Product Details

• Amazon Sales Rank: #95874 in Music
• Released on: 2002-09-24
• Number of discs: 1
• Dimensions: .26 pounds

Amazon.com
This disc of works by Arvo Pärt fascinates from start to finish, and it is the recording debut of all three compositions. The first, "Pilgrim's Song," composed by Pärt for a recently deceased friend, is a movingly sad setting of Psalm 121--"I will lift up mine eyes unto the hills..."--consisting alternately of strings accompanying a men's choir intoning the same note for most of the piece, and sections for strings alone, which are far more wandering and searching. The second piece, for string orchestra alone, is similar: a melodic line ambles through the piece, while on top of it are somewhat more jagged interjections by higher strings with an oriental flavor. The effect is of never-ending melody. The last and longest work, scored for full orchestra, women's choir, and solo soprano, are translations into Spanish of two more psalms. This is a troubled work depicting the soul suffering, praying, and questioning God until it comes to terms. The large orchestra allows Pärt to color the text brilliantly, with occasional ferocious dissonances, and the chorus and soloist have some very difficult, high-flying music to sing. The performances are all first-rate. This is a disc to return to over and over again, with new discoveries and new subtleties awaiting at every turn. --Robert Levine

Customer Reviews

This is not the Pärt of "Tabula Rasa"
While this music is stylistically enjoyable, some of the tracks are in a very different vein from the more contemplative "tinitannabuli" compositions Pärt has become known for. The title track, in particular, seems to be far removed from his normal modes; it is dissonant and amelodic. Much closer to some of Pärt's earlier work, I think, than I would've expected from a composition written in 2000.

The last four tracks comprise a piece called "Como Cierva Sedienta", a longish choral work very similar to others Pärt has written e.g "Sarah was ninety years old". I found this to be the most enjoyable piece on the CD.

Someone looking for "more of the same" after hearing Pärt's "Fratres" or "Cantus in Memory of Benjamin Britten" would be very surprised by these works. I'd suggest that such a person look instead at a disc like "Beatus", "Arbos" or one of the long choral pieces for a better idea of the styles exhibited by this composer.

This is challenging music, alternating between ethereal and dramatic, but ultimately it is music to be appreciated. I certainly do.

Continuosly gorgeous
While there is a difference between the "Tabula Rasa" type harmonies and the harmonies in these works, there is still a tintinnabuli structure at work. I find these works to be closer stylistically and harmonically to his more recent works than those of his earlier period (certainly there's a lack of twelve tone rows and rubber squeak toys). Arvo Pärt seems to be slightly expanding his harmonic range, but I feel those who enjoyed "Fratres" or any of his larger choral works will enjoy these works well before enjoying his first two symphonies or "Perpetuum Mobile".
These are very gorgeous works, you should not hesitate to add this c.d. to your Pärt collection. All three works share the strengths of their predecessors while expanding some of Pärt's current harmonic boundaries. Arvo Pärt continues to produce strong and powerful work for his Lord.

Colliding contrasts and colliding styles...
Arvo Part has become famous for his religiously meditative and atmospheric music. These deceptively sparse compositions create musical structures rather than melodic narratives. They sometimes even require a new way of listening. Beginning in 1977 his compositions primarily utilized a triadic technique known as "tintinnabulation". Pieces such as "Alina", "Fratres", and "Tabula Rasa" resonate with harmonics that exude a deep and longing spirituality.

But previous to 1977, Part was heavily involved in the atonal movement of the 1950s and 1960s. Heavy dissonance, clashing chromaticism, and experimental tonality permeated these early works. The grinding "Collage Sur BACH", from 1964, sounds light years away from 1977's airy "Tabula Rasa". Those who appreciate Pärt's more ethereal work might recoil at the bold experimentalism prevalent in these compositions.

Which leads to a surprise for listeners of Part's more recent music. He seems to have begun reexploring his roots. The pieces on this CD, as well as "Miserere" and 2002's "Lamentate", contain flashes of brash dissonance and atonality. Part seems to be attempting an integration of his stormy early compostional style with his more delicate post-1977 style.

This CD contains excellent examples of this seemingly new experimentalism. 1984's "Wallfahrtslied/Pilgrim's Song" revels in contrasts. The strings grope, pine, and search for something ineffable. Their melodic structures never really resolve. Suddenly a reticent choir appears and moans Psalm 121. Then the strings reappear with more intensity. Creshendoes reach higher in extent and in volume. The Psalm apparently evoked more questions than answers. Then, following a refrain of this pattern, the strings completely take over and slowly wind down into silence. Whether the piece ends in acceptance or resignation remains a matter of interpretation. Maybe the question merely gets subverted by the continuing process of everyday living, and so fades off. Structually, the piece is infused with a mourning "why?" That Part wrote it for a deceased friend shouldn't come as a surprise. It seems to grapple with unanswerable questions. Elements of Part's early and late periods mingle throughout the song's almost nine minutes. The strings flail, sometimes dissonantly, and the choir maintains a fairly steady late Part tone. Blended together they create something new.

"Orient & Occident" sounds nothing like the tintinnambulatory Part. Two distinct but similar styles merge and compete for hegemony. Sometimes they meld beautifully into one another, but sometimes they butt heads. A contest between quarter tones styles, slides, no slides, and half tone styles ensues. It makes for a very interesting juxtaposition.

The final piece, "Como Cierva Sedienta", puts Psalms 42-43 to music, but this time in Spanish. Its moods fluctuate from streaming explosions to penetrating calm, somewhat similiar to the earlier "Miserere". An all higher range woman's choir provides the vocals, giving the piece an ethereal, ghostly quality even when the pace intensifies. At some thirty minutes, this song occupies the largest part of the disc. And, similar to the other pieces, it only sounds like the 1977 Pärt to a degree.

Part has obviously expanded and evolved his style in these compositions. He has definitely not stagnated. And though pure tintinnambulation served him for a time, he couldn't stay there forever. On "Orient Occident" he takes this now world famous style and begins to really stretch it into something new without completely abandoning it.