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Playlist of Arvo Pärt

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  • Arvo Pärt - Te Deum

    32:45

    Akademisk Kor.
    Akademisk Orkester.
    Nenia Zenana, conductor.
    Marianne G. Nielsen, solist.

    Academic Orchestra was founded in 1899, and in 1935 was created by the Academic Choir. There is therefore a well-established ensemble, where particularly the choir has managed to lead traditionerneop in the present and develop its own interpretation of the music.


    Academic Choir is an ambitious amateur choir with a long tradition of the construction of major choral works, particularly oratorie works and exhibitions, which must be shown together with the Academic Orchestra. Academic Orchestra and Choir performs every Christmas Handel's Messiah in Copenhagen Cathedral, an annual tradition since the first performance in 1946.


    Academic Choir was originally an ensemble of students, but today consists of approximately 70 members with different backgrounds. Nenia Zenana has been
    conductor for choir and Orchestra since the summer of 2000.

    Arvo Pärt (born 11 september 1935) is an Estonian composer. He was born in Paide, and grew up in Tallinn. In 1980 he emigrated because of dissatisfaction with the Soviet authorities and settled first in Vienna, then Berlin.


    As a young composer experimented Pärt a part with a variety of the Western modernismes composition techniques; but gradually he found his own style: a personal variant of minimalism, which has made him one of today's best-known and most popular of classical composers. His music in this style is influenced by his religiousness and his interest in choral music from 14. to 16. in the 19th century.


    His best-known work is probably Fratres, available in editions for a number of different combinations of instruments.

    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 Pärt 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 Pärt employs, his Te Deum is not suited for use within the Orthodox Church. It was recorded on the ECM New Series label in 1993 by the Estonian Philharmonic Chamber Choir and Tallinn Chamber Orchestra under the direction of Tõnu Kaljuste. The piece is approximately thirty minutes long.

    Te Deum employs Pärt's signature tintinnabuli compositional style. Tintinnabuli is often described as a minimalistic compositional technique, as its harmonic logic departs from that of the tonal tradition of Western classical music, creating its own distinct harmonic system. Tintinnabulation is a process in which a chosen triad encircles a melody, manifesting itself in specific positions in relation to the melody according to a predetermined scheme of adjacency. In its most rudimentary form, Pärt's tintinnabuli music is composed of two main voices: one carries the usually stepwise melody (M-voice) while the other follows the trajectory of the melody but is limited to notes of a specific triad (T-voice.) In the case of Te Deum, it is a D triad that is featured in the T-voice, and as such provides the harmonic basis for the entire piece.

    The work is scored for three choirs (women's choir, men's choir, and mixed choir), prepared piano, divisi strings, and wind harp. According to the Universal Edition full score, the piano part requires that four pitches be prepared with metal screws and calls for as large a concert grand as possible and amplified. The wind harp is similar to the Aeolian Harp, its strings vibrating due to wind passing through the instrument. Manfred Eicher of ECM Records recorded this 'wind music' on tape and processed it acoustically. The two notes (D and A) performed on the wind harp are to be played on two separate CD or DAT recordings. According to the score preface, the wind harp functions as a drone throughout the piece, fulfilling a function comparable to that of the ison in Byzantine church music, a repeated note which does not change pitch.

    On an ECM records leaflet, Pärt wrote that the Te Deum text has immutable truths, reminding him of the immeasurable serenity imparted by a mountain panorama. His composition sought to communicate a mood that could be infinite in time—out of the flow of infinity. I had to draw this music gently out of silence and emptiness.

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  • Arvo Pärt, Cantus in memoriam Benjamin Britten

    7:46

    Arvo Pärt, Cantus in memoriam Benjamin Britten, Strings of Hungarian State Opera, Tamas Benedek, conductor, Antal Eisrich, percussion. A special thanks to NASA and the Hubbel Showcase.

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  • VOCES8: The Deers Cry - Arvo Pärt

    4:22

    VOCES8 performs 'The Deer's Cry' by Arvo Pärt at St Vedast Church in London.

    The track forms part of the ensemble's 15th anniversary recording project, 'After Silence', and can be found on all digital music platforms. For more information about the album project, visit

    Audio available at

    Text:
    Christ with me, Christ before me, Christ behind me,
    Christ in me, Christ beneath me, Christ above me,
    Christ on my right, Christ on my left,
    Christ when I lie down, Christ when I sit down,
    Christ in me, Christ when I arise,
    Christ in the heart of every man who thinks of me,
    Christ in the mouth of everyone who speaks of me,
    Christ in every eye that sees me,
    Christ in every ear that hears me,
    Christ with me.

    Text from Saint Patrick’s Breastplate

  • Waarom is iedereen gek van Arvo Pärt?

    6:08

    Ontdek samen met Sander De Keere van Klara waar Arvo Pärt zijn inspiratie haalde, waarom Pärt klinkt zoals hij klinkt, en waarom zijn bijzondere muziek zoveel mensen raakt. Arvo Pärt is een van de populairste componisten van deze tijd. Pärt stond met Spiegel Im Spiegel zelfs op nummer 2 in de Klara Top 100 van 2016. Maar hoe komt dat toch? Waarom is (bijna) iedereen gek van Arvo Pärt?

    Muziek in deze video:
    Arvo Pärt - Spiegel im Spiegel
    Arvo Pärt - Collage uber Bach
    Arvo Pärt - Credo
    Arvo Pärt - Für Alina
    Arvo Pärt - Fratres
    Arvo Pärt - Trivium

    Het begon voor Arvo Pärt toen hij van z’n moeder een piano kreeg waarvan de middelste toetsen niet werkten. Die beperking heeft z’n stijl bepaald, want Pärt zoekt in z’n werk vaak het contrast op tussen hoge en lage registers.

    Arvo Pärt weet twee dingen te combineren: eenvoud en mystiek. Zijn muziek straalt verstilling uit en doet ons mediteren, maar dat was niet altijd zo. De minimalistische muziek van Arvo Pärt komt uit zijn latere periode. De jonge Pärt klinkt helemaal anders.

    Arvo Pärt groeide op in Estland dat bezet was door de Sovjet-autoriteiten. De muziek die hij in de jaren 60 componeerde klinkt ook zo. Het was een verklanking van angst, terreur en onderdrukking.

