Rachmaninov; Sibelius; Tüür Choral and Orchestral Works
An unusual but rewarding programme from Estonia’s rising star of the podium
View record and artist detailsRecord and Artist Details
Composer or Director: Jean Sibelius, Erkki-Sven Tüür, Sergey Rachmaninov
Genre:
Orchestral
Label: Warner Classics
Magazine Review Date: 4/2005
Media Format: CD or Download
Media Runtime: 53
Mastering:
Stereo
DDD
Catalogue Number: 2564 61992-2

Tracks:
Composition | Artist Credit |
---|---|
Zeitraum |
Erkki-Sven Tüür, Composer
Anu Tali, Conductor Erkki-Sven Tüür, Composer Nordic Symphony Orchestra |
(The) Wood Nymph |
Jean Sibelius, Composer
Anu Tali, Conductor Jean Sibelius, Composer Lasse Pöysti, Wheel of Fortune Woman Nordic Symphony Orchestra Tanel Joamets, Piano |
Action |
Erkki-Sven Tüür, Composer
Anu Tali, Conductor Erkki-Sven Tüür, Composer Nordic Symphony Orchestra |
Passion |
Erkki-Sven Tüür, Composer
Anu Tali, Conductor Erkki-Sven Tüür, Composer Nordic Symphony Orchestra |
Illusion |
Erkki-Sven Tüür, Composer
Anu Tali, Conductor Erkki-Sven Tüür, Composer Nordic Symphony Orchestra |
(3) Russian Songs |
Sergey Rachmaninov, Composer
Anu Tali, Conductor Latvija Chorus Nordic Symphony Orchestra Sergey Rachmaninov, Composer |
Author: Andrew Achenbach
Having already championed the music of Veljo Tormis (b1930) on her debut disc for Finlandia (8/02), Anu Tali now turns her attention to another fellow Estonian, Erkki-Sven Tüür. Composed in 1993 for the Tallinn Chamber Orchestra, Action Passion Illusion for strings comprises a readily assimilated 17-minute triptych with echoes of Pärt, Vasks and even Bernard Herrmann (to my ears, the dynamic opening movement seems to acknowledge the ‘Prelude’ to Psycho). Tali draws splendidly stylish and committed playing from the orchestra she helped found in 1997 with her identical twin, Kadri.
Zeitraum (1992) proves a rather more intractable beast, a 12-and-a-half-minute orchestral essay which chimes with Tüür’s self-avowed preoccupation (as quoted in the helpful booklet) with ‘a combination of opposites – tonality versus atonality, regular repetitive rhythms versus irregular complex rhythms, tranquil meditativeness versus explosive theatricality – and especially in the way they gradually change from one to another’. Admittedly, Tali’s lucid conception lends the work greater cogency than Paavo Järvi’s more spacious view on Virgin, but I’m still not entirely won over.
Both Tüür offerings frame Sibelius’s 1894 melodrama The Wood-Nymph, a setting of the Swedish poet Viktor Rydberg for speaker, two horns, piano and strings. It’s an enjoyably moody affair, whose haunting Largamente final section in particular looks forward to the first of the four Lemminkäinen Legends. Tali’s performance is just as convincing as Vänskä’s pioneering BIS account, though it’s a pity that Lasse Pöysti’s vividly characterised narration wasn’t more tastefully integrated into the over- all sound picture (he was recorded separately and looms slightly too large for comfort). The disc concludes with Rachmaninov’s Three Russian Songs for chorus and orchestra of 1926, whose tugging nostalgia is potently conveyed here (the excellent choir hails from Estonia’s neighbour, Latvia).
Overall, an enterprising (if none too generous) anthology, very decently engineered and well worth investigating if you fancy the unusual programme.
Zeitraum (1992) proves a rather more intractable beast, a 12-and-a-half-minute orchestral essay which chimes with Tüür’s self-avowed preoccupation (as quoted in the helpful booklet) with ‘a combination of opposites – tonality versus atonality, regular repetitive rhythms versus irregular complex rhythms, tranquil meditativeness versus explosive theatricality – and especially in the way they gradually change from one to another’. Admittedly, Tali’s lucid conception lends the work greater cogency than Paavo Järvi’s more spacious view on Virgin, but I’m still not entirely won over.
Both Tüür offerings frame Sibelius’s 1894 melodrama The Wood-Nymph, a setting of the Swedish poet Viktor Rydberg for speaker, two horns, piano and strings. It’s an enjoyably moody affair, whose haunting Largamente final section in particular looks forward to the first of the four Lemminkäinen Legends. Tali’s performance is just as convincing as Vänskä’s pioneering BIS account, though it’s a pity that Lasse Pöysti’s vividly characterised narration wasn’t more tastefully integrated into the over- all sound picture (he was recorded separately and looms slightly too large for comfort). The disc concludes with Rachmaninov’s Three Russian Songs for chorus and orchestra of 1926, whose tugging nostalgia is potently conveyed here (the excellent choir hails from Estonia’s neighbour, Latvia).
Overall, an enterprising (if none too generous) anthology, very decently engineered and well worth investigating if you fancy the unusual programme.
Discover the world's largest classical music catalogue with Presto Music.

Gramophone Digital Club
- Digital Edition
- Digital Archive
- Reviews Database
- Full website access
From £8.75 / month
Subscribe
Gramophone Full Club
- Print Edition
- Digital Edition
- Digital Archive
- Reviews Database
- Full website access
From £11.00 / month
Subscribe
If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information.