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Hyllest til ARVO PÄRT!


Komponisten Arvo Pärt eksperimenterte i ung alder med forskjellige stiler og teknikker, inspirert av Shostakovich og Schönberg. Senere i livet byttet han til enklere, minimalistiske komposisjoner, ofte bygget på enkle treklanger. Den første innspillingen på ECM kom allerede i 1984. Siden den gang har det vært mange album, hvorav flere har toppet salgslistene.

11. september fyller Pärt 85 år. ECM og NaxosDirect feirer denne estiske giganten med spesialpriser på utvalgte titler. Fra 119 NOK!

(Gyldig til 27. september)
Viser 17 varer
Image In Principio
HÖGSTA BETYG I NERIKES ALLEHANDA
5 AV 6 MÖJLIGA I BETYG I SVENSKA DAGBLADET
4 AV 5 MÖJLIGA I BETYG I DAGENS NYHETER
4 AV 5 MÖJLIGA I BETYG I NORRA VÄSTERBOTTEN

"In principio är det 14:e ECM-albumet under 25 år med verk av Arvo Pärt. Minimalism kombinerad med drag från gregoriansk sång och renässansens vokalpolyfoni ger Pärts musik en statisk, tidlös känsla. Den skänker oss andlighet och tröst. Da pacem Domine, en vacker fredsbön till minne av offren vid bombattentatet i Madrid 2004, uppförs i Spanien varje år. Orkesterstycket La sindone relaterar till Turinsvepningen. Det femsatsiga kör- och orkesterverket In principio, till ord från Johannesevangeliet, är tillägnat Tõnu Kaljuste, som leder Estniska filharmoniska kammarkören samt Estniska nationella symfoniorkestern och Tallinns kammarorkester i besjälade framföranden av alla sex verk på skivan."
(Svenska Dagbladet)

"Detta är enastående bra"
(Nerikes Allehanda)

kr 119 (kr 169)
Image Lamentate
GRAMOPHONE EDITOR'S CHOICE

OPUS REKOMMENDERAR


"Profound, rumbling drums, monumental fanfares from trombones and trumpets, and a shattering ascent in pitch and dynamic with the piano's entry create an opening which, to describe it as arresting, would be a major understatement. This is truly overwhelming music and Pärt's vast vision is magnificently captured in absolutely stunning recorded sound. From this enormous opening to the work's ultimate descent into grief and solitude, Alexei Lubimov maintains an unwavering focus, pulling in our attention to the piano in complete accordance with Pärt's wish for it to represent "the one", which "could be a person or perhaps a first-person narrative". The orchestral playing, especially from the brass and percussion of the SWR Stuttgart Radio Symphony Orchestra, is magnificent, and Andrey Boreyko guides this entire, epic musical journey with utter assurance."
(International Record Review)

Written for large orchestra and solo piano, and commissioned for a series of live events at Tate Modern, "Lamentate" was inspired by Pärt's encounter with the enormous sculpture "Marsyas", by Bombay-born artist Anish Kapoor. 150 metres long, "Marsyas" filled the Tate Modern's Turbine Hall for a year. Named for the Greek satyr flayed alive by the god Apollo, the piece consists of three enormous steel rings joined by a single span of dark red PVC membrane. The colour was intended by the artist to suggest blood and the body, and the sculpture dwarfed the viewer, too large to be viewed in its entirety from any single position: "I wanted to make body into sky", says Kapoor.

