{"id":16170,"date":"2020-02-04T12:33:56","date_gmt":"2020-02-04T10:33:56","guid":{"rendered":"https:\/\/www.epcc.ee\/2020\/02\/into-silence-arvo-parts-distinctive-soundworld-casts-a-spell\/"},"modified":"2020-02-06T12:38:41","modified_gmt":"2020-02-06T10:38:41","slug":"into-silence-arvo-parts-distinctive-soundworld-casts-a-spell","status":"publish","type":"post","link":"https:\/\/www.epcc.ee\/en\/2020\/02\/into-silence-arvo-parts-distinctive-soundworld-casts-a-spell\/","title":{"rendered":"Into silence: Arvo P\u00e4rt’s distinctive soundworld casts a spell"},"content":{"rendered":"
Estonian composer Arvo P\u00e4rt<\/a>\u00a0was present in Hamburg’s Elbphilharmonie to witness a concert in his honour as part of a week-long series of events marking the half-century of German record label ECM. It’s fair to say that the composer’s current stature as one of the most performed of contemporary classical creators is largely down to the advocacy of ECM’s founder Manfred Eicher in the 1980s. Nowadays this spritely 84-year-old can sell out halls such as this one, though the added attraction on this occasion was the chance to hear his music performed by musicians whom many regard as his authoritative interpreters, the\u00a0Tallinn Chamber Orchestra<\/a>\u00a0and\u00a0Estonian Philharmonic Chamber Choir<\/a>\u00a0under conductor T\u014dnu Kaljuste.<\/div>\n
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\"Arvo<\/p>\n

Arvo P\u00e4rt with T\u00f5nu Kaljuste, the Estonian Philharmonic Chamber Choir and Tallinn Chamber Orchestra<\/div>\n
\u00a9\u00a0Luciano Rossetti<\/div>\n
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I have to admit that as someone for whom a little P\u00e4rt can sometimes go a long way, I had my doubts as to how a whole concert of his music could work: two hours of contemplative slowness and predominantly minor keys. And one could quibble with a billed \u201cPortrait concert\u201d that only reflected one side of the composer’s musical character, even if it was the one with which most of his audience is\u00a0au fait<\/em>. (His pre-tintinnabulation music is worth an airing if only as a reminder of what he was rebelling against when he went all mystic-minimalist in the 70s.) Yet reservations were swept away as the music took hold.<\/p>\n

Kaljuste and his orchestra began on familiar ground with two of P\u00e4rt’s most-performed instrumental works. The\u00a0<\/em>much-arranged\u00a0Fratres<\/em>\u00a0was played in its version for solo violin, percussion and strings, with the TCO’s leader Harry Traksman as the niftily arpeggiating soloist and with a percussionist cleverly playing both bass drum and a pair of claves with just two hands. The piece worked its usual magic and set the mood for the rest of the evening. The simplicity at the heart of\u00a0Cantus in Memory of Benjamin Britten<\/em>\u00a0\u2013 just downward A minor scales and a single tolling bell \u2013 was belied in a performance that brought out the funereal, as the tone became deeper and richer and the scales felt as if they were being pulled down by their own tragic weight.<\/p>\n

The mood hardly lightened with the entrance of the chorus for two works setting plaintive texts:\u00a0Adam’s Lament<\/em>\u00a0and\u00a0Stabat mater<\/em>. The former had moments of drama breaking up its sombre tread, while the mourning tone of the latter, coloured both by a slightly saccharine role for the celesta and by shades of Mozart in harmonies and a triple-time motion that recall the\u00a0Lachrymosa<\/em>\u00a0of the Austrian composer’s Requiem, cast its own spell, especially given the pristine ensemble and chording from the esteemed choir and rich timbres from the TCO strings.<\/p>\n

With P\u00e4rt’s\u00a0Te Deum<\/em>\u00a0one might have expected a lightening of mood, yet even when setting a hymn of praise \u2013 a text that inspired composers such as Berlioz and Bruckner to some of their most unbridled writing \u2013 the Estonian holds himself back to a less effusive tone, even if the division of his choral forces into three suggests something more expansive. Indeed, the abiding effect of this work coloured by prepared piano, recorded wind harp and strings is of the blissful repetitions of \u201cSanctus\u201d (holy), finally in a consoling major mode, with which the music, like so much in P\u00e4rt, fades away into silence.<\/p>\n

Look more: Bachtrack<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

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It’s fair to say that the composer’s current stature as one of the most performed of contemporary classical creators is largely down to the […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[9],"tags":[],"class_list":["post-16170","post","type-post","status-publish","format-standard","hentry","category-media"],"acf":[],"yoast_head":"\nInto silence: Arvo P\u00e4rt's distinctive soundworld casts a spell - 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\/2020\/02\/into-silence-arvo-parts-distinctive-soundworld-casts-a-spell\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Into silence: Arvo P\u00e4rt's distinctive soundworld casts a spell - Estonian Philharmonic Chamber Choir\" \/>\n<meta property=\"og:description\" content=\"Estonian composer Arvo P\u00e4rt\u00a0was present in Hamburg’s Elbphilharmonie to witness a concert in his honour as part of a week-long series of events marking the half-century of German record label ECM. 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