Tüür, Erkki-Sven | Estonian Music Information Centre

WORKS FOR THE STAGE

Operas

Wallenberg
- Video
opera in two acts
2001
95'
vocal soloists, mixed choir, symphony orchestra: 2232, 4331, 1+4, harp, synthesizer, strings
Libretto: Lutz Hübner
Fp: May 5, 2001, Dortmund Opera, Germany; conductor Alexander Rumpf, soloists Hannu Niemelä, Hannes Brock (Wallenberg), Barbara Dobrzanska (Woman), Gundula Schneider, Andrea Rieche, Karin Roben (diplomats), Susan Benkin (Lady), Thomas Mehnert (Eichmann)
FpEst: June 1, 2007, Estonian National Opera, directors Dmitri Bertman, Neeme Kuningas, conductor Arvo Volmer
Commissioned by: Dortmund Opera
DVD „Wallenberg : ooper kahes vaatuses” [Wallenberg : Opera in two acts], EsNO & ERP (2008); Estonian National Opera Choir and Symphony Orchestra, conductor Arvo Volmer, art director and director Ene-Liis Semper, directors Dmitri Bertman and Neeme Kuningas, librettist Lutz Hübner
Publisher: Edition Peters

WORKS FOR ORCHESTRA

Works for symphony orchestra

Melting Bells [Sulavad kellad]

2024
7'
symphony orchestra: 2232, 4331, 1+3, keelpillid
Fp: Estonian National Symphony Orchestra, conductor Olari Elts; September 13, 2024, Estonia Concert Hall
Epitaph (Hommage à Anton Bruckner)

2023
11'
symphony orchestra: 2222, 6331, 1+2, organ (ad lib), strings
Fp: Bruckner Orchester Linz, conductor Markus Poschner; June 10, 2023, Basilica of the Monastery St. Florian, Austria
Commissioned by: OÖ. Stiftskonzerte
Publisher: Edition Peters
Symphony No. 10 "ÆRIS"
- Audio
Symphony No. 10 Aeris / Estonian National Symphony Orchestra, German Hornsound, conductor Olari Elts

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In Latin, ÆRIS means brass, which is also the name of a certain instrument group in the symphony orchestra. However, AERIS means ‘air’ and without this essential element, not a sound would come out of brass instruments. Thus, the title of my tenth symphony focuses mainly on the brass sound that carries the weight of this composition.

The symphony begins by exhibiting this sound, which seems to be arriving from beyond the horizon. The illusion of an “upward stretching” axis pitch formed by quarter tones is the first sign of a mysterious group of guests who will soon start playing a decisive role in the entire development process.

The increasingly dense layer formed mainly by the woodwinds presents a contrasting material to the slowly stretching sound axis of the French horns. In turn, this contrasting material later forms the basis for the theme of the French horn quartet.

The symphony is divided into four movements that transition without clear separation. Every movement expresses a different development between the ensemble of soloists and the orchestra. Sometimes their motifs spread into the orchestra like memes that start changing and gradually take on lives of their own; sometimes they enter a debate without reaching common ground; sometimes there is a dialogue between the soloists and the ensembles within the orchestra, creating the impression of shared development principles…

The French horn quartet may be regarded as messengers, bringing prophecies of imminent irreversible changes. Will their message be understood? What will be the reaction and how will it impact communication? Where did they come from anyway? What did they want to tell us? Let every member of the audience deal with these questions according to their social compass and imagination. It is not up to me to paraphrase my music and I won’t bother anyone with my composition techniques or creative methods – that is a topic for special seminars. What I wish is for the audience to take this journey with an open mind.

I am extremely grateful to the French horn quartet German Hornsound who came to me with the idea of composing such a piece.

Erkki-Sven Tüür
(Translated by Pirjo Jonas)

2020
30'
symphony orchestra: 3333, 4331, timpani, percussion, harp, strings
Fp: German Hornsound, Bochumer Symphoniker, conductor Olari Elts; May 19, 2022, Anneliese Brost Musikforum Ruhr, Bochum, Germany
FpEst: German Hornsound, Estonian National Symphony Orchestra, conductor Olari Elts; September 16, 2022, Estonia Concert Hall
Commissioned by: Bochumer Symphoniker, Konzerthausorchester Berlin, Hong Kong Philharmonic Orchestra, Estonian National Symphony Orchestra
Publisher: Edition Peters
Phantasma
- Audio
Phantasma / Estonian National Symphony Orchestra, conductor Olari Elts

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2018
13'
symphony orchestra: 2222, 2200, 1+1, piano, strings
Fp: Kymi Sinfonietta; April 3, 2019, Kotka Concert Hall, Finland. Yomiuri Nippon Symphony Orchestra, conductor Olari Elts; April 17, 2019, Suntory Hall, Tokyo, Japan. Estonian National Symphony Orchestra, conductor Olari Elts; October 4, 2019, Estonia Concert Hall, Tallinn
Commissioned by: Kymi Sinfonietta, Yomiuri Nippon Symphony Orchestra, Estonian National Symphony Orchestra
Publisher: Edition Peters
Symphony No. 1
- Audio
Symphony No. 1 / Tallinn Chamber Orchestra, conductor Tõnu Kaljuste

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1. Andante
2. Largo
3. Con moto
1984/2018
26'
symphony orchestra: 2222, 4231, 1+2, harp, strings
Fp: Tallinn Chamber Orchestra, conductor Tõnu Kaljuste; February 21, 2020, Estonian Academy of Music and Theatre Concert Hall
Symphony No. 9 "Mythos"
- Audio
Symphony No. 9 Mythos / Estonian Festival Orchestra, conductor Paavo järvi

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2017
35'
symphony orchestra: 3333, 4331, 1+3, harp, strings
Fp: Estonian Festival Orchestra, conductor Paavo Järvi; January 16, 2018, Estonia Concert Hall, Tallinn. International premiere: Estonian Festival Orchestra, conductor Paavo Järvi; January 18, 2018, Bozar, Brussels, Belgium
Commissioned by: Government Office of Estonia for the occasion of the 100th anniversary of the Republic of Estonia
CD "Erkki-Sven Tüür. Mythos", Alpha (2020); Estonian Festival Orchestra, conductor Paavo Järvi
Publisher: Edition Peters
Sow the Wind...
- Audio
Sow the Wind... / Estonian National Symphony Orchestra, conductor Kristiina Poska

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2015
18'
symphony orchestra: 3333, 4331, 1+3, piano, strings
Fp: Orchestre de Paris, conductor Paavo Järvi; September 20, 2015, Paris, Philharmonie 1, Grande Salle
FpEst: Estonian National Symphony Orchestra, conductor Kristiina Poska; September 21, 2017 Pärnu Concert Hall, September 22, 2017 Estonia Concert Hall, Tallinn, September 23, 2017 Vanemuine Concert Hall, Tartu
Commissioned by: Orchestre de Paris & Wiener Symphoniker
CD "Erkki-Sven Tüür. Mythos", Alpha (2020); Estonian Festival Orchestra, conductor Paavo Järvi
Publisher: Edition Peters
Incantation of Tempest [Tormiloits]
- Audio
- Video
Incantation of Tempest / Estonian National Symphony Orchestra, conductor Olari Elts

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Dedicated to Veljo Tormis
2014
4'
symphony orchestra: 2222, 4231, 1+1, strings
Fp: Bamberger Symphoniker, conductor Jakub Hrůša; November 12, 2015, Stadthalle Bayreuth
FpEst: Estonian National Symphony Orchestra, conductor Olari Elts; April 20, 2016, Estonia Concert Hall
Commissioned by: Bamberger Symphoniker
CD "Erkki-Sven Tüür. Mythos", Alpha (2020); Estonian Festival Orchestra, conductor Paavo Järvi
Publisher: Peters
Le poids des vies non vécues
- Audio
- Video
Le poids des vies non vecues / Estonian National Symphony Orchestra, conductor Arvo Volmer

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2014
9'
symphony orchestra: 3333, 4331, 1+3, strings
Fp: National Orchestra of Belgium, conductor Arvo Volmer; February 6, 2015, Brussels, Bozar - the centre for fine arts
FpEst: Estonian National Symphony Orchestra, conductor Arvo Volmer; March 20, 2015, Estonia Concert Hall
Commissioned by: National Orchestra of Belgium
CD „Erkki-Sven Tüür. „Peregrinus Ecstaticus. Le poids des vies non vécues. Noesis“, Ondine (2017). Finnish Radio Symphony Orchestra, Christoffer Sundqvist (clarinet), Pekka Kuusisto (violin), conductor Hannu Lintu
Publisher: Peters
De Profundis
- Audio
De Profundis / Estonian National Symphony Orchestra, conductor Olari Elts

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2013
17'
symphony orchestra: 3333, 6331, 1+3, harp, piano (celesta), strings
Fp: Helsinki Philharmonic Orchestra, conductor Olari Elts; November 11, 2013, Helsinki Music Centre; West Australian Symphony Orchestra, conductor Olari Elts; May 30, 2014, Perth Concert Hall
FpEst: Estonian National Symphony Orchestra, conductor Olari Elts; April 11, 2014, Estonia Concert Hall, Estonian Music Days Festival
Commissioned by: Helsinki Philharmonic Orchestra, Estonian National Symphony Orchestra, West Australian Symphony Orchestra
Publisher: Edition Peters
Fireflower

Erkki-Sven Tüür:

With "Fireflower" I would like to honor my close friend Paavo after these ten wonderful years with the CSO, which, during his tenure, has also been my "home orchestra" in a very special way.

The idea behind the title is that on momentous occasions such as this, one often receives a bouquet of flowers. This fanfare is my bouquet to Paavo, with the image of blossoms resembling flames. In this short piece one can trace common features with my other orchestral works of the last decade, especially Symphonies No. 4 through 8. With the last perfect interval at the end of this short piece, I express my hope for future collaborations between Paavo and the CSO, who have demonstrated a wonderful and perfect chemistry these last ten years.

Cheers to all music lovers in Cincinnati and yes, bravo, Paavo!

Dedicated to Paavo Järvi
2011
4'
symphony orchestra: 3333, 4331, 1+3, strings
Fp: Cincinnati Symphony Orchestra, conductor Paavo Järvi; May 13, 2011, Cincinnati Music Hall
Commissioned by: Commissioned by the Cincinnati Symphony Orchestra in honor of Maestro Paavo Järvi and his 10th Anniversary as Music Director of the orchestra and in celebration of the 50th Anniversary of 90.9 WGUC Classical Radio
Publisher: Edition Peters
Symphony No. 8
- Audio
Symphony No. 8 / Estonian National Symphony Orchestra, conductor Olari Elts

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I composed the Eighth Symphony at the suggestion of my good friend Olari Elts; it was commissioned by the Scottish Chamber Orchestra. Considering the instrumentation of the orchestra (double woodwinds, 2 trumpets, two French horns, one percussionist and strings) it almost seems like a chamber symphony. Indeed, there are several chamber-like passages, but the intense tectonic shifts between sound masses are equally important. Thus, I simply added it to the list of my symphonies without granting it a separate “chamber symphony” status.

One of the ideas guiding the internal psychological development logic of this symphony might be the creation of structure and then bringing it to life. In other words, the initial dominating objective and detached observation gradually grows more subjective and, hopefully, more involved and passionate.

As for musical form, the Eighth Symphony is divided into three movements, all of them performed attacca.

The key motif (1-1-1) X, which forms the foundation for musical development throughout the composition, consists of three ascending minor second intervals with a ‘knocking’ rhythm. This is followed by a micro-polyphonic ‘sound cloud’, Y based on the same intervals, which is interrupted by the next ‘knocking’. These two elements are similar in terms of intervals, but opposites in terms of character and rhythm, evolving into contrasting realms of sound. Everything that ensues is an alternation of focus between X and Y. The first movement, in turn, consists of three parts. The first part is fast, intense, and plays with shifts in various types of texture. The interval range gradually expands, introducing the major second, then the minor third, major third, etc. (1—2—3—4 etc).

This so-called ‘expansion’ also becomes a key principle for the development of linear processes throughout the whole symphony. The second part of the first movement is chamber-like music enriched with several intertwining solo passages. This zooms in on the world represented by Y. The third part returns to the motifs originating from X, but much more fiercely.

The second movement begins with a complete standstill, while taking the developments of Y under even greater scrutiny. Unlike the beginning of the first movement, this section is dominated by descending elements. The initially frozen world begins to ‘warm up’ slowly; at some point, the melodic line that evolves from yet another intervallic expansion starts to resemble archaic Estonian folk songs.

The third movement presents somewhat surreal (dance-like!) surprises that culminate into co-functionality between X and Y, whereas the three-note motifs performed by strings have undergone a tremendous expansion compared to their starting point.

The constant sense of ‘being on the road’, organic development and fluidity is crucial for this music. Taking note of the brief description above is optional, not obligatory. Trust your intuition, sharpen your attention and let the energy springing from the music speak to you. The best approach I can recommend is prejudice-free listening. Thus, everyone can create their very own unique story while listening to this music.

Erkki-Sven Tüür (translated by Pirjo Püvi)

2010
30'
symphony orchestra: 2222, 2200, percussion, strings
Fp: Scottish Chamber Orchestra, conductor Olari Elts; April 30, 2010, City Halls, Glasgow, Scotland
FpEst: Estonian National Symphony Orchestra, conductor Olari Elts; March 4, 2011, Estonia Concert Hall, Tallinn
Commissioned by: Scottish Chamber Orchestra
CD "Erkki-Sven Tüür. Illuminatio. Whistles and Whispers from Uluru. Symphony No. 8", Ondine (2018); Tapiola Sinfonietta, conductor Olari Elts
Publisher: Edition Peters
Symphony No. 7 "Pietas"
- Audio
Symphony No. 7 / estonian National Symphony orchestra, conductor Arvo Volmer

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A few years ago, Paavo Järvi proposed that I write a large-scale orchestral piece, which would also involve a choir. I agreed instantly – I had never tried the “choral symphony” genre before. Developing the general concept and architecture of form, however, was considerably more time-consuming. I wanted the orchestra to perform the intense developments and the choir to present isolated passages as if from “another reality”, remaining transparent, brief, aphoristic. I compiled the lyrics from quotes from different historical eras and cultural backgrounds authored by more or less famous persons and ranging from Buddha to Jimi Hendrix. And yet, when I read those lines as a uniform text corps, it seemed that they might well have been written by a single person. The unifying keywords are “compassion” and “love”. This also inspired the subtitle of the symphony, “Pietas”, which broadly means compassion in Latin.

(The term “pietas” has so many nuances that it would be difficult to provide a single translation, but its essence could be something like “pious duty towards fellow men” that would definitely include compassion and pain. This word encompassed a certain deep human tenderness in Antique Rome where it was used to designate the relationship between parents and children, the living and the dead, people and gods, as well as in Latin Christianity, where “pietas” involves the same associations, but is usually translated simply as “piety” or “devoutness” (Marju Lepajõe, Faculty of Theology, Tartu University))

In broad terms the whole symphony comprises four “waves”, each one longer than the previous. The first wave is dominated by a cold and brilliant texture inspired by micro-polyphonic techniques, performed mainly by woodwind instruments, Glockenspiel and a vibraphone. The texture is imbued by “pillars of chords” that seemingly halt the flow of musical time. In addition to woodwind instruments, they are mainly played by strings; the next “pillars of chords” also include brass instruments. In a musical sense the entire ensuing development occurs as a result of the “friction” between these contrasting texture elements.

After the first choir lines (We are what we think...) begins the second, much more intense wave. The final line of the choir segment that follows the second wave (an eye for an eye...) inspired the character of the third wave and its slowly growing aggressiveness. With a slight simplification, I may say that it is a sort of psychological–musical portrait of a world without love and all that entails. It is unavoidable that once a text is used, even if only minimally, it starts to create meanings for an otherwise abstract musical material. In the traditional “symphonic-semantic” meaning the third wave is the Scherzo movement.

The next, most extensive choir passage is introspective and smoothly develops into the fourth wave that then forms the final culmination.

I composed this music pursuant to the principles of the self-designed vectorial method, which I adopted since writing “Oxymoron” in 2003. In the seventh symphony the principle key code is 1-2-4-2-1.

The seventh symphony “Pietas” is dedicated to Tenzin Gyatso and his lifelong endeavours.

Erkki-Sven Tüür (translated by Pirjo Püvi)

Dedicated to Tenzin Gyatso and his lifelong endeavours
2009
40'
mixed choir, symphony orchestra: 3343, 4331, 3+1, harp, strings
Text: Buddha, St. Augustine, Mahatma Gandhi, Mother Teresa, Jimi Hendrix, Deepak Chopra
Fp: hr-Sinfonieorchester, NDR Chor (North German Radio Choir), conductor Paavo Järvi; June 18, 2009, Alte Oper, Frankfurt
FpEst: Estonian National Symphony Orchestra, Estonian Philharmonic Chamber Choir, conductor Arvo Volmer; October 16, 2010, Estonia Concert Hall, Tallinn
Commissioned by: hr-Sinfonieorchester and Cincinnati Symphony Orchestra
CD „Erkki-Sven Tüür. Symphony No. 7. Piano Concerto“, ECM (2014); Frankfurt Radio Symphony Orchestra, NDR Chor, conductor Paavo Järvi
Publisher: Edition Peters
Symphony No. 6 "Strata"
- Audio
Sümfoonia nr. 6 / Nordic Symphony Orchestra, conductor Anu Tali

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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

Dedicated to Anu Tali and Nordic Symphony Orchestra
in 1 movement
2007
35'
symphony orchestra: 3333, 4331, 1+3, piano, harp, strings, fixed media
Fp: Nordic Symphony Orchestra, conductor Anu Tali; May 9, 2007, Estonia Concert Hall, Tallinn
Commissioned by: Nordic Symphony Orchestra
CD "Strata", ECM (2010); Nordic Symphony Orchestra, conductor Anu Tali
Symphony No. 5 for Electric Guitar, Orchestra and Big Band
- Audio
Symphony No 5, 1st movement / Riho Sibul (el. guitar), Estonian National Symphony Orchestra, Estonian Dream Big Band, conductor Olari Elts

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Musical trends that developed independently of each other for decades have over time formed completely separate discourses in the Western cultural sphere. To this point, it is rare for one circle to show a slightly more in-depth interest in a neighbouring field. A constructive and productive discussion is even more rare. All the various forms of contact tend to culminate in relatively superficial crossovers that generally pay lip service to a concealed or direct chase for popularity.
I became clearly aware of this situation when I agreed to write a major musical work commissioned by Stuttgart Broadcast for their big band and symphony orchestra. I wanted to add two free improvisations from an electric guitarist with a rock background.
Fortunately the wish was understood and thus the foundation for “trilateral negotiations in a constructive atmosphere” was laid – representatives from the fields of jazz, rock and modern symphonic music should meet.