The Hilliard Ensemble:
Sarah Leonard, soprano
David James, counter-tenor
Rogers Covey-Crump, tenor
Steven Harrold, tenor
Gordon Jones, baritone

Alexei Lubimov piano
SWR Stuttgart Radio Symphony Orchestra
Andrey Boreyko, conductor

Recorded June 2004 and April 2005


kr 119 (kr 169)
Image Adam's Lament
4/5 i DN

5/6 i SvD

4/5 i Sydsvenskan


"Religiösa motiv är återkommande i den estniske tonsättaren Arvo Pärts minimalistiska musik, men sorgsenheten känns på något sätt profan. Särskilt när den som i "Adams klagan" med text av den helige Silouan (1866-1938) inte mildras av alltför stor sötma. Titelstycket för kör och orkester är en 24 minuter lång meditation, där landsmannen Tõnu Kaljuste vackert väcker liv i ett partitur med ovanlig strävhet och disharmoniska drag. Visserligen långt ifrån Pärts tidiga "taggtrådsmusik", men inte heller helt i linje med treklangernas klockklingande tintinnabuli - den melodiska enkelhet som så ofta präglar hans sakrala verk. Till tungviktarna på skivan hör också en innerlig "L'Abbé Agathon"."
(Dagens Nyheter)

"Arvo Pärts senaste epos "Adam's lament" ägnas åt människans klagan över det förlorade paradiset. Pärts dova rundgångar kan kännas enahanda, å andra sidan förstår sig Pärt verkligen på kyrkomusik, och de medverkande baltiska körerna och orkestrarna förstår sig på Pärt. Hans musikteologi är ingen nyck eller resultatet av en enstaka beställning utan en grundläggande estetik. Den konstnärliga anlägenhetsgraden är hög."
(Svenska Dagbladet)


"Arvo Pärts lättigenkännliga musik fyller denna cd. Gemensam nämnare är estniske dirigenten Tõnu Kaljuste i samverkan med baltiska musiker, bland andra Lettiska radiokören och Estniska filharmoniska kammarkören. Diskreta instrumentinsatser ledsagar. Det dramatiska stycket "Adams klagan" har gett cd:n namn: rannsakande toner kring ord som kärlek och ödmjukhet. Att kalla musiken stämningsfull vore att förringa den. Den syftar djupare än så. De arkaiskt mystikladdade verken har sällskap av annat, annorlunda: vaggvisor i folkton, en uppbygglig legend "(L´Abbé Agathon)". Originell är också "Salve Regina", i insmickrande tondräkt och sakral valstakt. Ordet spirituell har dubbel betydelse. Pärt är alltid spirituell/andlig men här också ovanligt spirituell/fyndig."
(Sydsvenskan)

Latvian Radio Choir
Vox Clamantis
Sinfonietta Riga
Estonian Philharmonic Chamber Choir
Tallinn Chamber Orchestra
Tõnu Kaljuste, conductor

Marshalling orchestral and choral forces under the direction of Tõnu Kaljuste, this new Arvo Pärt album, produced by Manfred Eicher and realized, like all Pärt's ECM discs, with the composer's participation, is a major event. Sacred music predominates, by turns monumentally powerful and tenderly fragile. Compositions featured, in premiere recordings made in Tallinn's Niguliste Church, are: "Adam's Lament" for choir and string orchestra; "Beatus Petronius" for two choirs, eight woodwind instruments, tubular bells and string orchestra; "Salve Regina" for choir, celesta and string orchestra; "Statuit ei Dominus" for two choirs, woodwinds and string orchestra; "Alleluia-Tropus" for choir and string orchestra; "L'Abbé Agathon" for soprano, baritone, female choir and string orchestra. The album concludes with two lullabies - "Estonian Lullaby" and "Christmas Lullaby" - for female choir and string orchestra. In title piece "Adam's Lament" Pärt uses a poetic text by Silouan of Athos to emphasize our common heritage in the figure of Adam. "Adam is all of us who bear his legacy. This 'Total Adam' has been suffering and lamenting for thousands of years on Earth. Adam himself, our primal father, foresaw the human tragedy and experienced it as his personal guilt. He has suffered all human cataclysms, unto the depths of despair."

kr 119 (kr 169)
Image Tabula Rasa
Gidon Kremer, violin
Keith Jarrett, piano
Tatjana Grindenko, violin
Alfred Schnittke, prepared piano
The 12 Cellists of the Berlin Philharmonic Orchestra
Staatsorchester, Stuttgart/Dennis Russell Davies
Lithuanian Chamber Orchestra/Saulius Sondeckis