    De muziek ging alle kanten op en veel houvast had je niet, ook niet in Estland. Arvo Pärt voelde dat er iets moest veranderen en hij maakte eigenzinnige keuzes. Hij bekeerde zich bijvoorbeeld tot de Russisch-Orthodoxe kerk. Dat was een grote ommekeer, want hij was lutheraans gedoopt. Pärt wilde verandering, ook muzikaal. En die kwam in 1968.

    Toen liet Pärt een nieuw werk in première gaan: Credo. Wat zoveel betekent als ‘ik geloof’. En daarmee schopte hij keihard tegen de schenen van het communisme. Credo is één grote uitbarsting tegen het communisme.

    Die aanklacht bleef niet zonder gevolgen: Pärt wordt op het Sovjet-matje geroepen en zijn Credo belandt op de zwarte lijst. Arvo Pärt trekt zich terug en gaat zich verdiepen in de middeleeuwse muziek, in zijn geloof, in wat muziek betekent. In 1976 komt hij naar buiten met wat hij jarenlang had ervaren: de schoonheid van de stilte. Die hoor je in het prachtig verstilde Für Alina. Pärt was herboren.

    De muziek van Pärt is religieus en minimalistisch, bij momenten hypnotiserend, en heel zacht. Pärt noemt zijn muziek een handdoek waarmee je je tranen van verdriet mee afdroogt, maar het is tegelijkertijd een bron vol tranen van geluk. Pärt kleedt de muziek uit, en gaat terug naar de basis: een paar noten, een akkoord dat je alle tijd en ruimte geeft.

    Pärt combineert de Estse waarden met een universele, tijdloze stijl. En alle plooien tussen religies en culturen strijkt hij mooi glad. Hijzelf is Russisch-Orthodox, zijn vrouw is joods, maar hij laat in zijn muziek het koor evengoed op bijbelse teksten zingen. Alles kan. Daarom klinkt zijn muziek zo universeel. Omdat die grenzen, waarden en regels overstijgt. En daarom komt de muziek zo binnen. Het is muziek voor iedereen.

    Iedereen Klassiek op YouTube is een productie van Klara en het Creative Lab van VRT. Het evenement Iedereen Klassiek wordt georganiseerd door Klara i.s.m. Concertgebouw Brugge, Stad Brugge en Brugge Plus.

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  • Arvo Pärt - My hearts in the highlands

    8:20

  • Arvo Pärt De Profundis

    5:36

    Christopher Bowers-Broadbent, organ
    Tonu Kaljuste, percussion
    Estonian Philharmonic Chamber Choir

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  • Arvo Pärt - Tabula Rasa

    29:03

  • Arvo Pärt: Für Anna Maria: Complete Piano Music played by Jeroen van Veen

    2:24

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    Composer: Antonio Vivaldi
    Artists: L'Arte dell'Arco, Federico Guglielmo, Francesco Galligioni

    Jeroen Van Veen has released a series of acclaimed recordings on Brilliant Classics of music by the masters of Minimalism, that 1960s-derived aesthetic in which it is not so much the case that more can be said with less as that less seems to be necessary in an increasingly noisy and chaotic world. The Estonian composer Arvo Pärt has never counted himself as among the minimalist number, nor indeed was he schooled in their new traditions, but emerged in the 1960s as an angry and dissonant voice whose musically expressed anger against Communist oppression of his native country could barely be contained within the tumultuous textures of works such as the Third Symphony, but a combination of personal circumstances and aesthetic decisions led him to pare back his style to the world of eerie calm and yet underlying melancholy that has made works such as the Cantus in memoriam Benjamin Britten such an enduring favourite even among audiences who would not otherwise count themselves as aficionados of the European contemporary music scene. But then Pärt has never fitted into any one stylistic box, and alongside the quiet rapture of Für Alina we may find the student-era tinkling of the intriguing early Dance Pieces, as well as arrangements of classics such as Fratres and Spiegel im Spiegel – here interpreted by Dutch cellist Douw Fonda – that seem to preserve their special mood no matter what the instrumental forces; a quality they share with works of Pärt's compositional idol, J.S. Bach.

    00:00:00 Für Alina (1976)
    00:20:18 Variationen zur Gesundung von Arinuschka (1977)
    00:26:15 Ukuaru valss (1973, rev. 2010)
    00:29:09 Für Anna Maria No. 1 (2006)
    00:30:30 Für Alina No. 1 (1976)
    00:33:11 Pari intervallo (1976, rev. 2008)
    00:38:38 Hymn to a Great City (1984, rev. 2004)
    00:43:47 Für Anna Maria No. 2 (2006)
    00:44:55 Für Alina No. 2 (1976)
    00:48:11 Fratres (1977, rev. 1980)
    01:00:03 Spiegel im Spiegel (1978)
    01:09:14 Vier leichte Tanzstücke “Musik für Kindertheater”: I. Der gestiefelte Kater
    01:09:58 Vier leichte Tanzstücke “Musik für Kindertheater”: II. Rotkäppchen und der Wolf
    01:12:13 Vier leichte Tanzstücke “Musik für Kindertheater”: III. Schmetterlinge
    01:14:19 Vier leichte Tanzstücke “Musik für Kindertheater”: IV. Tanz der Entenküken
    01:16:54 Sonatina No. 1: I. Allegro
    01:19:27 Sonatina No. 1: II. Larghetto
    01:23:46 Sonatina No. 1: III. Allegro
    01:24:11 Sonatine No. 2: I. Allegro energico
    01:26:04 Sonatine No. 2: II. Largo
    01:28:07 Sonatine No. 2: III. Allegro
    01:29:55 Partita, Op. 2: I. Toccatina
    01:30:46 Partita, Op. 2: II. Fughetta
    01:31:50 Partita, Op. 2: III. Larghetto
    01:35:07 Partita, Op. 2: IV. Ostinato
    01:37:16 Für Alina No. 3 (1976)

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  • Arvo Pärt- Für Alina

    3:41

    Performed by Jürgen Kruse

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  • Credo by Arvo Pärt | 77 Minutes of Meditation.

    1:17:13

    Download:
    *Note that this is an adaptation of 'Credo' from 'Te Deum'

    I was looking for music for meditation that brought to mind my experiences in cathedrals. I found a lot of ambient music too textureless, and classical music too complex, to promote meditation.

    Arvo Pärt's 'Credo,' from Berliner Messe, has long been one of my favorite pieces–at about 4 minutes, it is filled with beautiful, bright melodies and vocal harmonies. I stretched it (maybe magnified is a better word) using an application called PaulStretch to 2000% of its normal length, making it 77 minutes long.

