Erkki-Sven Tüür (b. 1959) - PDF Free Download

ESTONIAN PHILHARMONIC CHAMBER CHOIR SINFONIETTA RIGA DANIEL REUSS ERKKI-SVEN TÜÜR ÄRKAMINE AWAKENING 1

Erkki-Sven Tüür (b. 1959) 1 Awakening (Ärkamine, 2011) 36 29 for mixed choir and chamber orchestra Commissioned by Tallinn European Capital of Culture 2011 and the EPCC 2 The Wanderer s Evening Song (Rändaja õhtulaul, 2001) for mixed choir a cappella Commissioned by the EPCC; dedicated to Tõnu Kaljuste and the EPCC 18 54 3 Insula deserta (1989) 8 49 for string orchestra Commissioned by the Ostrobothnian Chamber Orchestra Estonian Philharmonic Chamber Choir (1; 2) Sinfonietta Riga (1; 3) Daniel Reuss, conductor Publisher: Edition Peters Recording: Methodist Church, Tallin, Estonia, 31.5. 3.6.2011 Executive Producer: Reijo Kiilunen Recording Producer, Editing & Mixing: Florian B. Schmidt Recording Engineer: Hansjörg Seiler 2011 Ondine Oy, Helsinki 2011 Ondine Oy, Helsinki Booklet Editor: Jean-Christophe Hausmann Photos of the recording session: Kaupo Kikkas Design: Armand Alcazar 3

Universality, Time and Phenomenology in the Oeuvre of Erkki-Sven Tüür Erkki-Sven Tüür (b. 1959) began his musical career in the second half of the 1970s as leader of the progressive rock band In Spe, influenced by the music of King Crimson, Emerson Lake & Palmer, Mike Oldfield, Frank Zappa, Yes and Genesis. He became a professional composer during the second half of the 1980s. Tüür studied percussion and flute at the Georg Ots Tallinn School of Music (1976 1980) and composition with Jaan Rääts at the Tallinn Conservatory (1980 1984). He also took private lessons with Lepo Sumera (1950 2000) and broadened his skills in the field of electronic music in Karlsruhe. Tüür s oeuvre includes eight symphonies, several instrumental concertos, numerous chamber works and the opera Wallenberg (2001). Tüür is interested in a wide range of compositional styles, such as Gregorian chant, minimalism, dodecaphony and sound fields, and has long focussed on musical opposites tonality versus atonality, regular repetitive rhythms versus irregular complex rhythms, tranquil meditativeness versus explosive eruptions creating a metalanguage. Beginning with his Symphony No. 4 ( Magma, 2002), Tüür started using a technique he called the vectorial method, a flexible source-code system based on intervals and vectors, with transitions between opposites becoming increasingly more important. The ensemble piece Oxymoron (2003) is the first pure example of this technique. Tüür has achieved independence in both his personal style and compositional technique. He lives on Hiiumaa, a beautiful, peaceful Estonian island. He is also closely connected to the pulsating world, however, composing commissions and working with international festivals, orchestras, ensembles, conductors and instrumentalists in Europe and on other continents. Tüür has become acknowledged worldwide as an innovative composer whose music also reaches a broader audience. Tüür s music is both individual and universal; it is avant-garde, at the same time preserving traditions. Its musical material ranges from individualistic to non-individualistic textures, including clusters, sound fields, aleatoric counterpoint, and electronic sounds, incorporating them consistently into an aesthetically and emotionally satisfying experience. In one sense his music can be seen as a kind of consummation of Hanslick s idea of sonically moving forms (The Beautiful in Music, 1854), while including (sub)texts and embodying narrative concepts like culmination dramaturgy or music drama. 4 5

