Programme note
Erkki-Sven Tüür (b.1959)
Symphony No 8 world premiere
SCO commission with funding from the Scottish Government.
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
(Translation from Estonian Pirjo Püvi)
