• Erkki-Sven Tüür
  • Symphony No. 6 ‘Strata’ (2007)

  • Henry Litolff’s Verlag GmbH & Co. KG (World)
  • 3.3.3.3/4.3.3.1/timp.3perc/pf.hp/tp/str
  • 32 min

Programme Note

At least for now it remains an unresolved question for science what existed before the Big Bang, or what caused it. Similarly it remains a riddle in the best sense of the word what causes a major musical work to come into existence. But all too often the composer does not remember, either, and then it passes into the realm of myth-making. Of course the person or group that commissioned the work has an important role, and thanks go out to Anu Tali here. But I am thinking of the moment where nothing becomes something – something akin to a vision – some aura that describes the energy plan and general form of a work that does not exist yet.

Looking through a self-analytical lens and with 20/20 hindsight, I have to say that in the beginning of a not inconsiderable number of works I have wanted to focus the listener’s attention on the elementary particles of the sound material: timbre, intervals, harmonic components and rhythmic structures, which have the potential of becoming thematic chains, forming sections with contrasting form, harmonic progressions that flow into one another, and so on. This sort of thinking differs significantly from traditional symphonic form (themes and their development). Here the theme is moulded as the result of a long and complicated process, emerging in “pure form” only in the final phase of the work.

The Sixth Symphony follows a similar model in general terms. The static chordal pillars are followed by a chain of rising swirls, and the relationships of their elements with the following bass melody give rise to the further musical development. Simultaneous perception of the quick and slow tempos in different layers is one of the key characteristics, as is the gradual acceleration of the meter, as a result of which we reach the “fast part” from the “slow part” and without any interruptions along the way. The constant change, constriction and expansion of the orchestral sound also have a key role.

Before the end, I brought in a theme inspired by Setu wailing song. In this connection it becomes clear why a descending major-second-minor-second motif begins to push to the front already much earlier – as it is part of this Setu theme. Hopefully the musical context will make it possible to perceive it ambivalently – the wailing may at some unexpected moment turn to jubilation. And these almost ineffable shared parts between extremes that would appear to preclude each other have become more and more important to me.

To borrow from Doris Kareva:

All bodies are fully
different as rivers
on their way to the ocean.

The same spirit
flows in everything.

Erkki-Sven Tüür

Media

Scores

Reviews

Sandwiching “Strata,” the Symphony Number 6 of contemporary Estonian composer, Erkki-Sven Tüür, between two of the most beloved and well-known works of 19th century Russian composer Piotr Ilyich Tchaikovsky was a stroke of magic on the part of the Sarasota Orchestra and Music Director Anu Tali. First of all, the Tüür added a freshness and difference that’s necessary in concert halls these days. It also showed us how much can happen musically in just over a century. And, believe me, it’s a lot. And it gave the Orchestra and Tali a chance to present the Symphony in its United States premiere.

Mr. Tüür was in attendance at the concert at the Van Wezel Sunday afternoon  and he spoke to us briefly and eloquently before any of the music began. He invited us to enter what he called his “sound world,” and to use our differences to interpret his world. A few days before the series of four concerts (all well attended or sold out), I had the opportunity to speak with the composer and one of the things he described was the landscape of his home and studio on the coast of Estonia. He described walking with the forest on one side and the ocean on the other so my imagination was already primed to hear “Strata” (Layers), as if I were walking with him.

“Strata” is, indeed a world of sounds: forest murmurs, crunching leaves, winds rustling bare, cold tree limbs, waves crashing against the shore, someone being chased through the woods. How does Tüür achieve these sounds? He uses a full orchestral contingent with heavy brass, strings playing ponticello (the bow is right on top of the bridge making an eerie, whistling sound) and a percussion section that runs the gamut from bongos and chimes to vibraphone and xylophone.

Music is unified, organized sound and “Strata” certainly is organized. It’s fascinating in that it held my attention and, at times, moved me. It has no program attached; no story. It’s up to us to add our own imaginations. The question is, well written as it is, is its intellect in overdrive, washing out what we think of as Music? I’ll leave that up to the listeners. For me, it was interesting but I was so glad my old friend, Tchaikovsky, was also in attendance.

June LeBell, www.yourobserver.com
5th February 2017

Sarasota Symphony Orchestra, cond. Anu Tali. 2. – 5. 02. 2017. Van Wezel, Sarasota / Florida

Twice in the past week, an exhilarating element has been inserted into Sarasota Orchestra programs: thought-provoking, mind-expanding new music. This weekend's concerts featuring the expansive Symphony No. 6, "Strata", by Erkki-Sven Tuur, follow a full-concert length conceptual composition, "Sinking of the Titanic" by Gavin Bryars. Both are sensational, pleasing many audience members, and, perhaps, annoying a few others. This is the standard response to new music in this community.

However, it is the imperative of any healthy orchestra to reach beyond the comfort zone of its musicians and its audience and Anu Tali is just now beginning to push all of us in to new territory. I love it, even if I feel I don't "understand" the music on first listen. The composer, Tuur, addressed the audience before the concert, encouraging us not to seek full understanding, but to "just be moved by the energy of the music." He said he wanted to "touch your creative energy" and hoped to "stimulate your creative actions."

Wise words given. I found that as long as I was listening with critical ears seeking to label, assess, and discern the structure, it was difficult to connect with what I was hearing. Well more than half of the composition consisted of a massive wall of sound, like a sheer face of granite. It was impossible to imagine this music in any other terms than geologic. Within the wall of shifting strings, dynamic swells, and percussive punctuations, appeared glittering flecks of color; the winds in the high ranges caught the ear like strands of mica in that granite wall. In this seemingly monochromatic facade were a dazzling variety of shades and constantly shifting textures.

Eventually the wall crumbled away to more pliable melodic material expressed by solo vibraphone, bowed as well, and cello. Conductor Tali, to whom the work was dedicated when premiered by her Nordic Symphony Orchestra in 2007, crafted the sound as if it was truly her own. The energetic denouement offered a quiet space for contemplation as the work concluded with a soft drum roll. Had it been on an LP, I would have dropped the needle at the beginning again (or hit the back arrow for digital replay.) [...]

Gayle Williams, Herald Tribune
3rd February 2017

Discography

Symphony No 6 “Strata"

Symphony No 6 “Strata"
  • Label
    ECM
  • Catalogue Number
    2040
  • Conductor
    Anu Tali
  • Ensemble
    Nordic Symphony Orchestra
  • Released
    2010