Tüür s music can even be considered timeless, because it synthesizes various traditions and displays many universal features attributed to canonic masterpieces. But it includes, expresses and embodies time and space in many aspects and layers from the structural to the emotional dimensions, the constructed to the natural, the philosophical and metaphorical to the semiotic, the chronological to the subjectively experienced. Let us approach Tüür s music from a phenomenological viewpoint here, recalling Merleau-Ponty, who said that the future is not prepared behind the observer, it is the brooding presence moving to meet him, like a storm on the horizon.... the course of time is no longer the stream itself: it is the landscape as it rolls by for the moving observer.... [time] arises from my relation to things. Within things themselves, the future and the past are in a kind of eternal state of pre-existence and survival.... What is past or future for me is present in the world (Phenomenology of Perception, 1945/2002, p. 478). This can also be said of the quiddity and perception of Tüür s music. The listener who encounters it is touched, overwhelmed, astonished, exalted, even rendered speechless by the suggestiveness of its sounds, images and the memories it evokes. The listener s relationship to Tüür s music is important to its comprehension. For experienced listeners, Tüür s music is like an open book. Memories of meanings, styles, images, times and spaces from the distant and recent past of Western music from ancient music to jazz and rock seemingly emerge from nowhere and fade back into sonically moving forms and the play of pure musical material. For listeners familiar with Estonian music, memories of that particular tradition will appear, from symphonic-romantic and (pre)modern to avant-garde and post-modern elements, including the composer s own works. But one never loses the certainty that this music is created by Tüür alone, since it is characterized by unique features of Tüür s metalingual and vectorial-based thinking. In particular, individual melodic structures (with characteristic interval combinations and vectorially important trajectories), the treatment of combined modality, and rhythmic and temporal features are highly typical and recognizable throughout his oeuvre. For the less experienced listener or someone approaching it from a purely phenomenological standpoint, Tüür s music is like a magic book. While pages turn, culminations appear, and natural phenomena like storms, volcano eruptions and frozen tsunamis roll over; single notes and motives, gestures and abstract narratives, 6 impulses and culminations, patterns and pulsations, contrasts and crucial changes in texture emerge rapidly or slowly, remain continuously or move smoothly from one state of the musical material to the next. Tüür s titles and the concepts of his works often support and awaken these impressions, associations, analogies and synesthesia or natural imagery and phenomena. The works on this CD present a cross section of Tüür s oeuvre. Insula deserta (1989) for string orchestra marks his international breakthrough. It was commissioned by the Ostrobothnian Chamber Orchestra and premiered in Finland under Juha Kangas and has since been recorded and performed all over the world. The title is borrowed from the poet Tõnu Õnnepalu, and for Tüür it refers to the nature of Hiiumaa as well as The Myth of Sisyphus (1942) by Albert Camus, expressing the idea that absurdity is born from the contradiction of irrationality and the fierce desire for clarity, which man always inherently longs for. We find the echo of these words throughout Tüür s works up to the present day. As is often the case, Tüür s music begins with a single sound, gradually expanding into melodies and sound masses. Tüür points out that the relationship between fragility and power is the key factor to be weighed, but the tension and transition between individuality also emerges, for example, in a solitary melody and (quasi) non-individuality, expressed here both in repeated patterns and sound field structures, which is characteristic not only of this particular work but also more generally in his oeuvre. We find modality, pentatonics and quartal harmony, while the melody begins with a typical alternation of wider and smaller, consonant and dissonant intervals, balanced similar to ancient techniques. For the first time, Tüür composes out a widespread electronic effect (digital delay) in the pulsating middle section, which is based on imitative structures in the orchestration. The Wanderer s Evening Song [Rändaja õhtulaul] (2001) for mixed choir was written for the 20th anniversary of the Estonian Philharmonic Chamber Choir (EPCC) and is dedicated to the choir and its founder and conductor Tõnu Kaljuste. Tüür combines several poems by the well-known Estonian poet Ernst Enno (1875 1934) from the first half of the 20th century with an astonishingly consistent narrative of an imaginative wanderer, who is bewitched by the sombre silence of the northern woods, longing for home, and marvels at the golden strings and rays reaching across the deep water and life as the one blissful way to reach God and His light. Both the music and the romantic poems recalling Goethe and Rückert are composed with dramatic tension between dissonant textures, 7

brightening chords and shifting tonality. It raises the listener to a higher level of consciousness, which is a kind of natural religiosity also found in other works by Tüür, especially in the main piece on this CD. Awakening [Resurrectio, Ärkamine] (2011) for mixed choir and chamber orchestra was commissioned by the EPCC and the city of Tallinn, the European Capital of Culture for 2011; the world premiere was presented in Tallinn by the EPCC and Sinfonietta Rīga under the choir s chief conductor, Daniel Reuss, in spring 2011. The texts are Estonian poetry by Juhan Liiv (1864 1913), Ernst Enno, Jaan Kaplinski (b. 1941) and Doris Kareva (b. 1958), along with Latin liturgical texts related to Easter. Both the orchestral and vocal parts return to Tüür s former style but add a highly impressionistic atmosphere which evocatively touches the audience. The final shift in the music and consciousness of the listener takes place in Tüür s setting of Kareva s poem Miraculous wakefulness with contrasting timbres and subtle textures, enabling us to believe that life and the course of the world continue, even in difficult times. The composer himself believes that awakening can be viewed as a life-long process,... While composing this piece I lingered deep on the level of instincts and senses.... From a musical perspective, this composition can also be viewed as an awakening to the light. At least I dare hope so (Tüür, 2011). Awakening is a powerful manifestation of Tüür s ability to find the right words and sound to touch people around the world using his entire stylistic arsenal, while constantly renewing it. This work and his oeuvre as a whole carry the message that the symbiosis of beginning and continuing is possible and can be expressed as do not forget, but keep going, resume but stay on course. Gerhard Lock www.erkkisven.com 8

