{"id":14382,"date":"2018-11-16T19:21:30","date_gmt":"2018-11-16T17:21:30","guid":{"rendered":"https:\/\/www.epcc.ee\/?p=14382"},"modified":"2018-11-16T19:23:28","modified_gmt":"2018-11-16T17:23:28","slug":"i-have-my-come-to-arvo-moment","status":"publish","type":"post","link":"https:\/\/www.epcc.ee\/en\/2018\/11\/i-have-my-come-to-arvo-moment\/","title":{"rendered":"I have my come-to-Arvo moment"},"content":{"rendered":"<div id=\"attachment_2196\" class=\"wp-caption alignleft\">\n<p><a class=\"single-image-gallery\" href=\"http:\/\/www.artsjournal.com\/condemned\/2018\/11\/the-come-to-arvo-moment-and-then-some-at-st-ignatius-loyola\/img_3292\/\" rel=\"attachment wp-att-2196\"><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-2196\" src=\"http:\/\/www.artsjournal.com\/condemned\/wp-content\/uploads\/2018\/11\/IMG_3292-197x300.jpg\" sizes=\"auto, (max-width: 197px) 100vw, 197px\" srcset=\"http:\/\/www.artsjournal.com\/condemned\/wp-content\/uploads\/2018\/11\/IMG_3292-197x300.jpg 197w, http:\/\/www.artsjournal.com\/condemned\/wp-content\/uploads\/2018\/11\/IMG_3292-768x1167.jpg 768w, http:\/\/www.artsjournal.com\/condemned\/wp-content\/uploads\/2018\/11\/IMG_3292-500x760.jpg 500w, http:\/\/www.artsjournal.com\/condemned\/wp-content\/uploads\/2018\/11\/IMG_3292.jpg 1182w\" alt=\"\" width=\"197\" height=\"300\" data-attachment-id=\"2196\" data-permalink=\"http:\/\/www.artsjournal.com\/condemned\/2018\/11\/the-come-to-arvo-moment-and-then-some-at-st-ignatius-loyola\/img_3292\/\" data-orig-file=\"http:\/\/www.artsjournal.com\/condemned\/wp-content\/uploads\/2018\/11\/IMG_3292.jpg\" data-orig-size=\"1182,1796\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;2.2&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;iPhone 6s&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1542060911&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;4.15&quot;,&quot;iso&quot;:&quot;200&quot;,&quot;shutter_speed&quot;:&quot;0.033333333333333&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"IMG_3292\" data-image-description=\"\" data-medium-file=\"http:\/\/www.artsjournal.com\/condemned\/wp-content\/uploads\/2018\/11\/IMG_3292-197x300.jpg\" data-large-file=\"http:\/\/www.artsjournal.com\/condemned\/wp-content\/uploads\/2018\/11\/IMG_3292-500x760.jpg\" \/><\/a>The Estonian Philharmonic Chamber Choir, Tallinn Chamber Orchestra and conductor Tonu Kaljuste bow at St. Ignatius Loyola in New York.<\/p>\n<\/div>\n<p>Arvo P\u00e4rt, disarmingly, lacks barriers. He hides nothing. Evasion, irony and pretension are unknown in his music.<\/p>\n<p>The 80-something Estonian composer is, however, the master of implying far more than he says. At its most spare, his music seems to barely exist. And that\u2019s probably why I\u2019ve had such a long road to the full appreciation of this internationally acclaimed composer whose devotional works led to the coining of the term \u201choly minimalism.\u201d<\/p>\n<p><em>Arvo\u00a0P\u00e4rt: The Sound of the Sacred<\/em>\u00a0\u2014 a concert on Nov. 12 at the Church of St. Ignatius Loyola in New York \u2014 changed my long-standing ambivalence with an authoritative encapsulation of P\u00e4rt\u2019s output.<\/p>\n<p>The performers were\u00a0the Estonian Philharmonic Chamber Choir and the Tallinn Chamber Orchestra under\u00a0the long-trusted conductor T\u00f5nu Kaljuste,\u00a0who has furthered modern music in the Baltic republics more than most anybody, and who is so close with P\u00e4rt that they live in adjacent apartments in Tallinn, where you\u2019ll see street musicians from as far away as Spain who come to Estonia just to breathe Arvo\u2019s air.