Erkki-Sven Tüür (b.1959)
Phantasma (2018)
Symphony No.10 “ÆRIS” (2021)
De Profundis (2013)
German Hornsound
Estonian National Symphony Orchestra/Olari Elts
rec. 2022, Estonian Concert Hall, Tallinn, Estonia
ECM 2784 [61]

The Symphony No.10ÆRIS, one of Erkki-Sven Tüür’s most recent pieces, is scored for fairly large symphonic orchestra and horn quartet. It plays continuously for half an hour. The four sections correspond more or less to the traditional symphonic movements, but things are not quite straightforward. The section Senza moto, misterioso begins almost from nothing with breathing sounds which suggest a sense of creation out of the void, and the mysterious mood is maintained for some time. At about four minutes, the horn quartet comes in with a strongly assertive statement launching the main segment of the first section. The second section partially recapitulates the preceding material in a deeply varied manner, and then comes an animated, energetic Scherzo.

At this point of the piece, some sort of finale should be reached. Tüür acknowledges that “the conventional movement towards rhythmic unity characteristic of the classical symphony is not the solution”. He “resolves the Finale as an anthem, a hymn to the creator and creation”. Material from the first section is revisited, and the symphony ends quietly.

The Tenth Symphony is a big, generous statement. The horn quartet plays an active part as the main narrator. It leads the listener along the journey from the mysterious beginning through action and reflection to appeased fulfilment. This is an impressive piece, one of Tüür’s strongest achievements. It needs to be heard. The four soloists play splendidly. The Estonian National Symphony Orchestra under Olari Elts perform with aplomb, commitment and dedication.

The first item here is a shorter orchestral work, Phantasma. Kerri Kotta’s notes say that the piece is conceived as a homage to Beethoven, even if his music is not quoted. The piece proceeds more by allusion than by anything more direct. It begins with forceful ‘Big Bang’ gestures (“sforzando chords”, as the annotator has them), which act as an anchoring pillar throughout the work. A sense of threat prevails all along. “In the end, however, the music manages to tear itself free from the shadows of the past.” As expected, Phantasma is superbly crafted, and it holds one’s attention from first to last. At a little under a quarter of an hour, it can be a fine concert opener, and it serves as a fine introduction to Tüür’s music.

The other orchestral work which frames the Tenth Symphony, De Profundis, may be regarded and experienced as a free instrumental interpretation of the Old Testament psalm. The piece once again proceeds by way of allusion, suggesting a chant which arises slowly from the depths. It slowly unfolds into a turbulent, almost hectic climax that threatens the music’s disintegration. Only at the very end does some light shine through the dark skies.

Performance and recording leave nothing to be desired. This release, up to ECM’s customary high standards, may be safely recommended to anyone who wishes to investigate Tüür’s music. Those already familiar with it will know what to expect, and they will not be disappointed. Kerri Kotta’s well-informed notes are also an asset. This is a very fine release on all counts.

Hubert Culot

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