{"id":497,"date":"2007-07-31T00:00:00","date_gmt":"2007-07-31T00:00:00","guid":{"rendered":"http:\/\/www.kuvaja.ee\/projektid\/epcc_web\/?p=news187"},"modified":"2017-05-23T17:39:27","modified_gmt":"2017-05-23T14:39:27","slug":"erkki-sven-tuur-magma","status":"publish","type":"post","link":"https:\/\/www.epcc.ee\/en\/2007\/07\/erkki-sven-tuur-magma\/","title":{"rendered":"Erkki-Sven T\u00fc\u00fcr – Magma"},"content":{"rendered":"

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World Premiere Recording<\/STRONG><\/SPAN><\/P>
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The music of his native Estonia<\/st1:place><\/st1:country-region> is central to Paavo J\u00e4rvi’s career – he has championed the works of Arvo P\u00e4rt, Eduard Tubin, Erkki-Sven T\u00fc\u00fcr and Lepo Sumera worldwide. After numerous and acclaimed Arvo P\u00e4rt recordings on Virgin Classics, he now returns, with the Estonian National Symphony Orchestra, to another Estonian composer, Erkki-Sven T\u00fc\u00fcr (Paavo J\u00e4rvi recorded his “Insula Deserta” & Homage to Sibelius on the label several years ago), whose works he often directs in international venues.<\/o:p><\/SPAN><\/P>
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Symphony no. 4, Magma, is dedicated to Scottish virtuoso percussionist Evelyn Glennie, who tours extensively in the Northern hemisphere, and performs with an extraordinarily wide variety of orchestras and contemporary musicians. She has won many awards, including Best Chamber Music Performance in the 1989 Grammy Awards, for her recording of B\u00e9la Bart\u00f3k’s Sonata for two pianos and percussion (with David Corkhill, Murray Perahia & Georg Solti). Paavo J\u00e4rvi and Evelyn Glennie are to perform together Magma in Frankfurt<\/st1:place> on 6th & 7th September.<\/o:p><\/SPAN><\/P>
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News: The Orchestre de Paris has appointed the Estonian-born American Paavo J\u00e4rvi as its music director from 2010. The 44-year-old conductor will take over from the German Christoph Eschenbach at the head of the orchestra that has had many high-profile collaborators, including Herbert von Karajan, Georg Solti and Daniel Barenboim.<\/o:p><\/SPAN><\/P>
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http:\/\/www.virginclassics.com\/releasedetails.php?rid=44798<\/A><\/o:p><\/SPAN><\/P>
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“One of the most acclaimed conductors of his generation, Paavo J\u00e4rvi has been singled out by critics around the world for his versatility, flair, intensity, and charisma.”
The Absolute Sound<\/EM><\/SPAN><\/P>
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“A pupil of Leonard Bernstein, Paavo J\u00e4rvi has much of the latter’s charisma and a similar ability to galvanise an orchestra into playing with furious intensity and bravura panache.”
The Guardian<\/o:p><\/EM><\/SPAN><\/P>
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Ajakiri BBC Music Magazine valis “Magma” orkestrimuusika kategoorias augusti parimaks plaadiks:<\/SPAN><\/P>
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Evelyn Glennie let loose<\/STRONG><\/SPAN><\/P>
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“Not yet 50, Estonian Erkki-Sven T\u00fc\u00fcr’s claims to be considered one of the most vibrant contemporary talents can only be enchanced by this stimulating programme.<\/o:p><\/SPAN><\/P>
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Magma, nominally his Fourth Symphony, is really a percussion concerto that throws Evelyn Glennie (for whom it was written) exuberantly upon a large kitchen department, with ear-stupefying results. While its dissonant, colouristically driven language is polystilistically up to the minute, the earlier Inqui\u00e9tude du fini for chorus and orchestra develops an austere and resonant nobility, with grave modal melody that suggests a Baltic Vaughan Williams – perhaps a result of its dedication to Arvo P\u00e4rt. A profounder gravity infuses the recent (2006) Igavik (“Eternity”) for male chorus and orchestra, a sombre memorial piece, while The Path and the Traces for string orchestra (2005) is a haunting musical landscape that, for all its occasionally outr\u00e9 sonorities, reconfirms T\u00fc\u00fcr’s Nordic credentials and his direct attachment to the Estonian elegiac traditions of earlier composers like Heino Eller.<\/o:p><\/SPAN><\/P>
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Glennie is at her most charismatic in Magma, an intoxicatingly physical score; the Estonian National Symphony Orchestra under Paavo J\u00e4rvi not only supports her blow for blow but plays the entire programme with a palpable sense of passionate conviction. Virgin’s recording is of demonstration standard, the climaxes in Magma frequently awe-inspiring.”