The Estonian Philharmonic Chamber Choir (EPCC) was founded in 1981 by Tõnu Kaljuste, who acted as artistic director and chief conductor for twenty years. From 2001 2007, Paul Hillier succeeded him, until Daniel Reuss took over in 2008. Over the years, the choir has established its reputation as one of the world s leading choral ensembles. Its repertoire extends from Gregorian chant to late Baroque and twentieth-century music, with a special emphasis on Estonian composers (Pärt, Tormis, Tüür, Grigoryeva, Tulev, Kõrvits, Tulve). The choir performs 60 70 concerts per season in Estonia and abroad. The EPCC has worked with a number of acclaimed orchestras and conductors, including Claudio Abbado, Helmuth Rilling, Eric Ericson, Ward Swingle, Neeme Järvi, Paavo Järvi, Nikolai Alekseyev, Andrew Lawrence-King, Roland Böer, Frieder Bernius, Stephen Layton and Marc Minkowski. It has performed at such music festivals as the BBC Proms, Edinburgh Festival, Abu Gosh Music Festival, Moscow Easter Festival, Musikfest Bremen, Salzburg Mozartwoche and Festival Aix-en-Provence. The choir has made numerous acclaimed recordings, with one Grammy Award for Best Choral Performance and eight nominations. Daniel Reuss has held the posts of artistic director and chief conductor with the Estonian Philharmonic Chamber Choir since 2008. Born in the Netherlands in 1961, he studied choral conducting with Barend Schuurman at the Rotterdam Conservatory. In 1990, he became chief conductor of Cappella Amsterdam, which he turned into a full-time professional ensemble. Between 2003 and 2006 he led the RIAS Kammerchor in Berlin as chief conductor, with whom he recorded a number of awardwinning CDs. In 2007 he made his debut at the English National Opera with Handel s Agrippina. As guest conductor, Daniel Reuss has worked with numerous renowned European ensembles, including the Concertgebouw Chamber Orchestra, the Akademie für Alte Musik Berlin, Concerto Köln, the Schönberg Ensemble, the Netherlands Radio Choir, Collegium Vocale Gent, the Balthasar Neumann Choir, the SWR Vokalensemble, the Stavanger Symphony Orchestra, the Nieuw Ensemble, Prometheus Ensemble and Viotta Ensemble. www.danielreuss.com www.epcc.ee Sinfonietta Rīga was formed in 2006. The orchestra of 34 young musicians is led by artistic director, oboist and conductor Normunds Šnē. Sinfonietta Rīga s musical direction and repertoire development are based on two principal aims: to pass on the rich traditions of music to the next generation of performers and audiences and to enlighten their listeners by presenting a thoroughly modern selection of works. The orchestra has performed with such soloists and conducters as Baiba Skride, Patrick Gallois, Roger Muraro, Martin Grubinger, Kirill Troussov, Alina Pogostkina, Peter Donohoe, Claudia Barainsky, Monica Groop, Sigvards Kļava, Heinz Holliger, Christoph Poppen and Juha Kangas. Both in 2007 and in 2008, Sinfonietta Rīga received the the Great Music Award of Latvia. www.sinfoniettariga.lv 10 11

