view, she’s one of the most outstanding composers working today. For those wanting to explore Tulve’s work further, there are some links at the end. i also want to thank Mari Arnover for providing the photo used on the artwork.

Finally, having noted the general absence of her music in UK concert halls, there’s a rare chance to hear one of Tulve’s most overwhelming works, her 2007 orchestral piece Extinction des choses vues, at a BBC Symphony Orchestra concert at Maida Vale next Wednesday. It’s an opportunity absolutely not to be missed – though for those who can’t be there, the concert is being recorded for broadcast at a later date.
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Estonian Music Days 2018 (Part 3)

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Over the last few years, i’ve been repeatedly impressed – no, flabbergasted – at the ingenuity, imagination and beauty that seem to typify Estonian choral music as well as distinguish it from pretty much everywhere else. It’s by no means the most experimental music to come out of the country, but the subtle way many Estonian composers explore and redefine notions of consonance and dissonance, as well as ways to structure a musical narrative, are consistently impressive.

However, by way of balance it’s only fair to recount that this year’s Estonian Music Days afforded me the opportunity to hear one of the most entirely terrible vocal compositions that i have ever encountered. Completed in 1987, Songs of Death and Birth by Estonian composer Kuldar Sink (1942–95) is a song cycle for soprano, two flutes, guitar and cello exploring five texts by Federico García Lorca. In his programme note, Sink claims that “… it would be misleading to think that I imitate the style of flamenco.” No, it absolutely wouldn’t: virtually the entire piece is a non-stop stream of appropriated and ersatz materials that cleave slavishly to Spanish musical idioms and mannerisms. It doesn’t help Sink that George Crumb’s Songs, Drones and Refrains of Death, composed almost two decades earlier, definitively brought the same texts to life in the most vivid and stunningly original way. By contrast, Sink’s song cycle sounds like an early student exercise in pastiche, rendered all the more wretched due to being not just incredibly boring but so impossibly overlong as to be downright sadistic. One can hardly fault the members of Yxus Ensemble for simply doing what the score told them to do, yet soprano Iris Oja (looking as if she’d just walked off the set of Bizet’s Carmen) unleashed her mediocre material with such impassioned zeal that it felt malicious and personal, seeking only to wound and offend. Thankfully, this was the only concert at EMD to exhibit such tenacity-destroying malignance. Read more

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Estonian Music Days 2018 (Part 2)

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One of the defining features of the Estonian Music Days is its openness to including decidedly unconventional concert situations. Last year’s Obscure Avenues, a two-hour experience during which we were blindfolded and led around to various performance spaces, remains among the most radical and memorable musical encounters i’ve ever experienced, and while the 2018 festival perhaps wisely didn’t attempt to top that, it had its fare share of surprises.

The opening night of the festival saw Flame Sounds, a short open-air performance from composer Liisa Hirsch with Australian fire artist Chris Blaze McCarthy. Surrounded by four microphones, Blaze acrobatically wielded a succession of implements – a mixture of bars and chains – that almost looked as if they’d been borrowed from Tallinn’s museum of mediaeval torture instruments, each one burning in a unique way. These were the basis for Blaze’s physical choreography, with Hirsch in turn capturing and processing the sounds into a network of billowing noise formations, projected out via four speakers surrounding where we were standing. Considering this was part of a music festival, it was a shame that the emphasis was almost entirely on Blaze’s actions rather than on Hirsch’s sonic results – Blaze abruptly moved on throughout, despite Hirsch’s music continuing – making for a frustrating, though visually exciting, performance. But what we experienced nonetheless made an interesting connection with the festival theme of ‘sacred’, elusive sounds emerging from the merest contact of fire and air. Read more

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