The Estonian composer Arvo Pärt, born in 1935, has succeeded in bringing sacred music back to a broader audience, and away from the confines of the church service, more than almost any other contemporary composer. The meditative character of his works, and his return to the simplest and most basic musical forms, convey moments of intense spirituality. Before his emigration from the Soviet Union, Pärt had already invented what he termed the tintinnabuli style of composition. He produced an early and important example of this expressive style in 1977 with his "Cantus in Memory of Benjamin Britten", scored for string orchestra and bell. It is also a key feature of the choral and instrumental works presented by BR-KLASSIK on this new album: five works for choir as well as two for instrumental ensemble, covering all of the composer's creative epochs between 1986 and 2019. Alongside shorter a cappella choral works such as "Tribute to Caesar" (1997), "Which Was the Son of..." (2000), "The Deer's Cry" (2007) and "Ja ma kuulsin hääle... (And I heard a voice)" (2017), the highlight of this album - almost 30 minutes in length and with it's absolutely spectacular sound effects - is the "Miserere" for soli, mixed voices, ensemble and organ (1989/1992). Ever since it's premiere in 1989 in Rouen, France, and the recording by the Hilliard Ensemble under Paul Hillier, this is the first time a professional choir has dared undertake a production of this masterful composition - a work conveying the growth, flourishing and transience of human existence in sound. Arvo Pärt had never heard some of these pieces sung by a full choir before - "always only by a small ensemble". The impressive programme is rounded off by two instrumental works: "Festina lente" (1986/1990) for string orchestra and harp, and "Sequentia" (2014/2019) for violin, percussion and string orchestra.
The Estonian composer Arvo Pärt, born in 1935, has succeeded in bringing sacred music back to a broader audience, and away from the confines of the church service, more than almost any other contemporary composer. The meditative character of his works, and his return to the simplest and most basic musical forms, convey moments of intense spirituality. Before his emigration from the Soviet Union, Pärt had already invented what he termed the tintinnabuli style of composition. He produced an early and important example of this expressive style in 1977 with his "Cantus in Memory of Benjamin Britten", scored for string orchestra and bell. It is also a key feature of the choral and instrumental works presented by BR-KLASSIK on this new album: five works for choir as well as two for instrumental ensemble, covering all of the composer's creative epochs between 1986 and 2019. Alongside shorter a cappella choral works such as "Tribute to Caesar" (1997), "Which Was the Son of..." (2000), "The Deer's Cry" (2007) and "Ja ma kuulsin hääle... (And I heard a voice)" (2017), the highlight of this album - almost 30 minutes in length and with it's absolutely spectacular sound effects - is the "Miserere" for soli, mixed voices, ensemble and organ (1989/1992). Ever since it's premiere in 1989 in Rouen, France, and the recording by the Hilliard Ensemble under Paul Hillier, this is the first time a professional choir has dared undertake a production of this masterful composition - a work conveying the growth, flourishing and transience of human existence in sound. Arvo Pärt had never heard some of these pieces sung by a full choir before - "always only by a small ensemble". The impressive programme is rounded off by two instrumental works: "Festina lente" (1986/1990) for string orchestra and harp, and "Sequentia" (2014/2019) for violin, percussion and string orchestra.
4035719005271

Details

Format: CD
Label: BRKK
Rel. Date: 03/12/2021
UPC: 4035719005271

Arvo Pärt: Miserere
Artist: Part
Format: CD
New: Available $16.99
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Available Formats and Editions

DISC: 1

1. Which Was the Son of .
2. Festina lente
3. Tribute to Caesar
4. Sequentia
5. The Deer's Cry
6. - Miserere -
7. Versus III
8. Versus IV
9. Versus V 1
10. Dies irae 1
11. Versus VI 1
12. Versus VII 1
13. Versus VIII 1
14. Versus IX 1
15. Versus X 1
16. Versus XI 1
17. Versus XII 1
18. Versus XIII 1
19. Versus XIV 2
20. Versus XV 2
21. Versus XVI 2
22. Versus XVII 2
23. Versus XVIII 2
24. Versus XIX 2
25. Versus XX 2
26. Versus XXI 2
27. Rex tremendae 2
28. Ja ma kuulsin hääle. (And I heard a voice.)

More Info:

The Estonian composer Arvo Pärt, born in 1935, has succeeded in bringing sacred music back to a broader audience, and away from the confines of the church service, more than almost any other contemporary composer. The meditative character of his works, and his return to the simplest and most basic musical forms, convey moments of intense spirituality. Before his emigration from the Soviet Union, Pärt had already invented what he termed the tintinnabuli style of composition. He produced an early and important example of this expressive style in 1977 with his "Cantus in Memory of Benjamin Britten", scored for string orchestra and bell. It is also a key feature of the choral and instrumental works presented by BR-KLASSIK on this new album: five works for choir as well as two for instrumental ensemble, covering all of the composer's creative epochs between 1986 and 2019. Alongside shorter a cappella choral works such as "Tribute to Caesar" (1997), "Which Was the Son of..." (2000), "The Deer's Cry" (2007) and "Ja ma kuulsin hääle... (And I heard a voice)" (2017), the highlight of this album - almost 30 minutes in length and with it's absolutely spectacular sound effects - is the "Miserere" for soli, mixed voices, ensemble and organ (1989/1992). Ever since it's premiere in 1989 in Rouen, France, and the recording by the Hilliard Ensemble under Paul Hillier, this is the first time a professional choir has dared undertake a production of this masterful composition - a work conveying the growth, flourishing and transience of human existence in sound. Arvo Pärt had never heard some of these pieces sung by a full choir before - "always only by a small ensemble". The impressive programme is rounded off by two instrumental works: "Festina lente" (1986/1990) for string orchestra and harp, and "Sequentia" (2014/2019) for violin, percussion and string orchestra.


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