    The results turned out to be stunning. The formerly compact melodies are unspooled, revealing their intricacies. The piece seems imbued with a melancholy that normally hides beneath its surface.

    To further add to the sense of cathedral ambiance, I merged 'Credo' with a field recording from St. John's Cathedral in 's-Hertogenbosch, Holland. This sound is taken from and originally posted by klankbeeld.

    The church in the photo - which is not quite a match for the origin of the music ;) - is Sant'Andrea della Valle in Rome.

  • Arvo Pärt - Stabat Mater for Choir and String Orchestra

    27:51

    Composer: Arvo Pärt

    Conductor: Kristjan Järvi

    Rundfunk-Sinfonieorchester Berlin
    RIAS Kammerchor


    Description choral score
    When Arvo Pärt sets words to music, he gives the impression of having entered into the depths of his chosen text and returned to the surface with an entirely fresh impression of what it's all about. This is certainly true of his Stabat Mater, and yet the result is to reaffirm the traditional significance of the text and to place the work securely in the long line of settings that includes those of Josquin Desprez, Lassus, and Palestrina, and in modern times Poulenz and Penderecki. Pärt achieves this partly by the purity and simplicity of his musical language, and partly by the way in which he draws such powerfully expressive music directly out of the rhythms and forms of the text, so that it almost seems as if the words have composed the music. That Stabat Mater poem is thought to be of 13th century Franciscan origin, though its earlier attribution to Jacopone da Todi is now generally discounted. It has the standard form of the late medieval sequence, forming a series of three-line verses, linked in pairs by rhyme, with a fixed number of syllables (8, 8, 7) in each line. Pärt uses a technique which he named tintinnabuli after its affinity with the way the sounds of a bell lingers as it fades into silence. A central feature of this style is his use of the number of syllables in each word to determine the shape of the melodic line. This immediately creates variety, as some lines consist of several words with only one or two syllables, while others have only two words with as many as six syllables. The text is then divided up into four sections (of 2, 3, 3, 2 strophes), each section separated by an instrumental interlude. In these interludes the music is suddenly more active, though still based on the text's underlying rhythmic pattern. The work begins with the same fundamental rhythm - but played in its slowest tempo, first high on the strings and then joined by the voices singing Amen - and ends with a mirror version of this same music.

  • Arvo Pärt - Fratres

    9:55

    Fratres, for violin, string orchestra and percussion (1977, 1992)

    Gil Shaham, violin
    Roger Carlsson, percussion
    Gothenburg Symphony Orchestra
    Neeme Järvi

    Fratres is a composition by the Estonian composer Arvo Pärt, existing in versions for a wide variety of instrumentations and exemplifying Pärt's Tintinnabuli style of composition. Each version has a duration of about 7 to 12 minutes.

    It exists perhaps most prominently in its versions for violin, string orchestra, and percussion and for violin and piano. Most other versions are very similar to these two: for instance, the versions for viola and piano and cello and piano are almost exactly the same as the former, whereas the version for string quartet is more similar to the latter.

    The first version for string quintet and wind quintet was written in 1977. Further versions were written over the years up to about 1992.

    Fratres for strings and percussion
    Fratres for violin, strings and percussion
    Fratres for string quartet
    Fratres for cello and piano
    Fratres for eight cellos
    Fratres for wind octet and percussion

    Structurally, Fratres consists of a set of nine chord sequences, separated by a recurring percussion motif. The chord sequences themselves follow a clear pattern, and while the progressing chords explore a rich harmonic space, they nevertheless appear to have been generated by means of a simple mathematical formula.

  • Arvo Pärt - Tabula rasa

    1:15:58

    1977/80
    00:00 Fratres
    11:24 Cantus in memoriam Bejamin Britten
    17:37 Summa '77
    22:38 Summa '78
    28:05 The Beatitudes
    35:13 Spiegel im Spiegel
    43:30 Festina lente
    49:38 Tabula rasa - Ludus
    59:38 Tabula rasa - Silentium

  • Arvo Pärt: Magnificat, Stabat Mater

    50:07

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    Composer: Arvo Pärt
    Artists:Ensemble Le Nuove Musiche
    Krijn Koetsveld (director)

    Under its founder-director Krijn Koetsveld, Le Nuove Musiche has won international acclaim for its complete recording of Monteverdi’s madrigals, a project over a decade in the making and which has recently been released complete for the first time by Brilliant Classics (BC95661). Now the ensemble turns its attention to a modern master of concerted vocal writing, Arvo Pärt.

    The idioms of the two composers could hardly be more different: Monteverdi’s madrigals so rich and elaborate, speaking of earthly love and pain, while Pärt evokes a world of stillness and calm. As Koetsveld remarks in his booklet introduction, his music seems so simple. Only a few notes, repeated harmonies, often extremely quiet tempo, declamation on a note or chord. No complex patterns, with many surprisingly dissonant harmonies or highly complex vocalizations. Where does that intriguing, intoxicating atmosphere come from which many cherish and enrapture?

    Tracklist:
    00:00:00 Magnificat
    00:06:16 Nunc dimittis
    00:13:32 Maria Antifonen: I. O Weisheit
    00:14:36 Maria Antifonen: II. O Adonai
    00:16:40 Maria Antifonen: III. O Spross aus Isias Wurzel
    00:17:36 Maria Antifonen: IV. O Schüssel Davids
    00:19:18 Maria Antifonen: V. O Morgenstern
    00:20:59 Maria Antifonen: VI. O König aller Völker
    00:22:28 Maria Antifonen: VII. O Immanuel
    00:24:53 Stabat mater


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  • Arvo Pärt – Tallinn Chamber Orchestra, Tõnu Kaljuste | Elbphilharmonie LIVE

    1:42:06

    Arvo Pärt lauscht in der Elbphilharmonie zusammen mit Manfred Eicher (ECM Records) der Aufführung einer Auswahl seiner bekanntesten Werke. Auf der Bühne: Das Tallinn Chamber Orchestra unter Dirigent Tõnu Kaljuste.

