Tuur - Illuminatio, Whistles and Whispers from Uluru, Symphony no.8
This despatch estimate is based on information from both our own stock and the UK supplier's stock.
If ordering multiple items, we will aim to send everything together so the longest despatch estimate will apply to the complete order.
If you would rather receive certain items more quickly, please place them on a separate order.
If any unexpected delays occur, we will keep you informed of progress via email and not allow other items on the order to be held up.
If you would prefer to receive everything together regardless of any delay, please let us know via email.
Pre-orders will be despatched as close as possible to the release date.
Cat No: ODE13032
Number of Discs: 1
Release Date: 16th February 2018
WorksIlluminatio for viola and orchestra
Whistles and Whispers from Uluru
ArtistsLawrence Power (viola)
Genevieve Lacey (recorders)
Tüür describes his viola concerto Illuminatio (2008) is “a pilgrimage towards eternal light”. The work opens with a mysterious soundscape. As the work progresses, the music develops and grows, and the relationships between the soloist and the orchestra is in a constant change. The very final pages bring the work to a magical conclusion shimmering with delicate light.
Whistles and Whispers from Uluru (2007) was written to a commission from the Australian Chamber Orchestra for recorder virtuoso Genevieve Lacey. When the composer was writing the work at his summer residence in the island of Hiiumaa in Estonia, it was spring and the air was full of birdsong. In his mind, he connected Uluru, the sacred mountain of the Australian Aborigines, to his northern surroundings, and the two impulses fused. The soloist goes through multiple members of the recorder family, from sopranino down through treble, alto and tenor to bass, and then back to the heights of the sopranino. An electronic soundtrack augments the texture at times.
Symphony No.8 was commissioned by the Scottish Chamber Orchestra and was completed in 2010. Tüür scored the work for a sinfonietta-type ensemble instead of a large symphony orchestra, and as a result the music has at times a chamber music feel. The movements are not separated in the score, but the tripartite division is very clear. On the other hand, the music is characterised by a strong sense of continuity and direction: “the constant sense of ‘being on the road’, organic development and fluidity [are] crucial for this music,” says Tüür.
Error on this page? Let us know here
Need more information on this product? Click here