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Track Listings
| 1. Conversio |
| 2. "Architectonics III ""Postmetaminimal Dream""" |
| 3. "Architectonics IV ""Per Cadenza ad Metasimplicity""" |
| 4. Lighthouse |
| 5. Symphony No. 2 |
| 6. Symphony No.2 |
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Customer Reviews
Most Helpful Customer Reviews
9 of 10 people found the following review helpful
Symphony no.2 (1987) is a bold work, in a markedly different style from many of Tüür's contemporaries in the region of Estonia and its neighbours, possessing an almost feral vigour which is not found in many works by minimalists or serialists. The alternations between quiet sections and raging dissonant fortissimos are slightly reminiscent of Giya Kancheli, but the emotions involved are far different - the symphony possesses an elemental quality to it (opposed to Kancheli's human horror).
The other major work on the disc, Lighthouse (1997), is in a more refined style (fewer pointed edges, more subtle transitions) and contains many moments of aching beauty, while retaining the primal quality of his earlier symphony. The work would appeal to fans of Allan Pettersson's middle symphonies as well as the romantic minimalism of Peteris Vasks, as it strikes something of a middle ground between the two.
The two Architectonics (1990) pieces are more avant-garde in feel, and as a result are more difficult for me to get a grip of and describe usefully. Played together, they are kaleidoscopic in their experimentation with form and instrumentation, providing interesting textures and diversified moods.
Conversio (1994) is a very enjoyable chamber piece, utilising some aspects of minimalism well, but without being a slave to the style. Beginning with an intimate and buoyant sound, rustic and joyful - recalling American minimalism somewhat - subtly develops into darker areas before ending with near-silent flutters of colour. This piece in particular points towards there being much more to discover in this composer's chamber music.
The pieces on this disc show a composer of quite varied styles, but all the pieces on the disc to some degree or another demonstrate Tüür's skill in writing rhythmically, as well as offering occasional pointers towards polystylism, although nowhere near as overtly as Schnittke or Stravinsky. It's a shame that the disc could not include the oratorio Ante Finem Saeculi which the symphony was originally coupled with (on Finlandia) as that would demonstrate his mastery in another genre, but we can hope for a future reissue.
The other major work on the disc, Lighthouse (1997), is in a more refined style (fewer pointed edges, more subtle transitions) and contains many moments of aching beauty, while retaining the primal quality of his earlier symphony. The work would appeal to fans of Allan Pettersson's middle symphonies as well as the romantic minimalism of Peteris Vasks, as it strikes something of a middle ground between the two.
The two Architectonics (1990) pieces are more avant-garde in feel, and as a result are more difficult for me to get a grip of and describe usefully. Played together, they are kaleidoscopic in their experimentation with form and instrumentation, providing interesting textures and diversified moods.
Conversio (1994) is a very enjoyable chamber piece, utilising some aspects of minimalism well, but without being a slave to the style. Beginning with an intimate and buoyant sound, rustic and joyful - recalling American minimalism somewhat - subtly develops into darker areas before ending with near-silent flutters of colour. This piece in particular points towards there being much more to discover in this composer's chamber music.
The pieces on this disc show a composer of quite varied styles, but all the pieces on the disc to some degree or another demonstrate Tüür's skill in writing rhythmically, as well as offering occasional pointers towards polystylism, although nowhere near as overtly as Schnittke or Stravinsky. It's a shame that the disc could not include the oratorio Ante Finem Saeculi which the symphony was originally coupled with (on Finlandia) as that would demonstrate his mastery in another genre, but we can hope for a future reissue.
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This is a lovely record, filled with music that is fresh and stimulating, inventive and rigorous, and instantly very very attractive. Over the last year or two I have been occasionally exploring recent music - music written since 1980. One interesting line has been the music that has been coming out of the ex-Soviet states. This is an example that for some reason I had resisted buying for a while. But, now that I have, I must say that I am impressed.
I'm not sure this CD alone tells me who Tuur is but it certainly tells me that his an important voice - so I am left with a feeling that I want to hear much more. His output seems to be rather varied. Tuur's music is rooted in the classical tradition and there are some obvious aesthetic influences that are more contemporary - Scandinavian (Estonia is just across the water from Finland) and Vasks (of neighbouring Latvia) and Kancheli (of Georgia) and also Gubaidulina (who is Russian). His music is perhaps much more restless than that of his fellow-Estonian, Arvo Part.
The disc opens with an attractive piece for violin and piano - it is instantly appealing, being richly rhythmic and melodic, perhaps superficially influenced by Glass. But it is also sufficiently disciplined to retain a powerful intellectual punch. The two Architectronics pieces here are astonishingly vibrant and inventive. The Second Symphony is also deeply impressive - powerful, noisy but filled with many memorable ideas. Lighthouse is also lovely - a piece for string orchestra - but, compared to the other pieces here, is less immediately distinctive. It could have been written by many other composers.
I'm not sure this CD alone tells me who Tuur is but it certainly tells me that his an important voice - so I am left with a feeling that I want to hear much more. His output seems to be rather varied. Tuur's music is rooted in the classical tradition and there are some obvious aesthetic influences that are more contemporary - Scandinavian (Estonia is just across the water from Finland) and Vasks (of neighbouring Latvia) and Kancheli (of Georgia) and also Gubaidulina (who is Russian). His music is perhaps much more restless than that of his fellow-Estonian, Arvo Part.
The disc opens with an attractive piece for violin and piano - it is instantly appealing, being richly rhythmic and melodic, perhaps superficially influenced by Glass. But it is also sufficiently disciplined to retain a powerful intellectual punch. The two Architectronics pieces here are astonishingly vibrant and inventive. The Second Symphony is also deeply impressive - powerful, noisy but filled with many memorable ideas. Lighthouse is also lovely - a piece for string orchestra - but, compared to the other pieces here, is less immediately distinctive. It could have been written by many other composers.
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