    I. Fratres (Fassung für Violine, Streicher und Schlagwerk) 1:30
    II. Cantus in Memoriam Benjamin Britten 13:49
    III. Adam's Lament (für Chor und Streichorchester) 22:10
    IV. Salve Regina (für gemischten Chor, Celesta und Streichorchester) 45:40
    V. Te Deum (für drei Chöre, präpariertes Klavier, Tonband (Windharfe) und Streicher) 59:30

    Tallinn Chamber Orchestra
    Estonian Philharmonic Chamber Choir
    Harry Traksmann / Violine
    Dirigent / Tõnu Kaljuste

    #ArvoPärt #Elbphilharmonie #TallinChamberOrchestra #TõnuKaljuste #ECMRecords
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    Dass Arvo Pärt heutzutage einer der meistgespielten lebenden Komponisten ist – daran hatten Manfred Eicher und sein Label ECM in den 80er Jahren einen großen Anteil. Mit der Veröffentlichung von Pärts Stück »Tabula Rasa«, das Manfred Eicher damals zutiefst beeindruckte, gelang ECM eine Jahrhundert-Aufnahme. Und auch Arvo Pärts spirituelle Klangsprache wurde durch die Platte einer immer noch wachsenden Zuhörerschar näher gebracht.

    Im Rahmen eines Portrait-Konzerts wurden in der Elbphilharmonie einige von Pärts bedeutendsten Werken aufgeführt. Die Interpreten sind allesamt absolute Pärt-Experten, Wegbegleiter der ersten Stunde und auf einigen der bekanntesten Pärt Einspielungen zu hören – das Tallinn Chamber Orchestra, der Estonian Philharmonic Chamber Choir und Dirigent Tõnu Kaljuste.
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  • Arvo Pärt: Spiegel im Spiegel

    46:54

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    These days Estonian composer Arvo Pärt is mainly associated with his later works. Born in 1935 he wrote ‘avant-garde’ works at first. In the nineteen seventies he increasingly found his inspiration in medieval religious music, both western and eastern European. This first transpired in his Für Alina for piano. It already has the telling low tempo and (two) layers. Pärt further extended his so-called tintinnabuli (i.e. bells) style in small-scale pieces like the different versions of Spiegel im Spiegel and Variationen zur Gesundung von Arinuschka. Although this last piece has ‘classical’ features as well.

    00:00:00 Spiegel im Spiegel, for violin & piano
    00:10:22 Variationen zur Gesundung von Arinuschka, for piano solo
    00:15:58 Für Alina, for piano solo
    00:19:29 Spiegel im Spiegel, for viola & piano
    00:29:34 Mozart-Adagio, for violin, cello & piano
    00:37:20 Spiegel im Spiegel, for cello & piano

    Artist:
    Benjamin Hudson (viola)
    Sebastian Klinger (cello)
    Jürgen Kruse (piano)

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    And visit our channel for the best classical music from the greatest composers like: Bach, Satie, Mozart, Tchaikovsky, Beethoven, Chopin, Haydn, Ravel, Debussy, Verdi, Vivaldi, Handel, Brahms, Liszt, Schubert, Mendelssohn, Rachmaninoff, Wagner, Strauss, Handel, Dvorak, Schubert and many more! We upload complete albums, music for relaxing, working, studying, meditating, concentrating, instrumental music, opera, violin, classical piano music, sonatas and more!

  • Arvo Pärt - Da Pacem Estonian Philharmonic Chamber Choir/Paul Hillier

    1:4:31

    Tracklist:

    1 Da pacem Domine 0:00
    2 Salve Regina 5:43
    3 Psalm 117 18:36
    4 Psalm 131 22:23
    5 Magnificat 26:29
    6 An den Wassern zu Babel 33:42
    7 Dopo la vittoria 40:57
    8 Nunc dimittis 52:08
    9 Littlemore Tractus 59:04

    Credits:

    Alto Vocals – Agnes Toomla, Iris Oja, Juta Roopalu-Malk, Karin Salumäe, Marianne Tomikas, Tiiu Otsing
    Bass Vocals – Aarne Talvik, Allan Vurma, Kalev Keeroja, Märt Krell, Rainer Vilu, Ranno-Eduard Linde, Tõnu Tormis, Uku Joller
    Choir – Estonian Philharmonic Chamber Choir
    Composed By – Arvo Pärt
    Conductor [Principal], Directed By [Artistic Director] – Paul Hillier
    Cover – Sebastian Spreng
    Engineer [Balance], Edited By [Editor] – Brad Michel
    Engineer [DSD] – Chris Barrett
    Executive-Producer – Robina G. Young
    Producer [Session] – Brad Michel, Robina G. Young
    Soprano Vocals – Annika Ilus, Eha Pärg, Hele-Mai Poobus, Hele-Mall Leego, Kaia Urb, Kristiina Under, Maarja Kukk, Vilve Hepner
    Tenor Vocals – Arvo Aun, Kaido Janke, Martin Lume, Raul Mikson, Tiit Kogerman, Toomas Tohert

  • Arvo Pärt- Spiegel im Spiegel

    10:11

    Performed by Jürgen Kruse (Piano) and Benjamin Hudson (viola)

  • Cappella Amsterdam zingt Arvo Pärt | Kanon Pokajanen

    1:43

    Concerten van 2 t/m 11 november 2016 & 9 april 2017. CD-release eind oktober/begin november 2016. Meer informatie over de concerten en de cd kun je vinden op

  • Arvo Pärt - Symphony No 3

    24:12

    Arvo Pärt (Composer),

    Kristjan Järvi (Conductor),

    Rundfunk-Sinfonieorchester Berlin (Orchestra),


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  • Arvo Pärt - The Deers Cry

    4:39

  • Vanessa Wagner - Arvo Pärt - Für Alina

    3:16

    Vanessa Wagner - Arvo Pärt - Für Alina
    Taken from Vanessa Wagner - Liszt, Pärt, 2018 (La Dolce Volta)

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  • Magnificat - Arvo Pärt

    7:06

    Estonian Philharmonic Chamber Choir - Paul Hillier

  • Arvo Part - Fur Alina

    6:34

    Masterclass from Arvo Part. Episode from 24 preludes for a Fugue

  • Arvo Pärt - Für Alina

    6:08

    Nejc Lavrenčič - piano

  • Anne Akiko Meyers; Arvo Pärts Fratres Tallinn Chamber Orchestra

    11:48

    Anne Akiko Meyers was invited by legendary composer, Arvo Pärt to perform the opening concerts at the Arvo Pärt Centre in Laulasmaa, Estonia. She performs Arvo Pärt's Fratres with the Tallinn Chamber Orchestra, conducted by Tõnu Kaljuste.