Symphony No. 5 is divided into four parts. The “genetic” code of the music is common to all of the movements, only the ways in which it mutates are different. Thus the stylistic references to rock and jazz are only of the tonal and rhythmic kind.

The first movement consists of a number of undulating wave-like currents. Of these, whirlpools come to the fore, broadening and lengthening and mostly changing direction through “chord bubbles” which are created by the big band and symphony orchestra brass sections and which melt into one another. Focusing on one sound, and forking from it, moving up and down, the big band’s increasingly more frequent interjections and the general rise in intensity helps to set up the first guitar solo, which occurs above a low C pedal point formed by the bass instruments in the segue between the first and second movements.

The second movement is slow, oriented to string instruments, and initially in a very high register. What is happening here could be called the birth of melody. The intervallic sequence familiar from the first movement mutates thanks to directional changes within the sequence. The music incrementally grows into a large wave-like culmination which seems to congeal and then fall back to the lower register; then the aerate layer of harmonics and the delicate ripple played by the winds comes in, which serves as a bridge to the third movement.

The third movement, to borrow a phrase from Monty Python, is “something completely different”, but truly so – no joke. It is nothing if not a modern scherzo. The big band has the leading role. Some of the improvisational solos, rhythmic shifts and the accumulation of energy could be the keywords. The melodic motifs that were born in the second movement now find completely different rhythmic trappings.

In the fourth movement, the winds continue their rippling familiar from the end of the second movement and develop the ripples further, gradually involving other instrument groups. An angular bass line punctuated by temple blocks and another mutation of the original genetic sequence, interjected into by the strings, come in. This combination of sounds grows into a very noisy union of big band with orchestra, into which the second guitar solo melts. It all culminates in the Biggest Bang, the decaying repercussions consisting of vibrating surreal chords alted with microintervals. The point we have now arrived at could be the beginning of music that sounds like a strange echo in the ears of the listener after the last sound has actually been played. Whatever could this music sound like?

Erkki-Sven Tüür

in 4 movements
2004
37'
symphony orchestra: 2222, 4331, 1+3, strings; Big Band: 5 saxophones, 4 trumpets, 4 trombones, electric bass guitar, drum set
Fp: Martin Scales (guitar), SWR Big Band, SWR Stuttgart Radio Symphony Orchestra, conductor Olari Elts; February 1, 2005, Stuttgart Theaterhaus, Germany, Eclat New Music Festival
FpEst: Riho Sibul (guitar), Estonian Dream Big Band, Estonian National Symphony Orchestra, conductor Olari Elts; December 10, 2005, Tallinn, Estonia Concert Hall
Commissioned by: Eclat New Music Festival & Südwestrundfunk
CD "Erkki-Sven Tüür. Symphony No. 5 for Big Band, Electric Guitar and Symphony Orchestra.
Prophecy for Accordion and Orchestra", Ondine (2014); Helsinki Philharmonic Orchestra, conductor Olari Elts, Nguyên Le (electric guitar), Mika Väyrynen (accordion)
Publisher: Edition Peters
Aditus

Erkki-Sven Tüür:

“Aditus (approach, access, entrance, beginning, chance) is a 6-minute concert opener based on the gradually lengthening chromatic scale. This is mixed with another row: 1112336332.
The starting impulse is given by brass and tubular bells but the elastic resistance of the floating string chord will ground it three times before the active rhythm will break through. The rhythmic section grows to the climax by using multitonal harmonies and the end is an illuminative dispersion.”

In memoriam Lepo Sumera
2000/2002
9
symphony orchestra: 2232, 4331, 1+4, strings
Fp: Staatsphilharmonie Rheinland-Pfalz, conductor Ralf Otto; December 1, 2000, Christuskirche, Mainz, Germany (original version)
FpEst: Estonian National Symphony Orchestra, conductor Vello Pähn; April 10, 2001, Estonian Music Days Festival
Commissioned by: Staatsphilharmonie Rheinland-Pfalz
CD "Exodus", ECM (2003); City of Birmingham Symphony Orchestra, conductor Paavo Järvi
CD „Zeit-Ton 14.10.2003 : Nebenan Estland : Ein Porträt des Starkomponisten Erkki Sven Tüür”, ORF (2003); City of Birmingham Symphony Orchestra, cond. Paavo Järvi, Isabelle van Keulen (violin), Tallinn Chamber Orchestra, cond. Tõnu Kaljuste
Publisher: Edition Peters
Magma (Symphony No. 4)
- Audio
Magma (Symphony No 4) / Evelyn Glennie (perc.), Estonian National Symphony Orchestra, conductor Olari Elts

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Figuratively speaking, the dramatic tension in Magma comes from a meeting of a dark granite mass and a transparent cloud of crystal latticework. We see this contrast right at the beginning: after a “chord pyramid” based on the full sound of an orchestra rises from the low registers to the heights, we are discharged into a shining, cold space. This is formed by rapid passages on the glockenspiel, surrounded on one side by a texture containing an echo effect consisting of short but even, lengthening rapid replies from the winds (no aleatory by the way); and on the other by a string pad laid down senza vibrato in very long note lengths. The musical source material is common to both contrasting blocks and is based on six 17-note scales. They are varied and synthesized among themselves throughout the entire course of the work. This takes place on both a horizontal and vertical level. Subsequently the motion eases up, and we encounter the next “chord pyramids” played fff, then again the glockenspiel, vibraphone and winds at a notch more intensity and the “pyramids” a third time. Further development is structured on the basis of serialist and heterophonic principles. The percussion soloist makes the vibraphone, winds and bongos resonate to the movement of the masses of sound created by strings until he finally moves to the drumset. The first half of the work, which ratchets up the tension, culminates in an improvisational solo, which melts into the next “chord pyramid”. The tempo slows down, a descent to a cooler trench takes place; at times this section is like the reflection of the initial crystal cloud in the bottomless depths. Then the marimbaphone gives way to the congas, and from this point, everything is a long rise to the final culmination.

In Magma, I have placed special emphasis on timbre harmonies (by this I mean that certain groups of instruments playing together represent harmonic structure based on definite intervals, others on different ones, etc) and uniting a sonoristic concept with the concept of harmonic crowdedness. I am grateful from the bottom of my heart to the fantastic percussionist Evelyn Glennie, who suggested that I write her a percussion concerto, which turned into a symphony featuring a percussion soloist… and to de Filharmonie, who commissioned the piece.

Magma – the hot molten matter in the earth’s core, consisting of a number of oxides, water and dissolved gases.

Erkki-Sven Tüür

concerto for percussion and symphony orchestra
in 1 movement
2002
37'
solo percussion, symphony orchestra: 3042, 4331, strings
Fp: Evelyn Glennie (percussion), Royal Flanders Philharmonic Orchestra, conductor Kwamé Ryan; December 12, 2002, Koningin Elisabethzaal, Antwerp, Belgium
FpEst: Evelyn Glennie (percussion), Estonian National Symphony Orchestra, conductor Olari Elts; December 10, 2004, Vanemuine Concert Hall, Tartu, Estonia
Commissioned by: Evelyn Glennie and the Royal Flanders Philharmonic Orchestra
CD „Magma”, EMI Virgin Classics (2007); Evelyn Glennie (percussion), Estonian National Symphony Orchestra, conductor Paavo Järvi
Exodus
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Exodus / Estonian National Symphony Orchestra, conductor Paavo Järvi

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Every one of us is bound by gravitational force, but our subconscious desire to defy it is responsible for a flight motif entering our dreams. We are tied to our body and a specific space-time, but the idea of a soul that endures beyond the borders of our perceptions and in spite of the destruction of the body, has pursued humankind since the days of old. From time to time we want to escape, we want a new and better world, a new EXODUS. Every human life taken by itself is just this – an EXODUS.
And this music is nothing more than one such peregrination, one composer’s subjective sound imagery of the power that is capable of overcoming the insurmountable.

Erkki-Sven Tüür

1999
15'
symphony orchestra: 3343, 6331, 1+4, piano, strings
Fp: City of Birmingham Symphony Orchestra, conductor Paavo Järvi; October 26, 1999, Symphony Hall, Birmingham, UK
FpEst: Estonian National Symphony Orchestra, conductor Paavo Järvi; March 22, 2001, Estonia Concert Hall ,Tallinn
Commissioned by: City of Birmingham Symphony Orchestra & Paavo Järvi
CD "Exodus", ECM (2003); City of Birmingham Symphony Orchestra, conductor Paavo Järvi
CD „Zeit-Ton 14.10.2003 : Nebenan Estland : Ein Porträt des Starkomponisten Erkki Sven Tüür”, ORF (2003); City of Birmingham Symphony Orchestra, cond. Paavo Järvi, Isabelle van Keulen (violin), Tallinn Chamber Orchestra, cond. Tõnu Kaljuste
Publisher: Edition Peters
Symphony No. 3
- Audio
Symphony No. 3: Contextus I / Estonian National Symphony Orchestra, conductor Arvo Volmer

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Perhaps what I do in my Symphony No. 3 is look at one journey from two different perspectives. And this is why it has two movements. I don’t see any point in retelling these two different and yet so similar stories. I am not sure if the listener will get a richer experience if I initiate him or her into certain details of the musical structure (that everything starts from the central tone G, around which a 12-tone series little by little forms, which is one of the thematic foundations on which the entire work is built; diatonic theme created by the motoric repetition of the same G becomes the other and the relationship between them is one of the most important sources of tension in the symphony, etc, etc.)
For me, writing music is above all a process of organizing meaningful movement of spiritual and emotional energy. No matter what sort of dramatic space you are creating, one has to make rational and intuitive decisions. The fact that from the aspect of psychology of perceptions I am especially interested in tensions created in the interaction of atonal and tonal material, is no news – these tensions existed already in the Symphony No. 2 written ten years ago.
Actually, I would like some writer to turn a novel of theirs into a short capsule musical work a couple minutes long. This would help us better understand the essential, for which reading is not enough…

Erkki-Sven Tüür

1. Contextus I
2. Contextus II
1997
30'
symphony orchestra: 2222, 4231, 1+3, harp, strings
Fp: Estonian National Symphony Orchestra, conductor Arvo Volmer; April 4, 1997, Tallinn, Estonia
Commissioned by: Estonian National Symphony Orchestra
CD “Flux”, ECM (1999); Vienna Radio Symphony Orchestra, conductor Dennis Russell Davies
Publisher: Edition Peters
Zeitraum
- Audio
Zeitraum / Royal Stockholm Philharmony Orchestra, conductor Paavo Järvi

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1992
15'
symphony orchestra: 2222, 4221, 1+4, strings
Fp: Estonian National Symphony Orchestra, conductor Arvo Volmer; March 27, 1992, Tallinn, Estonia
Commissioned by: Estonian Radio
CD „Action Passion Illusion”, Warner Classics (2005); Nordic Symphony Orchestra, conductor Anu Tali
CD “Searching for Roots”, Virgin (1997); Royal Stockholm Philharmonic Orchestra, conductor Paavo Järvi
CD “Estonia. Pärt. Tüür. Tubin”, Virgin (2002); Royal Stockholm Philharmonic Orchestra, conductor Paavo Järvi
Publisher: Fennica Gehrman
Searching for Roots (Hommage a Sibelius)
- Audio
- Video
Searching for Roots (Hommage à Sibelius) / Estonian National Symphony Orchestra, conductor Vitali Katajev

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1990
7'
symphony orchestra: 3332, 6330, 1+4, marimba, strings
Fp: Helsinki Philharmonic Orchestra, conductor Eri Klas; March 4, 1997, Helsinki, Finland
Commissioned by: Helsinki Philharmonic Orchestra
CD “Searching for roots”, Virgin (1997); Royal Stockholm Philharmonic Orchestra, conductor Paavo Järvi
CD “Estonia. Pärt. Tüür. Tubin”, Virgin (2002); Royal Stockholm Philharmonic Orchestra, conductor Paavo Järvi
CD “Hommage a Sibelius”, Ondine (1991); Helsinki Philharmonic Orchestra, conductor Sergiu Comissiona
Publisher: Edition Peters
Symphony No. 2
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Symphony No. 2: I Vision / USSR State Symphony Orchestra, conductor Paul Mägi

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1. Vision
2. Process
1987
27'
symphony orchestra: 3043, 6331, 1+4, synthesizer, piano, strings
Fp: Estonian National Symphony Orchestra, conductor Paul Mägi; November 22, 1988, Tallinn, Estonia
Commissioned by: Estonian National Symphony Orchestra
CD "Finlandia" (1994, 1996); USSR State Symphony Orchestra of the Ministry of Culture, conductor Paul Mägi
CD „Tüür. Conversio, Lighthouse, Symphony no. 2, Architectonics III & IV”, Warner Classics : Apex (2003); USSR State Symphony Orchestra, conductor Paul Mägi
Publisher: Fennica Gehrman
Manuscript
Symphony No. 1
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Symphony No. 1 / Estonian National Symphony Orchestra, conductor Vello Pähn

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1. Andante
2. Largo
3. Con moto
1984
30'
symphony orchestra: 2222, 4231, 1+3, harp, strings
Manuscript

Works for chamber orchestra

Crystallisatio
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Crystallisatio / Tallinn Chamber Orchestra, conductor Tõnu Kaljuste

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1995
12'
chamber orchestra: 3 flutes, campanelli, strings, (live electronics ad libitum)
Fp: Estonian Youth Philharmonic Orchestra, conductor Toomas Kapten; March 28, 1995, Tallinn, Estonian Music Days Festival
Commissioned by: Estonian Composers' Union
CD “Crystallisatio”, ECM (1996); Tallinn Chamber Orchestra, conductor Tõnu Kaljuste
Publisher: Edition Peters
Manuscript
Architectonics VI [Arhitektoonika VI]
- Audio
Architectonics VI / NYYD Ensemble, conductor Olari Elts

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1992
12'
chamber orchestra: flute, clarinet, vibraphone, strings
Fp: members of the Avanti Chamber Orchestra; August 21, 1992, Helsinki, Finland
FpEst: Kirti-Kai Loorand (viola), Eva Metsamart (cello), Madis Metsamart (vibraphone), Tarmo Pajusaar (clarinet), Mihkel Peäske (flute), Maiu Põldmäe (violin), Kaido Välja (violin), conductor Olari Elts; November 26, 1992, Estonia Concert Hall, Nyyd Festival
Commissioned by: Helsinki Festival
CD “Crystallisatio”, ECM (1996); Tallinn Chamber Orchestra, conductor Tõnu Kaljuste
CD “Erkki-Sven Tüür: Architectonics”, Finlandia (1996); NYYD Ensemble, conductor Olari Elts
CD “Erkki-Sven Tüür: Architectonics”, CCn’C (2001); Absolute Ensemble, conductor Kristjan Järvi
Publisher: Warner/Chapell Music Finland

Works for string orchestra

Deep Dark Shine
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Deep Dark Shine / Tallinn Chamber Orchestra, conductor Tõnu Kaljuste

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Deep Dark Shine

Erkki-Sven Tüür: “When I began composing this work in the early months of 2020, I was thinking of the fascination of the dark and unknown depths that we perceive as both frightening and alluring. We can feel something like this when we gaze into the starry sky at night, or imagine the ocean depths where fluorescent life forms move. In the deepest layers of our subconscious, we can also experience a certain dim glow. In the spring of 2022, however, this music took on a completely different connotation. With the wisdom of retrospection, I can say that I do remember my state of mind a little over two years ago: there was an underlying anxiety about something coming that would bring many changes. Indeed, the planned premiere was cancelled because of the pandemic. But the forces of darkness that the world is once again facing were undoubtedly beyond the imagination of most people. Including mine. Today, this music sounds to my ears like a scream from the depths. In the hope that, even in the darkest hour of darkness, there is still a glimmer of light. The musical architecture is based on polyphonic, constantly evolving chords, with a melodic line that gradually grows from the central sound, presented by the violas. These chords are based on a dark layer of contrabasses and cellos, above which a layer of violins is reflected in a luminous cloud. Time and again, the musical development of motifs originates in the low registers: cellos and contrabasses. They are gradually joined by violas and violins. Now and again, we perceive two parallel layers moving at different speeds: rapid movements that gather and then disperse, contrasted by a slow flow.”

