ERKKI-SVEN TUUR: Symphony No. 4, “Magma”; Inquietude du fini; Eternity; The Path and the Traces – Evelyn Glennie, percussion/ Estonian Philharmonic Ch. Choir/ Estonian Nat. Male Choir/ Estonian Nat, Symphony Orchestra/ Paavo Jarvi, conductor – Virgin

by | Jan 3, 2008 | Classical CD Reviews | 0 comments

ERKKI-SVEN TUUR: Symphony No. 4, “Magma”; Inquietude du fini; Eternity; The Path and the Traces – Evelyn Glennie, percussion/ Estonian Philharmonic Chamber Choir/ Estonian National Male Choir/ Estonian National Symphony Orchestra/ Paavo Jarvi, conductor – Virgin Classics 0946 3 85785 2 9, 67:23 ***:

Erkki-Sven Tuur (b. 1959) is one of those avantgardists obsessed with color. So often, far too often if truth be told, this serves as a substitute for real music-making. Melody is definitely relegated to the back of the bus in favor of the far more trendy and exotic sequence of “events” and “moments” proved by adopting philosophical concepts instead of music itself. Hence, the composer in his Forth Symphony (serving as a percussion vehicle for the always-wonderful Evelyn Glennie) is concerned with the idea of integration of the two groups, percussion and orchestra, as opposed to their concerto-like relationship one would suppose in a work for these forces. We hear of the “raw energy” and “power” inherent in “Magma”, which can take many shapes and flow in many different ways. And each movement uses a different timbre concept, the first metallic and crystalline, the second like a rock drummer, the third wooden, and the forth conga drums. He builds what he calls “chord pyramids” that spill over into the work of the percussionist, and much “energy” and “excitement” revolves around all of this.

But where is the music? I must admit that the first few bars of the symphony reminded me of that masterpiece of Ligeti, Atmospheres. But his work is more concise and to the point, while this one keeps us hostage through 30 minutes of what, in the end, sounds like a lot of orchestral anger and confusion. I do admit that if color is your main objective, you will find it here, and Glennie’s percussion work is startling in its technical wizardry. And perhaps as I grow older I am starting to tire of what sounds like gimmickry, and I want to scream at certain kinds of composers that their music is not going to ever be heard of again 50 years from now. But it is their lives, and if they want to spend it making noise, far be it from me to stop them.

Inquietude du fini (“Concern that it is over”) has a lot of sliding string glissandos (another favorite trick) though the apocalyptic nature of the words that the chorus sings adds a dimension not found in the symphony. This is the earliest work on the disc, and though some of the effects are cheesy, the result is still something that is at least partially communicative. Eternity is something more approachable in its vision of the afterlife coming on quickly, and the juxtaposition of the male chorus with some nice woodwind effects and (dare I say it) lyrical elements in the strings make this perhaps the most rewarding piece on the disc.

The Path and the Traces for string orchestra is based on the composer’s experience in 2005 of a trip to Crete where he was moved by the Eastern Orthodox chant heard in a cathedral. Knowing that his fellow Estonian, Arvo Part, was marking his 70th birthday, Tuur came up with this piece where the “path” is the path of any human being towards other human beings, and the “traces” the markers left by their interaction in life left behind for others to follow. The piece is dedicated to Part, and even quotes from the senior composer’s music. But the work also reflects the tragedy of the composer’s father fighting for life, and finally reposing, reflected in the peaceful ending of this composition. The work is perhaps the second best on the disc, and I find that the less bombastic this composer is, the more I like him. Nevertheless, this disc is intended for certain audiences only, and no doubt by now you know if you are among them. Sound is very good, quite vivid and bold without sounding harsh, even in those many passages that insist on this, and Jarvi and forces present a performance to the composer that he shouldn’t have much to complain about.

— Steven Ritter

 
 

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