Truly lovely stuff, Simon. There’s the same sense of an ineffable something that one gets in Ligeti’s Lux Aeterna, although the two pieces are obviously oceans apart stylistically, clusters or no clusters. I don’t suppose the score is available to peruse anywhere…?
Yes i agree, Chris – one of those pieces where it doesn’t so much seem as if the music is creating something but as if the music is itself created by something… else.
Score: it’s not available, it seems. My initial guess was that Vox Clamantis might have a certain period when only they’re allowed to perform it. Yet not only does the entry for this piece on her page on the Estonian Music Information Centre (http://www.emic.ee/?sisu=heliloojad&mid=58&id=101&lang=eng&action=view&method=teosed) not yet show it as published, but the same goes for all of her choral works, so it seems that even though she’s supposedly published by Peters Edition (http://www.edition-peters.de/writer/helena-tulve/w04855), the choral works don’t go to them – or possibly anyone. If i go back to Tallinn this April for the Estonian Music Days i’ll ask her about it as i’d quite like a copy of the score myself!
Great; thanks Simon! Digressing somewhat, but nevertheless continuing on the theme of pieces expressing ineffability, through these lovely people I recently made the musical acquaintance of Claude Vivier, and, consequently, this. In scrabbling around for parallels, I hit, somewhat improbably at first glance, on the music of Jón Leifs: there’s the same tendency (a good one, I hasten to add!) to hurl bare fifths and triads around with scant regard to their traditional functions.
[…] solemn word-painting that effortlessly sounds old and new. But in the final work in the programme, Helena Tulve‘s You and I – an intimate, mystical piece expressing physical and spiritual unity within the context of […]
[…] at all convinced that their rendition of Helena Tulve‘s You and I (about which i’ve written previously) would work, both because of the reduction in singers as well as the dry acoustic of […]
Unlock with Patreon
Truly lovely stuff, Simon. There’s the same sense of an ineffable something that one gets in Ligeti’s Lux Aeterna, although the two pieces are obviously oceans apart stylistically, clusters or no clusters. I don’t suppose the score is available to peruse anywhere…?
Yes i agree, Chris – one of those pieces where it doesn’t so much seem as if the music is creating something but as if the music is itself created by something… else.
Score: it’s not available, it seems. My initial guess was that Vox Clamantis might have a certain period when only they’re allowed to perform it. Yet not only does the entry for this piece on her page on the Estonian Music Information Centre (http://www.emic.ee/?sisu=heliloojad&mid=58&id=101&lang=eng&action=view&method=teosed) not yet show it as published, but the same goes for all of her choral works, so it seems that even though she’s supposedly published by Peters Edition (http://www.edition-peters.de/writer/helena-tulve/w04855), the choral works don’t go to them – or possibly anyone. If i go back to Tallinn this April for the Estonian Music Days i’ll ask her about it as i’d quite like a copy of the score myself!
Great; thanks Simon! Digressing somewhat, but nevertheless continuing on the theme of pieces expressing ineffability, through these lovely people I recently made the musical acquaintance of Claude Vivier, and, consequently, this. In scrabbling around for parallels, I hit, somewhat improbably at first glance, on the music of Jón Leifs: there’s the same tendency (a good one, I hasten to add!) to hurl bare fifths and triads around with scant regard to their traditional functions.
[…] solemn word-painting that effortlessly sounds old and new. But in the final work in the programme, Helena Tulve‘s You and I – an intimate, mystical piece expressing physical and spiritual unity within the context of […]
[…] at all convinced that their rendition of Helena Tulve‘s You and I (about which i’ve written previously) would work, both because of the reduction in singers as well as the dry acoustic of […]