2020
12'
string orchestra (min. 54332)
Fp: Ensemble Resonanz, Scottish Ensemble, Trondheim Soloists, conductor Catherine Larsen-Maguire; April 21, 2022, Barrowland Ballroom, Glasgow, UK, The Bridge Festival
FpEst: Tallinn Chamber Orchestra, conductor Tõnu Kaljuste; March 17, 2023, Estonian Academy of Music and Theatre Concert Hall
Commissioned by: The Bridge Partners: Scottish Ensemble, Ensemble Resonanz, Trondheim Soloists and PLMF Trust with support from the Creative Europe program of the European Union
Publisher: Edition Peters
The Sun Boat [Päikesevene]

1981/2020
10'
string orchestra
Fp: Old Town Educational College STring Orchestra, conductor Rasmus Puur; November 4, 2020 Tapa Culture House, November 6, 2020 Kullamaa Culture House, November 8, 2020 House of Blackheads, Tallinn
L'ombra della croce
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L'ombra della croce / Tallinn Chamber Orchestra, conductor Tõnu Kaljuste

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L’ombra della croce was written on Tõnu Kaljuste’s request especially for ECM album "Gesualdo". The initial motif of Gesualdo’s motet "O Crux Benedicta" serves as a basis for L’ombra della croce. While composing this piece, I imagined myself back to the beginning of the 1990s – by this time I had composed the string orchestra pieces Insula deserta and Action. Passion. Illusion. I am aware that my musical style might have developed in a direction entirely different to the current one – represented by Symphonies No. 3-8, all my instrumental concertos and opera Wallenberg – and so I set off based on this other, imaginary path. It was peculiar to realise that this "other me" is still ready for action despite being in a dormant state.

L’ombra della croce is dedicated to my friend Manfred Eicher – encompassing both early and contemporary music, he created the ECM New Series that has accumulated an admirable catalogue over time.

Erkki-Sven Tüür

Dedicated to Manfred Eicher
2014
8'
string orchestra
Fp: Tallinn Chamber Orchestra, conductor Tõnu Kaljuste; February 15, 2014, Tallinn Methodist Church
CD "Gesualdo", ECM (2015); Tallinn Chamber Orchestra, conductor Tõnu Kaljuste
Flamma
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Flamma / Silver Ainomäe (cello), Tallinn Chamber Orchestra, conductor Risto Joost

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2011
17'
string orchestra
Fp: Australian Chamber Orchestra, conductor Richard Tognetti; November 5, 2011, Canberra, Llewellyn Hall
FpEst: Tallinn Chamber Orchestra, conductor Risto Joost; April 27, 2012, Tallinn House of Brotherhood of Black Heads
Psalmody [Psalmoodia]

1993/2011
22'
string orchestra
CD "Gesualdo", ECM (2015); Tallinn Chamber Orchestra, conductor Tõnu Kaljuste
The Path and the Traces [Rada ja jäljed]
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The Path and the Traces / Tallinn Chamber Orchestra, conductor Tõnu Kaljuste

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I spent a few weeks on the island of Crete this March and took part in a lavish church service in the local cathedral to mark the beginning of Lent. It had a transcendent effect on me. The traditional singing of the ancient Greek church as sung by the fantastic cantors resounded nearly throughout the service. As a result of the experiences I gained I started composing a new work right there on Crete and called Tõnu who thought that an concert dedicated to the re-opening of St John’s Church in Tartu would be a suitable venue. I also thought that it would be my gift to Arvo Pärt on the occasion of his birthday.
The harmonics on C strings of the violas and cellos form an axis that passes through the entire work and all of the material. The groups of chords form sound pillars, between which lingers a gradually thickening polyphony of melismatic melodies. As my composition method, I used the vectorial method that has become my hallmark in the last few years. The growing intensity on the emotional level reaches its limits at a certain point, and all that follows is a premonition of something that remains on the other side of the border.
On a more personal level, what gives this music an additional dimension is that the period in which it was written coincided with the passing of my father.

Erkki-Sven Tüür

Dedicated to Arvo Pärt
2005
12'
string orchestra
Fp: Tallinn Chamber Orchestra, conductor Tõnu Kaljuste; June 29, 2005, St. John' s Church, Tartu, Estonia
CD "Gewaltakt", PASCHENrecords (2019); Ensemble Reflektor, conductor Thomas Klug
CD „Magma”, EMI Virgin Classics (2007); Estonian National Symphony Orchestra, conductor Paavo Järvi
Publisher: Edition Peters
Aqua
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Aqua / Tallinn Chamber Orchestra, conductor Tõnu Kaljuste

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2003
11'
string orchestra
Fp: Tallinn Chamber Orchestra, conductor Tõnu Kaljuste; January 29, 2004, St. Nicholas's Church, Tallinn
Publisher: Edition Peters
Lighthouse
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Lighthouse / Vienna Radio Symphony Orchestra, conductor Dennis Russell Davies

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Stravinsky has said once: some composers are like lighthouses whose powerful influence can be seen over the centuries. This explains the essence of the title of my work. At the beginning I was planning to use some direct quotations from Johann Sebastian Bach but after a certain period of working I felt that the idea is overexploited. Actually, after the Symphony of Luciano Berio it is quite hard to create something more significant by using direct loans from the past.

My piece communicates with the Bach’s era in a more abstract way. The key motif is, like some musicologists have called it, a cross motif. We can find it in many works of Bach and other baroque masters. I have developed it by creating gradually shifting textures and by hidding it in the middle of very different musical material. Transitions between tonal and atonal sections are also an important part of the conception. There are many rhythmically contradictional layers going on at the same time creating an illusion of simultaneously played different tempis.

To say it in a more abstract way: the light can be seen sometimes very brightly, sometimes in the mist.

Erkki-Sven Tüür

1997
9'
string orchestra
Fp: Bachwoche Ansbach Ensemble, conductor Thomas Hengelbrock; August 5, 1997, Ansbach, Germany
FpEst: Hortus Musicus Academic Orchestra, conductor Andres Mustonen; April 15, 1998, Tallinn, Estonian Music Days Festival
Commissioned by: Bachwoche Ansbach
CD “Flux”, ECM (1999); Vienna Radio Symphony Orchestra, conductor Dennis Russell Davies
CD "Finlandia" (2000); Ostrobothnian Chamber Orchestra, conductor Juha Kangas
CD “Desert Island”, Finlandia (2001); Ostrobothnian Chamber Orchestra, conductor Juha Kangas
CD „Tüür. Conversio, Lighthouse, Symphony no. 2, Architectonics III & IV”, Warner Classics : Apex (2003); Gidon Kremer (violin), Vadim Sacharov (piano), Nyyd-Ensemble, cond. Olari Elts, Ostrobothnian Chamber Orchestra, cond. Juha Kangas, USSR State Symphony Orchestra, cond. Paul Mägi
Publisher: Edition Peters
Action
- Audio
Action / Tallinn Chamber Orchestra, conductor Risto Joost

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Together with "Passion" and "Illusion" forms the cycle "Action.Passion.Illusion"
1993
5'
string orchestra
Fp: Tallinn Chamber Orchestra, conductor Tõnu Kaljuste; October 25, 1993, Tallinn
CD „Action Passion Illusion”, Warner Classics (2005); Nordic Symphony Orchestra, conductor Anu Tali
Publisher: Fennica Gehrman
Illusion
- Audio
Illusion / Tallinn Chamber Orchestra, conductor Tõnu Kaljuste

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Together with "Action and "Passion" forms the cycle "Action.Passion.Illusion"
1993
4'
string orchestra
Fp: Tallinn Chamber Orchestra, conductor Tõnu Kaljuste; October 25, 1993, Tallinn
CD „Action Passion Illusion”, Warner Classics (2005); Nordic Symphony Orchestra, conductor Anu Tali
CD “Erkki-Sven Tüür: Crystallisatio”, ECM (1996); Tallinn Chamber Orchestra, conductor Tõnu Kaljuste
Publisher: Fennica Gehrman
Passion
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Passion / Tallinn Chamber Orchestra, conductor Tõnu Kaljuste

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Together with "Action" and "Illusion" forms the cycle "Action.Passion.Illusion"
1993
7'
string orchestra
Fp: Tallinn Chamber Orchestra, conductor Tõnu Kaljuste; October 25, 1993, Tallinn
CD „Action Passion Illusion”, Warner Classics (2005); Nordic Symphony Orchestra, conductor Anu Tali
CD “Desert Island”, Finlandia (2001); Ostrobothnian Chamber Orchestra, conductor Juha Kangas
CD “The Heino Eller School”, Finlandia (1998); Ostrobothnian Chamber Orchestra, conductor Juha Kangas
CD “Erkki-Sven Tüür: Crystallisatio”, ECM (1996); Tallinn Chamber Orchestra, conductor Tõnu Kaljuste
Publisher: Fennica Gehrman
Insula deserta
- Audio
Insula deserta / Estonian National Symphony Orchestra, conductor Arvo Volmer

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1989
9'
string orchestra
Fp: Ostrobothnian Chamber Orchestra, conductor Juha Kangas; October 8, 1989, Kokkola, Finland
Commissioned by: Ostrobothnian Chamber Orchestra
CD "Awakening", Ondine (2011); Sinfonietta Riga, conductor Daniel Reuss
CD “Searching for Roots”, Virgin (1997); Royal Stockholm Philharmonic Orchestra, conductor Paavo Järvi
CD “Estonia – Pärt Tüür Tubin”, Virgin (2002); Royal Stockholm Philharmonic Orchestra, conductor Paavo Järvi
CD “Desert Island”, Finlandia (2001); Ostrobothnian Chamber Orchestra, conductor Juha Kangas
CD “Peteris Vasks: Cantabile and other Baltic works for string orchestra Volume 2”, Finlandia (1995); Ostrobothnian Chamber Orchestra, conductor Juha Kangas
CD “L’expérience estonienne”, Finlandia (1996); Ostrobothnian Chamber Orchestra, conductor Juha Kangas
CD “Estonian Experience”, Finlandia (1995); Ostrobothnian Chamber Orchestra, conductor Juha Kangas
Publisher: Edition Peters
Manuscript

Works for wind orchestra

Happy Hour

1999
3'
wind orchestra
Fp: The Royal Norwegian Navy Band, conductor Lt. Col. Christer Johannesen
Commissioned by: The Norwegian Council for Cultural Affairs
CD “21 Marches for the 21st Century”; Simax (2000); The Royal Norwegian Navy Band, conductor Lt. Col. Christer Johannesen

Works for other orchestras

In the Memory of Clear Water

1990
8'
wind symphony orchestra: 4440, 5562, 6, piano
Fp: American Wind Symphony Orchestra, conductor Robert Austin Boudreau
Commissioned by: American Wind Symphony Orchestra
CD "Persisting Winds", World Wind Music (2011); Symphonic Wind Orchestra Harmonie St. Michaël of Thorn, conductor Ivan Meylemans
Publisher: Edition Peters

WORKS FOR SOLO INSTRUMENT(S) AND ORCHESTRA

Works for flute and orchestra

Flute Concerto "Lux Stellarum"
- Video
Flute Concerto "Lux Stellarum"

I have always wanted my music to invigorate the imagination of the audience. The titles I have given to my compositions also serve the same purpose; they should guide the listener’s train of thought onto certain paths and hopefully not seem like superficial illustrations. In any case, this flute concert is not programme music in its ordinary sense and I am not trying to describe cosmic processes or the movements of celestial bodies.

On the other hand, I also wish to push the thoughts of the audience towards new unfathomable dimensions. Once, I saw a midnight landscape bathing in starlight in Damaraland, Namibia; there was no moon, and the Milky Way glimmered across the sky like a glowing blue cloud. All the stars were brighter and bluer, not yellow like above my home island Hiiumaa – there is also no light pollution, but the atmospheric conditions are entirely different…

In these moments, the inability of man to actually grasp the scope of the universe, both in time and space, becomes particularly obvious. This emotion, the sense of solemn awe and wonder, and also a sort of eeriness is what Lux Stellarum is about.

The flute is like a lonely spiritual voyager moving around in his imagination between unfathomable temporal and spatial dimensions, trying to penetrate the borders of perception. Can we sense the movement of “dancing asteroids” and “floating galaxies”, and the lifespan of stars? Is the possibility of our existence in a timeframe similar to that of the stars one of our deepest and most desirable dreams?

All great civilisations have interpreted the starlit sky – even our veins are full of “stardust” and the notion that we are part of all this should increase our responsibility to this magnificent planet we are lucky to live on. It should make us humble in the profoundest sense of the word. These are the thoughts that accompanied me when writing this concert for the fantastic flutist Emmanuel Pahud.

Translation: Pirjo Jonas

I Fading Stardust
II Dancing Asteroids
III Litany of the Dying Stars
IV Floating Galaxies
2021
28'
solo flute, symphony orchestra: 2233, 4331, 1+3, harp, piano, strings
Fp: Emmanuel Pahud (flute), Berliner Philharmoniker, conductor Paavo Järvi; May 26, 2022, Philharmonie Berlin, Germany
Commissioned by: The Berlin Philharmonic, Tonhalle-Orchester Zürich
Publisher: Edition Peters
Solastalgia
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Solastalgia / Vincent Cortvrint (piccolo), Estonian National Symphony Orchestra, conductor Olari Elts

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Solastalgia (/sɒləˈstældʒə/) is a neologism that describes a form of psychic or existential distress caused by environmental change, such as mining or climate change. Coined by philosopher Glenn Albrecht in 2003, it was formed from a combination of the Latin word sōlācium (comfort) and the Greek root -algia (pain). The first article published on this concept appeared in 2005.

As opposed to nostalgia – the – the melancholia or distress experienced by individuals when separated from a loved home (or homesickness)—“solastalgia” is the distress that is produced by environmental change impacting on people while they are directly connected to their home environment.

I mostly live in Hiiumaa (an island in the Baltic Sea), in a farm on Kõpu peninsula. When the wind happens to blow from the north, I can hear the waves break on the other side of the forest. There are no other houses in sight. From the windows of my studio, I can often spot deer, foxes and cranes. It takes about ten minutes to walk through the protected forest down to the beach. And I feel how every day my life in this miraculous place grows increasingly rare and somehow unreal. Like some sort of an illusion.

Where I live, the impact of global climate change manifests itself in that winters are no longer winters and summers no longer summers. In my childhood it was ordinary for cars to drive to mainland on a 25 km ice bridge in the winter. There was a lot of snow. And summers were so warm that swimming in the sea was the most natural thing in the world. Today’s reality is that the difference between winter and summer equinoxes is often only 4-5 degrees. There is no place to hide from the ubiquitous environmental change caused by human activity.

An inexplicable anguish creeps into my soul when I see the vast areas of chopped down forests; the onslaught of oil palm plantations when I travel in Southeast Asia; when I read about gigantic ice blocks breaking off the mainland in Antarctica; the fields of garbage floating around in the ocean, etc. Why am I writing about this here? Do I have any solutions to offer? No, I don’t. And this composition won’t make the world a better place either. At best, it’s a lone voice in the wilderness – something that echoes the most burning conflicts of contemporary reality. The above was just to explain that I didn’t choose the title on a whim or due to the word’s peculiar sound.

The piccolo in this score is the catalyst of great processes in the orchestra. Its effect and essence are perhaps the most similar to the “butterfly” pattern adopted by the American mathematician and meteorologist Edward Lorenz. Initially, the piccolo phrases are replied to by a “same-gender” sound: the flute, alto flute and bass flute. The introduction of more melodious motifs is accompanied by the entire woodwind section and, gradually, by the whole orchestra. It is remarkable how the orchestral waves inspired by the piccolo grow more intense and then slowly emancipate. Everything flows in the direction of increasing rhythmical activity and expanding tessitura, spirally developing in waves that accumulate more and more energy.

The harmonic plan evolves according to the consistent alteration of the horizontal or vertical organisation principle. Resembling repeatedly converging and diverging rays, the structure of musical lines on the horizontal level is connected to the structure of huge chord pillars on the vertical level. A sequence of certain key intervals spurs infinite derivatives, which, though growing and diminishing, are nevertheless tied to the original DNA. I have called my composition method “vectorial”, as I develop my musical material according to factors such as “the angle of ascent or descent”, “curve characteristics”, the direction of energy accumulation and eruption, etc. I want to emphasise that although this sounds extremely artificial, the decisions I make when composing are still largely based on intuition. Moreover, in my imagination the inner energy and dramatic development becomes an abstract visual chart that very naturally guides me to use these vectorial methods in shaping the musical details. And when I listen to my music, the most important thing is whether its developmental arc sounds natural or not. Like a tree that grows from a small seed – when it’s just a tiny sprout shooting from the earth, we haven’t the slightest idea of what form it would take in decades. Having achieved its final shape, however, it’s the sole fundamentally intrinsic outcome it could have reached.

Erkki-Sven Tüür (translation Pirjo Püvi)

2015-2016
18'
solo piccolo, symphony orchestra: 3333, 4331, 1+3, piano, strings
Fp: Vincent Cortvrint (piccolo), Royal Concertgebouw Orchestra, conductor Stéphane Denève; December 6, 2017, Amsterdam Concertgebouw
FpEst: Vincent Cortvrint (piccolo), Estonian National Symphony Orchestra, conductor Olari Elts; October 4, 2019, Estonia Concert Hall, Tallinn
Commissioned by: Royal Concertgebouw Orchestra, London Philharmonic Orchestra, St. Louis Symphony Orchestra
CD "Horizon 9", Royal Concertgebouw Orchestra (2019); Vincent Cortvrint (piccolo), Royal Concertgebouw Orchestra, conductor Stéphane Denève
Publisher: Edition Peters

Works for clarinet and orchestra

Clarinet concerto "Peregrinus ecstaticus"
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Clarinet Concerto / Christoffer Sundqvist (clarinet), Estonian National Symphony Orchestra, conductor Hannu Lintu

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The title of the clarinet concerto Peregrinus Ecstaticus (‘Ecstatic Pilgrim’ in Latin) offers us a hint for the interpretation of the soloist’s character.

Imagine a pilgrim’s quest, full of obstacles and hazards, towards his desired goal; his perseverance and vigour alternating with exhaustion and fatigue; conquering actual physical obstacles combined with spiritual struggles...

