Arvo Pärt's asylum.

[bhodges]

Just found out that conductor Jeffrey Milarsky and the Wordless Music Orchestra will do the New York premiere of Pärt's Symphony No. 4 at Le Poisson Rouge on Sunday, May 10.  (For anyone unfamiliar with the venue, it's the former Village Gate, and serves food and drink.)

--Bruce

[Drasko]

Just found out that conductor Jeffrey Milarsky and the Wordless Music Orchestra will do the New York premiere of Pärt's Symphony No. 4

Happen to have link for download of recording of the premiere (LA/Salonen?), it's 256 kbps mp3, sound is decent but wouldn't know know whether it is broadcast or in-house recording.

http://narod.ru/disk/4999131000/part-4.zip.html

(to download - type in captcha numbers and then click on green button right beneath)

[Symphonien]

Just to bump up the thread, fans of Arvo Pärt may be interested in the new EMC disc that has been recently released featuring four premiere recordings. A video excerpt of In Principio (same as the one on the Amazon page, but larger) can be seen here.

[mahler10th]

Happen to have link for download of recording of the premiere (LA/Salonen?), it's 256 kbps mp3, sound is decent but wouldn't know know whether it is broadcast or in-house recording.
http://narod.ru/disk/4999131000/part-4.zip.html
(to download - type in captcha numbers and then click on green button right beneath)

Well, I was going to say thank you Drasko, but you no longer exist, presenting me with a problem of unresolved gratitude. 

[sul G]

Just to bump up the thread, fans of Arvo Pärt may be interested in the new EMC disc that has been recently released featuring four premiere recordings. A video excerpt of In Principio (same as the one on the Amazon page, but larger) can be seen here.

Interesting. ECM's first four Part discs are IMO the finest Part discs of all, and were of course so important in the process of his becoming better known, the first one in particular. If the later discs haven't impressed me so much, that's not because of ECM but because of Part, who as I've said before on this thread, seems to me to be an impossible situation and is necessarily composing music that doesn't have the purity and urgency of his mid-70s to mid-80s output. Nevertheless, I'll be pleased to get this disc if only for La Sindone, which I've been waiting for - I have the score and would like to hear it realised.

[karlhenning]

The key, I suppose, is: avoid impossible situations!

[sul G]

In his case, the impossible situation, I think, is that he attained a style that had such inherent perfection he could take it no further without lessening its impact. So I'm not sure he'd have wanted to avoid it. (I'm also sure he would disagree with my assessment of the who state of affairs!)

[sul G]

This is what I said about it on page 1 of the thread. As that page shows, I'm not alone in this assessment of Part's recent music, so there might be something real going on here...

I've talked about this before, about the unusual situation Part must have found himself in. Here he was, having discovered/created/whatever this perfect style and technique - I use the word advisedly because, like it or not, the tintinabulism technique is absolutely flawless from every angle, on its own terms. What could he do now - repeat himself? I don't think so, for all sorts of reasons. Or try to develop the technique? Well, that's what he did, adding variations and extensions to the technique which, whilst it broadened its scope, lessened its impact. That's why, to restate my first point, that small list of pieces:

Stabat Mater
Cantus
Passio
Fratres
Tabula Rasa
Festina Lente
Spiegel im spiegel
Es sang vor langen Jahren

will IMO stay the central, perfect focus of his output. And we can hardly complain!

[karlhenning]

In his case, the impossible situation, I think, is that he attained a style that had such inherent perfection he could take it no further without lessening its impact. So I'm not sure he'd have wanted to avoid it. (I'm also sure he would disagree with my assessment of the who state of affairs!)

You're certainly right in that impossible situations cannot always be avoided, and/or will to do so may be absent.

[Cato]

An article in this weekend's Wall Street Journal written by a certain Corinna da Fonseca-Wollheim, who could add "Countess" to the front and "y Santa Clara" to the end of her moniker and use it, along with $5.00, to buy caffeine at Starbucks, explains the significance of Arvo Pärt's Tabula Rasa.

"Corinna" does not do badly for a while, but then we hit something inevitable, as inevitable as the boy-loses-girl second act in a Diane Lane movie:

"From the late 17th century onward, classical music used tonality to favor certain notes of the scale over others, allowing for the development of a musical theme that the listener intuitively understands: A musical idea ventures forth from the harmonic home to which it must eventually return. The resulting tension creates a sense of linear progress or narrative. Serial music abolished this system by making all 12 notes of the scale equal—with the result that they sound equally meaningless. Mr. Pärt's tintinnabuli compositions, by contrast, revolve around a single static tonality that invites contemplation. He once told students his aim was "to concentrate on each sound, so that every blade of grass is as important as a flower." Tonality acts as a hidden pole that gently pulls the music inward."

(My emphasis above)

I look forward to a day when notes will not be judged by the color of their tonality, but by the expressive content of their character.

See:  http://online.wsj.com/article/SB10001424052970204456604574201730467852724.html

[DavidRoss]

I look forward to a day when notes will not be judged by the color of their tonality, but by the expressive content of their character.

You have a dream.  I have a dream, too...involving Diane Lane.

P.S.  What I know about music theory would fit on the back of a business card, but I know what I like, and I like Tabula Rasa like Koko loved her kitty.

[Cato]

You have a dream.  I have a dream, too...involving Diane Lane.

P.S.  What I know about music theory would fit on the back of a business card, but I know what I like, and I like Tabula Rasa like Koko loved her kitty.

Well, I am old enough to be her father, but I know that dream!   0:) 

And I find it disconcerting to see her doing wrinkle-cream commercials!   

Anyway, we will ignore "Corinna's" comments on serialism: it does seem as if Pärt has found his niche through his meditative style, proving that Schoenberg was right about there being good possibilities in C major: they are just harder to invent! 

[karlhenning]

P.S.  What I know about music theory would fit on the back of a business card, but I know what I like, and I like Tabula Rasa like Koko loved her kitty.

I am at your service, should you wish, mon ami.

Anyway, we will ignore "Corinna's" comments on serialism: it does seem as if Pärt has found his niche through his meditative style, proving that Schoenberg was right about there being good possibilities in C major: they are just harder to invent! 

Hear, hear!

[Dr. Dread]

I'm not going to read this whole thread. 

Where do I start with Part? Something tranquil would be nice.

[karlhenning]

I'm not going to read this whole thread. 

Where do I start with Part? Something tranquil would be nice.

The ECM disc with Tabula rasa:

[Dr. Dread]

The ECM disc with Tabula rasa:

I knew you were going to say that. Thanks.  0:)

[bhodges]

I second Karl's ECM disc recommendation.  In addition to Tabula Rasa, it has everything I'd recommend to someone new to Pärt: two versions of Fratres, and Cantus in memoriam Benjamin Britten (beautiful piece for string orchestra and a single bell).

--Bruce

[karlhenning]

I'd almost suggest his St John Passion (which is a fine piece), but it doesn't really fit the something tranquil request.

[karlhenning]

We're missing a Dave post in this thread 

[Sid]

I like Part's style, which seems to mimic the processes of nature. It's all about gradual accretion versus huge climaxes & contrasts and is more understated than other contemporary composers. That's exactly why it's so unique.

I have especially enjoyed his orchestral works such as Tabula rasa & the more recent piano concerto Lamentate. There's plenty of melody and harmony in these works, as well as some contrast. One just has to listen more perceptively.

I haven't yet heard many of his choral works, so the information provided by those who have is most welcome...