Available languages: EnglishEstonian conductor Olari Elts cultivates a wide repertoire of orchestral and operatic works, and he often concentrates on music by fellow Estonian composers. Among the orchestras he has conducted are the Latvian National Symphony Orchestra, the Orchestre de Bretagne, and the Estonian National Symphony Orchestra. Further afield, he has also performed with the Scottish Chamber Orchestra, the City of Birmingham Symphony Orchestra, the Cincinnati Symphony Orchestra, the Finnish Radio Symphony Orchestra, the Dresden Symphony Orchestra, the Lucerne Symphony Orchestra, the Stuttgart Radio Symphony Orchestra, the Orchestre National du Capitole de Toulouse, the Melbourne Symphony Orchestra, the Adelaide Symphony Orchestra, the Western Australian Symphony Orchestra, and the New Zealand Symphony Orchestra. In operatic productions, Elts has directed the Estonian National Opera, as well as the Rennes Opera in Hungary. For his work in promoting Estonian music, Elst received the Order of the White Star, Fourth Class. He has recorded for Antes Edition, Eesti Radio, ECM New Series, Oehms Classics, Bridge, and Ondine.
© Blair Sanderson /TiVo
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Symfonische muziek - Verschenen op 9 februari 2018 | Ondine
Hi-Res Booklet Onderscheidingen 5 de Diapason - Exceptional Sound Recording
‘Travel’ and ‘journey’ are often appropriate metaphors for the music of the Estonian composer Erkki-Sven Tüür (b. 1959). The composer himself describes his viola concerto Illuminatio as a “pilgrimage towards eternal light”, and with his Symphony No. 8 he stresses the importance of a “constant sense of ‘being on the road’”. This says something essential about the dynamics, growth and development of his music. To take a broader view, Tüür’s entire career may be described as a journey: in the course of his professional life beginning in the 1980s, he has thoroughly revised and reformed his idiom and compositional precepts. His ambitious journey began in rock music while at the same time he was studying flute, percussion and composition at the Conservatory. Since 1992 he has been a freelance composer. In his early career, Tüür developed a ‘polystylistic’ approach that combined minimalist and tonal elements on the one hand, modernist features on the other, into an idiom where he juxtaposed elements from different and seemingly incompatible styles, seeking both contrasts and syntheses. In the early 2000s, he went through a transition that resulted in his new composition technique. Here, “the entire composition is encapsulated in a source code – a gene which, as it mutates and grows, connects the dots in the fabric of the whole work”. All the works on the present album are from this period. The core of Tüür’s output consists of extensive orchestral works (including nine symphonies and several concertos), chamber music and vocal works. Whereas the viola concerto can be compared to a journey, Whistles and Whispers from Uluru (2007) for recorder and chamber orchestra was inspired by a landscape and a sonority. The piece was written to a commission from the Australian Chamber Orchestra for recorder virtuoso Genevieve Lacey, who also plays on this album – several different recorders, from sopranino to bass. Some sonorities are enhanced by electronic means. When a composer has written nine symphonies, the genre is obviosuly very important for him. In the case of Tüür, the term ‘symphonic’ must be understood in a broad sense – not as a strict formal scheme, but rather as a uniquely shaped and independently formed structure in each work. Tüür’s symphonies form the hard core of his output, spanning the length of his career, the first dating from 1984 and the latest from 2017. The symphonies vary greatly in terms of form, ensemble and idiom. Symphony No. 8 was commissioned by the Scottish Chamber Orchestra and was completed in 2010. Considering the resources of the commissioning party, Tüür scored the work for a sinfonietta-type ensemble instead of a large symphony orchestra, and as a result the music has at times a chamber music feel. © SM/Qobuz
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