The composition commences with an actively progressing theme in the lower register of the clarinet, supported by percussion instruments and the pizzicato of strings. Orchestral wind instruments are introduced as the clarinet moves into higher registers. It is as if the soloist sets the orchestra in motion, gradually invigorating it. The relationship between the soloist and the orchestra becomes increasingly interactive and as the piece progresses, it becomes unclear who is influencing whom. The clarinet concerto consists of three movements that are performed attacca. The first movement also comprises three sections, as it reflects the structure of the entire piece. In the middle, cadenza-like section, time seems to stop and through this the soloist finds a new perspective and strength to continue the journey. The third and much more intense section ends with a big chord. Then, a wonderful world of microcosmos is opened up by “zooming into” the chord. This comprises the second movement that conveys introspection and illuminative colour solutions. Towards the end of the second movement, short passages with material from the third movement start cropping up and thus gradually form the transition to the third movement.

The relationship between the clarinet and the orchestra is in constant fluctuation, as impatient struggles and rapid ascents and descents are followed by focusing on moments that may transform into extensive enlightening visions in a different temporal dimension; these are, in turn, followed by ecstatic bursts of joy, etc.

However, this composition is not an attempt to describe such a journey. On the most abstract level, this is the very journey. I came up with this story and the title of the piece after I had already finished the score. Thus, this is not programme music. As I have also said earlier, I would be delighted if this piece inspired listeners to create their own “stories”, in the hope that the music touches the creative core of the audience.

Erkki-Sven Tüür
Translation: Pirjo Püvi

2012
22'
clarinet, symphony orchestra: 2232, 4230, 1 + 2, strings (66432)
Fp: Christoffer Sundqvist (clarinet), Finnish Radio Symphony Orchestra, conductor Hannu Lintu; September 4, 2013, Helsinki Music Centre, Finland
FpEst: Christoffer Sundqvist (clarinet), Estonian National Symphony Orchestra, conductor Hannu Lintu; March 28, 2014, Estonia Concert Hall, Tallinn
Commissioned by: Finnish Radio Symphony Orchestra
CD „Erkki-Sven Tüür. „Peregrinus Ecstaticus. Le poids des vies non vécues. Noesis“, Ondine (2017). Finnish Radio Symphony Orchestra, Christoffer Sundqvist (clarinet), Pekka Kuusisto (violin), conductor Hannu Lintu
Publisher: Edition Peters

Works for bassoon and orchestra

Concerto for Bassoon and Orchestra [Fagotikontsert]
- Audio
Concerto for Bassoon and Orchestra / Martin Kuuskmann (bassoon), Estonian National Symphony Orchestra, conductor Mihhail Gerts

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Cello concerto version for bassoon and orchestra
2003
21'
solo bassoon, symphony orchestra: 1111, 1100, vibraphone, strings
Fp: Martin Kuuskmann (bassoon), Umea Symphony Orchestra, conductor Kristjan Järvi; May 15, 2003, Umea
FpEst: Martin Kuuskmann (bassoon), Estonian National Symphony Orchestra, conductor Mihhail Gerts; March 25, 2011, Estonia Concert Hall, Estonian Music Days Festival
Publisher: Edition Peters

Works for percussion and orchestra

Magma (Symphony No. 4)
- Audio
Magma (Symphony No 4) / Evelyn Glennie (perc.), Estonian National Symphony Orchestra, conductor Olari Elts

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Figuratively speaking, the dramatic tension in Magma comes from a meeting of a dark granite mass and a transparent cloud of crystal latticework. We see this contrast right at the beginning: after a “chord pyramid” based on the full sound of an orchestra rises from the low registers to the heights, we are discharged into a shining, cold space. This is formed by rapid passages on the glockenspiel, surrounded on one side by a texture containing an echo effect consisting of short but even, lengthening rapid replies from the winds (no aleatory by the way); and on the other by a string pad laid down senza vibrato in very long note lengths. The musical source material is common to both contrasting blocks and is based on six 17-note scales. They are varied and synthesized among themselves throughout the entire course of the work. This takes place on both a horizontal and vertical level. Subsequently the motion eases up, and we encounter the next “chord pyramids” played fff, then again the glockenspiel, vibraphone and winds at a notch more intensity and the “pyramids” a third time. Further development is structured on the basis of serialist and heterophonic principles. The percussion soloist makes the vibraphone, winds and bongos resonate to the movement of the masses of sound created by strings until he finally moves to the drumset. The first half of the work, which ratchets up the tension, culminates in an improvisational solo, which melts into the next “chord pyramid”. The tempo slows down, a descent to a cooler trench takes place; at times this section is like the reflection of the initial crystal cloud in the bottomless depths. Then the marimbaphone gives way to the congas, and from this point, everything is a long rise to the final culmination.

In Magma, I have placed special emphasis on timbre harmonies (by this I mean that certain groups of instruments playing together represent harmonic structure based on definite intervals, others on different ones, etc) and uniting a sonoristic concept with the concept of harmonic crowdedness. I am grateful from the bottom of my heart to the fantastic percussionist Evelyn Glennie, who suggested that I write her a percussion concerto, which turned into a symphony featuring a percussion soloist… and to de Filharmonie, who commissioned the piece.

Magma – the hot molten matter in the earth’s core, consisting of a number of oxides, water and dissolved gases.

Erkki-Sven Tüür

concerto for percussion and symphony orchestra
in 1 movement
2002
37'
percussion, symphony orchestra: 3042, 4331, strings
Fp: Evelyn Glennie (percussion), Royal Flanders Philharmonic Orchestra, conductor Kwamé Ryan; December 12, 2002, Koningin Elisabethzaal, Antwerp, Belgium
FpEst: Evelyn Glennie (percussion), Estonian National Symphony Orchestra, conductor Olari Elts; December 10, 2004, Vanemuine Concert Hall, Tartu, Estonia
Commissioned by: Evelyn Glennie and the Royal Flanders Philharmonic Orchestra
CD „Magma”, EMI Virgin Classics (2007); Evelyn Glennie (percussion), Estonian National Symphony Orchestra, conductor Paavo Järvi
Ardor
- Audio
Ardor III mov. / Pedro Carneiro (marimba), Estonian National Symphony Orchestra, conductor Olari Elts

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Ardor (in Latin) – heat, flame, glow, flash, sparkle, shine. The primary tone in the marimba concerto is C of great octave - the lowest note on the five-octave marimba. I have always been captivated by the low register of the marimba. The whole work in fact begins with a series of notes based on that low C (C-G-E-Db-B1-Bb2-D3-F3-Ab3). The harmonic developmental processes and the rest of the series of the entire concerto are derived from that progression. The models on this so-called “rhythmic cellular level” also serve as the subsequent rhythmic developments in the first and third movements. The second movement creates a contrast with its treatment of “frozen time”, as it were. Here long, song-like lines issue from the marimba, and based on these the strings form slowly changing polyphonic fields of up to 12 voices. The marimba inserts unexpected rapid interjections, to which the winds respond with imitations of digital delay echo effects.
As in my previous concertos (the Cello and Violin concertos) the orchestra in Ardor is not only an accompanying “instrument” but rather is constantly in the interactive role of “rethinker”, “disrupter”, or “co-resonator”. The relationship between soloist and orchestra is one of the primary variables in this piece. The tapestry between them becomes closest-knit in the third movement, before the ending. As in my earlier works, here modal techniques and serial technique are united, but more than ever before, I take an in-depth approach to dealing with harmonic relationships.

Erkki-Sven Tüür

Marimba Concerto
in 3 movements
2001
25'
solo marimba, symphony orchestra: 1111, 1110, 1, strings
Fp: Pedro Carneiro (marimba), BBC National Orchestra of Wales, conductor Petri Sakari; January 25, 2002, St. David’s Hall, Cardiff, Wales
FpEst: Pedro Carneiro (marimba), Estonian National Symphony Orchestra, conductor Olari Elts; March 1, 2003, Estonia Concert Hall, Tallinn
Commissioned by: Pedro Carneiro
CD „Oxymoron”, ECM (2007); Pedro Carneiro (marimba), Estonian National Symphony Orchestra, conductor Olari Elts
Publisher: Edition Peters

Works for violin and orchestra

Violin Concerto No. 3 "Kõnelused Tundmatuga" ("Talks with the Unknown")

This title "Kõnelused Tundmatuga" / "Conversations with the Unknown" refers to different possible conversations with an ‘other self:’ an inner voice (conscience), divinity (in the most abstract meaning), or with someone you do not know but wish to have as a close friend. The conversation is always a dialogue with a certain projection of imagination which is always changing and evolving. The violin soloist is like an individual in the middle of a jungle of ideas, values and so on, trying to bring light and better understanding to one’s journey through the life, seeking answers for the most existential questions.

My orchestral music always uses polyphonic textures consisting of several layers and individual lines, the density of which gradually grows or falls away. This general approach is present also in this concerto. The three movements of the concerto are performed attacca (slow – fast – slow). However, there is always a feeling of different tempi sounding simultaneously in different layers. The first movement ends with a short cadenza which leads into a groovy middle movement. After the huge orchestral culmination, we enter into a different sound world: this is the door to the third movement, more mysterious and atmospheric, sometimes sombre and opaque. The solo violin plays against constantly-shifting acoustic conditions. It is surrounded by ‘overpainted’ musical spaces. At the very end we come to a different light - perhaps this is the moment of full understanding of the qualities that the “Unknown” always tried to gently lead us to.

Erkki-Sven Tüür

2020
35'
solo violin, symphony orchestra: 3333, 4331, 1+3, harp, piano, string
Fp: Vadim Gluzman (violin), Oregon Symphony, conductor David Danzmayr; January 27, 2023 Salem, Willamette University, Smith Auditorium, USA; January 28, 29 and 30, 2023 Portland, Arlene Schnitzer Concert Hall, USA
Commissioned by: Frankfurt Radio Symphony, Gothenburg Symphony Orchestra, Oregon Symphony
Publisher: Edition Peters
Violin Concerto No. 2 „Angel’s Share“
- Audio
Violin Concerto No. 2 / Hugo Ticciati (violin), Tallinn Chamber Orchestra, conductor Risto Joost

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2018
22'
violin, chamber orchestra: percussion, strings
Fp: Hugo Ticciati (violin), Tallinn Chamber Orchestra, conductor Risto Joost; May 3, 2018, Tallinn, House of Blackheads
Publisher: Edition Peters
Salve Regina

2005/2012
6'
violin, symphony orchestra: 1111, 0010, percussion, organ, strings
Fp: Andres Mustonen (violin), Netanya Kibbutz Orchestra, conductor Andres Mustonen; October 31, 2012, Tel Aviv Museum of Art
Publisher: Edition Peters
Violin Concerto [Viiulikontsert]

in 3 movement
1999
32'
solo violin, symphony orchestra: 2232, 4231, 1+3, strings
Fp: Isabelle van Keulen (violin), Frankfurt Radio Symphony Orchestra, conductor Hugh Wolff; September 16, 1999, Alte Oper, Frankfurt, Germany
FpEst: Isabelle van Keulen (violin), Symphony Orchestra of the Estonian National Opera, conductor Paul Mägi; November 23, 1999, Estonia Concert Hall, Tallinn, NYYD Festival
Commissioned by: Frankfurt Radio Symphony Orchestra
CD “Erkki-Sven Tüür: Exodus”, ECM (2003); Isabelle van Keulen (violin), City of Birmingham Symphony Orchestra, conductor Paavo Järvi
CD „Zeit-Ton 14.10.2003 : Nebenan Estland : Ein Porträt des Starkomponisten Erkki Sven Tüür”, ORF (2003); City of Birmingham Symphony Orchestra, cond. Paavo Järvi, Isabelle van Keulen (violin), Tallinn Chamber Orchestra, cond. Tõnu Kaljuste
Publisher: Henry Litolff’s Verlag / Edition Peters

Works for viola and orchestra

Viola Concerto "Illuminatio"
- Audio
- Video
Viola Concerto / Lars Anders Tomter (viola), Estonian National Symphony Orchestra, conductor Olari Elts

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„Illuminatio“ for viola and orchestra could be seen as a pilgrimage towards eternal light. Then the music starts to grow like a plant from the seed. The basic particles for the viola part cell are major 2nd which flows into unison through glissando and the subsequent overtone tremolo.

The musical development follows a very organic and logic waveform, each wave bigger and stronger than previous. The more we reach closer to the end, the more orchestral part gets agitated and even „runs over“ the soloist at the last culmination. The relationship between the soloist and the orchestra is always changing. They feed each other with continuously renewing material and build up shifting soundscapes and rhythmic layers of different intensity.

I appreciate Lars Anders Tomter and Martin Müller’s suggestion to write a work for viola and orchestra.

Erkki-Sven Tüür

2008
viola, symphony orchestra: 2222, 4221, 1+3, harp, strings
Fp: Lars Anders Tomter (viola), South Jutland Symphony Orchestra, conductor Vladimir Ziva; October 23, 2008, Alsion Concert Hall, Sonderborg, Denmark
FpEst: Lars Anders Tomter (viola), Estonian National Symphony Orchestra, conductor Olari Elts; February 20, 2009, Estonia Concert Hall, Tallinn
Commissioned by: South Jutland Symphony Orchestra, North German Radio Symphony Orchestra and Estonian National Symphony Orchestra
CD "Erkki-Sven Tüür. Illuminatio. Whistles and Whispers from Uluru. Symphony No. 8", Ondine (2018); Lawrence Power (vioola), Tapiola Sinfonietta, dirigent Olari Elts
Publisher: Edition Peters

Works for cello and orchestra

Cello Concerto No. 2 "Labyrinths of Life"

Concerto for Cello and Orchestra No. 2 "Labyrinths of Life"

I know there is no straight road
No straight road in this world
Only a giant labyrinth
Of intersecting crossroads

Federico Garcia Lorca

All three movements of this concerto (Dark, Deep, Light) are performed attacca. The first movement explores the low register of cello, with the solo line moving reaching its heights alongside explosive orchestral passages.

The second movement brings the soloist to the centre of introspection with reflections of the outside world. The cadenza - which may be somewhat surprising given the percussive techniques of the cello - and the following orchestral taking over could be seen as a certain overcoming of the crisis. The last movement represents inner liberation and the sparkling joy of perceiving it. Before the end, the soundscape becomes more and more airy and ethereal. Is it the end or a new beginning?

Erkki-Sven Tüür

1. Dark (attacca)
2. Deep (attacca)
3. Light
2023
31'
cello, symphony orchestra: 2232, 4331, 1+3, harp, strings
Fp: Nicolas Altstaedt (cello), The Bamberg Symphony, conductor Thomas Dausgaard; March 8, 2024, Bamberg Concert Hall, Joseph Keilberth auditorium, Germany
FpEst: Nicolas Altstaedt (cello), Estonian National Symphony Orchestra, conductor Olari Elts; May 17, 2024, Estonia Concert Hall, Tallinn
Commissioned by: Estonian National Symphony Orchestra, The Bamberg Symphony, The Philharmonia Orchestra London
Publisher: Edition Peters
Cello Concerto No. 1 [Tšellokontsert nr. 1]
- Audio
- Video
Cello Concerto / Silver Ainomäe (cello), Tallinn Chamber Orchestra, conductor Eri Klas

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The Cello Concert is divided into three subsections.

1) An introductory part is concentrated on an exhibition of constant change of cello’s sound over long durations. A static of cello and string section gradually increases in tension, then is intercut by sudden polytonal accents or resolves into atonal kaleidoscopic movement on the part of the woodwinds and vibraphone, organized on the basis of the serial principle. The cello part is also influenced by their movements.

2) A part that is based on active metric rhythms, where the cello has a thematic role based predominantly on a tonal foundation. From time to time it becomes diffused into abstract “clouds of sound” or alternates with serialist passages played by the woodwinds and vibraphones, which have a consistent orderly structure.

3) A slow “main part”, whose characteristic is constant change. The sound spectrum becomes constricted and expands by turns, and it is as if we perceive the journey on a metaphysical landscape where it is hard to tell the difference between sleeping and waking states.

The goal I set for myself here was not to write an incredibly virtuosic cello part. Nor did I want to create any special dialogue (or battle) between the soloist and the orchestra. One possible interpretive aspect might be the individual’s journey through an environment that is incomprehensible to him, even absurd, but which he starts trying to making sense of as he is best able, and begins loving.

Erkki-Sven Tüür

1996
20'
solo cello, symphony orchestra: 1111, 1100, vibraphone, strings
Fp: David Geringas (cello), Lausanne Chamber Orhestra, conductor Rüdiger Bohn; March 4, 1997, Lausanne, Switzerland
FpEst: David Geringas (cello), Tallinn Chamber Orchestra, conductor Tõnu Kaljuste; September 20, 1997, Estonia Concert Hall, Tallinn, VoxEstFest Festival
Commissioned by: David Geringas
CD “Erkki-Sven Tüür: Flux”, ECM (1999); David Geringas (cello), Vienna Radio Symphony Orchestra, conductor Dennis Russell Davies
Publisher: Edition Peters

Works for piano and orchestra

Leaving behind...

Leaving behind...

On a certain level the music expresses the complex of feelings one has to go through while the most dramatic changes take place in one's life.

The loss of a beloved one. Escape from the homeland. And many more, all these situations are always connected with the most violent actions in the history of mankind, called war. The cruel, absurd and inhuman way of making politics. And also this music serves as a prayer for those suffering souls.

(Source: Wise Music Classical)

2023
11'
piano, string orchestra
Fp: Rostislav Krimer (piano, conductor), East-West Chamber Orchestra; October 10, 2023, Historische Stadthalle, Wuppertal, Germany, East-West-Festival
Commissioned by: Rostislav Krimer and East-West Chamber Orchestra
Publisher: Edition Peters
Piano Concerto [Klaverikontsert]
- Audio
- Video
Piano Concerto / Thomas Larcher (piano), Estonian National Symphony Orchestra, conductor Olari Elts

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With this piano concerto I decided to restrict myself and abandon all avant-garde playing techniques – in other words, the music is played only on the keys. At any rate, playing inside the piano is not a novelty anymore. In addition, I wanted to focus particularly on contradicting and connecting the lowest and highest registers.

