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Helena Tulve  

... looking for
unusual soundscapes
evoked by
inner
vibration of
sound...
..............

Postimees

.Press

In the general category, Sula (Thaw) (1999) for orchestra by Estonian composer Helena TULVE (born 1972) was selected by the delegates as most outstanding; Estonian Radio’s head of music Tiia Teder had presented it in a recording of a performance by the Estonian National Symphony Orchestra, conducted by Toomas Vavilov. “Sula denotes the process of thawing, melting – the transformation of ideas, materials, timbres and sounds from one state to another. The composition was partly inspired by the rather topical notion of global warming, by this image of a colossal iceberg thawing up.” (H.T.)

Results of the 2004 International Rostrum of Composers
( 11.06.2004)


Two works by the 31-year-old Estonian Helena Tulve – “Lines,” a haiku setting presented by Ms. Vaitmaa in a recording, and “Island,” superbly performed by the clarinetist Laura DeLuca and the violinist Mikhail Shmidt – revealed a phenomenal talent for investing a minimum of notes for a maximum expressive return. Like many young composers today, Ms. Tulve uses unconventionally extended playing techniques to emulate the kind of tonal freedom composers of electroacoustical and computer music enjoy. I have no idea what composing methods Ms. Tulve may be using to achieve her effects, but there is no need to know them to appreciate her modestly wrought but razor-sharp and memorable compositions as masterworks.

North (Europe) by Northwest (America) by Richard Taruskin
( New York Times, 18.04.2004)


Solch bemerkenswerte Klangeindrucke konnte man in den Konzerten, aus denen die Werke des finnischen Komponisten Magnus Lindberg, die wie ein uralter Klangstrom dahinfliessenden Stücke des Georgiers Giya Kancheli oder das skurrile instrumentale Theater des Norwegers Rolf Wallin herausragten, vor allem in „Cendres“, einem Stück der jungen estnischen Komponistin Helena Tulve machen; eine mit erstaunlicher kompositorischer Sicherheit geschaffene Miniatur aus Verschleiftönen, Streicherflageoletts, Glissandi und Pizzicati, diffizil rhytmisierten Klangballungen von zwei Klavieren, die sich im cantabile eines Soloinstruments auflösen. Eindrucksvoll war das Werk vor allem deshalb, weil sich hier die Frage nach Vorbildern, nach stilistischen Einordnungen nicht stellete. Vorstellungskraft und Klangsinn der Komponistin schienen alleine für den Eindruck von Formvollendung ausschlaggebend zu sein. Allein das Talent von Helena Tulve sollte genügen, die Ohren künftig auf diese Region zu richten.  

Gesänge von fliegenden Rollstuhlfahren Wolfgang Sandner

Frankfurter Allgemeine Zeitung, 2001



Martin Anderson:
...it was prefaced in that opening gig by the first performance of Thawing, an orchestral fantasy by the even-younger Helena Tulve.
Tulve’s idiom is colder than Tuur’s, with something of the formal elegance and emotional reserve of her northern neighbour, the Finn Kaija Saariaho, whose turn in the spotlight came later on in the week...

from Independent


Evi Arujärv: The compositions of Helena Tulve could be called 'hyper-realistic'. On the elementary ('minimal') level, each primary component of music lone timbres, single sounds, the simplest of their relationships are closely scrutinised, slightly dislocated and deformed. Like other 'hyper-realists', Helena Tulve makes frequent use of 'alien'-coloured tones ('false' registers, unconventional playing techniques, uncommon sound-combinations), of micro-intervals and extremely slowed-down tempi. Thus an elemental an embraceable and recognisable, yet at the same time uncanny, metaphysical soundspace is created. The conditionality and hollowness of existence, made clearly audible, are brought within ear-reach. This is something one has to find ways to cope with. Any which way.

Postimees
May, 1998


Lutz Lesle: Grosse Sympathien erwarb sich die 28jährige Komponistin Helena Tulve – ehemalige Studentin von Erkki-Sven Tüür, die in Paris (wie die Finnin Kaija Saariaho) in den Sog der «Spektralisten» Tristan Murail und Gérard Grisey geriet – mit ihrem farbenschillernden ersten Orchesterwerk «Sula» (Die Schmelze). Die Werkidee entspringt dem Phänomen der Klimaerwärmung. Beim Komponieren des in einem wellenförmigen Steigerungszug angelegten Viertelstundenstücks dachte die Estin an einen geräuschvoll abtauenden Eisberg. Um die urtümlichen Kräfte, die der Schmelzprozess freisetzt, recht anschaulich auftönen zu lassen, sieht die Partitur das «Schamanen-Rohr» der australischen Aborigines vor. Doch in Estland war kein potenter Spieler zu finden. Wieder einmal halfen die finnisch-ugrischen Brüder: ein Didgeridoo-Virtuose aus Helsinki rettete die Stimme der Natur.
© AG für die Neue Zürcher Zeitung NZZ 1999

Neue Zürcher Zeitung


Helena Tulve's orchestral composition Sula won the International Rostrum of Composers in Paris in 2004.

In 1998, at UNESCO’s International Rostrum of Composers in Paris, Tulve’s à travers, a piece for chamber ensemble achieved the place among selected works in the category of composers under 30.

 

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On the elementary ('minimal') level, each primary component of music lone timbres, single sounds, the simplest of their relationships are closely scrutinised, slightly dislocated and deformed.

 

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