<\/p>\n<p>The program \u2014 presented in a series known as Sacred Music in a Sacred Space \u2014 began with P\u00e4rt\u2019s early-1990s\u00a0<em>Berliner Messe<\/em>\u00a0and included the US premiere of\u00a0<em>Prayer<\/em>\u00a0(with a new string orchestra accompaniment) from his\u00a0magnum opus\u00a0<em>Kanon Pokajanen<\/em>\u00a0and the 2009\u00a0<em>Adam\u2019s Lament<\/em>. One hears no typical compositional progression over the decades: P\u00e4rt inhabits whichever region of his world seems to be dictated by the nature of the piece, with that nature often defined by the choice of text.<\/p>\n<p>To my ears, at least, words are essential to P\u00e4rt. His instrumental works still don\u2019t speak to me. (In the strings-only\u00a0<em>Silouan\u2019s Song<\/em>, I just heard slow-motion outtakes from \u201cEleanor Rigby\u201d.) This program included texts in Latin, Old Church Slavonic, Russian, and even, in the unidentified encore, something unknown (overheard while leaving the concert: \u201cWhat was that? Old Church Slavonic?\u201d \u201cNo, something else \u2026\u201d);\u00a0P\u00e4rt has also written works in German, English, French, Spanish, and Italian. While some composers, such as the late John Tavener, might choose a language (Greek, Church Slavonic, Arabic, Sanskrit) for what it represents as much as for what the words actually say, listening to P\u00e4rt tells me that, on a deeply intuitive level, he chooses words and language for the sake of the music they yield.<\/p>\n<p>The forms P\u00e4rt chooses don\u2019t fit neatly into typical program slots, one reason why you hear rarely hear his music in mainstream symphonic or choral concerts. In most of the works on this program, he\u00a0set traditional sacred\u00a0texts, but not in the kind of long forms that compete with, or even complement, Bach, Mozart and Verdi. (It\u2019s true that P\u00e4rt has set a Passion text, but in a way that\u2019s so much his own that I can\u2019t equate it with any other Passion that has come before it.) Long stretches of the 2001\u00a0<em>Salve Regina<\/em>\u00a0(heard on Monday in a 2011 arrangement) defy the usual lyricism associated with that text, with long, contemplative, a-melodic passages for the choir and instrumental writing that\u2019s full of activity, including an out-of-left-field celesta. So many of P\u00e4rt\u2019s vocal pieces are relatively short that the unbroken 26-minute duration of\u00a0<em>Adam\u2019s Lament<\/em>\u00a0(whichthe program) feels downright epic by his standards.<\/p>\n<p>There\u2019s another factor that makes P\u00e4rt performances problematic on mainstream programs. Because the scores are so punctuated with silences, there are many entrances that come out of nowhere with unusual chord voicings that are hard to nail on the first try. And if every entrance isn\u2019t nailed, the music\u2019s spell dissolves. Yet skilled, busy professionals who can nail the notes run the risk of only seeing the simplicity and modesty of the music (\u201coh, this\u2019ll be easy to rehearse\u201d) and missing the meaning released by that modesty. With P\u00e4rt, performance energy can\u2019t be superficial; the music must be fired from within.<\/p>\n<p>P\u00e4rt\u2019s dependence upon silence as a compositional element and stillness as an aesthetic had convinced me that his music was best heard in strictly controlled environments, such as via recording, using headphones. (Audience noise dissolves the music\u2019s spell just as surely as any un-nailed entrance.) Yet many of his pieces demand that you be in the same room with them. The excruciating ecstasy of\u00a0<em>Prayer<\/em>\u00a0lacks the penetrating, enveloping, downright tactile impact on a recording. The overwhelming anguish of\u00a0<em>Adam\u2019s Lament<\/em>\u00a0(which is about the original Adam, yes,\u00a0<em>that<\/em>\u00a0Adam, grieving over his alienation from God), heard in person, is communicated with depths that a compact disc can\u2019t touch.