The first segment of music develops in increasing waves and initially the orchestra acts as a resonator; afterwards it grows more independent and also more intense. Gradually, the piano part also becomes more vigorous, focusing on technically demanding repetitive rhythmic patterns. All the musical events accumulate into the first culmination that dissolves into a light and transparent intermediate section. The harmonic idea behind this is to follow the vectorial logic of contrapuntal motion. Another intensification occurs and leads, through a more gradatory culmination, to a jazz-like part. This, in turn, surreally develops into the final culmination. The residual incandescence gives a glimpse of that “something”, which inspired this whole journey in the first place.

Erkki-Sven Tüür

2006
25'
solo piano, symphony orchestra: 2232, 4331, 1+2, strings
Fp: Thomas Larcher (piano), hr-Sinfonieorchester, conductor Paavo Järvi; November 22, 2006, Alte Oper, Frankfurt, Germany
FpEst: Thomas Larcher (piano), Estonian National Symphony Orchestra, conductor Olari Elts; February 23, 2007, Estonia Concert Hall, Tallinn
Commissioned by: hr-Sinfonieorchester
CD „Erkki-Sven Tüür. Symphony No. 7. Piano Concerto“, ECM (2014); Frankfurt Radio Symphony Orchestra, NDR Chor, conductor Paavo Järvi
Publisher: Edition Peters

Works for accordion and orchestra

Prophecy
- Audio
- Video
Prophecy (Mika Väyrynen (accordion), Estonian National Symphony Orchestra, conductor Olari Elts

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There are four movements in my accordion concerto „Prophecy“, all performed attacca. The opening movement followes waveform logic and acts like status nascendi. Alternating processes like congelation and melting, converging and dispersing are the main forces of forming the musical material. The color of accordion fades into string chord, the string chord fades into brass and so on. Everything is in constant flow. Ascending and descending whirls meet each other and leave a glittering surface behind.

The second movement gives us the perception of the pulse. Here takes place the dialogue between soloist and orchestra and the development culminates with cadenza which debouches into slow third movement. The accordion part is figurative and it descends slowly towards the lowest register only to climb up again forming then a choral-like melodic line. The forth part is a kind of continuously tension-building surreal dance.

The title „Prophecy“ refers to the extremely long and rich practice of „seeing things“ through the history of different cultures and traditions. Let us remember that often these people were met with mixed feelings by the majority of the society. They were respected, disdained, hazardous and kind of mad. However, they had access to the beyond. Also the music reflects – from my subjective point of view - the energetic levels of this phenomenon.

Erkki-Sven Tüür

2007
24'
accordion, symphony orchestra: 2222, 2220, percussion (2 players), strings
Fp: Mika Väyrynen (accordion), Turku Philharmonic Orchestra, conductor Olari Elts; October 11, 2007, Turku Concert Hall, Finland
FpEst: Mika Väyrynen (accordion), Estonian National Symphony Orchestra, conductor Olari Elts; October 21, 2007, Estonia Concert Hall, festival "Nyyd"
Commissioned by: Turku Philharmonic Orchestra and Orchestre de Bretagne
CD "Erkki-Sven Tüür. Symphony No. 5 for Big Band, Electric Guitar and Symphony Orchestra.
Prophecy for Accordion and Orchestra", Ondine (2014); Helsinki Philharmonic Orchestra, conductor Olari Elts, Nguyên Le (electric guitar), Mika Väyrynen (accordion)
Publisher: Edition Peters

Works for two or more soloists and orchestra

Noesis
- Audio
Noesis / Carolin Widmann (violin), Jörg Widmann (clarinet), Nordic Symphony Orchestra, conductor Anu Tali

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concerto for violin, clarinet and orchestra
in 3 movements
2005
solo violin, solo clarinet, symphony orchestra: 2222, 4331, 1+3, strings
Fp: Isabelle van Keulen (violin), Michael Collins (clarinet), Detroit Symphony Orchestra, conductor Neeme Järvi; June 17, 2005, Detroit, USA
FpEst: Carolin Widmann (violin), Jörg Widmann (clarinet), Nordic Symphony Orchestra, conductor Anu Tali; May31, 2009, Estonia Concert Hall, Tallinn
Commissioned by: Philharmonia & Detroit Symphony Orchestra
CD „Erkki-Sven Tüür. „Peregrinus Ecstaticus. Le poids des vies non vécues. Noesis“, Ondine (2017). Finnish Radio Symphony Orchestra, Christoffer Sundqvist (clarinet), Pekka Kuusisto (violin), conductor Hannu Lintu
De facto [De facto]

1. Action
2. Epitaph
3 electic guitars, symphony orchestra: 0000, 0340, 1+2, strings
Manuscript

Works for other instrument and orchestra

Whistles and Whispers from Uluru
- Audio
- Video
Whistles and Whispers from Uluru / Monika Mattiesen (flute), Tallinn Chamber Orchestra, conductor Lauri Sirp

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While I was composing the work for ACO and Genevieve at my countryhouse on the island of Hiiumaa on the Baltic Sea, it was a springtime full of birdsong. The trees and bushes were covered by the veil of bright fresh green color. And yet I was followed by the vision of the mysterious Uluru rock in the middle of the desert but in my inner imagination the true vision was mixed up with the surroundings of our nordic landscape. These continuously changing visions were always present, not in a firmly fixed mood but with permanently varied lightings and surroundings. That’s why I decided to give this piece a rather peculiar title „Whistles and Whispers from Uluru“. The music begins in the highest register, soloist performing rapid birdsong-like motifs on the sopranino recorder. The orchestral part consists mostly of crystalline sustained „soundclouds“, each instrument performing its own voice. So we have the feeling of both extremely slow and fast music going on simultaneously. Microintervals play quite important role by forming the harmony in the opening section. The further development carries the tendency of widening and gradual embracing of the lower register. Orchestral part gets more intense and the soloist changes to the soprano, then to the alto etc. Moments of micropolyphony step to the playground. The rhythmic drive reaches to another level in the last section. The soloist and the orchestra form a lively ensemble presenting the common „musical time“ after having been before in different „time zones“ so to say. I am grateful to Richard Tognetti, the wonderful ACO and a superb recorder player Genevieve Lacey – it has been a great pleasure to compose this piece for you!

Erkki-Sven Tüür (From the booklet of the David Oistrakh Festival, 2009)

2007
13'
solo recorder, string orchestra
Fp: Genevieve Lacey (recorder), Australian Chamber Orchestra, conductor Richard Tognetti; November 3, 2007, Canberra Theatre, Australia
FpEst: Genevieve Lacey (recorder), Festival Chamber Orchestra, conductor Kiyotaka Teraoka; July 12, 2009, David Oistrakh Festival
CD "Erkki-Sven Tüür. Illuminatio. Whistles and Whispers from Uluru. Symphony No. 8", Ondine (2018); Genevieve Lacey (recorder), Tapiola Sinfonietta, conductor Olari Elts
Publisher: Edition Peters

WORKS FOR ENSEMBLE

Transmission

I focused primarily on constantly changing texture and timbre. At first it is concentrated on one sound, then the focus shifts to the gradually filling the space with sound throughout the pitch range. It is followed by a descent into a lower register, an active rhythm emerges, then a transmission to 12-tone material takes place. Finally, the intense exposition of the initial sound makes a return.

Erkki-Sven Tüür

1996
16'
6 pianos
Fp: Piano Circus; September 10, 1996, Vale of Glamorgan Festival, Cardiff, Wales, U.K.
FpEst: Piano Circus; November 28, 1997, Tallinn, Estonia Concert Hall, NYYD Festival
Commissioned by: Piano Circus
CD “Piano Circus: Transmission”, PCD003; Piano Circus
Publisher: Edition Peters
Battle of the Spheres [Sfääride võitlus]

1982
2 flutes, 2 synthesizers, rock ensemble: organ, percussion, guitar, bass guitar
Manuscript

Duos

Unwritten Letter [Kirjutamata kiri]
- Audio
Unwritten Letter / Andres Mustonen (violin), Ivo Sillamaa (piano)

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In memoriam Giya Kancheli
2019
3'
violin, piano
Fp: Hortus Musicus; October 5, 2019, Arvo Pärt Centre, Laulasmaa, Estonia
Saltatio borealis

Saltatio borealis [Northern Dance]

Obligatory piece at the Republican Wind and Percussion Players’ Competition 2012
2011
8'
clarinet, piano
Fp: March 22, 2012, Estonian Academy of Music and Theatre, the Republican Wind and Percussion Players’ Competition 2012
Publisher: Edition Peters
Manuscript
Synergie pour violin et violoncello [Sünergia viiulile ja tšellole]
- Audio
Synergie / Harry Traksmann (violin), Kaido Kelder (cello)

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2010
10'
violin, cello
Fp: Renaud Capuçon (violin), Gautier Capuçon (cello); September 2, 2010, Chambéry Cathédrale, France
FpEst: Harry Traksmann (violin), Kaido Kelder (cello); September 27, 2011, Rotermann Salt Storage, Tallinn
Commissioned by: Renaud Capuçon, Rencontres de Musique de Chambre de Bel-Air
CD "Erkki-Sven Tüür. Lost Prayers", ECM (2020); Harry Traksmann (violin), Florian Donderer (violin), Leho Karin (cello), Marrit Gerretz-Traksmann (piano), Tanja Tetzlaff (cello), Signum Quartett
Publisher: Edition Peters
Spectrum IV
- Audio
Spectrum IV / Allar Kaasik (cello), Markku Mäkinen (organ)

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2004
15'
cello, organ
Fp: Allar Kaasik (cello), Markku Mäkinen (organ); June 29, 2004, St. Elizabeth's Church, Pärnu, Estonia, David Oistrakh Festival
Commissioned by: David Oistrakh Festival
CD „Timeless Light“, BIS (2017); Allar Kaasik (cello), Kristīne Adamaite (organ)
Publisher: Edition Peters
Symbiosis
- Audio
- Video
Symbiosis / Harry Traksmann (violin), Mati Lukk (double bass)

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Dedicated Helge Slaato and Frank Reinecke
1996
10'
violin, double bass
Fp: Helge Slaato (violin), Frank Reinecke (double bass); May 7, 1996, Berlin, Germany
Commissioned by: Helge Slaato and Frank Reinecke
CD "Duos for Violin & Double Bass", Audite (2018); Elina Vähälä (violin), Niek de Groot (double bass)
CD “Nyyd Ensemble: Now. Estonian Composers”, Elwood Muusik (2001); NYYD Ensemble
Publisher: Edition Peters
Conversio
- Audio
- Video
Conversio / Andres Mustonen (violin), Ivo Sillamaa (piano)

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1994
11'
violin, piano
CD "Works for violin and piano", DUX (2017); Mari Poll (violin), Mihkel Poll (piano)
CD "Glass. Kancheli. Tüür", Brilliant Classics (2014); Andrea Cortesi (violin), Marco Venturi (piano)
CD “From My Home”, Teldec (1997); Gidon Kremer (violin), Vadim Sacharov (piano)
CD „Tüür. Conversio, Lighthouse, Symphony no. 2, Architectonics III & IV”, Warner Classics : Apex (2003); Gidon Kremer (violin), Vadim Sacharov (piano), Nyyd-Ensemble, cond. Olari Elts, Ostrobothnian Chamber Orchestra, cond. Juha Kangas, USSR State Symphony Orchestra, cond. Paul Mägi
CD "Estonian composers V", Estonian Public Broadcasting (2008); Andres Mustonen (violin), Ivo Sillamaa (piano)
Publisher: Eres Edition
Spiel
- Audio
Spiel / Henry-David Varema (cello), Heiki Mätlik (guitar)

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Dedicated to Martin Ostertag and Boris Björn Bagger
1992
8'
cello, guitar
Fp: Martin Ostertag (cello), Boris Björn Bagger (guitar); April 7, 1992, Karlsruhe, Germany
Commissioned by: Martin Ostertag and Boris Björn Bagger
CD "Another Place", A Croch'note Production (2018); Edenwood Duo
CD “Desert Island”, Finlandia (2001); Henry-David Varema (cello), Heiki Mätlik (guitar)
CD “Cantus – Estonian Chamber Music from the 1990’s”, Finlandia (1998); Henry-David Varema (cello), Heiki Mätlik (guitar)
Publisher: Edition 49
Architectonics V [Arhitektoonika V]
- Audio
Architectonics V / NYYD Ensemble, conductor Olari Elts

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1991
12'
electric guitar, amplified piano
Commissioned by: John Tamburello
CD "The Other Side. Contemporary music for piano and electric guitar", Da Vinci Classics (2019); Elena Talarico (piano), Francesco Zago (electric guitar)
CD „Zeit-Ton 14.10.2003 : Nebenan Estland : Ein Porträt des Starkomponisten Erkki Sven Tüür”, ORF (2003); City of Birmingham Symphony Orchestra, cond. Paavo Järvi, Isabelle van Keulen (violin), Tallinn Chamber Orchestra, cond. Tõnu Kaljuste
CD “Desert Island”, Finlandia (2001); NYYD Ensemble, conductor Olari Elts
CD “Erkki-Sven Tüür: Architectonics”, Finlandia (1996); NYYD Ensemble, conductor Olari Elts
CD “Erkki-Sven Tüür: Architectonics”, CCn’C (2001); Absolute Ensemble, conductor Kristjan Järvi
Publisher: Fennica Gehrman
Dick and Toff in Wonderland [Dick ja Toff imedemaal]

1991
6'
flute, tuba (or: flute, bass clarinet)
CD “Sisemonoloog – Inner Monologue”, PM CD01 (1999); Peeter Malkov (flute), Toomas Vavilov (bass clarinet)
Publisher: Fennica Gehrman
Dedication
- Audio
- Video
Dedication / Aare Tammesalu (cello), Lea Leiten (piano)

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1990
7'
cello, piano
CD „Klassikaraadio Comes to Visit!“, ERR (2015); Valle-Rasmus Roots (cello), Johan Randvere (piano)
CD „Oxymoron”, ECM (2007); Leho Karin (cello), Marrit Gerretz-Traksmann (piano)
Publisher: Edition Peters
Dedication

Arrangement for bassoon and piano by Martin Kuuskmann
1990
bassoon, piano
Prints [Graafiline leht]
- Video
1985
7'
flute, harp
Fp: Raivo Peäske (flute), Eda Rajasalu (harp); June 1, 1985, Tallinn
CD “Inner Monologue”, PM CD 01; Peeter Malkov (flute), Tatjana Lepnurm (harp)
Publisher: Fennica Gehrman
Manuscript
Sonatina [Sonatiin]
- Audio
- Video
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1984
8'
2 pianos
Fp: Tallinn Piano Duo: Nata-Ly Sakkos, Toivo Peäske; May 19, 1985, Tallinn
Publisher: Fennica Gehrman
Manuscript
Play of the Whirlwinds [Tuulepööriste mäng]

flute, piano
Secret Dance of the Invisible Ones [Nähtamatute salajane tants]

2 pianos
Manuscript

Trios

Memo von Lockenhaus

For the 40th anniversay of the Lockenhaus Chamber Music Festival
2021
violin, cello, piano
Fp: Meesun Hong Coleman (violin), Nicolas Altstaedt (cello) and Joonas Ahonen (piano); July 17, 2021, Pfarrkirche Lockenhaus, Austria, Lockenhaus Chamber Music Festival
Lichttürme (Light Towers)
- Audio
- Video
Lichttürme / YXUS Ensemble

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“Lichttürme“

Back in the Spring of 2016 in Vienna I met a fabulous pianist named Lars Vogt who invited me to be composer in residence at this summer festival „Spannungen“ in Heimbach not far from Cologne and commissioned a new piece. Piano trio “Lichttürme“ (“Light Towers”) was completed in the autumn of 2016. I had in mind imagination working in pitch-blackness, forming tower-like pillars of light so intensely that they somehow become visible for real. Light towers as prayers, kind wishes. This is the kind of play of symbols I associate with this music.

The premiere was on June 23, 2017, and the performers were Christian Tetzlaff (violin), Tanja Tetzlaff (cello) and Lars Vogt (piano).

Erkki-Sven Tüür

2016
15'
violin, cello, piano
Fp: Christian Tetzlaff (violin), Tanja Tetzlaff (cello), Lars Vogt (piano); June 23, 2017, innogy-Kraftwerk, Heimbach, Germany, Spannungen Festival
FpEst: Ensemble Yxus: Leho Karin (cello), Marrit Gerretz-Traksmann (piano), Harry Traksmann (violin); August 6, 2017, Pühalepa Church, Pühalepa Music Festival
Commissioned by: Spannungen Festival
CD "Erkki-Sven Tüür. Lost Prayers", ECM (2020); Harry Traksmann (violin), Florian Donderer (violin), Leho Karin (cello), Marrit Gerretz-Traksmann (piano), Tanja Tetzlaff (cello), Signum Quartett
Publisher: Edition Peters
Conversio II

2015
11'
violin, percussion (2 players)
Fp: OK Percussion Duo (Martin Opršál and Martin Kleibl), Milan Paľa (violin); October 15, 2015, Brno Philharmonic Hall, Czech, festival "Moravian Autumn"
Publisher: Edition Peters
Fata Morgana
- Audio
- Video
Fata Morgana / Seattle Chamber Players

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The strange phenomenon known as the fata morgana [Morgan le Fay, of the Arthurian legend, the supposed author of the mirage] is a complex mirage especially in evidence at the Strait of Messina; in this mirage images of objects such as ships, houses, or men, often two of the same object with one inverted, are seen suspended in the air over the object itself or on the water. (Columbia Encyclopedia, Sixth Edition, © 2003)

In this trio I have paid a lot of attention to the continuous interchange between “real” and “surreal” musical events. This explains my choice of the title. Shifting textures, illusions of tonality and atonality, weird moments of deja vu, perception of the fast and slow tempo in different layers at the same time, timbral metamorphosis etc. In the last third of the work the rhythmic force is most likely linked with my art-rock background.

