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Track Listings
| 1. Symphony No.3: Contextus I |
| 2. Symphony No.3: Contextus II |
| 3. Concerto for Violoncello And Orchestra |
| 4. Lighthouse For Strings |
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Customer Reviews
Most Helpful Customer Reviews
3 of 3 people found the following review helpful
Format:Audio CD
Estonian Tuur's work varies in accessibility: some is relatively free-form, or relies on dissonant elements to keep the listener in a state of uncertainty, while other pieces follow a more clearly defined structure, and offer a greater melodic warmth. This collection of Symphony, Cello Concerto and String Fantasy, presents all these aspects of Tuur's writing, in a programme which is both challenging, rewarding, and certainly exciting.
His 3rd Symphony is in only two equal parts, and in the first movement a predictably rhythmic structure is increasingly threatened by a clamorous, unpredictable wildness: the tension between the two fuel the intensity of the concluding climax. The second movement inhabits a sound-world of many colours and approaches, with something of Lutoslowski's spiky rhythms, and some jangling upper registers. Really, the whole concept of 'Flux' would be hard to better, given the quality of performance and recording, but it is a challenging and exciting journey.
The remaining two pieces, the Cello Concerto and the string piece Lighthouse, occupy a more accessible exploration, through modernism to a more romantic sensibility. Both have a greater warmth and immediacy of appeal, and the Cello Concerto has a wonderfully dark mysterious quality, while the 'Lighthouse' contains an elusive spirit-like appeal. If you enjoy the challenge of modern music in a collection which also offers equal rewards to the attentive listener, you needn't hesitate. ('Gramophone' also rates this highly)
His 3rd Symphony is in only two equal parts, and in the first movement a predictably rhythmic structure is increasingly threatened by a clamorous, unpredictable wildness: the tension between the two fuel the intensity of the concluding climax. The second movement inhabits a sound-world of many colours and approaches, with something of Lutoslowski's spiky rhythms, and some jangling upper registers. Really, the whole concept of 'Flux' would be hard to better, given the quality of performance and recording, but it is a challenging and exciting journey.
The remaining two pieces, the Cello Concerto and the string piece Lighthouse, occupy a more accessible exploration, through modernism to a more romantic sensibility. Both have a greater warmth and immediacy of appeal, and the Cello Concerto has a wonderfully dark mysterious quality, while the 'Lighthouse' contains an elusive spirit-like appeal. If you enjoy the challenge of modern music in a collection which also offers equal rewards to the attentive listener, you needn't hesitate. ('Gramophone' also rates this highly)
Format:Audio CD|Amazon Verified Purchase
First I should say there's little I'd like to add about the music from "Sentinel's" excellent review. I would point new listeners to the sleeve notes, which offer 9 pages of inpenetrable review on the one hand and less than a single page comment by the composer himself. The composer's note is highly instructive and acts as a guide to many of his tougher, later, denser but still rich and organic works. The three works here are relatively early works and the influences of Schnittke, Lutoslawski and even Part can be discerned. The three works have much in common alternating between denser chromatic lines and more tonal, often neo baroque or slightly folksy material. He sets out to make works that feel organic and whilst there is much that is rich, busy and exciting you never sense that any of the more tonal material is simply slapped on to appease nervous listeners.
The symphony is balanced in two parts with the second movement eventually moving towards what looks like traditional symphonic rhetoric before settling for a calm conclusion.It is the weightiest piece here and you'll find traces of its second movement in "Lighthouse"; a work that is framed by nervous Lutoslawski swirling strings before settling into more familiar neo baroque material that sits somewhere between Alfred schnittke's Concerto Grossos and Tippett's Corelli Fantasia even. My overall impression is the sImilarity to some of Peteris Vasks quite stoic sounding works for strings. This work makes its references through Tuur's own individual harmonic prism. The Cello Concerto traces the relationship between a mostly canabile soloist ands a subtely antagonistic orchestra. It's not a violent work but the journey of reconciliation between the two holds your attention throughout.
Overall this is a terrific disc and even the inpenetrable sleeve notes add to the fun: you can challenge yourself to attempt an understanding of it. I tried and once or twice I thought I knew what the commentator was saying before thinking "oh sod it let's just listen to it instead" by the next sentence. If I have any other quibble it's a minor one. ECM recordings are almost always superbly engineered but I thought this one wasn't quite ECM at their best: I think maybe the microphones are possibly a little too distant and so the focus on the orchstra can sound a bit flat. Still, no detail is lost and, by most standards, it's still pretty good.
If this is your first encounter with Tuur's music then "lucky you" I say, but if you're feeling brave then travel on to some of the later works - not that Tuur is old yet. They highlight even further his efforts to make the orchestra sound organic and almost a living entity. There's no doubt he's a major composer with a strong and innovative sense of form, marvellous orchestral technique whilst always producing thoroughly engaging music that can be tough, challenging but always rewarding.
The symphony is balanced in two parts with the second movement eventually moving towards what looks like traditional symphonic rhetoric before settling for a calm conclusion.It is the weightiest piece here and you'll find traces of its second movement in "Lighthouse"; a work that is framed by nervous Lutoslawski swirling strings before settling into more familiar neo baroque material that sits somewhere between Alfred schnittke's Concerto Grossos and Tippett's Corelli Fantasia even. My overall impression is the sImilarity to some of Peteris Vasks quite stoic sounding works for strings. This work makes its references through Tuur's own individual harmonic prism. The Cello Concerto traces the relationship between a mostly canabile soloist ands a subtely antagonistic orchestra. It's not a violent work but the journey of reconciliation between the two holds your attention throughout.
