For all of those who look for early works of Pärt this is a precious recording. I believe there are a lot of people who don't find much appeal in Pärt's late repetitive, mystic works for the very same reasons others prefer them. So what's up here is that Pärt has a few lesser known works before, say, his third symphony which are the "opposite" of the mentioned above. Those who are found of Schnittke will surely appreciate this. The most remarkable composition in this record is maybe the "Credo" for piano mixed choir and orchestra. It consists of 13 minutes of duel between the forces of the past (represented by Bach's well known motifs) and the eruptive resources of modernist aleatoric clusters of sound. So, pools of beautiful passages are interrupted by (or combined with) destructive (or desconstructive) interventions of the orchestra till the whole, peaking sometimes the frenetic, becomes yet a powerful block of distinctive sound.
To celebrate Arvo Part's 80th birthday, Gimell presents a new recording of some of the Estonian composer's finest a cappella choral works. This is the first album of contemporary music from The Tallis Scholars since their famous 1984 recording of works by John Tavener. The program here includes several major works including the Magnificat, Sieben Magnificat-Antiphonen, Triodion and I Am the True Vine. The album's title refers to the compositional style Part developed in the 1970s and now employs in most of his works. This simple style was influenced by the composer's mystical experiences with sacred chant. Tintinnabuli works often have a slow and meditative tempo and a minimalist approach to both notation and performance.
Stephen Layton and Polyphony have a long and fruitful relationship with the music of Arvo Pärt. Their recording of Triodion and other choral works (CDA67375) won a Gramophone Award and became a cult classic. The extraordinary purity of Polyphony’s singing is the perfect vehicle for music of such clean, elemental simplicity, such cathartic calm. This third Pärt album from Stephen Layton and Polyphony reaches right back, intriguingly, to the composer’s youthful modernist phase and spans nearly five decades—from 1963 to 2012—in the process. As with the album Triodion, it reflects an increasingly broad spread of languages and sources in Pärt’s chosen texts. Latin, German and English are joined here by Church Slavonic and Spanish. A range of biblical texts are set alongside ancient prayers.
This fourth volume in the Kristjan Järvi Sound Project series is a tribute to his close friend and countryman composer Arvo Pärt, one of the most emblematic figures in contemporary music, to mark the celebration of his 80th birthday. Constantly inspired by pioneering, thrilling and exhilarating ideas, American-Estonian conductor Kristjan Järvi has gathered works spanning 40 years of Pärt’s compositions, as a culmination of of years of collaboration, musical exploration and spiritual connection.
Marshalling orchestral and choral forces under the direction of Tonu Kaljuste, this new Arvo Part album, produced by Manfred Eicher and realized, like all Part’s ECM discs, with the composer’s participation, is a major event. Sacred music predominates, by turns monumentally powerful and tenderly fragile.
Dutch pianist Ralph van Raat's collection of Arvo Pärt's piano music spans nearly 50 years of his career, from student pieces written in 1958 to a work from 2006. This would not be the right album for listeners looking primarily for Pärt's legendary austere simplicity, but it would be ideal for anyone already familiar with the composer looking for exposure to the broad stylistic and expressive range of which he is capable.
Arvo Part's Kanon Pokajanen is a work of starkly radiant beauty, a deeply felt plea for forgiveness so resonant it seems to bear its own expiatory power. The piece is a choral setting of the Russian Orthodox Church's canon of repentance, believed to have been composed by St. Andrew of Crete sometime in the late seventh century. Part had experimented with the canon in earlier works, but when the Cologne Cathedral commissioned him to compose a choral piece for its 750th anniversary, he took the opportunity to immerse himself in it completely. Over two years of intense quality time with the work, Part produced an 80-minute choral setting of the entire canon that mines each word of the original Church Slavonic (a language used exclusively in ecclesiastical texts) for its maximum musicality and meaning.