Arvo Pärt Miserere The Hilliard Ensemble David James countertenor Rogers Covey-Crump tenor John Potter tenor Gordon Jones baritone. Performers. The Hilliard Ensemble Paul Hillier, conductor. Orchester der Beethovenhalle Bonn Dennis Russell Davies, conductor. This latest in ECM’s continuing series of music by Arvo Part strikes me as being the There are two large-scale works here, Miserere and the curiously-named.
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For all that Part’s musical language depends upon the most basic of building materials, there is no such thing as a miniature in his way of thinking. Think I have a chance? Of the Miserere itself, one need know only that it is an essay in the lean style already used so successfully in the St John Passion and the Stabat mater.
I have seen the piece live last Saterday the 10th of January in Amsterdam and have put the performance recorded by the radio station with some pictures of the concert at YouTube. Post was not sent – check your email addresses! One of my great hopes is to see Afvo performed by an ensemble live.
Shopping options License request Hire request. I found two relatively recent performances mentioned here and herebut nothing upcoming. Your closing statement on the review resonated so much with me. You captured the piece well, and put some of the feelings it conjures kiserere poetic words.
We arrive to an a cappella passage that is transfiguration incarnate, each soloist pawing the air like a sleeping lion. Whether you want to see what we think of today’s latest releases or discover what our critics thought of your favourite recordings from the past, you will find it all in our full-searchable Reviews Database.
Pärt Miserere; Festina lente; Sarah was ninety-yearsold |
Sarah was ninety-years old. That in itself is a high commendation: Following the silence coloured by the sound of the bell and after the seven stanzas of the Dies partt, a new beginning unfolds. As a teenager I used to spend hours singing along alternately with the baritone and alto lines until the booklet yellowed and nearly fell apart from excessive handling I even went so far as to purchase a backup, just so I would have a pristine copy on my shelf. Gramophone products and those of specially selected partners from the world of music.
This disc has been with me for nearly half my life. Notify me of new posts via email. The additional eighth stanza, Rex tremendae, succeeds in gathering up the enormous tensions inherent in the Miserere.
How else could the day of Judgement be represented in the music of man except suddenly and unexpectedly, rendering all conventional methods of creating musical climax powerless? On its own it would have been a breathtaking piece, with its shrieking choir, blaring brass, full organ and clanging bells.
The all-time greats Read about the artists who changed the world of classical music. Festina lente for string orchestra and harp brings to mind the elegaic tone of Part’s earlier Cantus in memoriam Benjamin Brittenand like its predecessor it is essentially a canon that operates at several speeds simultaneously.
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That drama comes at the end of the world when the divine, assuming the musical form of the requiem’s Dies Irae, breaks in upon the penitential world of man. As at the opening of the work, it is once more a single unaccompanied voice that constructs the world of Miserere.
Leave a Reply Cancel reply Enter your comment here Festina Lente for orchestra and harp is dedicated to Manfred Eicher.
Breaking out as it now does from the stillness of the psalm, the effect of an apocalyptic vision is all the more terrifying. The booklet is generous in white space, and shuns miserrere numbers, nice touches of design that complement the music and reflect the general thoughtfulness pervading the whole issue. Later, the warm, deep tones of the bass clarinet begin to provide the first connecting links of sound.
I try so hard miserwre capture something of the music on these albums and am glad it carries across.
Part’s music, while not exactly attempting to relate the story, nevertheless richly communicates the passing of time, mounting anticipation and, at the end, wondrous fulfilment.
Gramophone’s expert reviews easier than ever before. Email required Address never made public. Troped into it, however, is the torso of a Dies iraesketched inwhich Part never finished. The first, a solemn beating of drums that intensifies at each new appearance, might have been lifted from a Burmese temple or a Tibetan monastery, so primeval is its language. Drums cycle through an arithmetic exploration of high and low beats, cradling wordless passages from tenors Rogers Covey-Crump and John Potter.
There are two large-scale works here, Misedere and the curiously-named Sarah was ninety years old ; but even the piece they enclose— Festina lente —seems grander than its actual size, while the two longer works convey the impression of achieving truly epic dimensions. Instead we are to read silently, and understand the words as an analogue to the score. The winds slog through the valleys, heavy sins in tow, while voices linger in the firmament.
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Composition Artist Credits Sarah was ninety-years old. During this segment, the five vocal soloists haltingly repeat some of the syllables from the text sung ppart the choir, so that, after the descent expressed in thefirst seven stanzas of the Dies lrae interpolation, the listener is finally transported upwards. As recent as ! As the soloists arise en masseDavid James flares with his resplendent countertenor colors, whereas the deep intonation of soprano Sarah Leonard marvels amid the fumes of destruction.
The heartfelt baritone of Gordon Jones describes the ruins with mellifluous sensitivity. Sorry, your blog cannot share posts by email. The sober, chilling Miserere will surely win the wider appeal, and yet I admit to being even more awed by Arvi was ninety years old.
Even if the full intricacy of miserre procedure reveals itself only on paper, there is a sense of mystical dialogue about the result that no one pat miss. Sarah dates from ; the Misererea setting of Psalm 51, by contrast is brand new Leonard is unmatched in lart ability to put her entire being into a high note, and the moment one finds at the Miserere is one of my favorite works, but it seems few have written about it from what I can find.
The music rises from the depths to higher spheres, misererw developing from a paralyzing despondency through the finer nuances of dance and then to fullness, depth, and surprising dramatic power.
A trombone proclaims the end of the world, its powerful notes resounding to the awesome event, while the sound of the trumpet leaps up from the molten core to shoot and dart above the fiery chaos.