Calum Macdonald, BBC Music Magazine, August 2007<\/o:p><\/EM><\/SPAN><\/P>
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Ajakirja Gramophone’i oktoobrinumbris valiti “Magma” k\u00fcmne v\u00e4ljapaistvama uue plaadi hulka (Editor’s Choice):<\/SPAN><\/P>
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“Tere is much of the cosmic in the work of Erkki-Sven T\u00fc\u00fcr. Worlds seem to shift and occasionally collide, and his monumental Fourth Symphony is inexorably compelling, not least thanks to the virtuoso percussion playing of Evelyn Glennie. A rather awesome disc.”<\/o:p><\/SPAN><\/P>
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“Estonia<\/st1:country-region>‘s best-known internationally orientated modernist has composed six symphonies (the latest having had its premiere earlier this year in Tallinn<\/st1:place><\/st1:City>), amoung wich the 30-minute single-movement Fourth, dating from 2002 and subtitled Magma, is outstanding. T\u00fc\u00fcr’s style is essentially mobile-sculptural: which is to say that shifting sound-masses count for more than expressivity. Sibelius is a distant yet clear affinity, and Lutoslawski and sonorism of Polish school of the 1960s and ’70s supply something of the technical means. At its gentlest – as in the tinkling early stages of Magma – the effect resembles Oliver Knussen; at its toughest, Elliott Carter. Impersonal yet irresistible forces seem to guide the structure, while the orchestra builds up a succession of analogies to unpopulated landscapes and natural forces. Behinde the sonic richness and the dazzling surfaces there is an ascetic instinct at work: a refusal to take easy, opportunistic paths and an immensely impressive traversal of craggier ones.<\/o:p><\/SPAN><\/P>
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Though written for Evelyn Glennie, who takes the solo percussion part with superb aplomb, this really is a symphony rather than a flashy, beefed-up concerto. It stays just on that side of the divide everywhere except in the brief cadenza at approximately the half-way mark.<\/o:p><\/SPAN><\/P>
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The other three works on this disc feel similarly substantial and born of inner necessity. The Path and the Traces is simply the finest recently composed piece I have heard for string orchestra, and each of the choral items is memorable, without sacrificing complexity. T\u00fc\u00fcr is currently well represented on CD, but this new disc strikes me as probably the most rewarding devoted to his music, no doubt partly because performances and recordings are first-class. If the prospect of challenging, granite-hewn musical invention has any appeal, then this is a must.”
David Fanning, Gramophone, Oktoober 2007<\/o:p><\/EM><\/SPAN><\/P>
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Klangstrom-Polyphonie<\/o:p><\/SPAN><\/P>
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Seit einiger Zeit scheint der Gro\u00dfteil des kulturellen Exportguts aus dem Ostseeraum aus hochkar\u00e4tigen Orchestern, Solisten, Dirigenten und vor allem Komponisten zu bestehen. Nachdem vor allem die Skandinavier f\u00fcr Furore gesorgt hatten (und immer noch sorgen, siehe N\u00f8rg\u00e5rd, Sandstr\u00f6m, Rautavaara, Lindberg, Saariaho), gaben sie den Staffelstab an das Baltikum weiter, allen voran Estland. Von den dort beheimateten Komponisten war bisher allein Arvo P\u00e4rt in unseren Landen allgemein bekannt (und von einigen ebenso gef\u00fcrchtet wie von intellektueller Warte bel\u00e4chelt). Nun stehen seit geraumer Zeit zwei weitere Komponisten neben ihm: P\u00e7teris Vasks, der mit dem Schlagwort \u2018Neoromantiker’ nur einseitig etikettiert wird, und Erkki-Sven T\u00fc\u00fcr, jenen Polystilisten, der das \u2018postmoderne’ Komponieren ebenso gut beherrscht wie sich allen wohlfeilen Kategorisierungen zu entziehen versteht.<\/o:p><\/SPAN><\/P>
