{"id":14437,"date":"2018-11-20T13:46:25","date_gmt":"2018-11-20T11:46:25","guid":{"rendered":"https:\/\/www.epcc.ee\/2018\/11\/part-mournful-part-majestic\/"},"modified":"2018-11-23T13:52:46","modified_gmt":"2018-11-23T11:52:46","slug":"part-mournful-part-majestic","status":"publish","type":"post","link":"https:\/\/www.epcc.ee\/en\/2018\/11\/part-mournful-part-majestic\/","title":{"rendered":"P\u00e4rt mournful, P\u00e4rt majestic"},"content":{"rendered":"<header class=\"article-header\">\n<div class=\"article-subtitle-container row\">\n<div class=\"large-10 columns\">\n<h6 class=\"article-subtitle\"><i>On a concert of orchestral and choral works by the Estonian composer Arvo P\u00e4rt.<\/i><\/h6>\n<\/div>\n<\/div>\n<\/header>\n<div class=\"article-body\">\n<div class=\"row\" data-equalizer=\"\">\n<div class=\"article-share-column hide-for-medium-down small-12 large-1 columns month-hover-border\" data-equalizer-watch=\"\">\n<aside>\n<div class=\"addthis_toolbox addthis_default_style \">\n<div class=\"atclear\">Arvo P\u00e4rt (b. 1935) is one of those fortunate composers who has created his own world in music\u2014and is beloved for it in his lifetime. The Estonian, who for the last decade has been the world\u2019s most performed living composer, started his career writing neoclassical pieces influenced by the Russian greats, chiefly Prokofiev and Shostakovich. Then he discovered Schoenberg\u2019s twelve-tone scale, serialism, and other twentieth-century experimental techniques and soon became a prominent member of the avant-garde. But Soviet censors disapproved, and in the late 1960s their unofficial censorship removed P\u00e4rt\u2019s music from concert programs and sent him into what he called a \u201cperiod of contemplative silence.\u201d<\/div>\n<\/div>\n<\/aside>\n<\/div>\n<div class=\"article-text-column small-12 large-7 columns\" data-equalizer-watch=\"\">\n<p>For years he composed nothing, instead studying medieval choral music intensely in an attempt to find the roots of Western music. These transformative periods of creativity and reflection have marked the rhythm of P\u00e4rt\u2019s career, and in 1976 emerged from his longest silence yet with a focus on sacred music and an entirely new mode of composition:\u00a0<i>tintinnabuli.<\/i><\/p>\n<p class=\"pullquote-right month-border\">P\u00e4rt favors sustained unison notes and outlines of triads\u2014long strides followed by thrilling leaps. Minor keys dominate, but majestically.<\/p>\n<p>P\u00e4rt describes this unique sound as \u201clike the ringing of bells,\u201d and it has been popularized by the Estonian Philharmonic Chamber Choir and the Tallin Chamber Orchestra, who have won multiple Grammys and other awards for their all-P\u00e4rt programs and recordings. On November 12 at Manhattan\u2019s Church of St. Ignatius Loyola, the veteran P\u00e4rt conductor T\u00f5nu Kaljuste led these two ensembles in a mass and prayers from Catholic and Orthodox liturgies. From the Latin\u00a0<i>Berliner Messe\u00a0<\/i>to the Church Slavonic\u00a0<i>Adam\u2019s Lament<\/i>, P\u00e4rt\u2019s\u00a0<i>tintinnabuli<\/i>\u00a0works express a longing to transcend the gap between East and West and between the human and the divine.<\/p>\n<p>The concert began in the West with\u00a0<i>Berliner Messe<\/i>, a mass setting inspired by the city whre P\u00e4rt lived from 1981 to 2010. The \u201cKyrie\u201d began softly, in pure, straight tones without vibrato. By the \u201cCredo,\u201d the shape of P\u00e4rt\u2019s melodies became clear: he favors sustained unison notes and outlines of triads\u2014long strides followed by thrilling leaps. Then the voices gather together again, one part hovering on a chord with the others circling around. Minor keys dominate, but majestically.<\/p>\n<p>The influence of Gregorian chant echoes throughout the\u00a0<i>Messe<\/i>, but perhaps this tendency can also be traced back to P\u00e4rt\u2019s childhood: the middle notes on the P\u00e4rt family piano were damaged, so young Arvo used the high and low registers instead. In the concluding \u201cAgnus Dei,\u201d the steep intervals and the simple motifs, passed from soprano to bass, evoked a sense of height and depth, of the great space these prayers had to travel to reach their source. The effect, especially from a seasoned group like this one, is of choir and orchestra rotating around one another, or swaying together in prayer.<\/p>\n<p>Some musicians take the measure of a choir by its vowels; others listen for consonants, especially that traitorous, hissing \u201cS,\u201d which blurred the Latin texts throughout the\u00a0<i>Messe.\u00a0<\/i>And in the instrumental\u00a0<i>F\u00fcr Lennart in Memoriam<\/i>, too, something was off: Kaljuste seemed to drag a lagging orchestra through the piece\u2019s melodic lines, which are longer and more sweeping than the\u00a0<i>Messe<\/i>\u2019s.<\/p>\n<p>This is especially evident in\u00a0<i>tintinnabuli\u00a0<\/i>pieces, which rarely change tempo; the sound only becomes by turns fuller and thinner, all four vocal parts swelling into a prayer and subsiding for a clear, ringing soprano solo or a high violin, which often provides the climax of a work in a note or two. Some call this \u201choly minimalism\u201d\u2014that is, when it works, as it did by the end of\u00a0<i>F\u00fcr Lennart<\/i>, much of which is in unison or parallel intervals. Later in the program, the orchestra swept through\u00a0<i>Silouan\u2019s Song<\/i>, inspired by a twentieth-century orthodox saint whose disciples P\u00e4rt befriended, in a performance that showed that P\u00e4rt\u2019s high-low composition style also has an oceanic breadth.