Although perhaps little known to the general public, Eduard Tubin is one of Estonia’s major composers, active for most of the past century. He composed several solo concertos and a formidable 11 symphonies (the last of which was unfinished). From his smaller collection of chamber works, the Estonian twins Triin (violin) and Kärt Ruubel (piano), the South African-born Xandi van Dijk (viola), and another Estonian, Theodor Sink (cello), have selected some of the more interesting pieces. With support from the Cultural Endowment of Estonia, the Eduard Tubin Society, and numerous crowd funders, these works were recorded by Dabringhaus und Grimm Audiovision in superb surround sound.

All of it is new to the Hi-Res catalogue, and several of these are even unavailable in any other format. Reason enough to seize the opportunity. Tubin’s Piano Quartet, his Sonata for Viola and Piano, as well as his Sonata for Alto Saxophone, are interspersed with miniatures that shed light on his evolving creative life. Two of these, ‘Sarcasm’ and ‘Sonnet’, are premiere recordings, and the Saxophone Sonata is performed in Tubin’s transcription for viola and piano. Instead of repeating the liner notes, I suggest reading them while listening to what is, for most, likely unfamiliar music. It goes without saying that this is a commendable achievement in promoting Tubin’s chamber music.


As is typical with a survey, not every piece is of the same quality. However, the programme seems designed to minimise these differences by carefully arranging the order of presentation. I personally appreciated the choice to start with ‘Sarcasm’. It is brief and, following a questioning beginning, becomes increasingly tumultuous. This, in a way, reflects the essence of Tubin’s compositional style. Beneath its Nordic exterior, there always appears to be an underlying tension, even in the more light-hearted works, possibly partly influenced by the 1940 Soviet occupation of Estonia (and the other two Baltic States) and the subsequent exile in Sweden from 1944. To me, this adds rather than detracts, giving many of these compositions additional depth.

In a similar vein, the following Sonata for Alto Saxophone, perhaps Tubin’s best-known work, performed here in Tubin’s own transcription for Viola, demonstrates that, despite poetic elements that surface repeatedly, much of his language is infused with hidden “schmerz”. Xandi van Dijk convincingly delivers a soaringly touching and beautifully rich tone. I prefer it over the ‘original’ Sax version, recognising that it is a highly personal appreciation and, most likely, not shared by the saxophone community.

Everything else in this varied programme was new to me, and upon listening for a second time, I wondered, like Kärt Ruubel, the pianist, why, no doubt the major item, the 1965 Sonata for Viola, is not heard in the major concert halls outside Estonia. Van Dijk’s interpretation lays bare the deeply rooted elements that are so representative of a composer who doesn’t need many notes to tell his story. It is, in my view (and common review speaks), another neglected gem for that instrument. A Sonata which merits being promoted to the distinguished list of core Viola repertoire.

Kärt’s twin sister, Triin, shines in the Ballade for Piano and violin, using as little as possible rubato to underscore the lyrical character of it. A lovely piece. But the best is kept to the end: The rediscovery of Tubin’s Piano Quartet. As short as the Viola Sonata, but as brilliant in texture and expressiveness.

Theodor Sink, Solo Cellist of the Estonian National Symphony Orchestra, joins the other musicians in this passionately youthful work, written at the end of Tubin’s studies at the Tartu Conservatory. The only other recording I know of dates from 1933 (released on the BIS label). No longer easy to come by, and it is not in Hi-Res either, so a new version is more than welcome.

It may be short in length, but it is stretched to the full in quality. Again, Tubin doesn’t need many notes to express his creative mind. All four musicians abide by it, echoing his views in a succinct yet vivid style. He could not have wished for better advocates of his music.

Blangy-le-Château, Normandy, France.

Copyright © 2025 Adrian Quanjer and HRAudio.net

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