    She recently released her 37th recording, Mirror in Mirror, which features works by Arvo Pärt, Philip Glass, Morten Lauridsen, Jakub Ciupinski, John Corigliano and Maurice Ravel. She exclusively performs on the Ex-Vieuxtemps Guarneri del Gesu, dated 1741 and considered to be the finest violin in existence. Please visit for more information.

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  • Arvo Pärt Kanon Pokajanen live Chamber Choir Aquarius 19 Sept. 2013, Maastricht

    1:45:13

    Chamber Choir Aquarius (32 Flemish singers), directed by Marc Michael De Smet
    Opening piece 1:58 (the very beginning is an introduction in the Dutch language)
    Performed 19 September 2013 in the Lambertuskerk, Maastricht, The Netherlands as part of the Festival Musica Sacra
    Broadcasted January 5, 2014 by Radio 4, The Netherlands

    The website of the choir
    Their performance of the Kanon Pokajanen recorded in 2008 is available on cd

    They performed the Kanon Pokajanen
    March 8, 2014 8.00 p.m. in the Carolus Borromeuskerk, Hendrik Conscienceplein 12, 2000 Antwerpen, Belgium.
    April 20, 2014 8.00 p.m. in the Toonzaal, Prins Bernhardstraat 4-6 , 's Hertogenbosch, The Netherlands.
    May 21, 2014 8.00 p.m. in the Sint-Maartenskerk, Sint-Maartenskerkstraat, 8500 Kortrijk, Belgium.
    August 15, 2015 in the Sint Martinus kerk, Bever (Vlaams-Brabant), Belgium
    October 24, 2015 in GC het Marca (the late Sint-Eligiuskerk), Maarkeweg 65A, 9680 Maarkedal, Belgium

    Fr. Ivan Moody wrote about the Kanon Pokajanen in The Sounding (Posted by the Orthodox Christian Network. 5 January 2015):
    The Kanon Pokajanen, or Canon of Repentance, arose from a commission for a work to celebrate the 750th anniversary of the foundation of Cologne Cathedral. Completed in 1997, it was first performed in the following year by the Estonian Philharmonic Chamber Choir under the direction of Tõnu Kaljuste. The Slavonic text of the Kanon is taken from the prayerbook of the Russian Orthodox Church.

    What is characteristic of the work as a whole, however, is the composer’s total absorption in the penitential words he is setting. Indeed, one might consider the Kanon the ne plus ultra of a precise attention to text that characterizes his entire output; and it is worth recalling that Pärt has set a number of languages, including English, Estonian, German, Italian, Russian, Slavonic and Spanish. In parallel with, and apparent contradiction to, this attention to detail is the astounding harmonic richness that arises from what is essentially a single, static modality, based on D. Indeed, the Kanon may be considered on one level an anthology of the composer’s choral techniques as he has developed them over the years since his discovery of the “tintinnabuli” style in the late 1970s, and a demonstration of the extraordinary richness which has arisen from that apparently simple technique. The work’s extraordinary variety of colour derives essentially from the subtle shadings, and also abrupt changes, of choral texture mentioned above, from dense chordal work covering the entire range of the choir to unadorned passages for one or two voices reminiscent of Russian Znamenny chant.

  • Arvo Pärt’s Vater Unser - Cai Thomas and Julien Brocal

    2:51

    Julien Brocal and Cai Thomas collaborate on a new video of Pärt’s Vater Unser, recording their respective piano and vocal parts 250 miles apart, without ever having even met.

    Julien discovered the voice of 13-year-old Cai Thomas as he recuperated from COVID-19 in March and was immediately struck by the purity and clarity of tone he heard. With plans already in place to record Pärt’s Vater Unser as part of an album set for 2021 release, Julien felt strongly that Cai’s voice was the perfect vehicle for the piece, so evocative of hope as it traverses from the heart-breaking B Minor melody to the D Major release of tension at its conclusion. With the help of their label Rubicon, Julien and Cai were able to collaborate from afar, recording a video of this track at their respective homes in Brussels in Belgium and Farnham in the U.K.

    A prayer which asks for peace, something that we can all hope for regardless of faith at this most challenging of times, Julien and Cai hope their music can offer a few moments of solidarity and hope for all of us at home around the world. Julien says: “Cai’s voice appeared as light shining through darkness, and I couldn’t see a better moment to create together this uplifting music.”

  • Arvo Part - Kyrie

    3:09

  • Arvo Pärt: Te Deum III Per singulos dies benedicimus te

    8:43

  • Arvo Pärt - Veni Sancte Spiritus

    4:07

    From Arvo Pärt: A Tribute - Arvo Pärt by Estonian Philharmonic Chamber Choir, Theatre of Voices, Pro Arte Singers and Paul Hillier on harmonia mundi
    907407 - 2005
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  • Arvo Pärt Cantus in memoriam Benjamin Britten - Proms 2010

    6:11

    Arvo Pärt Cantus in memoriam Benjamin Britten - Proms 2010, performed by BBC Symphony Orchestra conducted by Edward Gardner (bbc notes as follows);
    The heartrending strings and tolling bell of the Cantus by Arvo Pärt (75 this year) forms a hypnotic tribute to Britten

  • Arvo Pärt: 24 Preludes for a Fugue

    1:26:45

    Arvo Pärt 24 prelüüdi ühele fuugale
    Dorian Supin, 2002


    24 Preludes for a Fugue is an authorised documentary about Arvo Pärt. A portrait made of precious moments recorded during three prolific years of the composer's life, the film features rehearsals, premieres, seminars, meetings and recollections. Director Dorian Supin succeeds in revealing Arvo Pärt's musical thinking. His work opens a door on the inner world of one of the most spiritually intense composers of our life. The documentary is enhanced by excerpts from major musical works such as Tabula rasa, Für Alina, Fratres, Orient & Occident, Cecilia, vergine romana and Como cierva sedienta. With English subtitles.

  • Arvo Pärt - Trivium

    7:01

    My favorite composer of all time does it again with this piece. As a stark contrast to the atonal complexity of Miserere's medleys, this organical piece is bluntly simple. But this simplicity is compensated for by the composition's brutishly overwhelming power of expression. This is virtually the same type of piece created by hundreds of composers repeatedly throughout history. But never before has this pipe organ exclusive been graced with the furious, blesséd prowess of this truly brilliant, Estonian composer.

