Table of Contents
Arvo Pärt (sheet music in the #smlpdf)
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Arvo Part Fratres Piano Sheet music
Arvo Part Summa for Strings
Arvo Part – Fur Alina Variations
Arvo Pärt Partita For Piano, Op 2 (1960)
Arvo Pärt Spiegel Im Spiegel (Violoncello And Piano)
Arvo Pärt – Spiegel Im Spiegel (arranged for Piano Solo)
Arvo Pärt – Zwei Sonatinen Für Klavier Op. 1
Arvo Pärt Spiegel Im Spiegel Violin Piano
The Best of Arvo Pärt: The Collection
0:00:00 Spiegel im Spiegel for Violin & Piano played by Benjamin Hudson & Jürgen Kruse 0:10:22 Für Alina played by Jürgen Kruse 0:13:53 Spiegel im Spiegel for Cello & Piano played by Sebastian Klinger & Jürgen Kruse 0:23:26 Tabula Rasa: II. Silentium played by Hatfield Leslie, Hirsch Rebeccca, Ulster Orchestra & Yuasa Takuo 0:38:08 Fratres for String Quartet played by Hungarian State Opera Orchestra & Benedek Tamás
0:46:49 Cantus in Memory of Benjamin Britten played by Hungarian State Opera Orchestra & Benedek Tamás 0:54:29 Berliner Messe: VIII. Agnus dei played by Daniel Justin, Leeds Cathedral Choir & Benjamin Saunders 0:56:27 Bogoróditse Djévo played by Elora Festival Singers & Noel Edison 0:57:51 Für Anna Maria played by Jeroen van Veen 0:59:12 Partita Op. 2: IV. Ostinato played by Jeroen van Veen
Who is Arvo Pärt (short bio)
Who is Arvo Pärt? What has become a celebrity global in a world in which the sacred music contemporary seems to be a rarity? We look at 10 basic milestones of his career.
- Childhood : he was Born in Paide (Estonia) in 1935, but grew up in Rakvere with his mother and stepfather. As a child, he began experimenting with records musical ends, more by necessity than by vocation: the piano family was damaged in the middle and could only play the notes more low and more low. Then, in his youth, he moved to Tallinn to study at the Conservatory.
- The beginning: His claim to fame came at the age of 20, with the composition of Nekrolog (1960), the first work dodecaphonic in Estonia. It was also his first clash with the communist regime, which accused Part of being carried away by “western decadence”.
- The breakdown: the presentation of The Creed , in 1968, marks a turning point in his career . In art, means the completion of the pilot phase of the composer and the start of his return to the tradition (in fact, Creed is based on the Prelude in c Major Johann Sebastian Bach). Personally, Creed is a manifesto of christian faith that irritated still more the soviet authorities.
- The crisis: After Creed , Pärt was 8 years without writing anything, immersed in a crisis, creative, religious and also political. In this period, the composer decided to return to the “origins” and began to study gregorian chant and polyphony vocal to try to understand the mystery of the music. On a personal level, are strengthened its conversion to orthodox christianity.
- The masterpiece: Finally, in 1976, Arvo Pärt presents Für Alina is a work for piano regarded as a composite key of the TWENTIETH century. The technique used is to be baptized as the “tintinnabuli”, the term coming from the Latin for “bells”. It is based on the use of single notes, not subject to a chord, which produces the effect of “tinkling ”. Pärt argues that the musical note has value by itself , without having to bind necessarily to the other, as mandated by the harmony in the western music tradition. With this twist art, Arvo Pärt starts his day “minimalist”, the current in which musicologists fall to Pärt.
- The exile: The ill will of the government of the Soviet Union ended up being worth the exile in the year 1980. But, with the disappearance of the communist regime, Arvo Pärt continues to oppose the authorities of Moscow and in his last public appearance has sharply criticized Vladimir Putin . It has been said that “is a deranged” and “a danger to any country.”
- The recording industry : His departure from Estonia in 1980, not away from the music: rather the opposite. In addition, he came to the recording industry. The entrepreneur Manfred Eicher , until then specialized in jazz, it became enamored of the work of Pärt to listen to it accidentally on the car radio, and created a specific section on his label ECM to record the composer. Together they put together global dissemination of the key works of the composer of the late 70’s and early 80’s, as Fraters or Tabula Rasa .
- The film: he Had a contact very early with the film, since he began to compose works for movies since he was studying at the conservatory in Tallinn. Once you become a famous musician, his works are a part of films like The thin red line, Fahrenheit 9/11, The great beauty, The dilemma, Soldiers of Salamis, or The lovers of Pont Neuf.
- Da Pacem Domine : The work included in the program of the concert today, Friday, was composed, as he said himself , in a single night, by the commotion that was supposed to he the terrorist attacks in Madrid on 11 march 2004.
- Acknowledgements: According to the statistics of the database Bashtrack, in 2014 has been, for the fourth consecutive year, the living composer most played in the world. In October of last year, received the award Praemium Imperium in Japan , awarded by the Japan Art Association, and regarded as equivalent to the Nobel prize in music.
Subsequently and exhaustively imitated, the language of the Estonian composer Arvo Pärt is immediately recognisable, speaking with the ‘still small voice of calm’ amid chaos and confusion. Born in 1935, Pärt reached compositional maturity in the late 60s with a series of works which painfully juxtaposed modernist dissonances with diatonic islands of peace, often Christian in message and raining down criticism from Soviet authorities.
At this point the evolution of his style produced an unassuming piano piece, Für Alina, which holds the key to the next 25 years of his music. For it he developed a ‘tintinnabuli’ technique where melodies move step by step around a central pitch, producing a soundworld timeless yet original and distinctively new.
From the technique grew instant classics of a genre at one remove from the slick certainties of US minimalism: Fratres and its many arrangements (eight of them represented here), the Cantus in memory of Britten, Tabula rasa for a Baroque sized concerto grosso ensemble and more.
Then, having immigrated to Germany, Pärt applied the technique to the Christian texts which were always his rock and inspiration: first the St John Passion in 1982, followed by a sheaf of vocal works such as the Magnificat, Stabat Mater and Maria Antiphons which have become standard repertoire for choirs around the world. In the last 20 years the harmonies in his music have filled out and become accommodated to a Romantic richness of expression even in sacred works such as I am the true vine and The Woman with the Alabaster Box, but there remains an individual simplicity to Pärt’s idiom that resists easy classification while continuing to affirm beauty and touch the souls of listeners.