On this latest BR-KLASSIK recording of sacred music by Estonian composer Arvo Pärt (b. 1935), the regularly award-winning Chor des Bayerischen Rundfunks, conducted by Peter Dijkstra, is joined by the Münchner Rundfunkorchester, a frequent occurrence in their concert series that regularly include sacred music from the 19th through the 21st c. The present three compositions were written in 1984 and 1990 in the composer's own tintinnabulation style of composition (from the Latin word for the 'ringing of bells'). In his Te Deum, Pärt makes a conscious departure from the traditionally powerful and festive sound of such precursors as Charpentier, Bruckner and Verdi. The restraint of the Wallfahrtslied (Pilgrims' Song), a setting of Psalm 121, evokes the ancient Judeo-Christian tradition of psalm recitation. The Berliner Messe (Berlin Mass) is so named because it was first performed in the city's St. Hedwig's Cathedral (1990) to mark the German Katholikentag (Catholics Day).
A new release from the revered Netherlands Chamber Choir, featuring works by Arvo Pärt. This time the choir teams up with the Netherlands Chamber Orchestra in a mixed program of chamber orchestra, choral, and choral a cappella works. The main course on this CD is the rarely recorded and monumental Te Deum. Young Estonian conductor Risto Joost delivers a reading that is rich and inspired.
Te Deum is a setting of the Latin Te Deum text, also known as the Ambrosian Hymn attributed to Saints Ambrose, Augustine, and Hilary, by Estonian-born composer Arvo Part commissioned by the Westdeutscher Rundfunk Radio in Cologne, Germany in 1984. Dedicated to the late Alfred Schlee of Universal Edition, the WDR Broadcast Choir premiered the Te Deum under the direction of conductor Dennis Russell Davies on January 19, 1985. The Te Deum plays an important role in the services of many Christian denominations, including the Paraklesis (Moleben) of Thanksgiving in the Eastern Orthodox Church. Because of the unusual instrumentation Part employs, his Te Deum is not suited for use within the Orthodox Church.
This is serial composition, or variation. The first 8 tracks are the same work in 8 very different styles. See if you even notice it is the same piece. Different instruments, and arpeggios. I like it all. The first and the 8 Cellos version are perhaps my favorites, if you do not want them all. Also the 2nd track, a hard almost scratchy arpeggio version. I am getting into Arvo Part a little more now, though this is more or less his "Bolero"; a signature piece that builds on a rather simple, repeating theme, which is not like anything else by him- or anyone else. Well, you have to love a Soviet era composer who when the authorities began to annoy him, rather than cower or placate them with what they asked for, became more religious and started a series of variations (according to the liner notes, 2 taboos they warned him about). Gulag or bust? Well he's still around.
The second ECM New Series album to fully showcase pure-toned Estonian vocal group Vox Clamantis and its artistic director/conductor Jaan-Eik Tulve is devoted to compositions by their great countryman, Arvo Pärt – whose music has been the most performed globally of any living composer over the past five years. This album – titled The Deer’s Cry after its first track, an incantatory work for a cappella mixed choir – is also the latest in an illustrious line of ECM New Series releases to feature Pärt’s compositions, the very music that inspired Manfred Eicher to establish the New Series imprint in 1984.
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.
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.
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.