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1 Ärkamine 14 1 Awakening Haec dies quam fecit Dominus: exultemus et laetemur in ea. Alleluia. Psalm 118:24 This is the day that the Lord has made: let us rejoice and be glad in it. Alleluia. Puude lehtes liigub sahin Vaikne, tasane Esimene arm käib hilju Läbi looduse. A rustle moves in the trees soft and serene first love goes on tiptoe through nature. Päikse poole, kiirtemaale Ihkab iga nupp: Naerul sinilillekene, Naerul kullerkupp. Sunwards, to a land of rays every bud craves; smiling tiny violet, smiling globeflower. Ilukeelil igatsedes Paisub linnu rind; Pehme väike pesakene, Kuis ta kutsub sind... Sighs in the language of beauty swell in bird breast; a soft little nest oh so inviting Ja nii tasa õnnistades Helin salaja Käib kui pulmapidu ilu, Lootus sonija. And silently blessing chiming in secret, wedding-bell beautiful, a rambling hope. Puude lehtes liigub sahin Vaikne, tasane A rustle moves in the trees soft and serene Esimene arm käib hilju Läbi looduse. Ernst Enno (1875 1934) first love goes on tiptoe through nature. keegi ei tea oma nime keegi ei näe oma nägu ainult üks imede ime metsades kukub kui kägu no one knows his own name no one sees his own face only a wonder of wonders cuckooing in the forests loodes pakatab loojak mets avab vaigused lukud sina saad sõnumitoojaks aastaid ja kevadeid kukud sunset bursts on the northwest sky the forest opens resinous locks you will become a messenger cuckooing years and springs kaleneb korgiks ja kooreks süda kesk lehtede sündi killuke ainult jääb nooreks mööda külvi ja kündi into bark and cork hardens your heart in the birth of leaves a sliver alone stays young during ploughing and sowing tema veel näeb seda välja teab meie valed ja võlad asjadest astuvad välja kujud värvid ja kõlad he still sees that field knows our lies and debts from out of all things step shapes colours and sounds sa tohid minna ja tulla niitude lillelist lina üles on hõiganud mulla üks kes on suurem kui sina you may go and return over flowery meadow sheet he has called up the earth he who is greater than you 15

16 Ei ma mõista palvet teha, ei ma mõista paluda: palveks enne saab ju süda, kui ma hakkan paluma. Not that I know how to make a prayer, not that I know how to pray: my whole heart becomes a prayer before I start to pray. Sinu eest ma palvet teeksin, paluks vaga meelega, aga juba põue põhjas oled ise palve sa. Juhan Liiv (1864 1913 For you I would make a prayer, I would pray with pious mind, but in the depth of my breast you are a prayer yourself. Haec dies quam fecit Dominus: exultemus et laetemur in ea. Alleluia. Psalm 118:24 This is the day that the Lord has made: let us rejoice and be glad in it. Alleluia. clay became body, wind became soul what else but to rise and walk Exsultet iam angelica turba cælorum: exsultent divina ministeria: et pro tanti Regis victoria tuba insonet salutaris. Let the angelic choirs of Heaven now rejoice; let the divine Mysteries rejoice; and let the trumpet of salvation sound forth the victory of so great a King. Christ is risen from the dead, trampling down death by death, and upon those in the tombs bestowing life. Gaudeat et tellus, tantis irradiata fulgoribus: et æterni Regis splendore illustrata, totius orbis se sentiat amisisse caliginem. Let the earth also rejoice, made radiant by such splendor; and, enlightened with the brightness of the eternal King, let it know that the darkness of the whole world is scattered. läbi sest valest läbi sest valust lajuke kevadist metsaalust through that lie through that pain a speck of springtime forest floor lihtsalt niisama olles ja võites minu jänesekapsad on õites by simply being and winning my wood sorrels are in bloom kadunud kodu kesk ruumi ja aega linnulauluse lehtiva laega a lost home in space and time with a leafy ceiling of birdsong homse hirmust ja tunase vaevast kõrs kerkib üles vaatama taevast from tomorrow s fear and yesterday`s pain a stalk rises up to look at the sky kõik mis mulla all ootas ja lamas avab silmad ja ongi siinsamas all that lay in the earth and waited opens its eyes and is here right now põrmule põrmust puhkevat lohtu kannikesi ja kopsurohtu to dust the solace sprung from dust violets and blue cowslips savist sai ihu tuulest sai hinge muud ei olegi tõuske ja minge Jaan Kaplinski (b. 1941) Christus resurrexit a mortuis, Morte mortem calcavit, Et entibus in sepulchris Vitam donavit. Paschal troparion 17