I wrote all this music very spontaneously, having only made some harmonic calculations and chord progressions before starting the process of composing. Maybe for that reason I do not feel any necessity to write a long and smart legend about Fata morgana. I really trust in my listeners’ creative and imaginative senses and would not wish to restrict this by any sort of dictated point of view from myself.

In music and all art, the important issue to me is the movement of energy, its concentration and its release, its transformation between diverse levels.

Erkki-Sven Tüür

2002
14'
violin, cello, piano
Fp: Grieg Trio; March 22, 2003, Wigmore Hall, London, UK
FpEst: Seattle Chamber Players: David Sabee (cello), Mihhail Shmidt (violin), Marian Lee (piano); November 25, 2003, Estonia Concert Hall, Tallinn
Commissioned by: Grieg Trio
CD "Erkki-Sven Tüür. Lost Prayers", ECM (2020); Harry Traksmann (violin), Florian Donderer (violin), Leho Karin (cello), Marrit Gerretz-Traksmann (piano), Tanja Tetzlaff (cello), Signum Quartett
Publisher: Edition Peters
Drama
- Audio
Drama / Arvo Leibur (violin), Terje Terasmaa (vibraphone), Heiki Mätlik (guitar)

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Dedicated to Camerata Tallinn Chamber Ensemble
1994
12'
flute, violin, guitar (or: vibraphone, violin, guitar)
CD “Cantus – Estonian Chamber Music from the 1990’s”, Finlandia (1998); Janika Lentsius (flute), Urmas Vulp (violin), Heiki Mätlik (guitar)
CD “Drama”, Estonian Radio (2001); Terje Terasmaa (vibraphone), Arvo Leibur (violin), Heiki Mätlik (guitar)
CD “Reinbert Evers: Drama – Baltic Music for Guitar”, Ambitus Musikproduktion (2000); Konrad Hünteler (flute), Midoro Goto (violin), Reinbert Evers (guitar)
Publisher: Eres Edition
Spectrum II
- Audio
Spectrum II / Andres Uibo (organ), Jüri Leiten (trumpet), Madis Metsamart (percussion)

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1994
11'
organ, trumpet, percussion ad libitum
Fp: Andres Uibo (organ), Jüri Leiten (trumpet), Madis Metsamart (percussion); July 29, 1994, Tallinn
Commissioned by: Andres Uibo
CD “Estonian Organ Music 2”, Eres (1994); Andres Uibo (organ), Jüri Leiten (trumpet), Madis Metsamart (percussion)
Publisher: Eres Edition
Architectonics VII [Arhitektoonika VII]
- Audio
- Video
Architectonics VII / Monika Mattiesen (flute), Aare Tammesalu (cello), Ene Nael (harpsichord)

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1992
9'
flute, cello, harpsichord (or: flute, bass clarinet, piano)
Fp: Algirdas Vizgirda (flute), Teet Järvi (cello), Aina Kalnciema (harpsichord); October 6, 1992, Strasbourg, France
Commissioned by: Musica Festival Strasbourg
2 CD-s "Eesti Muusika Nädal", Eesti Interpreetide Liit (2023); Mihkel Peäske (flute), Theodor Sink (cello), Imbi Tarum (harpsichord)
CD „Klassikaraadio Comes to Visit!“, ERR (2015); Pipilota Neostus (flute), Johanna Randvere (cello), Auli Lonks (piano)
CD “Erkki-Sven Tüür: Architectonics”, Finlandia (1996); NYYD Ensemble, conductor Olari Elts
CD “The Baltic Trio: Pastoral of Computerized World”, Finlandia (1997); Baltic Trio: Algirdas Vizgirda (flute), Teet Järvi (cello), Aina Kalnciema (harpsichord)
CD “Erkki-Sven Tüür: Architectonics”, CCn’C (2001); Absolute Ensemble, conductor Kristjan Järvi
Publisher: Fennica Gehrman
Architectonics II [Arhitektoonika II]
- Audio
- Video
Architectonics II / NYYD Ensemble, conductor Olari Elts

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1986
10'
clarinet, cello, piano
Fp: Soloists’ Ensemble of the “Estonia” Theatre Orchestra; March 21, 1987, Tallinn
Commissioned by: Soloists’ Ensemble of the “Estonia” Theatre Orchestra
CD “Erkki-Sven Tüür: Architectonics”, Finlandia (1996); NYYD Ensemble, conductor Olari Elts
CD “Erkki-Sven Tüür: Architectonics”, CCn’C (2001); Absolute Ensemble, conductor Kristjan Järvi
Publisher: Fennica Gehrman
Manuscript

Quartets

Motus II
- Video
The element of the percussion instrument is mostly not associated with fluidity, yet in this work I wanted to put the main emphasis on the constant and fluid change of precisely this texture.
The regular changing of non-quadratically distributed rhythmic formulas with quadratical formulas, and the systematic alternation of their vertical coincidence and non-coincidence creates the impression of independent tempo changes taking place in different layers.
The piece itself is divided into three parts – in the first the xylophone, vibraphone and two marimbas have the most important role. As the piece develops, tom-toms “permeate” the texture slowly and the first section culminates in a rock-like orgy of rhythm.
The middle part predominantly consists of a cantilena-like unchanging situation achieved by bowed cymbals and vibraphone, which little by little empties into the intense and recapitulatory third section.

Erkki-Sven Tüür

1998
9'
percussion (4 players)
Fp: Cabaza Percussion Quartet; October 17, 1998, Nürnberg
FpEst: NYYD Ensemble, conductor Olari Elts; October 13, 2001, Estonia Concert Hall, Tallinn
Commissioned by: Cabaza Percussion Quartet
CD “In The Eye Of The Storm”, CPO (1999); Cabaza Percussion Quartet
Publisher: Edition Peters
Lamentatio
- Audio
- Video
Lamentatio / Stockholm Saxophone Quartet

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1995
9'
saxophone quartet
Fp: Stockholm Saxophone Quartet; January 31, 1995, Tallinn
Commissioned by: Stockholm Saxophone Quartet
CD "Dedicated", Chamber Sound (2013); Stockholm Saxophone Quartet
CD “Sonic.art Saxophonquartett”, Genuin (2010). Sonic.art Saxophone Quartett
CD “Amstel Saxophone Quartet: Straight Lines”, Eramus Music & Media MVH (2002); Amstel Saxophone Quartet
Publisher: Edition Peters
Architectonics IV “Per Cadenza ad Metasimplicity” [Arhitektoonika IV “Per Cadenza ad Metasimplicity”]
- Audio
Architectonics IV / NYYD Ensemble, conductor Olari Elts

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1990
9'
violin (or electric violin), bassoon, baritone saxophone, piano (or synthesizer)
Fp: Sound Pressure; May 27, 1990, Border Crossings Festival, Toronto, Canada
Commissioned by: Sound Pressure
CD “Erkki-Sven Tüür: Architectonics”, Finlandia (1996); NYYD Ensemble, conductor Olari Elts
CD “Erkki-Sven Tüür: Architectonics”, CCn’C (2001); Absolute Ensemble, conductor Kristjan Järvi
CD „Tüür. Conversio, Lighthouse, Symphony no. 2, Architectonics III & IV”, Warner Classics : Apex (2003); NYYD Ensemble, conductor Olari Elts
Publisher: Fennica Gehrman

String quartets

String Quartet No. 2 "Lost Prayers"
- Audio
- Video
String Quartet No. 2 Lost Prayers / Signum Quartett

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2012
12'
string quartet
Fp: Participants of the semifinal of the 61st ARD Music Competition; September 13, 2012, Munich, Prinzregententheater
FpEst: Yxus Ensemble; March 2, 2013, Vanemuise Concert Hall, Tartu, March 3, 2013, Estonia Concert Hall, Tallinn
Commissioned by: 61. Internationaler Musikwettbewerb der ARD München
CD "Erkki-Sven Tüür. Lost Prayers", ECM (2020); Harry Traksmann (violin), Florian Donderer (violin), Leho Karin (cello), Marrit Gerretz-Traksmann (piano), Tanja Tetzlaff (cello), Signum Quartett
Publisher: Edition Peters
String Quartet [Keelpillikvartett]
- Audio
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In memoriam Urmas Kibuspuu
1985
18'
string quartet
Fp: Tallinn String Quartet; February 14, 1986, Tallinn
CD “Baltic Elegy”, Collins (1996); The Duke Quartet: Louisa Fuller, Rick Koster (violins), John Metcalfe (viola), Ivan McCready (cello)
CD “Chamber Music from Estonia”, BIS (1993); Tallinn String Quartet: Urmas Vulp, Toomas Nestor (violins), Viljar Kuusk (viola), Teet Järvi (cello)
Publisher: Fennica Gehrman
Manuscript

Quintets

Lichttürme II (Light Towers II)
- Audio
Lichttürme II (Light Towers II) / Janne Thomsen (flute), Christoffer Sundqvist (clarinet), Hugo Ticciati (violin), Jamie Walton (cello), Heini Kärkkäinen (piano)

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2018
16'
flute, clarinet, violin, cello, piano
Fp: Janne Thomsen (flute), Christoffer Sundqvist (clarinet), Hugo Ticciati (violin), Jakob Koranyi (cello), Heini Kärkkäinen (piano); November 23, 2018, Schauman Hall, Jakobstad, Finland, RUSK festival
Publisher: Edition Peters
Excitatio ad contemplandum

1996/2012
18'
organ, saxophone quartet
Fp: Amstel Saxophone Quartet, Pieter van Dijk (organ); February 10, 2013, Orgelpark, Amsterdam
FpEst: Ines Maidre (organ), SaxEst; August 22, 2014, Tallinn Dome Church

Wind quintets

Architectonics I [Arhitektoonika I]
- Audio
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1984
5'
wind quintet
Fp: Jaan Tamm Wind Quintet; May 25, 1985, Tallinn
Commissioned by: Jaan Tamm Wind Quintet
Publisher: Fennica Gehrman
Manuscript

Sextets

The Sun Boat [Päikesevene]
- Audio
The Sun Boat / Estonian Cello Ensemble

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1981/2017
9'30''
6 cellos
Fp: Estonian Cello Ensemble: Johannes Välja, Theodor Sink, Andreas Lend, Marius Järvi, Villu Vihermäe, Maarit Kangron; April 12, 2017, Tallinn House of Blackheads, Estonian Music Days

Works for large ensemble (8+)

Mare Lacrimarum
- Audio
Mare Lacrimarum: I Clouds of Anger / Mare Lacrimarum: I Clouds of Anger / New Wind Jazz Orchestra, YXUS Ensemble, Tallinna Kammerorkester, conductor Kaspar Mänd

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1. Clouds of Anger
2. Cities to be Destroyed
3. Threnody I
4. Lethal Mechanics
5. Threnody II
6. The Evil's End
2022
35'
bigband (2 alto saxophones, 2 tenor saxophones, baritone saxophone, 4 trumpets, 4 trombones, drum set, bass guitar), large ensemble: 1120, 2000, 1, 11111
Fp: Orquestra Jazz de Matosinhos, Remix Ensemble, conductor Olari Elts; October 23, 2022, Casa da Música, Porto, Portugal
FpEst: New Wind Jazz Orchestra, YXUS Ensemble, Tallinn Chamber Orchestra, conductor Kaspar Mänd; December 10, 2023, Kultuurikatel, Tallinn, Christmas Jazz
Commissioned by: Orquestra Jazz de Matosinhos, Casa da Música, Kölner Philarmonie
Publisher: Edition Peters
The King appears from the Golden Mist [Kuningas ilmub kuldsest udust]

2016
6'
large ensemble: 2021, 2 alto saxophones, tenor saxophone, baritone saxophone, 12111, 2 piano
Fp: Ensemble of the Académie de Musique et de Théâtre Prince Rainier III; November 30, 2016, Monaco
Publisher: Edition Peters
Architectonics VI [Arhitektoonika VI]
- Audio
Architectonics VI / NYYD Ensemble, conductor Olari Elts

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new version of the work of the same title written in 1992
2004
10'
flute, oboe, clarinet, bassoon, horn, trumpet, trombone, percussion, 2 violins, viola, cello, double bass
Fp: NYYD Ensemble, conductor Olari Elts; May 8, 2004; Estonian Radio, Tallinn; May 9, 2004, Christian Zais Saal, Kurhaus Wiesbaden, Saksamaa, Europamusicale Festival
Publisher: Fennica Gehrman
Architectonics III “Postmetaminimal Dream” [Arhitektoonika III “Postmetaminimal Dream”]
- Audio
Architectonics III / Crash Ensemble, conductor Fergus Sheil

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1990
10'
flute, alto flute, clarinet, bass clarinet, 2 pianos, synthesizer, percussion (2 players), violin, cello
Fp: California EAR Unit; April 23, 1991, Los Angeles, USA
Commissioned by: California EAR Unit
CD “Erkki-Sven Tüür: Architectonics”, Finlandia (1996); NYYD Ensemble, conductor Olari Elts
CD “Erkki-Sven Tüür: Architectonics”, CCn’C (2001); Absolute Ensemble, conductor Kristjan Järvi
CD „Tüür. Conversio, Lighthouse, Symphony no. 2, Architectonics III & IV”, Warner Classics : Apex (2003); NYYD Ensemble, conductor Olari Elts
Publisher: Fennica Gehrman

WORKS FOR SOLO INSTRUMENT

Works for flute

Für Maris [Marisele]

2010
2'
flute
Fp: Oksana Sinkova (flute); July 31, 2013, Tallinn Town Hall
Inner Monologue [Sisemonoloog]

the obligatory flute work for the 1986 Estonian National Competition for Wind Instrument Players
1986
6'
flute
Fp: Peeter Malkov (flute); October 14, 1991, Tallinn
PM CD 01: “Inner Monologue”; Peeter Malkov (flute)
Publisher: Fennica Gehrman
Manuscript

Works for percussion

Motus I
- Audio
- Video
Motus I / Heigo Rosin (percussion)

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1998
9'
percussion
Fp: Peter Sadlo; July 9, 1999, Ingolstadt, Germany
Commissioned by: Peter Sadlo
2 CD-s "Eesti Muusika Nädal", Eesti Interpreetide Liit (2023); Heigo Rosin (percussion)
Publisher: Edition Peters

Works for violin

Confession
- Audio
Confession / Harry Traksmann (violin)

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2007
10'
violin
Fp: Carolin Widmann (violin); September 15, 2007, Alte Oper Frankfurt, Mozart Saal, concert series "Auftakt"
FpEst: Harry Traksmann (violin); February 13, 2008, Kanuti Guild Hall, The Perfect Silence Festival
Commissioned by: Alte Oper Frankfurt
Publisher: Edition Peters

Works for viola

Locked in C
- Video
2020
4'
viola
Fp: Lawrence Power (viola); April 13, 2021, Wigmore Hall, London, series "Lockdown commissions" (virtual premiere on Youtube)
Commissioned by: Lawrence Power / Viola Commissioning Circle

Works for piano

Piano Sonata No. 2 "Saltatio ad Lumen"
- Audio
Piano Sonata No 2 Saltatio ad Lumen / Irina Zahharenkova (piano)

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Piano Sonata No 2 “Saltatio ad Lumen” (‘dance into the light’ / ’dance towards light’, 2022)

“So, what was different this time? Generally speaking, this piece is different already because I have not written anything for piano in a long time. Secondly, at first I thought this would be a shorter piece but it turned into something else – what I was working on wanted to grow, demanded another movement and then another. At one point I got the feeling that it might be called a sonata. (Maybe also because over the years, pianists from different parts of the world have asked me if there was any hope to play Piano Sonata No. 2 one day.) And instantly, some hints to the first sonata cropped up. This was different in so many ways – until now I had not had the habit of referring to my earlier pieces. I guess it comes with age…

Postscriptum:
I wrote the previous text on February 15, a little less than a month after completing the sonata. Today, on March 19, it has been clear for a few weeks that things have not been so upside down in a very long time. And none of us know what is going to happen in the near future. We cannot predict the state of the world on the day this piece is (hopefully) premiered. Thus, we need even more hope and I want to stress the obvious – the title of Piano Sonata No. 2 is “Saltatio ad Lumen” with a reason. While listening to it, keep in mind that you can find Light even in the deepest, darkest hour.

I am honoured to be called Helena Tulve’s teacher. My dear friend is celebrating her 50th birthday this year and I am dedicating this music to her in gratitude for everything I have learned from her in all the years I’ve had the joy of knowing her.”

Erkki-Sven Tüür
(From the booklet of Estonian Music Days 2022 Upside Down)

I
II
III
2022
15'
piano
Fp: Irina Zahharenkova (piano); April 19, 2022, Arvo Pärt Centre, Estonian Music Days
Commissioned by: Estonian Music Days
Publisher: Edition Peters
Salute
- Audio
Salute / Nicolas Horvath (piano)

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“Salute” means “festive greeting” or “to pay respect” in Engish. Italians use this word when making a toast before drinking wine together. For Estonian this word bring to mind fireworks. It is a very fitting title for a short piano piece that is dedicated to dear teacher Jaan Rääts who celebrates his 85th birthday this year. It is well-known that Rääts himself has always appreciated laconic titles. There are certainly some recognizable rhythmic hints to the maestro’s style in this piece but everything is depicted through the lens of myself, the one who pays respect. In any case – happy birthday and cheers!