Recorded November 1977, October 1983, January and February 1984


kr 119 (kr 169)
Image Arbos
The Hilliard Ensemble:
David James, countertenor
Rogers Covey-Crump, tenor
John Potter, tenor
Gordon, Jones baritone

Christopher Bowers-Broadbent, organ
Gidon Kremer, violin
Vladimir Mendelssohn, viola
Thomas Demenga, cello
Brass Ensemble Staatsorchester Stuttgart/Dennis Russell Davies

Recorded March, August 1986 and January 1987


kr 119 (kr 169)
Image Passio
The Hilliard Ensemble:
David James, countertenor
Rogers Covey-Crump, tenor
John Potter, tenor
Gordon Jones, baritone
Lynne Dawson, soprano
Michael George, bass

Elizabeth Layton, violin
Melinda Maxwell, oboe
Elisabeth Wilson, cello
Catherine Duckett, bassoon
Christopher Bowers-Broadbent, organ
Western Wind Chamber Choir
Paul Hillier, conductor

Recorded March 1988


kr 119 (kr 169)
Image Miserere
The Hilliard Ensemble:
David James, countertenor
Rogers Covey-Crump, tenor
John Potter, tenor
Gordon Jones, baritone
Paul Hillier, director

Orchester der Beethovenhalle Bonn
Western Wind Chamber Choir
Dennis Russell Davies, conductor
Sarah Leonard, soprano
Christopher Bowers-Broadbent, organ
Pierre Favre, percussion

Recorded September and December 1990


kr 119 (kr 179)
Image Trivium
0

kr 119 (kr 169)
Image Te Deum
Estonian Philharmonic Chamber Choir
Tallinn Chamber Orchestra
Tõnu Kaljuste, conductor

Recorded January 1993


kr 119 (kr 179)
Image Litany
David James, countertenor
Rogers Covey-Crump, tenor
John Potter, tenor
Gordon Jones, baritone

allinn Chamber Orchestra
Estonian Philharmonic Chamber Choir/Tõnu Kaljuste
Lithuanian Chamber Orchestra/Saulius Sondeckis

Recorded September 1995


kr 119 (kr 169)
Image Orient & Occident
GRAMOPHONE EDITOR'S CHOICE / RECORD OF THE MONTH

"An exceptional and musically important release" - Gramophone, Editor's Choice. The long-awaited new album by the great Estonian composer brings new colours to his unique body of work. The purity and the sense of timelessness remain; the harmonic palette is subtly expanded. These recordings of "Orient & Occident", "Ein Wallfahrtslied" and "Como cierva sedienta" have been widely praised.

"This programme represents a retreat from the remote cloister where for so long Arvo Pärt invited us to join him, a definite shift from the aerated tintinabuli. The purity remains, so do the spare textures and, to a limited extent, earlier stylistic traits. Pärt's voice is always recognisable. And yet who, years ago, could have anticipated the tempered tumult that erupts in the third movement of 'Como cierva sedienta, a half-hour choral drama commissioned by the Festival de Música de Canarias and premiered in Tenerife in 1999'' The texts come from the 42nd and 43rd Psalms, opening with 'as the hart panteth''. Even in the first few seconds, after chorus and bell have registered, vivid instrumental colour signals a fresh departure. It's almost as if Pärt is relishing textures previously denied him, like a penitent released from fasting. ' The two shorter works are also significant. 'Wallfahrtslied', a memorial to a friend, is presented in the revised version for strings and men's choir. Again Pärt engages a lyrical muse particularly for the emotionally weighted prelude and postlude whereas the accompaniment to the main text, a combination of pizzicato and shuddering bowed phrases, suggests a lament tinged with anger.The seven-minute string piece 'Orient and Occident' is barely two years old, and has 'a monophonic line which runs resolutely through (it)', to quote Pärt's wife, Nora. Snake-like oriental gestures, coiled with prominent portamenti sound like an Eastern variant of Pärt's earlier string works. ' I'll certainly buy that, but the choral pieces are the prime reasons for investing in this exceptional and musically important release.
(Gramophone)


