Symphony No. 4 ‘Magma’ (2002)
(Concerto for solo percussion and orchestra)

Figuratively speaking, the dramatic tension in Magma comes from a meeting of a dark granite mass and a transparent cloud of crystal latticework. We see this contrast right at the beginning: after a “chord pyramid” based on the full sound of an orchestra rises from the low registers to the heights, we are discharged into a shining, cold space. This is formed by rapid passages on the glockenspiel, surrounded on one side by a texture containing an echo effect consisting of short but even, lengthening rapid replies from the winds (no aleatory by the way); and on the other by a string pad laid down senza vibratoin very long note lengths. The musical source material is common to both contrasting blocks and is based on six 17-note scales. They are varied and synthesized among themselves throughout the entire course of the work. This takes place on both a horizontal and vertical level. Subsequently the motion eases up, and we encounter the next “chord pyramids” played fff, then again the glockenspiel, vibraphone and winds at a notch more intensity and the “pyramids” a third time. Further development is structured on the basis of serialist and heterophonic principles. The percussion soloist makes the vibraphone, winds and bongos resonate to the movement of the masses of sound created by strings until he finally moves to the drumset. The first half of the work, which ratchets up the tension, culminates in an improvisational solo, which melts into the next “chord pyramid”. The tempo slows down, a descent to a cooler trench takes place; at times this section is like the reflection of the initial crystal cloud in the bottomless depths. Then the marimbaphone gives way to the congas, and from this point, everything is a long rise to the final culmination.

In Magma, I have placed special emphasis on timbre harmonies (by this I mean that certain groups of instruments playing together represent harmonic structure based on definite intervals, others on different ones, etc) and uniting a sonoristic concept with the concept of harmonic crowdedness. I am grateful from the bottom of my heart to the fantastic percussionist Evelyn Glennie, who suggested that I write her a percussion concerto, which turned into a symphony featuring a percussion soloist… and to de Filharmonie (Royal Flanders Philharmonic Orchestra), who commissioned the piece.

(Magma – the hot molten matter in the earth’s core, consisting of a number of oxides, water and dissolved gases.)

Erkki-Sven Tüür