2.sümfoonia (1987) ,,Insula Deserta" (keelpillidele 1989) ,,Searching for Roots" (1990) ,,In the Memory of Clear Water" (1990) ,,Arhitektoonika VI"(1992) ,,Zeitraum" (1992) ,,Action-Passion-Illusion" (1993) ,,Crystallisatio" (1995) 3.sümfoonia (1997) Tsellokontsert (1997) ,,Lighthouse" (1997) Viiulikontsert (1998) ,,Exodus" (1999) ,,Aditus" (2000) ,,Ardor" (2001) 4.sümfoonia ,,Magma" (2002) Vokaalteosed Oratoorium ,,Ante finem saeculi"(1985) Missa ,,Lumen et Cantus"(1989) ,,Inquietude du Fini" (1992) Reekviem (1994) ,,Exitatio ad contemplandum"(1996) ,,Rändaja õhtulaul" (2001) Ooper ,,Wallenberg" (2001) 9 Kammermuusika ,,Arhitektoonika" I-VII (1984-1992) Sonatiin (1984) Klaverisonaat (1985) Keelpillikvartett (1985) ,,Prints (1985) ,,Sisemonoloog"(1998) ,,Spectrum" I-III (1989-1999) ,,Dedication"(1990) ,,Dick ja Toff imedemaal"(1991) ,,The Tropic of Capricorn"(1991) ,,Spiel"(1992) ,,Conversio"(1994) ,,Draama"(1994)
Sellel plaadil kõlavad lisaks nimiteosele "Salve Regina" meeskoorile ja ansamblile, marimbakontsert "Andor" ning "Dedication" tsellole ja klaverile. ECMi märgi all debüteeris dirigent Olari Elts, palad esitasid Vox Clamantis, NYYD Ensemble ja ERSO. 2007. aasta augustis andis EMI Classics välja Tüüri plaadi "Magma", mille peateos on Tüüri neljas sümfoonia, mida samuti "Magmaks" nimetatakse. Veel on plaadil Lennart Merele pühendatud meeskooriteos "Igavik", "Inquietude de fini" kammerkoorile ja orkestrile (1992) ning "The Path and the Traces" (2005). 18 Tegevus 19791984 oli ta ansambli In Spe juht. Alates 1995 on ta vabakutseline helilooja. Ta on rahvusvahelise uue muusika festivali NYYD üks kunstilisi juhte.19 Tunnustused · Eesti Vabariigi kultuuripreemia (1997) · Suure Vankri auhind (1996, 1997) · Aasta kodanik (2009)20 18 http://et.wikipedia.org/wiki/Erkki-Sven_T%C3%BC%C3%BCr 19 Sama allikas 20
theme and the brightness of the subsidiary theme. Growing depression is surmounted by the new theme that gains its strength from the folk song extending into a powerful and broad melody. Aavik remains a melodist, the fullness and sonority of tune are the typical features of this work. Everything is based on classical form and a romantic way of thing. This is quite natural because Aavik belongs to the first generation of Estonian symphonists. Rhythmic inquietude and “floundering” is alien to Aavik. The vivid feeling for the timbre colours must be felt. The whole work is simple in its architecture, the themes and their developed, qualitatively renewed repetitions stand out as building blocks. Aavik is not very strong as a dramatist, his natural element is in different forms of lyricism. His conception needs dramatic and tragic expression, and he wants to offer it, but the tensions in his music do not grow from the antagonism of opposites. They are
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