Prophecy
Erkki-Sven Tüür (b. 1959)
Prophecy (2007)
Tõnu Kõrvits (b. 1969)
Dances (2024)
Pēteris Vasks (b. 1946)
The Fruit of Silence (2013, arr. George Morton)
Ksenija Sidorova (accordion)
Estonian Festival Orchestra/Paavo Järvi
rec. 2025, Parmu Music Festival, Estonia
Alpha Classics 1198 [44]

Nordic musicians have always maintained a long and strong association with the accordion and many Nordic composers have written for the instrument in almost any form or instrumental combination.  

Some may remember a possibly long-deleted Finlandia release (Jeux d’anches) with several works for accordion by the likes of Lindberg, Jokinen (a concerto with chamber orchestra), Nevanlinna, Tiensuu, and Bashmakov demonstrating the appeal that the instrument had for some of the then most avant-garde Finnish composers. Things have since changed and there is now quite a lot of music composed for the instrument – as the three pieces in this release amply show. 

This is the second recording of Tüür’s accordion concerto Prophecy, composed in 2007. A somewhat earlier recording is on Ondine ODE 1234-2, played by Mika Väyrynen with the Helsinki Philharmonic Orchestra conducted by Olari Elts. The work is written on a fairly grand scale and is a piece in which soloist and orchestra are partners rather than enemies constantly fighting to have the upper hand. The composer often stated that the accordion represented a seer of some sort pondering on things and sometimes seeing beyond them and the orchestra blends with the soloist whenever necessary to add weight to the seer’s quest. Thus, there is much exchange between both parties and it can be quite animated at times, then much lighter at others, and the music unfolds in wave-like fashion. It is not an easy work to play all the more so considering, as Ksenija Sidorova, the present soloist, explains in some parts of the insert notes, that it was initially composed by Tüür for a button accordion, whereas she plays (as the cover of this disc clearly shows) on one with a keyboard, which renders things somewhat more complicated. However, judging by what one hears, she has fully mastered all the difficulties and has achieved a splendidly assured and immaculate as well as inspired reading of the piece. It may be hard to choose between both performances available and the deciding factor could be the choice between a disc of music entirely composed by Tüür or a mixed one with other worthwhile pieces as per this one under review.

Kõrvits is another much respected and admired Estonian composer whose sizeable output is now regularly performed and recorded. He has composed a number of concertos and his Dances recorded here may not be regarded as a concerto proper but rather as a suite of dances of sorts. However, the composer has managed to make things both technically challenging and quite attractive to play and listen to. However, the very beginning of the piece is a bit surprising; in fact, the first movement falls into two sections: first, an arresting cadenza followed by the first dance Under the Cajun Moon. (Although one is not told in what sense the music is related to anything Cajun at all, this is unimportant as the music is very fine and that is what counts.) The other movements relate more clearly to older dance form such as the Passacaglia, Siciliana and Sarabande. The whole amounts to a lovely and most attractive piece of music that repays repeated hearings. This is the sort of work that should become part of any accordionist’s repertoire. 

This fine release is completed by a short work by Vasks who had been approached by Ksenija Sidorova, keen to add a piece by this much respected composer to her own repertoire. However, Vasks did not feel ready to do so and thus it was decided to ask George Morton to arrange one of Vasks’ short choral works, The Fruit of Silence, for accordion, vibraphone and a small string orchestra; all I can say is that it works wonderfully. Vasks’ prayer on words by Mother Teresa already exists in a number of arrangements or versions. The original version is for unaccompanied chorus but there is one for chorus and piano which is the one that Morton chose for his arrangement. It is indeed a nice little piece, and having heard it at the concert, Vasks said to Sidorova that “maybe I’ll manage the concerto idea after all” – so let’s keep our fingers crossed.

This is a very fine release that should make everyone happy; it offers an excellent and committed performance and a splendid recording. There really would be nothing to complain about, were it not the very short total playing time, but again, this should not deter anyone from enjoying this superb selection of unusual works that could become popular with accordionists and audiences alike.

Hubert Culot

Buying this recording via the link below generates revenue for MWI, which helps the site remain free