Ardor (2001)
(Concerto for Marimba and Orchestra)

Pedro Carneiro, marimba;  BBC National Orchestra of Wales, cond. Petri Sakari. World Premiere.

Cardiff, 25. 01. 2002

Erkki-Sven Tüür, Estonia's best-known composer after Arvo Pärt, has fashioned a virtuoso showpiece for the young Portuguese percussionist Pedro Carneiro. Ardor extends the marimba repertoire. But, more importantly, it also extends the instrument's soundworld. Tüür declares his interest in opposites, contrasting gritty and insistent rhythmic simplicity with a teasing complexity. The piece constantly sets up contradictions in order to reconcile them, yet Tüür is less concerned with perpetuating the concerto's traditional conflict of soloist and orchestra than allowing instruments to react and interact. Scoring is economical: the BBC National Orchestra of Wales's forces are scaled down to strings, single woodwind, horn, trumpet, cymbals and tom-toms. At its most persuasive, woodwind lines elaborate ideas suggested by the marimba in an intricately wrought tissue of sound.
As Tüür works material into climactic peaks coloured by explosive tom-toms, allegiance to the prog rock of his early career is clear enough. That such forceful intervention reinforces rather than lacerates the structure and allows the marimba to emerge as a surprising melodic voice is a mark of just how secure Tüür's own musical identity now is.
He describes the slow central movement as "frozen time". With harmonics and gentle chimings of bowed cymbal a quiet nod to the tintinnabulation of Part – the marimba's tones suspended like delicate threads – rhythmic outbursts then appear like giant cracks in an icy Baltic landscape. In the finale, accumulated tension is released. But rather than go out on a burst of fire, Tüür indulges his theatrical instinct, taking the work back full circle to its opening low tremolo. Tiny bows replace the mallets, drawing from the marimba's highest pitches searing harmonics that linger briefly. It is a masterly touch to round off Carneiro's dazzling performance.
Understatement is not a word that automatically suggests Anton Bruckner's Seventh Symphony but, conductor Petri Sakari was well aware that the more fragile moments of the third movement's trio section dictate the solidity of the overall structure every bit as much as the weighty brass and wind. The BBCNOW was in resonant form, particularly in the Adagio's heartfelt tribute to Wagner.