Overall this is a terrific disc and even the inpenetrable sleeve notes add to the fun: you can challenge yourself to attempt an understanding of it. I tried and once or twice I thought I knew what the commentator was saying before thinking "oh sod it let's just listen to it instead" by the next sentence. If I have any other quibble it's a minor one. ECM recordings are almost always superbly engineered but I thought this one wasn't quite ECM at their best: I think maybe the microphones are possibly a little too distant and so the focus on the orchstra can sound a bit flat. Still, no detail is lost and, by most standards, it's still pretty good.
If this is your first encounter with Tuur's music then "lucky you" I say, but if you're feeling brave then travel on to some of the later works - not that Tuur is old yet. They highlight even further his efforts to make the orchestra sound organic and almost a living entity. There's no doubt he's a major composer with a strong and innovative sense of form, marvellous orchestral technique whilst always producing thoroughly engaging music that can be tough, challenging but always rewarding.
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
3 reviews
7 of 7 people found the following review helpful
Animated and liberated
12 April 2000
Format:Audio CD
Imagine a mad genius bent over a sequencer, cranking away wildly at the tempo and pitch controls - except in this case it isn't a sequencer, it's a string section! Erkki Sven Tuur sheds new light on the relevance of arpeggios and looped motifs in contemporary music and the effect is as invigorating as it can be unsettling. His music has both linear and harmonic density - a soup with a whole new flavour and texture....
3 of 3 people found the following review helpful
Fresh Orchestral Sounds
9 Aug 2009
Format:Audio CD
Tüür follows up on the promise of his debut disk for ECM New Series by bringing listeners three fascinating new works: Symphony No. 3, Concerto for Cello and Orchestra, and Lighthouse, a piece for string orchestra. Those familiar with Tüür's music from that earlier disk will recognize his style here: the sometimes nervously-buzzing strings, the sudden showers of percussion, the sense of exploration and wonder. The music is modern, and challenging, but it is fun to listen to, not confrontational. Those who do not thing they could like music of a contemporary composer really ought to give this disk a listen.
Symphony No. 3 opens with the sound of a jazz trap set, but soon develops a sound all its own, mysterious and invigorating. Tüür's Cello Concerto is unlike any other cello concerto I have ever heard, with the cello seeming to search with the orchestra for something deep within on a kind of spiritual quest. The music sounds restless but does not impart restlessness to the listener. The final piece, Lighthouse, seems to dance at times, whirling away in lively counterpoint, at times carefree, at other times nearly obsessive, but always engaging and enjoyable.
Tüür's music has a distinctive sound, and it looks indeed as though he is going to develop into a major composer. This is a fascinating disk that those looking for fresh orchestral sounds would do well to audition.
Symphony No. 3 opens with the sound of a jazz trap set, but soon develops a sound all its own, mysterious and invigorating. Tüür's Cello Concerto is unlike any other cello concerto I have ever heard, with the cello seeming to search with the orchestra for something deep within on a kind of spiritual quest. The music sounds restless but does not impart restlessness to the listener. The final piece, Lighthouse, seems to dance at times, whirling away in lively counterpoint, at times carefree, at other times nearly obsessive, but always engaging and enjoyable.
Tüür's music has a distinctive sound, and it looks indeed as though he is going to develop into a major composer. This is a fascinating disk that those looking for fresh orchestral sounds would do well to audition.
2 of 2 people found the following review helpful
Challenging & Rewarding
13 Nov 2010
Format:Audio CD
Estonian Tuur's work varies in accessibility: some is relatively free-form, or relies on dissonant elements to keep the listener in a state of uncertainty, while other pieces follow a more clearly defined structure, and offer a greater melodic warmth. This collection of Symphony, Cello Concerto and String Fantasy, presents all these aspects of Tuur's writing, in a programme which is both challenging, rewarding, and certainly exciting.
His 3rd Symphony is in only two equal parts, and in the first movement a predictably rhythmic structure is increasingly threatened by a clamorous, unpredictable wildness: the tension between the two fuel the intensity of the concluding climax. The second movement inhabits a sound-world of many colours and approaches, with something of Lutoslowski's spiky rhythms, and some jangling upper registers. Really, the whole concept of 'Flux' would be hard to better, given the quality of performance and recording, but it is a challenging and exciting journey.
The remaining two pieces, the Cello Concerto and the string piece Lighthouse, occupy a more accessible exploration, through modernism to a more romantic sensibility. Both have a greater warmth and immediacy of appeal, and the Cello Concerto has a wonderfully dark mysterious quality, while the 'Lighthouse' contains an elusive spirit-like appeal. If you enjoy the challenge of modern music in a collection which also offers equal rewards to the attentive listener, you needn't hesitate. ('Gramophone' also rates this highly)
His 3rd Symphony is in only two equal parts, and in the first movement a predictably rhythmic structure is increasingly threatened by a clamorous, unpredictable wildness: the tension between the two fuel the intensity of the concluding climax. The second movement inhabits a sound-world of many colours and approaches, with something of Lutoslowski's spiky rhythms, and some jangling upper registers. Really, the whole concept of 'Flux' would be hard to better, given the quality of performance and recording, but it is a challenging and exciting journey.
The remaining two pieces, the Cello Concerto and the string piece Lighthouse, occupy a more accessible exploration, through modernism to a more romantic sensibility. Both have a greater warmth and immediacy of appeal, and the Cello Concerto has a wonderfully dark mysterious quality, while the 'Lighthouse' contains an elusive spirit-like appeal. If you enjoy the challenge of modern music in a collection which also offers equal rewards to the attentive listener, you needn't hesitate. ('Gramophone' also rates this highly)
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