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.
Estonian composer Arvo Pärt is best known for the mystical minimalist style he developed in the late 1970s. While pivotal works from this period are included here, this disc's special value is the glimpse it gives of where Pärt was coming from before he simplified his style. His Symphony no. 3 from 1971 contains many premonitions of the austere, quasi-religious music to come: unaccompanied Gregorian chant-like melodies, for example, and the punctuation of bells. But the Symphony also has a wider range of expression, color and dramatic contrasts, sharing a seriousness of purpose with Pärt's later works, but in a manner more akin to Shostakovich.
The disc contains moving choral music written by two of the most significant composers of the 20th century. At its world premiere in 1986, Alfred Schnittke's Concerto for Chorus was said to be revolutionary, whilst Arvo Pärt remains one of the most popular composers of the present day.
Brought together here in four special volumes the Celibidache series celebrates the extraordinary legacy of his collaboration with the Müncher Philharmoniker portraying the excitement and atmosphere of their live performances. These recordings are unique to EMI Classics and were painstakingly mastered to retain and recreate the vibrancy and impact of Celibidache and the Müncher Philharmoniker’s live performances.
Paul Hillier’s Theatre of Voices, like the Hilliard Ensemble with whom he was associated before settling in America, have given the music of Arvo Part a prominent place in their repertoire. Hillier has also written a book on Part – from which his notes accompanying this CD are mostly drawn (The Music of Arvo Part; OUP: 1997) – and in the collective interview run in last September’s issue (page 14) he described his first encounter with several of Part’s scores, “Something leapt out at me: this was the kind of music I had been waiting to perform”.
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.