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Erkki-Sven T\u00fc\u00fcr hat mit Anu Tali und in besonderem Ma\u00dfe mit Paavo J\u00e4rvi sehr kompetente Anw\u00e4lte, die seine Musik mit der n\u00f6tigen Energie und ausgepr\u00e4gtem Klangsinn effektvoll darzustellen verm\u00f6gen. J\u00e4rvi wird neben einigen Gastdirigenten und -orchestern Mitte September dieses Jahres Werke von T\u00fc\u00fcr dem Publikum vorstellen, ein T\u00fc\u00fcr-Symposium grundiert diesen Werk\u00fcberblick wissenschaftlich.<\/o:p><\/SPAN><\/P>
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Orchestrales Dickicht<\/o:p><\/SPAN><\/P>
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Hat Paavo J\u00e4rvi mit dem City of Birmingham Symphony Orchestra<\/st1:place><\/st1:City> bereits eine beachtliche T\u00fc\u00fcr-CD vorgelegt (ECM 1830), so bildet diese nun bei Warner erschienene Einspielung eine ebenso spannende wie kurzweilige Fortsetzung seines Engagements f\u00fcr den Landsmann. Das Zentrum dieser Aufnahme bildet T\u00fc\u00fcrs Vierte Sinfonie \u2018Magma’ f\u00fcr Solo-Schlagwerk und Sinfonieorchester aus dem Jahr 2002. Neben dem brandneuen \u2018Igavik’ f\u00fcr M\u00e4nnerchor und Orchester (vollendet 2006) und dem Arvo P\u00e4rt zum Siebzigsten gewidmeten \u2018The Path and the Traces’ (2005) bildet \u2018Inqui\u00e9tude du fini’ f\u00fcr Kammerchor und Orchester (1992) einen kleinen R\u00fcckblick auf T\u00fc\u00fcrs kompositorische Vergangenheit.<\/o:p><\/SPAN><\/P>
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Griff der Este in seiner Anfangszeit (nachdem er seine Rockmusikerkarriere zugunsten von Kompositionsstudien beim viel zu fr\u00fch verstorbenen Lepo Sumera aufgab) auf Elemente der Minimal Music zur\u00fcck, die er holzschnittartig mit Tonclustern kontrastierte, so findet er in der (der Solistin Evelyn Glennie gewidmeten) Vierten Sinfonie zu einer fl\u00fcssigeren Sprache. Auch wenn die kompakten Akkordbl\u00f6cke, mit denen \u2018Magma’ gl\u00fchend hei\u00df er\u00f6ffnet wird, nicht wenig an seine Orchesterst\u00fccke \u2018Zeitraum’ oder \u2018Exodus’ denken lassen, weichen die glatten Schnitte der fr\u00fcheren Werke etwas abgerundeten Bruchstellen. Am Anfang der gut halbst\u00fcndigen Sinfonie finden sich typisch T\u00fc\u00fcrsche Ingredienzien: Klangs\u00e4ulen im Tutti, deren Spannungspotential nach raschem Abbau mit Streicherglissandi, Schlagzeugkl\u00e4ngen und Holzbl\u00e4serstaccati aufgefangen wird. Nach traditionellem Vorbild ist der z\u00e4hfl\u00fcssige sinfonische Strom von \u2018Magma’ in vier Abschnitte unterteilt, die von verschiedenen Klangtimbres des hervortretenden Schlagwerks bestimmt werden: im Anfangsteil vor allem von metallische Kl\u00e4ngen, im zweiten vom Drumset, im dritten von Holzpercussion, im rhythmisch eing\u00e4ngigeren Finale von quasi improvisierenden Congas. Das ganze spannt T\u00fc\u00fcr unter wellenartige Steigerungsverl\u00e4ufe, ein ausgedehntes Schlagwerksolo teilt die Sinfonie in etwa zwei gleiche H\u00e4lften.<\/o:p><\/SPAN><\/P>
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Ideale Solistin, hervorragendes Orchester<\/o:p><\/SPAN><\/P>
