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Music : Anu Tali - Tuur, Sibelius & Rachmaninov : Action Passion Illusion (2005)

Artist:Anu Tali
Title:Tuur, Sibelius & Rachmaninov : Action Passion Illusion
Year Of Release:2005
Label:Warner Classics
Quality:FLAC (log,tracks+cue)
Total Time:0:53:15
Total Size:297 Mb
WebSite:Album Preview

01. Tuur: Zeitraum for orchestra
02. Sibelius: The Wood Nymph, Op. 15 melodrama for narrator, 2 horns, piano & strings
03. Tuur: I Action
04. Tuur: II Passion
05. Tuur: III Illusion
06. Rachmaninov: 3 Russian Songs - 1 Over the stream, the swift stream
07. Rachmaninov: 3 Russian Songs - 2 Ah, Vanka, you are so dashing
08. Rachmaninov: 3 Russian Songs - 3 My cheeks, so white, so rosy

Nordic Symphony Orchestra
Anu Tali - Conductor
Lev Klychkov - Leader
Lasse Poysti - Narration
Tanel Joamets - Piano
State Choir Latvija - Choir
Erkki-Sven Tuur, Jean Sibelius, Sergei Rachmaninoff - Composers

Tuur's Zeitraum ("Time-Space" might be an approximate translation) occupies the first track on the disc. After a rather predictably snarling opening , it gradually establishes a real momentum gained from the opposition of different musical ‘movements' - big slow-moving dissonant piles, glittering tuned percussion, energetic string music strongly reminiscent of Steve Reich. As so often with contemporary music, it proceeds by a series of striking gestures, but, although the work is too short to fully work these out, there is a sense of culmination, and a feeling that the composer really has something to say.

That same rather grim persona is present in parts of Action Passion Illusion, whose three movements occupy tracks three to five. But the more economical forces - strings only rather than the very large orchestra for Zeitraum - and the three-movement structure seem to have inspired the composer to give us more variety, and to reveal more of himself in the process. Action is, as the title would lead you to expect, a dynamic, energetic movement, which owes much to Bartok, Stravinsky and other modern masters of string writing. It is also clearly tonal, though the key-centres are often obscured by clusters of dissonance. The ‘fade-out' ending is cunningly achieved.

The opening of Passion seems anything but passionate - melodic phrases slowly unwinding out of mirky depths. But Tuur is thinking long-term, and the music builds up inexorably, again establishing definite tonal centres, which appear regularly like landmarks through a dense mist. As the climax is reached, the tightly controlled lines explode, or disintegrate into a teeming cloud, which then softly resolves. A wonderful movement this, and a fine use of the infinite potential for texture that exists within the medium of the string orchestra.--Gwyn Parry-Jones

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