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Kari Nevalainen
INNER, January 2018

When one settles to listen to the concertos, and the clarinet concerto especially, be prepared for ”meta styles”, ”musical vectors”, ”codes”, ”musical conditions”, ”energy conversions”, ”irregular timbral changes”, ”lack of regular metre” and so and so forth. Tüür’s music does not represent traditional Western motivic-thematic orchestral music. It’s highly abstract. The music springs from a single idea, and is subjected to different—opposing—organisational treatment, alternating short and quick, dense and less dense sound textures, macro and micro-intervals. Meditation and reflection.

The Double Concerto is less ”intellectual”, and as such somewhat easier for ears to digest, but for the same reason also a little less stimulating perhaps. The work follows a classical three-movement structure: the first dramatic movement is followed by a slow movement leading to a fast last movement, all played in attacca. The two soloists, at first approaching the same destination from opposing directions, gradually begin to interact, moving closer to each other and ultimately finding unity and understanding (noēsis) in the finale. A prominent work nevertheless. © 2018 INNER Read complete review

Phillip Scott
Fanfare, July 2017

The two soloists, the conductor, and the Finnish Radio Symphony Orchestra throw themselves into this music with fearless aplomb, and the sound quality is of the very highest standard. © 2017 Fanfare Read complete review

Ronald E. Grames
Fanfare, July 2017

Finnish Radio Symphony principal Christoffer Sundqvist is the clarinet soloist, and well-known Finnish soloist, chamber musician, and music director Pekka Kuusisto joins him on violin in Noēsis. …Those who found Tali’s take a bit blunt in the two outer movements—though the central movement is stunning in the hands of her and her two soloists—may find Hannu Lintu and his soloists’ warmer, lighter, and in the end jazzier, a touch more agreeable. They certainly will admire his, and the fine Finnish Radio Symphony Orchestra’s, superb delineation of Tüür’s many layers of sound. Ondine’s recording—full, well-balanced, and open—is an asset in this: essentially perfect for experiencing these fascinating works. © 2017 Fanfare Read complete review

Allen Gimbel
American Record Guide, July 2017

Tüür is an excellent composer, and these pieces are deserving of the attention of new music fans. Performances are impressive. © 2017 American Record Guide Read complete review on American Record Guide

Uwe Krusch
Pizzicato, June 2017

This program offers a deep and characteristic insight in the work of Estonian composer Erkki-Sven Tüür. The exciting performances make this CD a great experience for the listener. © 2017 Pizzicato

Andrew Mellor
Gramophone, April 2017

Hannu Lintu’s Finnish Radio SO show their class in all three performances, each full of considered phrasing, deep listening and impressive agility (the same can be said of the soloists). Tüür is blossoming into a composer of true significance. Go listen. © 2017 Gramophone Read complete review on Gramophone

Records International, March 2017

Tüür’s music, while always impressive and original, can sometimes seem disconcertingly eclectic—a kind of ‘put everything in and see what works’ approach, if you will. The two concerti, from 2012 (clarinet) and 2005 (double) noticeably depart from that model; both are relatively conventional in most compositional and technical respects, though remaining challenging and thought-provoking. The idea that the clarinet concerto represents a kind of epic journey apparently occurred to the composer as a postscript to writing the work, but it provides a good analogy for what happens in the piece. © 2017 Records International Read complete review

David Denton
David's Review Corner, February 2017

Born in Estonia in 1959, Erkki-Sven Tüür is one of the progressive and innovative composers working within the Baltic region, this disc containing his two concertos. Having an extended period where he fronted a famous Rock group, he moved to the world of classical composition, his student days having been spent with that aim. Avoiding the discord of atonality, he creates scores using the now fashionable mosaic of sound, lyric lines often, as in his two concertos, superimposed on an orchestral backdrop in that mode. Very different to the contemporary sounds created from the avant garde of the late twentieth century, the first work on the disc, Peregrinus Ecstaticus, is in the shape of a Clarinet Concerto, the second movement exploring the eerie micro-intervals possible on the instrument set against orchestral pedal notes. This leads back without a break to the mosaic style heard in the opening movement. Without the work spelling-out the difficulties, I guess it is a challenge to the technique of the soloist, here taken by the outstanding principal clarinet of the Finnish Radio Symphony, Christoffer Sundqvist, who shares that role with that of a much travelled soloist. Seven years earlier, in 2005, came the Concerto for violin, clarinet and orchestra, a more pungent score and one that settles more readily into atonality, though the ‘mosaic’ construction is established at the outset. Tüür does not contrast a woodwind and string soloists, but rather shows the similarity in their tonal quality as they enjoy a score in partnership. Again, it is in the conventional three movements with the central one slower of pulse and less heated. Here, Sundqvist is joined by the highly acclaimed Pekka Kuusisto. Completing the disc is the short Le poids des vies non vécues, dating from 2014 and in the form of an elegy. I am listening to Tüür for the first time, and admire the committed participation of the orchestra of Finnish Radio and their conductor, Hannu Lintu, in complex scores. The sound quality is quite remarkable in impact and detail. © 2017 David’s Review Corner

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