\u00a0 Kaljuste\u2019s performances hit upon an ideal \u2014 technically, cognitively and acoustically. But how often can we hope for that?<\/p>\n<p>Look further: <a href=\"http:\/\/www.artsjournal.com\/condemned\/2018\/11\/the-come-to-arvo-moment-and-then-some-at-st-ignatius-loyola\/?mc_cid=c101c2abcb&amp;mc_eid=4389665f12\">Arts Journal<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>The Estonian Philharmonic Chamber Choir, Tallinn Chamber Orchestra and conductor Tonu Kaljuste bow at St. Ignatius Loyola in New York. Arvo P\u00e4rt, disarmingly, lacks barriers. He hides nothing. Evasion, irony and pretension are unknown in his music. The 80-something Estonian composer is, however, the master of implying far more than he says. At its most [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[9],"tags":[],"class_list":["post-14382","post","type-post","status-publish","format-standard","hentry","category-media"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.3 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>I have my come-to-Arvo moment - Estonian Philharmonic Chamber Choir<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.epcc.ee\/en\/2018\/11\/i-have-my-come-to-arvo-moment\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"I have my come-to-Arvo moment - Estonian Philharmonic Chamber Choir\" \/>\n<meta property=\"og:description\" content=\"The Estonian Philharmonic Chamber Choir, Tallinn Chamber Orchestra and conductor Tonu Kaljuste bow at St. Ignatius Loyola in New York. Arvo P\u00e4rt, disarmingly, lacks barriers. He hides nothing. Evasion, irony and pretension are unknown in his music. The 80-something Estonian composer is, however, the master of implying far more than he says. At its most [&hellip;]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.epcc.ee\/en\/2018\/11\/i-have-my-come-to-arvo-moment\/\" \/>\n<meta property=\"og:site_name\" content=\"Estonian Philharmonic Chamber Choir\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/kammerkoor\/\" \/>\n<meta property=\"article:published_time\" content=\"2018-11-16T17:21:30+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2018-11-16T17:23:28+00:00\" \/>\n<meta property=\"og:image\" content=\"http:\/\/www.artsjournal.com\/condemned\/wp-content\/uploads\/2018\/11\/IMG_3292-197x300.jpg\" \/>\n<meta name=\"author\" content=\"epcc\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"epcc\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"4 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.epcc.ee\/en\/2018\/11\/i-have-my-come-to-arvo-moment\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.epcc.ee\/en\/2018\/11\/i-have-my-come-to-arvo-moment\/\"},\"author\":{\"name\":\"epcc\",\"@id\":\"https:\/\/www.epcc.ee\/#\/schema\/person\/c7335228c20d567fa07b901fe5ca1e95\"},\"headline\":\"I have my come-to-Arvo moment\",\"datePublished\":\"2018-11-16T17:21:30+00:00\",\"dateModified\":\"2018-11-16T17:23:28+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.epcc.ee\/en\/2018\/11\/i-have-my-come-to-arvo-moment\/\"},\"wordCount\":834,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\/\/www.epcc.ee\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.epcc.ee\/en\/2018\/11\/i-have-my-come-to-arvo-moment\/#primaryimage\"},\"thumbnailUrl\":\"http:\/\/www.artsjournal.com\/condemned\/wp-content\/uploads\/2018\/11\/IMG_3292-197x300.jpg\",\"articleSection\":[\"Media\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.epcc.ee\/en\/2018\/11\/i-have-my-come-to-arvo-moment\/\",\"url\":\"https:\/\/www.epcc.ee\/en\/2018\/11\/i-have-my-come-to-arvo-moment\/\",\"name\":\"I have my come-to-Arvo moment - 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