“There’s something almost physical about the way in which Tüür
moves and shapes the sound masses that his textures generate, so that
the music offers a variety of perspectives – on one level the intricate
construction offers constantly changing patterns and arrays, on another
the sheer weight of sound is sculpted into large-scale gestures, so that
the ear switches from one to the other.” Andrew Clements’s description,
in The Guardian, of Tüür’s “Exodus” can be applied, with no less
justification, to the Concerto for Violin and Orchestra and “Aditus”.
There is a new physicality to Tüür’s music, the Estonian composer
concurs: “This development started with the Cello Concerto (refer to the
ECM album Flux, recorded 1998), and one of the main issues now
is dealing with the energetic forces in music. All the different
compositional tools employed – the different rhythmic patterns, and
chord structures and harmonic progressions – are not aims in themselves
but ways of forming and focussing the energetic development. I pay very
much attention to moving between the different levels of energy – how
the energy flows, how the inner drama is building. It’s something I’m
working with very consciously for five or six years now.”
All three pieces on the present album are premiere recordings, made with the participation of the composer. Of the genesis of the Violin Concerto, Tüür says, “The very first idea was to build up a continuously changing relationship between the soloist and the orchestra. In the first movement the soloist makes a statement that the orchestra picks up, and changes it in a rather unexpected direction. Then the violin starts again, and again the orchestra picks up the material and transforms it in a different way. It’s always a kind of surrealistic treatment and this was the conceptual basis. And having made my choices about material – scales, rows and harmonic progressions – I almost always followed my spontaneous imagination in the writing I never had a wish to write a concerto for virtuoso soloist where the orchestra is providing accompaniment. The music is always filtered through the orchestra when it returns to the soloist. It’s always developed at a different level.”
All three pieces on the present album are premiere recordings, made with the participation of the composer. Of the genesis of the Violin Concerto, Tüür says, “The very first idea was to build up a continuously changing relationship between the soloist and the orchestra. In the first movement the soloist makes a statement that the orchestra picks up, and changes it in a rather unexpected direction. Then the violin starts again, and again the orchestra picks up the material and transforms it in a different way. It’s always a kind of surrealistic treatment and this was the conceptual basis. And having made my choices about material – scales, rows and harmonic progressions – I almost always followed my spontaneous imagination in the writing I never had a wish to write a concerto for virtuoso soloist where the orchestra is providing accompaniment. The music is always filtered through the orchestra when it returns to the soloist. It’s always developed at a different level.”
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