(Erkki-Sven Tüür)

2017
3'
piano
Fp: Nicolas Horvath (piano); April 9, 2017, Radio Studio One (Estonian National Broadcasting), Estonian Music Days
Short Meeting of Dark and Light
- Audio
Short Meeting of Dark and Light / Mihkel Poll (piano)

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2003
1'
piano
CD "Mihkel Poll. Enescu. Bartók. Tüür. Kõrvits", Dux (2015); Mihkel Poll (piano)
CD “Spectrum 4. 66 miniatures for solo piano”, USK Recordings (2005); Thalia Myers (piano)
Publisher: ABRSM Publishing, Edition Peters
To Kristiina [Kristiinale]
- Audio
- Video
To Kristiina / Mihkel Poll (piano)

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1981/1995
3'
piano
CD "Mihkel Poll. Enescu. Bartók. Tüür. Kõrvits", Dux (2015); Mihkel Poll (piano)
Publisher: Edition Peters
Thinking of Hiiumaa [Mõeldes Hiiumaast]
- Audio
- Video
Thinking of Hiiumaa / Kai Ratassepp (piano)

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1992
2'
piano
CD "Mihkel Poll. Enescu. Bartók. Tüür. Kõrvits", Dux (2015); Mihkel Poll (piano)
CD "Piano music for children and youth by Estonian composers", EKÜ (Estonian Piano Teachers' Association) (2002); Kai Ratassepp (piano)
Publisher: Edition Peters
Piano Sonata [Klaverisonaat]
- Audio
- Video
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dedicated to Anne Tüür
1. Presto
2. Lento
3. Allegro. Con moto
1985
14'
piano
Fp: Kalle Randalu (piano); March 6, 1986, Tartu, Estonia
CD „Northern Lights. Treasury of Estonian piano music“, Estonian Association of Professional Musicians, Estonian Pianists’ Union (2019); Kristiina Rokashevich (piano)
CD "Mihkel Poll. Enescu. Bartók. Tüür. Kõrvits", Dux (2015); Mihkel Poll (piano)
CD "DeusExClavier", Estonian Record Productions (2010); Hando Nahkur (piano)
CD “Desert Island”, Finlandia (2001); Lauri Väinmaa (piano)
CD “Estonian Piano Music”, Finlandia (1994); Lauri Väinmaa (piano)
Publisher: Fennica Gehrman
Manuscript

Works for organ

Spectrum III
- Audio
Spectrum III / Andres Uibo (organ)

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1999
9'
organ
Fp: Andres Uibo (organ); June 30, 1999, Nürnberg St. Nicolaus and St. Ulrich Church, Nürnberg Organ Festival
Commissioned by: Andres Uibo
CD “Internationale Orgelwoche Nürnberg Musica Sacra – Musik des 20. Jahrhunderts” ION (1999); Andres Uibo (organ)
Publisher: Edition Peters
Spectrum I
- Audio
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1989
8'
organ
Fp: Andres Uibo; December 12, 1989, Tallinn
Commissioned by: Andres Uibo
CD "Crossing Borders", STH Records (2016); Gijs Boelen (organ)
CD „Tallinn Cathedral organ. Ladegast-Sauer organ 100 years“, EELK Tallinna Piiskoplik Toomkogudus (2014); Kadri Ploompuu (organ)
CD “Estonian Organ Music”, Eres (1994); Andres Uibo (organ)
CD "Bernsteinstrasse", Musica Delicata (2007); Ulla Krigul (organ)
Publisher: Eres Edition
Manuscript

VOCAL AND CHORAL MUSIC

Works for mixed choir and orchestra

Christus natus est

2022
3'
mixed choir, string orchestra
Fp: Estonian Philharmonic Chamber Choir, Tallinn Chamber Orchestra, conductor Tõnu Kaljuste; December 22, 2022, Estonia Concert Hall, Tallinn
For Ukraine
- Video
2022
5'
mixed choir, string orchestra
Fp: Estonian Philharmonic Chamber Choir, Tallinn Chamber Orchestra, conductor Tõnu Kaljuste; March 24, 2022, Estonian TV broadcast "OP"
Psalmody [Psalmoodia]
- Audio
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Psalmody I
Psalmody II
Psalmody III
1993/2012
23'
mixed choir, symphony orchestra: 2222, 2220, 1, synhtesizer (Fender Rhodes), strings
Text: Psalm No. 67, 136, 150 (in Latin)
Fp: Choir of the Estonian Academy of Music and Theatre, Nargenfestival Orchestra, conductor Tõnu Kaljuste; December 1, 2012, Tallinn Methodist Church
Publisher: Edition Peters
Manuscript
Awakening [Ärkamine]
- Audio
Awakening / Estonian Philharmonic Chamber Choir, Sinfonietta Rīga, conductor Daniel Reuss

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2011
40'
mixed choir, chamber orchestra: 2020, 0000, percussion, strings
Text: Juhan Liiv, Ernst Enno, Jaan Kaplinski, Doris Kareva (in Estonian), liturgical texts (in Latin)
Fp: Estonian Philharmonic Chamber Choir, Sinfonietta Rīga, conductor Daniel Reuss; March 10, 2011, Estonia Concert Hall, Tallinn
Commissioned by: Tallinn - European Capiltal of Culture 2011, Estonian Philharmonic Chamber Choir
CD "Awakening", Ondine (2011); Estonian Philharmonic Chamber Choir, Sinfonietta Riga, conductor Daniel Reuss
Publisher: Edition Peters
Little Estonian Song [Väike eestimaine laul]
- Audio
Little Estonian Song / Mixed choirs and symphony orchestra of the 13th Youth Song Celebration, conductor Valter Soosalu (Arranged by Valter Soosalu)

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Arranged by Valter Soosalu (2020)
2009
4'
mixed choir, symphony orchestra
Text: Leelo Tungal
Fp: Mixed choirs and symphony orchestra of the 13th Youth Song Celebration, conductor Valter Soosalu; July 2, 2023, Tallinn Song Festival Grounds, 13th Youth Song and Dance Celebration "Holy is the Land"
Questions...

2007
26'
counter tenor, tenor, baritone, mixed choir, string orchestra
Text: from interview with quantum physicist David Bohm (in English)
Publisher: Edition Peters
Town Council Custom [Raerituaal]
- Audio
Town Council Custom / Hortus Musicus, Estonian Philharmonic Chamber Choir, Tallinn Chamber Orchestra, Lauri-Dag Tüür (el. guitar)

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1982/2004
8'
mixed choir, early music ensemble, electric guitar, chamber orchestra
Text: (in Latin)

Divide et impera

Fp: Estonian Oratorio Choir, Tallinn Chamber Orchestra, Hortus Musicus, conductor Andres Mustonen; August 29, 2004, Tallinn Town Hall Square
CD "Estonian composers V", Estonian Public Broadcasting (2008); Estonian Philharmonic Chamber Choir, Hortus Musicus, Lauri-Dag Tüür (electric guitar), Tallinn Chamber Orchestra, conductor Andres Mustonen
Requiem [Reekviem]
- Audio
- Video
Requiem / Estonian Philharmonic Chamber Choir, Tallinn Chamber Orchestra, conductor Tõnu Kaljuste

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In memoriam Peeter Lilje
1994
28'
soprano, tenor, mixed choir, chamber orchestra: piano, triangle, strings
Text: Latin Requiem Mass
Fp: Kaia Urb (soprano), Tiit Kogermann (tenor), Estonian Philharmonic Chamber Choir, Tallinn Chamber Orchestra, conductor Tõnu Kaljuste; November 17, 1994, Tallinn
CD “Crystallisatio”, ECM (1996); Kaia Urb (soprano), Tiit Kogermann (tenor), Estonian Philharmonic Chamber Choir, Tallinn Chamber Orchestra, conductor Tõnu Kaljuste
Publisher: Edition Peters
Inquiétude du Fini
- Audio
Inquiétude du Fini / Tallinn Chamber Orchestra, Estonian Philharmonic Chamber Choir, conductor Tõnu Kaljuste

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1992
15'
mixed choir, chamber orchestra: 1011, 0000, strings
Text: Tõnu Õnnepalu
Fp: Tapiola Chamber Choir, Tapiola Sinfonietta, conductor Eric-Olof Söderström; December 1, 1992, Espoo, Finland
Commissioned by: Espoo International Choral Festival
CD „Magma”, EMI Virgin Classics (2007); Estonian Philharmonic Chamber Choir, Estonian National Symphony Orchestra, conductor Paavo Järvi
Publisher: Fennica Gehrman
Ante finem saeculi
- Audio
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I wrote this oratorio at the behest of Tõnu Kaljuste in 1985. Here, the logic of my musical processes depended above all on textual continuity. I paid equal attention to the tension inherent in the content of a word as to the ability of the entire assembled texts to shape the musical form. The lyric part is based on the poetry of Viivi Luik and the Book of Ecclesiastes.

Erkki-Sven Tüür

oratorio
1. Tempus I. Grave
2. Tempus II. Allegretto
3. Tempus III. Allegro moderato
4. Tempus IV. Andantino
1985
30'
soprano, tenor, bass, mixed choir, symphony orchestra: 0042, 0330, 1+2, piano, harpsichord, strings
Text: Viivi Luik (in Estonian), Ecclesiastes (in Latin)

I
Omnia tempus habent et suis spatiis transeunt universa sub coelo.
Tempus nascendi e tempus moriendi, tempus platandi e tempus evellendi
quod planatum est, tempus occidendi et tempus
sanandi, tempus destruendi
et tempus oedificandi, tempus flendi et tempus ridendi,
tempus plangendi
et tempus saltandi, tempusspargendi lapides et tempus
colligendi, tempus
amplexandi et tempus longe fieri ab amplexibus, tempus acquirendi et tempus
perdendi, tempus custodiendi et tempus abiciendi, tempus scindendi et tempus
consuendi, tempus tacendi et tempus loquendi, tempus dilectionis et tempus
odii, tempus belli et tempus pacis.

II
Aeg liigutab tiibu ja koltuvad puud,
tamm maha kikutab tõrud.
Päev jälle saab läbi ja tuikavad luud,
ja maapind jalge all põrub.

Trepp keerleb ja keerleb aastakümnete seas
ta on lõputult pikk,
igal korrusel seisavad mitmes reas
koduuksed ja igavik.
Aken klirisedes kargab
lahti ajatuultesse,
kisenduseks ahmid õhku
valk loob otse huultesse.

Pole kedagi,
kes usuks tõsiselt,
et ükskord tuleb mängu mullasügavik
ja jõhker tähistaevas.

Tumedate vete kohal
kolletavad kased.
Mure seisab ilma kohal,
hingata ei lase.
Udu liigub üle vee,
udu keerleb jalus.
Hingad siiski, kuigi see
raske on ja valus.

Aken klirisedes kargab
lahti ajatuultesse,
kisenduseks ahmid õhku
välk loob otse huultesse.

Pole kedagi, kes usuks tõsiselt,
et ükskord
tuleb mängu mullasügavik
ja jõhker tähistaevas.

III
Viina voolab karahvini suust,
kohvikannu tilast voolab kohvi.
Need on tulised ja põletavad suud,
aga valu kõvaks muudab luud nii,
et päris lust on suruda
end läbi elu,
tema kivimüüri, palkide ja krohvi
hoolimata sest, et vaikses linnas
Läänemere kaldal
mured samad on
mis terves laias ilmas.
mage šlaager suus
ja vidukile silmad,
maailm seisab
sügaviku kaldal.

Viina voolab karahvini suust,
kohvikannu tilast voolab kohvi.
Need on tulised ja põletavad suud,
aga valu kõvaks muudab luud nii,
et päris lust on suruda
end läbi elu,
tema kivimüüri, palkide ja krohvi
hoolimata sest, et
aeg on läinud kiireks
aastad kihutavad.
Raha lõhn on õhus,
kõige eest saab raha.
hää ja kuri rahva selja taha,
erapoolikuina ennast nihutavad.

Sina sõnu tangidega
kisu suust,
räägi surmatunnist,
reetja kaelaluust.
Äraandja vere
vastu verest truust,
puhast, vihasest
ja uhkest elupuust.

Omnia tempus habent et suis spatiis
transeunt universa sub coelo.

IV
Olgu elu või lõpmata pikk!
Ühte hetke
on valikuks vaja.
See hetk on tulles nii harilik,
et hirmugi peale ei aja.
Küsimärk on kirjas
igaühe huultel,
tulevikku puurib
terav lootuskiir.

Siis kui parve kogunevad mured suured
nende tiivalööke kuuled ilmalaes.
oma vere kaudu tunned
et su juured
kalgil kriginal
end sirutavad paes.

Majad sisse piirab külm novembriõhtu
surisedes voolu lambis neelab pirn.
jõu ja tahte varal
tõused üles õhku,
ja su suus saab
elulauluks pime surmahirm.

Sina sõnu tangidega
kisu suust,
räägi surmatunnist,
reetja kaelaluust.
Äraandja vere
vastu verest truust,
puhtast, vihasest
ja uhkest elupuust.

Omnia tempus habent et suis spatiis
transeunt universa sub caelo.

Fp: Estonian Philharmonic Chamber Choir, Orchestra of the Theatre “Estonia”, conductor Tõnu Kaljuste; April 26, 1986, Tallinn
Commissioned by: Tõnu Kaljuste
CD “Erkki-Sven Tüür: Oratorio Ante Finem Saeculi/Symphony No. 2”, Finlandia (1994); Vera Talesh (soprano), Joosep Vahermägi (tenor), Riho Ridbeck (bass), Estonian Philharmonic Oratorio Choir, Estonian National Symphony Orchestra, conductor Tõnu Kaljuste
Publisher: Fennica Gehrman
Manuscript

Works for male choir and orchestra

Questions...
- Audio
Questions... / Estonian National Male Choir, soloists Ka Bo Chan, Ott Indermitte and Valter Soosalu, Tallinn Chamber Orchestra, conductor Mikk Üleoja

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2007/2015
26'
counter tenor, tenor, baritone, male choir, string orchestra
Text: from interview with quantum physicist David Bohm (in English)
Fp: Ka Bo Chan (countertenor), Valter Soosalu (tenor), Ott Indermitte (baritone), Estonian National Male Choir, Tallinn Chamber Orchestra, conductor Mikk Üleoja; March 28, 2015, Estonia Concert Hall
CD "Baltic Contrasts", Soond (2023); Ka Bo Chan (countertenor), Valter Soosalu (tenor), Ott Indermitte (baritone), Estonian National Male Choir, Lithuanian Chamber Orchestra, conductor Mikk Üleoja
Publisher: Edition Peters
Eternity [Igavik]

2006
6'
male choir, chamber orchestra: 2021, 0000, percussion, strings
Text: Doris Kareva
Fp: Estonian National Male Choir, male section of the Estonian Philharmonic Chamber Choir, Tallinn Chamber Orchestra, conductor Tõnu Kaljuste; March 26, 2005, Tallinn St. Charles’ Church, the State Funeral of President Lennart Meri
CD „Magma”, EMI Virgin Classics (2007); Estonian National Male Choir, Estonian National Symphony Orchestra, conductor Paavo Järvi
Publisher: Edition Peters
Salve Regina
- Audio
Salve Regina / Hortus Musicus

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In memoriam Helle Mustonen
2005
6'
male choir, symphony orchestra: 1111, 0010, percussion, organ, strings
CD “Early music of 3rd millenium”, ERP (2011); Hortus Musicus
CD „Oxymoron”, ECM (2007); Vox Clamantis, NYYD Ensemble, conductor Olari Elts
Publisher: Edition Peters
Lumen et Cantus
- Audio
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mass, dedicated to Tõnu Kaljuste
1. Kyrie
2. Illuminatio I
3. Gloria in Excelsis
4. Credo
5. Sanctus
6. Illuminatio II
7. Agnus Dei
1989
35'
male choir, symphony orchestra: 5030, 0000, 1+3, celesta, piano, harpsichord, strings
Text: mass text (in Latin)
Fp: Estonian Philharmonic Chamber Choir, Estonian National Symphony Orchestra, conductor Tõnu Kaljuste; January 25, 1990, Tallinn
CD "Review of the Estonian Choral Music", Estonian Choral Association, Estonian Public Broadcast (2011); Estonian State Symphony Orchestra, male voices of Estonian Philharmonic Chamber Choir, conductor Tõnu Kaljuste (only "Credo")
Publisher: Fennica Gehrman
Manuscript

Works for children's choir and orchestra

Little Estonian Song [Väike eestimaine laul]
- Video
2009
children's choir (SSA), symphony orchestra: 2222, 4330, 1+2, strings
Text: Leelo Tungal
Fp: children's choirs, conductor Aarne Saluveer; July 5, 2009, Estonian Song and Dance Celebration 2009
Commissioned by: Estonian Song and Dance Celebration Foundation
Manuscript

Works for mixed choir and instrument(s)

Little Estonian Song [Väike eestimaine laul]
- Video
Arranged by Valter Soosalu (2020)
2009
4'
mixed choir, piano
Text: Leelo Tungal
Psalmody [Psalmoodia]
- Audio
Psalmody / Latvian Radio Choir, Hortus Musicus

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in 3 movements
1993/2005
26'
mixed choir, early music ensemble
Text: Psalms No. 67, 136, 150 (in Latin)
Fp: Hortus Musicus, Latvian Radio Choir, conductor Andres Mustonen; October 9, 2005, Riga, new music festival "Arena"
CD "Estonian composers V", Estonian Public Broadcasting (2008); Hortus Musicus, Latvian Radio Choir, conductor Andres Mustonen
Meditatio
- Audio
Meditatio / Estonian Philharmonic Chamber Choir, Raschèr Saxophone Quartet, conductor Paul Hillier

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2003
17'
mixed choir, saxophone quartet
Text: Anselm of Canterbury (in Latin)

O bone, o domine Christe IESU.
Sic posito nec petenti
nec opinanti ut sol
mihi illuxisti et mihi
quo modo eram ostendisti.