  • Arvo Pärt: Choral masterworks

    1:15:19

    01. Stabat Mater (for soloists and strings) 00:00
    02. Litany (for soloists, mixed choir and orchestra) 27:53
    03. Salve Regina (for mixed choir and organ) 49:48
    04. Credo (for piano, mixed choir and orchestra) 01:02:42

  • Arvo Pärt - Fratres for violin and piano

    11:41

    Arvo Pärt’s “Fratres” is a beautiful piece that emulates many aspects of the minimalist musical idiom while also emphasizing Pärt’s mystical beliefs. Pärt (born 1935) is an Estonian composer whose work has become an important facet of the 20th century musical landscape. While he traversed through many different genres when he started composing, writing in a neo-classical style at first and experimenting with twelve-tone music before turning to minimalism, the minimalist style he developed which he came to call “tintinnabuli” is what he is most known for. Inspired by his mystical experiences with chant music, Pärt developed the genre and referred to it as “tintinnabuli”, from the Latin word tintinnabulum, which means bell. Based on a conceptual process similar to the minimalist approach, Pärt’s tintinnabular music is characterized by an arpeggiated voice that outlines the tonic triad and a second voice, which moves diatonically in a stepwise motion. The minimalist tendency to use limited harmonies and repeated rhythmic figures is also present in his work. As Pärt himself described, “The complex and many-faceted only confuses me, and I must search for unity. What is it, this one thing, and how do I find my way to it? Traces of this perfect thing appear in many guises- and everything that is unimportant falls away. Tintinnabulation is like this… The three notes of a triad are like bells. An that is why I call it tintinnabulation.”

    “Fratres” is an astounding example of the principle concepts of minimalist music injected with his own experience with different musical idioms and his own spiritual beliefs. The chant inspired quality and bell-like characteristic that he searched for in his work offers a beautiful placid tone, which is then contrasted by fast arpeggios and intensity. While the harmonic structure of the piece is limited and mostly unchanging, the use of various rhythmic figures, polymetric changes, retrogade melodies, and re-voiced chords offer enough deviation from the initial material and keeps the audience engaged for the entire twelve minutes. The original version of “Fratres” was composed in 1977 for string quartet and wind quintet. Aside from the version for violin and piano analyzed in this paper, Pärt arranged five other versions of Fratres. The fact that it has been arranged for so many different instrumentations gives the piece a sort of ethereal quality that is also felt by the mood created in the piece. Through his process of tintinnabulation, Pärt tapped into some mystic bells that transport the listener into a contemplative place through the subtle changes and underlying stationary form and harmonic structure.

    (notesfromtheinvisiblescore.blogspot.com)

    Please take note that the audio AND the sheet music ARE NOT mine. Change the quality to a minimum of 480p if the video is blurry.

    Original audio:
    (Performance by: Tasmin Little, accompanied by Martin Roscoe)
    Original sheet music:

  • Arvo Pärt - Jumalast, armastusest, muusikast, puhtusest

    14:44

    Kollaaž Arvo Pärdi mõtetest, seminarilt arvo Pärt ja teoloogid
    Originaalvideo:
    Muusika: Spiegel im Spiegel

  • Arvo Part: Passio: St John Passion

    1:1:51

    Passio Domini Nostri Jesu Christi Secundum Joannem- Anthony Pitts: Tonus Peregrinus
    1. Passio Domini Nostri Jesu Christi Secundum Joannem 0:00
    2. Et Adduxerunt Eum Ad Annam Primum
    3. Adducunt Ergo Jesum A Caipha In Praetoruim
    5. Tunc Ergo Tradidit Eis Illum Ut Crucifigeretur

  • Für Alina

    20:19

    Provided to YouTube by Kontor New Media GmbH

    Für Alina (1976) · Jeroen van Veen

    Arvo Pärt: Für Anna Maria, Complete Piano Music

    ℗ Brilliant Classics

    Released on: 2014-08-01

    Composer: Arvo Pärt
    Music Publisher: Brilliant Classics
    Piano: Jeroen van Veen

    Auto-generated by YouTube.

  • Arvo Pärt - Für Alina

    2:46

    Für Alina is a work for piano composed by the Estonian composer Arvo Pärt. It can be considered as an essential work of his tintinnabuli style.

    Für Alina was first performed in Tallinn in 1976, along with six other works, after a long preparatory period in Pärt’s life as a composer. This concert was the first to introduce his new signature style of composition, referred to as the tintinnabuli style. Für Alina was dedicated to a family friend's eighteen-year-old daughter who had just gone to study in London. Its introspection calls to mind a vivid image of youth, off to explore the world.

    The piece appears very simple on the page and could be played by any person willing to spend a little time with a piano. It has both the left and right hand written in G clef and only the echoing bass octave is written in F clef. Its simplicity is deceptive. To achieve purity of sound remains a challenge and demands an accomplished pianist with a good ear to produce the harmonic balance and symmetry the composition requires. It is common to repeat the composition several times. Variations could also be applied from one repetition to the other, like the exact 8ava of the two (melody) hands (stead for the length of each full repetition).

    The score of Für Alina is only two pages long. It is in the key of B minor and is played piano (p). The only notation related to tempo is Ruhig, erhaben, in sich hineinhorchend, which roughly translates as peacefully, in an elevated and introspective manner. There is no time signature.

    It begins with a low double-octave B, which echoes throughout the whole work (save for the last section); it should be played with the pedal down throughout (a single pedal shift is found before the last four bars). The right hand plays the notes an octave higher than noted. Considering there is no time signature, the tempo is free, yet introspective in a way that allows the player to personalize the experience of playing it by responding to the notes and occasional dissonance. Thus the use of rubato becomes essential. Both hands play their single notes at the same time.

    Only two types of notes appear in the score: whole notes and stemless black notes (more free as to their duration). It has only 15 bars of written music: the first bar has the low bass octave. From there onwards begins the following pattern: the second bar has one note-head and one whole note, the next bar has two quarter notes and a whole note, and so on until a bar that has seven quarter notes and a whole note. This pattern then scales down again, to one quarter note and a half note. The last bar has two quarter notes and a half note. In other words, the first bar has one note, the second has two, the third has three, and so on. It is built as such: 1 2 3 4 5 6 7 8 7 6 5 4 3 2 3. The compositional symmetry mirrors the harmonic symmetry.

    If played softly enough, with the pedal down and given enough time, the notes (often resulting in minor and major clashes between B and C#, D and E, and F# and G) can produce a humming of dissonance in the piano’s machinery, a phenomenon that only adds to the transcendental nature of the piece.