<\/p>\n<p class=\"pullquote-left month-border\">Church Slavonic is a language blessed with bold consonants: \u201c<small>Z<\/small>\u201ds and \u201c<small>TZ<\/small>\u201ds and \u201c<small>SH<\/small>\u201ds. The choir delivered these with power and precision.<\/p>\n<p>In\u00a0<i>Prayer after the Kanon<\/i>, the choir fell into line.\u00a0\u00a0<i>Kanon<\/i>, a postlude to a cycle of odes in Church Slavonic, was originally performed\u00a0<i>a cappella<\/i>according to the tradition in Russian sacred choral music. But in 2017 P\u00e4rt composed a new choir and string orchestra setting, which had its North American premiere in this performance. Church Slavonic is a language blessed with bold consonants: \u201c<small>Z<\/small>\u201ds and \u201c<small>TZ<\/small>\u201ds and \u201c<small>SH<\/small>\u201ds. The choir delivered these with power and precision, as if each consonant expressed the \u201cbitterness\u201d over the \u201cmind[s] darkened through earthly passions,\u201d according to the translated text. It was as if souls hung in the balance of the beat.<\/p>\n<p>The choir returned briefly to Latin for a setting of \u201cSalve Regina\u201d\u2014let no one say P\u00e4rt, who converted to Orthodoxy from Lutheranism, is not ecumenical\u2014but soon switched back to Slavic languages with\u00a0<i>Adam\u2019s Lament<\/i>, which was the height of the program.\u00a0<i>Adam\u2019s Lament<\/i>is P\u00e4rt\u2019s 2009 setting of a medieval Lenten prayer from the Russian Orthodox church. Modernized by St. Silouan, the prayer expresses Adam\u2019s sorrow after leaving the garden, both for himself and for humanity after him: \u201cThere is an aching and deep regret in the soul that has grieved the beloved Lord,\u201d the translation reads. As in\u00a0<i>Kanon<\/i>, the choir threw their weight into every consonant.<\/p>\n<p><i>Adam\u2019s Lament<\/i>\u00a0layers unison notes in the bass with oscillating chords that move between the higher vocal parts and the orchestra. When Adam\u2019s soul is \u201cheavy\u201d at being banished from paradise, all P\u00e4rt needs for the sorrow of the fall is a single bass note, which becomes, as it is sustained, \u201cas wide as the sea.\u201d As the lament climbs in dynamics and pitch\u2014\u201cBe merciful unto me, O Lord!\u201d\u2014the result was towering, like standing at the base of a cliff with the sun rising from behind it: the smallness of man, the grandeur of God.<\/p>\n<p>This is the expanse that\u00a0<i>tintinnabuli\u00a0<\/i>traverses: the heights of the divine, and the depths from which man must ascend. The effect of P\u00e4rt\u2019s music is often called a \u201cbright sadness,\u201d but this is not just about sacred music in a minor key. It\u2019s what P\u00e4rt says he found in the long silences between his periods of creative activity: a way to write music that follows \u201cthe ascent and descent of the human heart.\u201d<\/p>\n<\/div>\n<\/div>\n<p>Read more <a href=\"https:\/\/www.newcriterion.com\/blogs\/dispatch\/part-mournful-part-majestic-10084?fbclid=IwAR1HC1rZTSlus4GWDh5a4uv0OxnUIuWaGc5gMrLa_GlMgXN0KMGs0IGcG1M\">Dispatch<\/a><\/p>\n<div class=\"row\" data-equalizer=\"\">\n<div class=\"article-text-column small-12 large-7 columns\" data-equalizer-watch=\"\">\n<p>&nbsp;<\/p>\n<div>\n<figure class=\"image\"><a href=\"https:\/\/www.newcriterion.com\/storage\/app\/media\/November%202018\/xPart2.jpeg.pagespeed.ic.9BUL-U6FZj.webp\" data-lity-desc=\"T\u00f5nu Kaljuste and a violinist in the Tallin Chamber Orchestra. Photo: St. Vladimir\u2019s Orthodox Theological Seminary.\" data-lity=\"\"><img decoding=\"async\" src=\"https:\/\/www.newcriterion.com\/storage\/app\/media\/November%202018\/xPart2.jpeg.pagespeed.ic.9BUL-U6FZj.webp\" alt=\"\" data-pagespeed-url-hash=\"3836192842\" \/><\/a>&nbsp;<figcaption><em>T\u00f5nu Kaljuste and a violinist in the Tallin Chamber Orchestra. Photo: St. Vladimir\u2019s Orthodox Theological Seminary.<\/em><\/figcaption><\/figure>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>On a concert of orchestral and choral works by the Estonian composer Arvo P\u00e4rt. Arvo P\u00e4rt (b. 1935) is one of those fortunate composers who has created his own world in music\u2014and is beloved for it in his lifetime. The Estonian, who for the last decade has been the world\u2019s most performed living composer, started [&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-14437","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>P\u00e4rt mournful, P\u00e4rt majestic - 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\/part-mournful-part-majestic\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"P\u00e4rt mournful, P\u00e4rt majestic - Estonian Philharmonic Chamber Choir\" \/>\n<meta property=\"og:description\" content=\"On a concert of orchestral and choral works by the Estonian composer Arvo P\u00e4rt. 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Arvo P\u00e4rt (b. 1935) is one of those fortunate composers who has created his own world in music\u2014and is beloved for it in his lifetime. 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