Swedish Radio Symphony Orchestra
Swedish Radio Choir
Helena Olsson, soprano
Tõnu Kaljuste, conductor

Recorded May 2001

kr 119 (kr 169)
Image Symphony No. 4
GRAMOPHONE EDITOR'S CHOICE

4 AV 5 MÖJLIGA I BETYG I DAGENS NYHETER

"När musikkritikern Magnus Haglund skulle förhandsskriva i Göteborgsposten om Arvo Pärts fjärde symfoni inför det första svenska uppförandet i förra veckan i Göteborgs konserthus fick han sådana problem med Pärts "skönhet" att han ringde upp sin brittiske kollega David Toop. En lite originell kritikerstrategi kan man tycka, men jag förstår honom. Pärts musik är sällsynt svår att värdera eftersom den bottnar i en så djupt religiös och mysticistisk verklighetsuppfattning. Han är som en medeltida vandrande vagant vars sånger längs vägen håller miraklets dimension levande. I sin nya symfoni, "Los Angeles" ställs man också inför en verklighet utanför de normala villkoren. Det handlar om skyddsänglar som anländer, tar strid och, förmodar jag, segrar. Här finns också ett grovt marscherande och en smäktande lidande-ton som kan påminna om Gustav Mahlers femte symfoni. Men när den tvinnade tråden blir som allra tunnast hos Pärt får man aldrig känslan av att den skulle kunna brista. Tvärtom, det är då det handlar om det helt osårbara."
(Dagens Nyheter)

Los Angeles Philharmonic, conducted by Esa-Pekka Salonen

Estonian Philharmonic Chamber Choir, conducted by Tõnu Kaljuste

Arvo Pärt's "Fourth Symphony", subtitled "Los Angeles", was written in 2008 and premièred in January of the following year, with Esa-Pekka Salonen conducting the Los Angeles Philharmonic Orchestra. That first performance is reprised on this disc. It is the first of Pärt's symphonic pieces to appear on ECM New Series, the label closely associated with the Estonian composer since the 1984 release of "Tabula rasa."

"The symphony is exceedingly beautiful," wrote Mark Swed in the Los Angeles Times in January 2009, reviewing the premiere concert. Pärt's return to symphonic structure and scope (in a work scored for string orchestra, harp, tympani and percussion) created great interest amongst press and public, for almost forty years had passed since the composer's 3rd symphony. In the interim, many of the fundamentals of Pärt's art had been overturned, his epochal "Tabula rasa" wiping the slate clean, that the composer might begin again. In the new symphony his radically reductive tintinnabulation style is focused upon the larger form.

The idea of the symphony first began to take shape in Pärt's mind in a period when he was reflecting upon texts related to guardian angels. A commission from Los Angeles, a city whose very name means 'the angels' was timely, and confirmed his decision to make the "Canon of the Guardian Angel" the foundation of the new piece. The Fourth Symphony, then, is both literally and figuratively a 'musical setting', based on an underlying text which forms the work's point of departure, determining its structure down to the smallest details. Paul Griffiths has noted that this music is "saturated with chant: in its modality, in its phrasing, in its repetitions and alternations, in how groups answer one another, in how - more as in the western church than the eastern - percussion instruments are used to make ritual signals. The orchestra seems to be straining to enunciate a litany, the stretched strings to sound as if from angel throats."

In making a canon the starting point of a symphony, Pärt once again allowed the spirit of Church Slavonic poetry to permeate the musical fabric, as he had done in his 1995/6 choral work "Kanon Pokajanen".

"To my mind, the two works form a stylistic unity and belong together", the composer explains. "I wanted to give the words an opportunity to choose their own sound. The result, which even caught me by surprise, was a piece wholly pervaded by this special Slavonic diction found only in church texts. It was the canon that clearly showed me how strongly choice of language preordains a work's character."