    The entire harmonic structure, save for one note, is constructed so that the left hand part is the highest note in a B Minor chord which is below the melody line. Thus, when the melody is on a C# or D, the left hand is on a B. When the melody is on an E or F#, the left hand is on a D, and when the melody is on a G, A, or B, the left hand is on an F#. The only break from this harmonic structure appears when the left hand hits a C# below an F# in the right hand, synchronous with the release of the pedal at the end of the 11th bar.

    (Wikipedia)

    Please take note that the audio AND the sheet music ARE NOT mine. Please change the quality to a minimum of 480p if the video is blurry.

    Original audio: classical-music-online.net
    Original sheet music: I forgot. This was a reupload of the original video, and I managed to download it before it got blocked, so I have to make do with snapshots from the video, because I don't have the sheet music anymore. Sorry.

  • Arvo Pärt - Eesti hällilaul Kuss-kuss, kallike

    2:31

    Arvo Pärt - Estonian Lullaby. Eesti Muusika- ja Teatriakadeemia koor ja orkester / Choir and Orchestra of Estonian Academy of Music and Theatre, dirigent / conductor MAI SIMSON

  • Arvo Pärt - Swansong

    8:47

    Artistic Director Andrzej Boreyko and Warsaw Philharmonic dedicate this recording to the Memory of Professor Krzysztof Penderecki (1933-2020)

    1 February 2020, 6 pm
    Warsaw Philharmonic Concert Hall
    Symphonic Concert

    Performers:
    Warsaw Philharmonic Orchestra
    Andrzej Boreyko – conductor

    Programme:
    Arvo Pärt - Swansong (2013)

    see more:

    #Boreyko #Swansong #ArvoPärt

  • Anne Akiko Meyers Performs World Premiere Recording – Estonian Lullaby by Arvo Pärt

    3:08

    Anne Akiko Meyers performs the world premiere recording of Arvo Pärt's Estonian Lullaby for Violin and Piano, dedicated to her. Animation by Skazka Studios.

    Recording available for purchase beginning May 8, 2020 –
    Released on Avie Records

    Pianist: Reiko Uchida
    Executive Producer: Anne Akiko Meyers
    Producer & Engineer: Silas Brown
    Photography: Molina Visuals
    Art Direction & Design: Sean Marlowe

    Recorded January 24, 2020 at the DiMenna Center for Classical Music

    Known for her passionate performances, purity of sound, poetic interpretations, innovative programming and commitment to commissioning new works​.​

    Anne Akiko Meyers is one of the most celebrated violinists embraced around the world today. Possessing a rare ability to connect with audiences from the concert stage, online, in television, and radio broadcasts, Meyers has actively maintained an extensive touring schedule for over 30 years, and regularly performs in recital and as guest soloist with many of the world’s top orchestras. She is a best-selling recording artist who has released 37 albums and was the top-selling traditional classical instrumental soloist on Billboard’s charts in 2014.

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  • Arvo Pärt My Hearts in the Highlands Else Torp and Christopher Bowers

    8:41

    My heart's in the Highlands, my heart is not here,
    My heart's in the Highlands a-chasing the deer -
    A-chasing the wild deer, and following the roe; (=ree)
    My heart's in the Highlands, wherever I go.

    Farewell to the Highlands, farewell to the North
    The birth place of Valour, the country of Worth;
    Wherever I wander, wherever I rove,
    The hills of the Highlands for ever I love.

    Farewell to the mountains high cover'd with snow;
    Farewell to the straths and green valleys below; (=breed dal)
    Farewell to the forrests and wild-hanging woods;
    Farwell to the torrents and loud-pouring floods.

    My heart's in the Highlands, my heart is not here,
    My heart's in the Highlands a-chasing the deer
    Chasing the wild deer, and following the roe;
    My heart's in the Highlands, whereever I go.

  • Spiegel im Spiegel for Cello and Piano

    10:28

    Leonhard Roczek - Cello
    Herbert Schuch - Piano

    Arvo Pärt: Spiegel im Spiegel (1978)
    Mozart Week Salzburg 2014

  • Arvo Pärt: Passio / St. John Passion / Johannespassionen

    1:8:16

    Mogens Dahl Kammerkor fremfører Arvo Pärts Johannespassion i Christians Kirke, påsketiden fejres med et af de smukkeste og mest højtidelige værker indenfor den nye musik.

    Pärts Johannespassion er komponeret i 1982 og er med rette blevet et af den estiske komponists mest elskede værker. Johannespassionen er i sit tonesprog præget af en gribende, renfærdig minimalisme og skildrer ligesom de traditionelle passionsværker påskeugens dramatiske historie om Jesu pågribelse, rettergang, lidelse og død.

    Som ung eksperimenterede Arvo Pärt med forskellige af den vestlige modernismes kompositionsteknikker; men efterhånden fandt han sin helt egen enkle og meditative stil, der har gjort ham til en af nutidens mest kendte og elskede komponister. Hans musik er præget af en dyb religiøs inderlighed og af den tidlige katolske kormusik fra 14. til 16. århundrede.

    Mogens Dahl Kammerkor har tidligere præsenteret en lang række af det 20. århundredes væsentligste kirkelige værker på koncerter, festivaler og på den anmelderroste cd Sacred North. Kammerkorets årlige påskekoncert Skærtorsdags aften i Christians Kirke har budt på hovedværker af bl.a. Gorecki, Schnittke, Martin og Pizzetti og nu er turen altså kommet til Pärts uforlignelige hovedværk, Johannespassionen.

    00:08 Chorus: Passio Domini Nostri Jesu Christi...

    06:26 Jesus: Dixi Vobis, Quia Ego Sum...

    15:41 Jesus: Ego Palam Locutus Sum Mundo...

    20:59 Evangelisti: Et Misit Eum Annas Ligatum...

    24:45 Pilatus: Quam Accusationem Affertis Adversus...

    29:40 Jesus: Regnum Meum Non Est De Hoc Mundo...

    39:08 Pilatus: Ecce Adduco Vobis Eum Foras...

    46:49 Evangelisti: Et Exinde Quaerebat Pilatus...

    59:20 Jesus: Mulier, Ecce Filius Tuus...

    01:04:14 Chorus: Qui Passus Es Pro Nobis...

    Mogens Dahl Kammerkor
    Tenorsolist: Adam Riis
    Bassolist: Jakob Bloch Jespersen
    Violin: Philippe Skow
    Cello: Toke Møldrup
    Obo: Andreas Fosdal
    Fagot: Sebastian Stevensson
    Orgel: Søren Johannsen
    Dirigent: Mogens Dahl

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  • Anne Akiko Meyers Arvo Pärt Fratres Encore Presentation at the Phillips Collection

    10:35

    Recorded live at the Phillips Collection on April 23, 2017. Meyers performs Arvo Pärt's masterpiece, Fratres with pianist, Akira Eguchi.

