This year’s Estonian Music Days focussed to a large extent on composers born within the last 40 years, and this extended to the largest-scale events. The concert given on the penultimate day, by the Estonian National Symphony Orchestra directed by Anu Tali, featured world premières from three younger composers alongside a pair of works by more well-established figures. The occasion also saw the inauguration of a new award for Estonian composers, Au-tasu, founded by the LHV Bank, for the best new work performed in the previous calendar year. The first recipient was Liisa Hirsch for her violin concerto Ascending… Descending; the short excerpt preceding the presentation sounded very impressive.
Mirjam Tally’s Erosion, a concerto for amplified cello and orchestra with electronics, made the weakest impact of the evening. Tally’s music featured prominently throughout this year’s EMD, yet while exhibiting imagination and compositional enthusiasm, they consistently displayed a lack of surety in how to make ambitious ideas convincingly cohere. There were exceptions, but Erosion sadly wasn’t one of them; the relationships between soloist and orchestra, and acoustic and electronic, were vague – the role of the electronics seemed little more than to add some oomph and reinforce the bass – and while soloist Leho Karin was dauntless conveying his involving, seemingly independent part, signs of a cogent musical argument were all but absent.
Mari Vihmand’s Floreo also struggled, in terms of both coherence and identity. Inspired by notions of flourishing, Vihmand seemed content to pull orchestral shapes formed out of ideas borrowed from the last 75 years. To be fair, she sought more to allude and circumnavigate these borrowings than present them directly, but the resultant patchwork veered between vagueness and an over-dependence on grand gestures. Very much more successful was Maria Kõrvits’ falling up into the bowl of sky, a work taking a short excerpt from a poem by Rūmī as the starting point for a fascinating, constantly-evolving kaleidoscope of convoluted textures. Some were so dense they practically allowed no aural foothold, others erupted into a menagerie of fantastical animal calls. The organic nature of this continual flux was thrilling, and it was quite a sight to see the entire string section acting independently in the formation of these massed orchestral fabrics. Kõrvits marshalled things towards a tired, wavering almost-unison at the end; it was a curiously tense kind of apotheosis, but a fitting one for a work that offered a wholly original take on what an orchestra can do.