18 Lætetur et mater Ecclesia, tanti luminis adornata fulgoribus: et magnis populorum vocibus hæc aula resultet. Easter Proclamation Let our mother the Church also rejoice, adorned with the brightness of so great a light; and let this temple resound with the loud acclamations of the people. Christus resurrexit a mortuis, morte mortem calcavit, et entibus in sepulchris vitam donavit. Paschal troparion Christ is risen from the dead, trampling down death by death, and on those in the tombs bestowing life. Imeline ärkvelolek Selge taeva sügav rahu Tuleb tasa sinu sisse See mis sõnusse ei mahu Miraculous wakefulness Deep clear-skied peace Slips silently into you What words cannot grasp Tuleb vaatab sinu pääle Nägijana Õpetaja Elustavalt pehme puude Puude kohin läbi aja Doris Kareva (b. 1958) Appears and looks upon you The Seer-Teacher Revivingly tender touch Tree murmur through time (Translations: Doris Kareva and Miriam McIlfatrick-Ksenofontov) 2 Rändaja õhtulaul 2 The Wanderer s Evening Song Läbi metsa vaikus tume Nagu ligineks, Silmis tähte sära tasa Nagu heliseks Through the woods a sombre silence Seemingly approaches, In my eyes the starlight radiance A quiet sound induces Värin veereb läbi keha, Unenäod kohkuvad Igaviku kutsesõnad Hinge veerevad. Tremor penetrates the body, Dreams are startled The callings of eternity Creep into the soul. Kuulmata kuskil kumiseb kodu Enese taga, sügaval sees, Tähtede säras kurgede rodu Lõunasse lendab kõrgel ees. Somewhere, I hear the hum of home Behind myself, or deep inside, A row of storks in the starlight glow Flies southbound in the sky. Kus on su hommik, kus on su lõuna, Sügaval ise, kitsas on maa, Igatsus kuskil, igatsus sinna, Kutse sind valdab, kuhu ei saa. Where is your dawn, where is your south, In these depths the earth is confined, Yearning somewhere, yearning there, Called by a place that you are denied. Kuulmata kuskil kumiseb kodu Enese taga, sügaval sees Tule, oh tule! luikede rodu Mustavalt merelt meelitab ees. Somewhere, I hear the hum of home Behind myself, or deep inside Come, oh come! Swans in a row On the black sea seemingly guide. Kostavad kured: magada vaja, Vastavad aulid: siin on hää, Lainetes sulin ees nagu taga We need to sleep, the storks remind; We feel well, the ducks declare; Rippling waves ahead and behind 19

20 Kõik otsijad minema peavad sääl Üle elu, see sügava mere; Kõik üksi, kõrvus Jumala hääl Ja tuleleek täheks pääde pääl, Üle ilma, see sügava mere. There all seekers have to head Over life, that deep sea; All alone, the voice of God in their ears And a starlike flame above their heads, Over this world, the deep sea. Ja upub neid tuhandeid minnes teel Üle laia ja sügava mere, On elule iluks kõik uppunult veel, Neist saared ja rannad seisavad eel Üle ilma, see sügava mere. And thousands will drown on their way Over this wide and deep sea, Even when drowned their grace won t decay, Islands and shores lie on their way Over this world, the deep sea. Whoever set their gaze down there, Could ne er break free from it no more; You upwards and then downwards face Cognise yourself in warm embrace. Teist ühtegi ei tunne veel ses ilmas, Kas iialgi teist mõnda leiab silm Siin enda sünnituse raudses ringis, Ei tea, nii hämar veel on oma ilm. No other yet I know on this earth, Will my eyes ever behold anyone In this iron circle of my own birth, I know not too dark is my own world. Tähte väli jõe õues, Hõbe kõrge omas põues; Jõuda, jõuda sinna vette, Sügavale enda ette. A field of stars in a river s court, A silver blaze in my own heart; Reach, reach into that water s flow, Deep into what lies below. Nii hämar veel, kus mõtted üksi juhiks, Kus süda tihti vaatab tagasi, Veel nutt ja naer sul tagant kostab kõrvu Ja väiksed kõik su sammud edasi. Too dark yet, only contemplation as a guide, Where the heart repeatedly looks back, Still hearing the joy and weeping from behind And all your steps ahead in substance lack. Kuldkeeled on tõmmatud üle vee, Üle laia ja sügava mere, Kuldkeeled, kuldkiired, üks õnnis tee, Kuldkiired kui päikse helinast kee Üle elu, see sügava mere. Golden strings reach over the waves, Over the wide and deep sea, Golden strings, golden rays, one blissful way, Like a necklace from the melody of sun s blaze Over life, over that deep sea. Tolm, mure peene kaste langeb tasa Ja kõik nii raskeks läeb su sees ja ees; Sa tead, nii kuhugi sa pead jõudma, Kuid kõik on kinni, kõik su ees ja sees. Dust, the fine dew of fret quietly descends, And all so weary grows inside you and ahead; Aware that like this somewhere you must tread, But everything is closed, both inside you and ahead. Igatsus lasub, raske on pää. Longing sets in, heads hard to bear. Kuulmata kuskil kumiseb kodu Enese taga, sügaval sees, Mustaval merel luikede rodu Kuulmata kuskil kumiseb kodu, Tule, oh tule! hüüab kõik ees. Somewhere, I hear the hum of home Behind myself, or deep inside, On the black sea swans form a row, Somewhere, I hear the hum of home, Come, oh come! All ahead of me guides. Tähte väli vaatas vette, Sügavale enda ette; Tähte väli, hõbe kõrge, Iseoma hinge nõrge. A field of stars their glances spread Deep into the water that lies ahead; A field of stars with silver glow, A reflection of your very soul. Kes sääl iial vaatas alla, Ei see saanud enam valla; Vaatab alla, vaatab üles Ennast mõistad teise süles. 21