    Anne Akiko Meyers is one of the most celebrated violinists embraced around the world today. Possessing a rare ability to connect with audiences from the concert stage, online, in television, and radio broadcasts, Meyers has actively maintained an extensive touring schedule for close to 30 years, and regularly performs in recital and as guest soloist with many of the world’s top orchestras. She is a best-selling recording artist who has released 35 albums and was the top-selling traditional classical instrumental soloist on Billboard’s charts in 2014.
    Known for her passionate performances, purity of sound, poetic interpretations, innovative programming and commitment to commissioning new works​.​

    ​Web:
    Twitter:
    Facebook:
    Instagram: ​

    H.Paul Moon, filmmaker
    Edward Kelly, recording engineer
    Silas Brown, audio mastering
    Phillips Collection, Washington D.C.

  • Arvo Pärt - Spiegel im Spiegel / Cantus in memoriam.. + Presentation

    55:49

    The Sound of Arvo Pärt (1935) Orchestral Works.
    I.Spiegel im Spiegel for Piano & Violin* (00:00)
    *Click to activate the English subtitles for the presentation* (00:00-00:30)
    II.Summa for string orchestra (08:13)
    *Click to activate the English subtitles for the presentation* (08:13-08:43)
    III.Festina Lente for string orchestra & harp (13:04)
    *Click to activate the English subtitles for the presentation* (13:04-13:47)
    IV.Cantus in memoriam Benjamin Britten (19:14)
    for string orchestra & bell
    *Click to activate the English subtitles for the presentation* (19:14-20:01)
    V.Fratres for string orchestra & percussion (25:58)
    *Click to activate the English subtitles for the presentation* (25:58-26:55)
    VI.Trisagio for string orchestra (35:21)
    VII.Silouans Song for string orchestra (49:58)

    Piano : Martin Roscoe
    Violin : Tasmin Little
    Estonian Philharmonic Orchestra
    Conductor : Paavo Järvi
    Recorded in 1993* (Milton Abbey School) & 2000 (Estonia Concert Hall)

    *Spiegel im Spiegel* (1978), pour violon et piano, est bâtie à partir des éléments les plus simples, ce qui produit ici un effet d'innocence enfantine. Sur un accompagnement au piano combinant des accords arpégés avec des notes rappelant des sons de cloches dans des registres variés, le violon entonne une mélodie soutenue dont les phrases d'une étendue et d'une longueur croissantes reviennent toujours à la tonalité initiale.

    *Summa* (1978), qui a commencé son existence sous la forme d'une mise en musique pour quatre voix de la prière du Credo, a depuis été publiée en version quatuor à cordes ou, comme dans cet enregistrement, pour orchestre à cordes. Une séduisante mélodie dotée d'un doux balancement, entièrement basée sur les notes d'un arpège, s'y trouve variée par des changements de rythme et par la rotation régulière des trois combinaisons instrumentales : les deux violons, l’ensemble de l'orchestre, l'alto et le violoncelle.

    *Festina Lente* (1988, révisée en 1990) est une œuvre d'une tranquillité imperturbable pour cordes et harpe facultative (cette dernière renforçant certaines notes proches des sons de cloches que jouent les violoncelles et les contrebasses). Son titre est inspiré par un adage favori de l'empereur Auguste ‘’Hâte-toi lentement’’, cette maxime pleine de paradoxe étant symbolisée par le fait que la mélodie se trouve jouée simultanément dans trois tempi différents: les altos exposent le thème avec un tempo modéré, les violons le jouent deux fois plus vite, les violoncelles et les contrebasses à mi-vitesse. De manière caractéristique, Pärt réussit à créer une atmosphère vibrante avec le matériau mélodique te plus simple.

    *Cantus in memoriam Benjamin Britten* (1977), pour orchestre de cordes et cloche seule. dérive entièrement d'une variante de la gamme descendante de la mineur jouée simultanément avec trois vitesses différentes. L'œuvre a été décrite comme ‘une ingénieuse déclaration de guerre à l'atonalité’. Pärt a expliqué ce qui l'a poussé à composer Cantus: 'Pourquoi la date de la mort de Benjamin Britten, le 4 décembre 1976, m’a-t-elle tellement touché ? A l'époque il est évident que j'avais atteint le point où j'étais en mesure de reconnaître la magnitude d'une telle perte...Je venais de découvrir Britten. Juste avant sa mort, j'avais commencé à apprécier la singulière pureté de sa musique...En il y avait longtemps que je voulais rencontrer Britten en personne ce qui était désormais devenu impossible..

    *Fratres* qui date de 1977, fut d'abord interprétée par un ensemble de musique ancienne estonien. La pièce a été par la suite adaptée par le compositeur pour plusieurs combinaisons différentes d’instruments. ta version de 1980 qui se trouve enregistrée ici diffère cependant des autres de façon marquante en ce qu'elle constitue un ensemble de variations sur le thème de l'œuvre originale. Cette transformation pour violon et piano de Fratres fut jouée pour la première fois par Gidon et Elena Kremer (à l'intention desquels elle avait été composée) au Festival de Salzbourg en 1980. Venant à ta suite d'une section de prélude nouvellement composée, écrite pour violon sans qui esquisse un crescendo progressif, le thème hypnotique aux accents de psalmodie est joué huit fois par le piano tandis que violon lui superpose des variations d’une simplicité et d’une élégance caractéristiques.

    Arvo Pärt - Symphonies, Cello Concerto, Cantata... + Presentation (r. rec. : Paavo Järvi) :

  • Arvo Pärt Collection

    59:18

    1. Tabula Rasa: Ludus 00:00
    2. Tabula Rasa: Silentium 09:50
    3. Frates 23:18
    4. Cantus In Memory Of Benjamin Britten 33:12
    5. Summa for Strings 39:24
    6. Spiegel Im Spiegel 44:51
    7. Festina lente 53:09


    Gidon Kremer, Keith Jarrett & Tatjana Grindenko
    Bournemouth Sinfonietta
    Tasmin Little, Martin Roscoe, Richard Studt

  • Summa for Strings | Arvo Pärt

    5:19

    by the Estonian master, Arvo Pärt

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