CD ECM Records Helena Tulve: Arboles Lloran Por Lluvia

2010

Arianna Savall Soprano, Triple Harp
Charles Barbier Countertenor
Taniel Kirikal Countertenor
Helena Tulve Glasses, Wind Chimes
Marco Ambrosini Nyckelharpa
Vox Clamantis
Ensemble Hortus Musicus
NYYD Quartet
Harry Traksmann Violin
Olga Voronova Violin
Torsten Tiebout Viola
Leho Karin Violoncello
Jaan-Eik Tulve Conductor
Estonian National Symphony Orchestra
Olari Elts Conductor

Recorded in churches in Tallinn as well as the Estonian Concert Hall, the five compositions heard on “Arboles lloran por lluvia” (Trees cry for rain) give deeper insight into the unique sound-world of Helena Tulve, into music which is nourished by both contemporary and ancient currents. Tulve draws upon a wide-range of inspirational sources. She explores the raw fabric of sound and the nature of timbre in both analytical and instinctive ways, in compositions that are unmistakably her own, yet her work is inclusive – here incorporating aspects of Gregorian chant, melody from Yemenite Jewish tradition, and texts from Sufi, Sephardic and Christian mystic poetry. Strong performances by the soloists, above all Arianne Savall – featured on “silences/larmes”, “L’Équinoxe de l’âme” and the title track – and the choral, chamber and orchestral forces marshalled by Jaan-Eik Tulve and Olari Elts make Helena Tulve’s second ECM New Series recording a most impressive successor to the critically-acclaimed “Lijnen”.'

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Ancient and modern influences entwine with an austere elegance in the music of Estonian composer Helena Tulve. ‘Reya hadas a’ala’ employs Yemenite Jewish text and melody, two countertenors occupying a strospheric space where they blend into the high, keening sibilance of Ensemble Hortus Musicus’ period strings. [...] Tulve continues to explore the higher registers throughout the album, with the regional nyckelharpa featured on the title track, and the violins of ‘L’Equinoxe de l’àme’ delivering a thousand tiny slashing cuts.
Andy Gill, The Independent

In Tulve’s music the thinking always seems more vertical than horizontal; the predominant mood is introspective, almost meditational, the textures and harmonies beautifully imagined, the sense of pulse and forward momentum often elusive. ‘Extinction des Choses Vues’ for orchestra does build to a massive climax, achieved through weight and intensity rather than movement; the effect is rather like Kaija Saariaho’s music of the 1980s and 90s, and wonderfully achieved.
Andrew Clements, Guardian