22 Sääl liigub nagu tähte pehme sumin Su üle, sa ei tea, kuidas, kus; Sind kaisutab kui see, mis sa ei ole, Nii enda kõige kallim uuendus. Like the soft murmur of stars it moves Over you, you don t know how, where; It embraces you as what you are not, The dearest invention of yourself. Kui hõbekellade helin Hing kuulatab, väriseb, Ja nagu aimab, kuis Sinu valgus, Täis vaimu, kord ligineb. Ja kõiges üksinduses elad, oled Kui seeme musta mulda külvatud Kui sured, algad teisipidi kasvu, Kui kasvad, viljaks oled määratud. And in total solitude you live, and are Like a seed sown in the black soil When you die, you start growing again, When you grow, as fruit are destined to toil. Ja ikka nagu tähte pehme sumin Su üle, sa ei tea, kuidas, kus Ja vahel viletsuse raskes vilus Kui kuulduks alla õnnis tervitus: And still, like the soft murmur of stars Over you, you don t know how, where; And sometimes in the sombre shade of misery You hear a blissful greeting from up there: The text of this song consists of excerpts from the following poems by Ernst Enno (1875 1934): 1. Läbi metsa vaikus tume (1903) 2. Kuulmata kuskil kumiseb kodu (1928?) 3. Tähte väli vaatas vette (1928) 4. Hõõgamine (Kuldkeeled on tõmmatud...) (?) 5. Ikka nagu tähte pehme surin... (Teist ühtegi ei tunne...) (1916) 6. Kui hõbekellade helin (1903). Nad kandvad valgeid riideid omas hinges, Siin-sääl kui sambad, avitajad väed; Ja kes neist suuremad, on ilmas väiksed, Neil imepehmed avitajad käed. In their souls they white attire wear, Like aiding forces, here and there as pillars stand; And greater ones in this world small remain, How very soft their helping hands. Kui hõbekellade helin Käib hilju mu südame Ma otsin su läiki, Jumal, Ja igatsen ülesse. When the sound of silver bells Slowly creeps into my heart I search for Your light, God, And above I long to depart. When the sound of silver bells My soul is hearkening and trembling, Surmising somehow when Your light, Full of spirit, finally approaches. (Translation: Pirjo Püvi) 23

ODE 1183-2

2 The Wanderer s Evening Song (Rändaja õhtulaul, 2001) 18 54 for mixed choir a cappella 3 Insula deserta (1989) for string orchestra 8 49 Estonian Philharmonic Chamber Choir Sinfonietta Riga Daniel Reuss, conductor www.ondine.net [64 33] Liner notes enclosed Lyrics with English translation 2011 Ondine Oy, Helsinki 2011 Ondine Oy, Helsinki Manufactured in Germany. Unauthorised copying, hiring, lending, public performance and broadcasting of this recording is prohibited. www.erkkisven.com www.epcc.ee www.sinfoniettariga.lv www.danielreuss.com ODE 1183-2 ONDINE ODE 1183-2 Awakening (Ärkamine, 2011) 36 29 for mixed choir and chamber orchestra ONDINE ODE 1183-2 TÜÜR: ÄRKAMINE, ETC. EPCC SINFONIETTA RIGA DANIEL REUSS 1 TÜÜR: ÄRKAMINE, ETC. EPCC SINFONIETTA RIGA DANIEL REUSS Erkki-Sven Tüür (b. 1959) 0 761195 118320