Appropriate, then, to bring together the Fourth Symphony on disc with a new editing of the "Kanon Pokajanaen" - "Fragments" as Arvo Pärt calls them. Like newly-found pieces of a mosaic reassembled, they can give us a powerful sense of the whole.




kr 119 (kr 169)
Image The Deer’s Cry / Arvo Pärt
The second ECM New Series album to fully showcase pure-toned Estonian vocal group Vox Clamantis and its artistic director/conductor Jaan-Eik Tulve is devoted to compositions by their great countryman, Arvo Pärt – whose music has been the most performed globally of any living composer over the past five years. This album – titled The Deer’s Cry after its first track, an incantatory work for a cappella mixed choir – is also the latest in an illustrious line of ECM New Series releases to feature Pärt’s compositions, the very music that inspired Manfred Eicher to establish the New Series imprint in 1984. Along with such classic works as Da pacem Domine the new album includes first-time recordings of the a cappella pieces Drei Hirtenkinder aus Fátima and Habitare Fratres. There is also an a cappella version of Alleluia-Tropus, which Vox Clamantis previously recorded alongside instruments for the acclaimed New Series album Adam’s Lament. Rarely recorded material makes up nearly half of this new release, including three pieces with instrumental accompaniment: Von Angesicht zu Angesicht, Sei gelobt, du Baum and Veni Creator.

kr 119 (kr 169)
Image Symphonies
All four of Arvo Pärt’s symphonies, newly recorded with the NFM Wroclaw Philharmonic under the direction of one of Pärt’s most trusted colleagues, Tõnu Kaljuste. Each of the symphonies, as the great Estonian composer has noted, is a world unto itself. Heard in chronological order they also tell us much about Pärt’s musical and spiritual journey, and the very different ways in which he has exercised his craft. Forty-five years separate his Symphony No. 1 (“Polyphonic”) written in 1963 while he was still a student of Heino Eller, from his Symphony No. 4 (“Los Angeles”) written in 2008, by which time he was the world’s most widely-performed contemporary composer.

kr 119 (kr 169)
Image Musica Selecta
Arvo Pärt and Manfred Eicher have maintained their creative partnership for more than thirty years. Eicher launched ECM New Series in 1984 as a platform for Pärt's music, bringing the Estonian composer to the world's attention with the album Tabula Rasa. Since that epochal release, all first recordings of Pärt's major works have been made for ECM, with the composer's committed participation. This association between composer and record producer is, as Paul Griffiths has noted, "an example of loyalty and collegiality unique in our time."

kr 179 (kr 289)
Image Alina
There have been other recordings of "Für Alina" and "Spiegel im Spiegel" but none like those on this disc, realized with the participation of the composer. Here Pärt, aided by exceptional interpreters, revisits those seminally important compositions which marked the birth of a new, "prismatic" period in his work, establishing a link between compositions embodying the fundamental traits of the "tintinnabuli style." Three interpretations of the duet 'Spiegel im Spiegel' (Mirror in the Mirror), for violin or cello and piano, become "formal pillars positioned before, between and after two solo renderings of 'Für Alina'", the latter performed with interpretive freedom by Alexander Malter.

Vladimir Spivakov, violin
Sergev Bezrodny, piano
Alexander Malter, piano
Dietmar Schwalke, cello

Recorded July 1995


kr 119 (kr 169)
Image Kanon Pokajanen
World premiere recordings of music for choir by Arvo Pärt, based on the canon of repentance of the Russian Orthodox Church. The canon had long fascinated the Estonian composer who finally decided to set it in its entirety in music written to mark the 750th anniversary of Cologne Cathedral. Pärt: "It took over two years to compose the Kanon pokajanen, and its hold on me did not abate until I had finished the score...That may explain why this music means so much to me." As writer Uwe Schweikert has noted, it is "music full of austere, painful beauty."

Estonian Philharmonic Chamber Choir
Tõnu Kaljuste, conductor

Recorded June 1997

kr 179 (kr 289)
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