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Evelyn Glennie nutzt die klanglichen M\u00f6glichkeiten des virtuosen Schlagwerkparts effektvoll aus. Unendlich reiche Farbschattierungen und rhythmische \u00dcberlagerungen ergeben sich mit dem Orchestersatz, im zweiten Teil (der in seiner rhythmischen Wucht nicht wenig an Mark-Anthony Turnage erinnert) darf sie mit dem Drumset richtig rockig zupacken, ehe ihr im dritten Teil ein Streicherteppich als Grundlage f\u00fcr rhythmische Kaskaden an Marimba, Xylophon etc. bietet. Die Solistin erweist sich hier als perfekte Darstellerin der T\u00fc\u00fcrschen Klangideen, die zwischen extrem treibender, eing\u00e4ngiger Rhythmik und konstruktiv \u00fcberlagerten Temposchichten hin und her schwankt.<\/o:p><\/SPAN><\/P>
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Paavo J\u00e4rvi treibt das Estnische Nationale Symphonieorchester zu einer H\u00f6chstleistung an, die ebenso von hohem Engagement wie tiefem Klangsinn gepr\u00e4gt ist. Fesselnde Energie und dichte Verwebungen bestimmen den spannungsreichen Klangstrom. Nicht ganz zum Wohl der strukturellen Fasslichkeit schichtet T\u00fc\u00fcr hier so viele Klangtexturen \u00fcbereinander, dass sich die dichte Orchesterpolyphonie fast selbst aufhebt. Das macht manchmal einen ungeheuer komplizierten Eindruck \u2013 und stellenweise ist es fast besser, wenn man das Ohr mehr auf die Fl\u00e4che als die Einzelereignisse konzentriert. Bei all dem allerdings kann \u2018Magma’ durchaus f\u00fcr sich einnehmen, ein St\u00fcck aus vielen Elementen, das von J\u00e4rvi und dem Estnischen Nationalen Symphonieorchester mit ungemeiner Beredtheit zum Klingen gebracht wird.<\/o:p><\/SPAN><\/P>
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Auf ebenso hohem Niveau gelingen die Auff\u00fchrungen der anderen St\u00fccke. In \u2018The Path and the Traces’ erweist sich T\u00fc\u00fcr wieder einmal als ein genialer Modellierer des Streicherklangs. \u2018Igavik’ l\u00e4sst in beinahe roher Urt\u00fcmlichkeit Ankl\u00e4nge an alte Runenges\u00e4nge entstehen, \u00fcberlagert freilich mit schwebenden Glissandi und zuweilen schreienden Dissonanzen. Dieser extrem dichte, polyphone Orchesterklangstrom wurde von der Technik sehr \u00fcberzeugend eingefangen, auch wenn der Klangraum des Orchesters in \u2018Magma’ technisch erweitert scheint, um den Klangschichten zus\u00e4tzliche Entfaltungsm\u00f6glichkeit zu geben.<\/o:p><\/SPAN><\/P>
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Kritik von Tobias Pfleger, 28.09.2007 <\/EM>http:\/\/magazin.klassik.com\/reviews\/reviews.cfm?task=review&REID=7170&RECID=11228&CFID=4983&CFTOKEN=48432443<\/A><\/o:p><\/SPAN><\/P><\/p>\n","protected":false},"excerpt":{"rendered":"

World Premiere Recording   The music of his native Estonia is central to Paavo J\u00e4rvi’s career – he has championed the works of Arvo P\u00e4rt, Eduard Tubin, Erkki-Sven T\u00fc\u00fcr and Lepo Sumera worldwide. After numerous and acclaimed Arvo P\u00e4rt recordings on Virgin Classics, he now returns, with the Estonian National Symphony Orchestra, to another Estonian […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[6],"tags":[],"class_list":["post-497","post","type-post","status-publish","format-standard","hentry","category-uudised"],"acf":[],"yoast_head":"\nErkki-Sven T\u00fc\u00fcr - Magma - Estonian Philharmonic Chamber Choir<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.epcc.ee\/en\/2007\/07\/erkki-sven-tuur-magma\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Erkki-Sven T\u00fc\u00fcr - Magma - Estonian Philharmonic Chamber Choir\" \/>\n<meta property=\"og:description\" content=\"World Premiere Recording   The music of his native Estonia is central to Paavo J\u00e4rvi’s career – he has championed the works of Arvo P\u00e4rt, Eduard Tubin, Erkki-Sven T\u00fc\u00fcr and Lepo Sumera worldwide. 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