O bone, o domine Christe IESU.
Abiecisti plumbum
quod deorsum me trahebat
removisti onus quod desuper
me premebat impellentes
me reppulisti ac illis te
pro me opposuisti.

O bone, o domine Christe IESU.
Considera, anima mea intendite,
omnia intima mea.
Quantum illi debeat tota substantia mea.

O bone, o domine Christe IESU.
Certe, domine quia me fecisti,
debeo amori tuo me ipsum totum;
quia me redemisti,
debeo me ipsum totum;
quia tanta promittis,
debeo me ipsum totum.
Immo tantum debeo amori tuo
plus quam me ipsum,
quantum tu es maior me,
pro quo dedisti
te ipsum et cui promittis te ipsum.
Fac precor, domine,
me gustare per amorem
quod gusto per cognitionem.
Sentiam per affectum quod sentio
per intellectum.
Plus debeo quam me ipsum totum,
sed nec plus habeo
nec hoc ipsum possum
per me reddere totum;
trahe tu, domine, in amorem tuum
vel hoc ipsum totum.
Totum quod sum tuum est conditione;
fac totum tuum dilectione.
Ecce, domine, coram te est cor meum.
Conatur, sed per se non potest,
fac tu quod ipsum non potest.
Admitte me int ra cubiculum amoris tui.
Peto, quaero, pulso.
Qui me facis petere, fac accipere.
Das quaerere, da inve nire.
Doces pulsare aperi pulsanti.
Cui das, si negas petenti?
Quis invenit, si quaerens frustratur?
Cui aperis, si pulsanti claudis?
Quid das non oranti,
si amorem tuum negas oranti?
A te habeo desiderare,
a te habeam impetra re.
Adhaere illi, adhaere importune,
anima mea.
Bone, bone domine, ne reicias eam;
fame amoris tui languet: refocilla eam.
Satiet eam dilectio tua;
impinguet eam affectus tuus;
impleat eam amor tuus.
Occupet me totum et possideat totum,
quia tu es cum patre
et spiritu sancto Deus solus benedictus
in saecula saeculorum, amen.
Amen.

Fp: WDR Rundfunkchor Köln, Raschèr Saxophone Quartet, conductor Anton Marik; February 6, 2004, Klaus-von-Bismarck-Saal, Funkhaus Wallrafplatz, Cologne, Germany
FpEst: WDR Rundfunkchor Köln, Raschèr Saxophone Quartet, conductor Anton Marik; February 12, 2004, Estonia Concert Hall, Tallinn
Commissioned by: Westdeutscher Rundfunk
CD „Baltic Voices “, Harmonia Mundi (2018); Estonian Philharmonic Chamber Choir, conductor Paul Hillier
CD “Baltic Voices 3”, Harmonia Mundi (2005); Estonian Philharmonic Chamber Choir, Raschèr Saxophone Quartet, conductor Paul Hillier
Publisher: Edition Peters
Excitatio ad contemplandum
- Audio
Excitatio ad contemplandum / Estonian Philharmonic Chamber Choir, Christopher Bowers-Broadbent (organ), conductor Tõnu Kaljuste

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1996
18'
4 voices (alto, 2 tenors, bariton), organ (or: mixed choir, organ)
Text: Anselm of Canterbury (in Latin)
Fp: Hilliard Ensemble, Christopher Bowers-Broadbent (organ); September 10, 1996, Vale of Glamorgan Festival, Penarth, Wales, U.K
FpEst: Estonian Philharmonic Chamber Choir, Christopher Bowers-Broadbent (organ), conductor Tõnu Kaljuste; September 20, 1997, Tallinn, VoxEstFest Festival
Commissioned by: Vale of Glamorgan Festival
Publisher: Edition Peters

Works for voice(s) and orchestra

Questions...

2007
26'
4 male voices, string orchestra
Text: from interview with quantum physicist David Bohm (in English)
Fp: Hilliard Ensemble, Munich Chamber Orchestra, conductor Alexander Liebreich; December 5, 2007, Alte Oper Frankfurt
Commissioned by: Hilliard Ensemble and Munich Chamber Orchestra
Publisher: Edition Peters

Works for voice(s) and other instrument(s)

Antidolorosum
- Audio
Antidolorosum / Erkki-Sven Tüür (vocal), Estonian Cello Ensemble

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Arrangement of Rasmus Puur
1982/2017
voice, 6 cellos
Fp: Erkki-Sven Tüür (voice), Estonian Cello Ensemble: Johannes Välja, Theodor Sink, Andreas Lend, Marius Järvi, Villu Vihermäe, Maarit Kangron; April 12, 2017, Tallinn House of Blackheads, Estonian Music Days
Excitatio ad contemplandum
- Audio
Excitatio ad contemplandum / Estonian Philharmonic Chamber Choir, Christopher Bowers-Broadbent (organ), conductor Tõnu Kaljuste

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1996
18'
4 voices (alto, 2 tenors, bariton), organ (or: mixed choir, organ)
Text: Anselm of Canterbury (in Latin)
Fp: Hilliard Ensemble, Christopher Bowers-Broadbent (organ); September 10, 1996, Vale of Glamorgan Festival, Penarth, Wales, U.K
FpEst: Estonian Philharmonic Chamber Choir, Christopher Bowers-Broadbent (organ), conductor Tõnu Kaljuste; September 20, 1997, Tallinn, VoxEstFest Festival
Commissioned by: Vale of Glamorgan Festival
Publisher: Edition Peters

Works for mixed choir a cappella

For Ukraine
- Pdf
- Free download
- Video
2022
5'
mixed choir
Text: Habakkuk 2/12, Isaiah /5/20, Isaiah 33/1 (in Ukrainian)

Го́ре тому́ , хто буду́є місто в крові, хто засно́ вує го́род на зло́чині!
Аваку́ м 2, 12

Бо́же, Україну храни́!

Го́ре тим, що зло добро́м звуть, а добро́ – злом; що з пітьми́ ро́блять світло, а зі світла – пітьму́ ; що гірке́ ро́блять соло́дким, а соло́дке гірки́м!
Іса́я 5, 20

Бо́же, Україну храни́!

Го́ре то́бі, спусто́шнику, яко́го не спусто́шено! Зра́днику, з яки́ м по-зра́дницькому не повели́ся! Коли́ скінчи́ш пусто́шити, то й тебе́ спусто́шать, і коли́ вто́мишся зра́джуати, то й тебе́ зра́джувати бу́дуть.
Го́споди, поми́луй нас! Ми на те́бе упова́ємо. Будь нам раме́ном щора́нку, на́шим ряту́нком у час скру́ти!
Іса́ я 33, 1-2

Fp: Chamber Choir Collegium Musicale, conductor Endrik Üksvärav; March 15, 2022, Estonian Klassikaraadio. The first concert prformance: Chamber Choir Collegium Musicale, conductor Endrik Üksvärav; March 26, 2022, Tallinn St. John's Church
Canticum Canticorum Caritatis

Dedicated to Endrik Üksvärav and Chamber Choir Collegium Musicale
2020
12'
mixed choir
Text: Letters of Paul to the Corinthians, chapter 13 (in Latin)
Fp: Chamber Choir Collegium Musicale, conductor Endrik Üksvärav; August 8, 2020, Kärdla Church, Pühalepa Music Festival
CD „Erkki-Sven Tüür. Canticum Canticorum Caritatis“, Alpha Classics (2023); Collegium Musicale Chamber Choir, conductor Endrik Üksvärav
Omnia mutantur…
- Audio
Omnia mutantur / Chamber Choir Cuore, conductor Amy Ryan

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Compulsory piece at the 17th International Choir Festival "Tallinn 2021" in the contemporary music category
2020
4'
mixed choir
Text: Ovid and Virgil
Fp: Chamber Choir Collegium Musicale, conductor Endrik Üksvärav; March 29, 2022, Gloria Dei Lutheran Church, Arnold, Maryland, USA
CD „Erkki-Sven Tüür. Canticum Canticorum Caritatis“, Alpha Classics (2023); Collegium Musicale Chamber Choir, conductor Endrik Üksvärav
Kui vaikivad päevased tuuled
- Audio
Kui vaikivad päevased tuuled / Chmaber Choir Collegium Musicale, conductor Endrik Üksvärav

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Kui vaikivad päevased tuuled [When Daily Winds Will Be Silent]

2013
2'
mixed choir
Text: Arved Paul
Missa Brevis
- Audio
- Video
Missa brevis / Estonian Philharmonic Chamver Choir, conductor Jopse Gil Gil

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1. Kyrie
2. Gloria
3. Credo
4. Sanctus
5. Agnus Dei
2013
16'
mixed choir
Fp: Ensemble EXtraCHORd, conductor Martin Ramroth; May 29, 2014, Herderkirche, Weimar, Germany
FpEst: Collegium Musicale, conductor Endrik Üksvärav; August 16, 2014, Pühalepa Church, Pühalepa Music Festival
Commissioned by: 9. Deutscher Chorwettbewerb
CD „Erkki-Sven Tüür. Canticum Canticorum Caritatis“, Alpha Classics (2023); Collegium Musicale Chamber Choir, conductor Endrik Üksvärav
Publisher: Peters
Retreaters [Taandujad]
- Audio
- Video
Retreavers / Tartu Univeristy Chamber Choir, conductor Triin Koch

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2013
4'
mixed choir
Text: Peep Ilmet
Fp: Mixed choirs of XXVI General Song Celebration, conductor Heli Jürgenson; July 6, 2014, Tallinn Song Festival Grounds
Commissioned by: Estonian Song and Dance Celebration Foundation
Triglosson trishagion
- Audio
- Video
Triglosson Trishagion / Estonian Philharmonic Chamber Choir, conductor Daniel Reuss

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2008
mixed choir
Text: Orthodox prayer-book (in Estonian, Russian and Greek)
Fp: Orthodox Singers; April 27, 2008, Tallinn St. Nicholas' Church
Commissioned by: Orthodox Singers
CD „Erkki-Sven Tüür. Canticum Canticorum Caritatis“, Alpha Classics (2023); Collegium Musicale Chamber Choir, conductor Endrik Üksvärav
Publisher: Edition Peters
The Wanderer’s Evening Song [Rändaja õhtulaul]
- Audio
The Wanderer’s Evening Song / Estonian Philharmonic Chamber Choir, conducor Daniel Reuss

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2001
17'
mixed choir
Text: Ernst Enno
Fp: Estonian Philharmonic Chamber Choir, conductor Tõnu Kaljuste; July 1, 2001, Estonia Concert Hall, Tallinn
CD „Erkki-Sven Tüür. Canticum Canticorum Caritatis“, Alpha Classics (2023); Collegium Musicale Chamber Choir, conductor Endrik Üksvärav
CD "Awakening", Ondine (2011); Estonian Philharmonic Chamber Choir, conductor Daniel Reuss
Publisher: Edition Peters

Works for female choir a cappella

Omnia mutantur…

Compulsory piece at the 17th International Choir Festival "Tallinn 2021" in the contemporary music category
2020
4'
female choir
Text: Ovid and Virgil

Works for male choir a cappella

Omnia mutantur…

Compulsory piece at the 17th International Choir Festival "Tallinn 2021" in the contemporary music category
2020
4'
male choir
Text: Ovid and Virgil

ELECTRONIC, ELECTRO-ACOUSTIC AND MULTIMEDIA WORKS

Oxymoron
- Audio
- Video
Oxymoron / NYYD Ensemble, conductor Olari Elts

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2001
21'
flute, oboe, clarinet, bassoon, horn, trumpet, trombone, percussion, piano, 2 violins, viola, cello, double bass, live electronics
Fp: NYYD Ensemble, conductor Olari Elts; September 12, 2003, Klangspuren Festival, Schwaz, Feckviehversteigerungshalle, Rotholz
FpEst: NYYD Ensemble, conductor Olari Elts; October 15, 2003, Tallinn, NYYD Festival
CD „Oxymoron”, ECM (2007); NYYD Ensemble, conductor Olari Elts
Publisher: Edition Peters
The Glamour of the Game [Mängu võlu]

1995
40'
double bass, live electronics, MIDI percussion
Fp: Basso Bongo Duo: Robert Black (double bass, live electronics), Amy Knoles (MIDI percussion, live-electronics); November 23, 1995, Tallinn, NYYD Festival
Commissioned by: Basso Bongo Duo
Mirage [Miraaž]
- Audio
Mirage

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1991
6'
electronics
Fp: April 15, 1998, Winter Garden of the Estonian National Opera, Estonian Music Days Festival
The Tropic of Capricorn [Kaljukitse märgi all]
- Audio
The Tropic of Capricorn / Peeter Malkov (flute), Toomas Vavilov (clarinet), Leho Karin (cello), Terje Terasmaa (perc.), Riho Sibul, Erkki-Sven Tüür

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1991
15'
flute, clarinet, vibraphone, violin, electric guitar (2nd electric guitar ad libitum), MIDI electronics
Fp: NYYD Ensemble, conductor Olari Elts; February 21, 1991, Tallinn, NYYD Festival
Publisher: Fennica Gehrman
Inner Monologue II [Sisemonoloog II]
- Audio
Inner Monologue II / Monika Mattiesen (flute), Margo Kõlar (live-electronics)

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processed version
6'
flute, electronics
Fp: Monika Mattiesen (flute), Margo Kõlar (live electronics); April 7, 2003, Estonian Academy of Music chamber hall, Estonian Music Days Festival
CD "Monika Mattiesen. Manuscript", Estonian Radio (2006); Monika Mattiesen (flute), Margo Kõlar, Hans-Gunter Lock (electronics)

MUSIC FOR CHILDREN

Songs for children

Christmas Joy [Jõulurõõm]

To Jakob and August from grandfather
2016
2'
voice, piano
Text: Ernst Enno
Dwarf Is Working [Päkapikk rassib]

To Filipp and Lennart from grandfather
2016
2'
voice/toddlers' choir, piano
Text: Leelo Tungal
Fp: Toddlers' Choir of Kärdla Elementary School, conductor Raili Kaibald; November 26, 2019, Kärdla Elementary School

Instrumental works for children

The Echo of Distant Steps [Kaugete sammude kaja]

Obligatory piece at the competition "Young Musician 2015"
2014
4'
cello, piano
Fp: April 11, 2015, Tallinn Teachers' House, participants of the competition "Young Musician"
Publisher: Edition Peters
Walk on the Rope [Köielkõnd]
- Audio
- Video
Walk on the Rope / Mari Poll (violin), Mihkel Poll (piano)

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Obligatory work at the competition "Young Musician 2015"
2014
3'
violin, piano
Fp: April 11, 2015, Tallinn House of Blackheads, participants of the competition "Young Musician"
CD "Works for violin and piano", DUX (2017); Mari Poll (violin), Mihkel Poll (piano)
Publisher: Edition Peters
What I Saw from the Top of the Mountain [Mida nägin mäetipule jõudes]
- Audio
What I Saw from the Top of the Mountain / Mihkel Poll (piano)

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2003
piano
Fp: Anne Tüür (piano); October 25, 2003, Nõmme Music School, Estonia
Commissioned by: Estonian Piano Teachers’ Society
CD "Mihkel Poll. Enescu. Bartók. Tüür. Kõrvits", Dux (2015); Mihkel Poll (piano)
Publisher: Edition Peters

INCIDENTAL MUSIC

Music for exhibition "Dances with Architecture"

Authors of exhibition: Silver Vahtre, Ignar Fjuk, Erkki-Sven Tüür, Pille Kannimäe, Tammo Sumera
2014
fixed media
Fp: February 14, 2014 - March 9, 2014, Tallinn Art House

Film music

Music for animated film "Elu ilma Gabriella Ferrita" ["Life Without Gabriella Ferri"]

Eesti Joonisfilm, directed by Priit Pärn
2008
44'
DVD „Elu ilma Gabriella Ferrita” [Life Without Gabriella Ferri], Eesti Joonisfilm (2008)

POPULAR MUSIC

Popular songs

Song About Friends [Laul sõpradest]
- Video
2022
3'
country band
Text: Joel Sang
Fp: Ensemble Kukerpillid; April 1, 2022, Alexela Concert Hall, Tallinn
Commissioned by: Kukerpillid
CD „Akadeemia“, Kukerpillid (2022); Ensemble Kukerpillid
Opening [Avanemine]

1978
4'
voice, accompaniment
Text: Erkki-Sven Tüür
CD „Need ei vaata tagasi... Osa 1”, HyperElwood (1999). Ruja, Tõnu Kaljuste chamber choir, mixed choir Noorus
New And Old [Uus ja vana]
- Audio
New And Old / Erkki-Sven Tüür (vocal), Riho Sibul (guitar), Tallinn Chamber Orchestra

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3'30''
voice, accompaniment
Text: Juhan Liiv
Fp: Ensemble In Spe

ORCHESTRATIONS AND ARRANGEMENTS

O crux benedicta
- Audio
O crux benedicta / Tallinn Chamber Orchestra, conductor Tõnu Kaljuste

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Arrangement of Carlo Gesualdo's motet with the same name (1603)
2014
3'
string orchestra
Fp: Tallinn Chamber Orchestra, conductor Tõnu Kaljuste; February 15, 2014, Tallinn Methodist Church

Erkki-Sven Tüür

WORKS FOR THE STAGE

Operas

WORKS FOR ORCHESTRA

Works for symphony orchestra

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WORKS FOR SOLO INSTRUMENT(S) AND ORCHESTRA

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VOCAL AND CHORAL MUSIC

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ELECTRONIC, ELECTRO-ACOUSTIC AND MULTIMEDIA WORKS

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ORCHESTRATIONS AND ARRANGEMENTS