Classical

Arvo Pärt - Cantique des degrès ˑ Symphony No.3 ˑ Stabat mater (2010)

2012-10-31T18:06:28Z

Arvo Pärt - Cantique des degrès ˑ Symphony No.3 ˑ Stabat mater (2010)


1. Arvo Pärt: Stabat Mater for Choir and Sting Orchestra (1985/2008)
2. Arvo Pärt: Symphony No. 3 I (1971)
3. Arvo Pärt: Symphony No. 3 II
4. Arvo Pärt: Symphony No. 3 III
5. Arvo Pärt: Cantique des degrès for Choir and Orchestra (1999/2002)

RIAS Kammerchor
Rundfunk-Sinfonieorchester Berlin
Kristjan Järvi – conductor

Dynamic conductor Kristjan Järvi celebrates the 75th birthday of iconic composer Arvo Pärt with Cantique. Järvi leads the Rundfunk Sinfonie-Orchester Berlin and the RIAS Kammerchor in performance of Pärt s 1971 masterpiece, Symphony No. 3, plus the world premiere recordings of the orchestral and choral version of his Stabat mater and Cantique des degrès for choir and orchestra.

Cantique represents the culmination of a lifelong friendship between Kristjan Järvi and Arvo Pärt, whose families have been friends since the 1960s. Symphony No. 3 is a major symphonic masterpiece of the late 20th century and is dedicated to Kristjan s father, Neeme Järvi. In 2008, when Kristjan Järvi was the music director of the Tonkünstler-Orchester Niederösterreich in Vienna, he commissioned an orchestral and choral version of Pärt s Stabat mater which he premiered with Pärt in attendance. --- Editorial Reviews

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Arvo Part - Kanon Pokajanen (2016)

2017-10-03T14:16:22Z

Arvo Part - Kanon Pokajanen (2016)


01. Kanon pokajanen - Ode I
02. Kanon pokajanen - Ode III
03. Kanon pokajanen - Ode IV
04. Kanon pokajanen - Ode VI
05. Kanon pokajanen - Kontakion
06. Kanon pokajanen - Ikos
07. Kanon pokajanen - Ode VIII
08. Kanon pokajanen - Ode IX
09. Kanon pokajanen - Prayer after the canon

Cappella Amsterdam
Daniel Reuss - conductor

Arvo Pärt's Kanon Pokajanen of 1997 has become one of his most popular works, perhaps because, although it fits broadly into the bell-like "tintinnabular" style of the main part of his career, it is a bit less abstract than many of his other works. The "kanon" of the title is not a musical canon, but a collection of sacred texts, here a group of repentance prayers of the Orthodox church, in the old Church Slavonic language. The music is a cappella and connected to the text, and as such, it naturally contains contrasts that set parts of the text off in basic ways even as static sonorities are maintained for long stretches. Pärt himself indicated that in the Kanon, he "wanted the word to be able to find its own sound, to draw its own melodic line," to which one might add in order to "build its own larger shapes" as well. The work is thus suited well to the sound of the Cappella Amsterdam under Daniel Reuss, not one of the usual choirs that interpret Pärt with a maximum of purity, but add expression and just a bit of vocal heft. The results are impressive and carry a sense of the ecstasy inspired by the very best Pärt performances. Sample anywhere, but check in first with one of the responsorial Odes (perhaps "Ode VI"), and note the care that has been taken with the unfamiliar text and language by the performers. Another major attraction is the sound of Amsterdam's Waalse Kerk, ideal for this music. A highly recommended entry in the Pärt catalog. ---James Manheim, AllMusic Review

On paper this disc isn’t an easy sell: it’s an hour of a cappella choral music, mostly revolving around a fairly repetitious pattern without much variety or deviation, revolving around themes of penitence and repentance. Yet I found it utterly spellbinding and entirely compelling.

Arvo Pärt has found an unusual degree of fame for a contemporary composer through his minimalist textures and his Orthodox mysticism. He’s from the same eastern European mystical school as the likes of Henryk Górecki, and their music’s appeal comes from similar roots. If more of Pärt’s oeuvre has found popularity then it’s probably thanks to his more widespread adoption by film and TV directors, but his religious faith has been at the centre of his identity since his conversion to Orthodoxy in the early 1970s.

Kanon Pokajanen, composed as a commission to commemorate the 750th anniversary of Cologne Cathedral, sets a long canticle text, the Canon of Repentance, by Andrew of Crete. The text consists of a series of odes with interjections and a final prayer, and the helpful booklet notes explain more about the structure of Orthodox canticles in general, as well as giving the full texts and translations.

The theme is almost universally one of sorrow for sin and beseeching God’s mercy, and Pärt echoes the constant theme of his text with a steady musical treatment that varies only very slightly as the work progresses through its hour-long time span. Repetition is both its mainstay and the key to its success. The choir takes a vocal nugget, latches onto it and sings it again and again and again, in classic minimalist style, often with the sopranos singing the melody while the basses sing a drone underneath. Often there is some interplay between unison and harmony, or a change in melodic structure, but very little alteration to the melody.

If that sounds dull, however, it’s anything but. Pärt uses his structure to cast a spell over the listener, working his profound religious faith out through his music and making it as compelling to the listener as it clearly is to the composer. The basics of Orthodox plainchant and prayer are all there, but the composer makes them entirely his own, and I was totally convinced. I began by following the words as I listened, but after only a short while I put the words aside and simply surrendered myself to the music, entering a near-mesmerised state before long.

The performance, too, is very good. The Cappella Amsterdam, who recently gave us such an excellent Brahms disc, here give the most convincing impression of an eastern Orthodox choir that I think I’ve ever heard from a group of western Europeans. The upper voices are tight and totally on the note, while the basses anchor the whole performance with their dark, dreamy drone that is so intrinsic to the work’s success. They never once sound like tourists in this repertoire, and I was convinced throughout. The roomy acoustic helps, too, so that the resonance of the sound is every bit as much a part of the performance as the notes sung by the choir.

So unless you’re totally allergic to Pärt’s minimalist style, I think this is a disc that will repay exploration. As Gilles Saint Arroman’s booklet notes say, “Here it seems as if time no longer counted, as if we are approaching the Time of God – Eternity… Hence, in a sense, the Kanon Pokajanen marks out a path towards divine communion.” If that doesn’t make you want to explore, then I’m not sure what will. ---Simon Thompson, musicweb-international.com

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Arvo Part - Litany (1995)

2013-04-07T16:36:38Z

Arvo Part - Litany (1995)


1. Litany
2. Psalom
3. Trisagion

Estonian Philharmonic Chamber Choir
The Hilliard Ensemble
Tallinn Chamber Orchestra 
Tõnu Kaljuste  - conductor (1)

Arvo Part (2)

Lithuanian Chamber Orchestra
Saulius Sondeckis – conductor (3)

With Litany, Estonian composer Arvo Pärt created one of his most stirring works: a nearly 23-minute-long composition for orchestra and vocal ensemble based on the 24 prayers of St. John Chrysostom (one for each hour of the day). Commissioned for the 25th Oregon Bach Festival, the composition is both memorable and timeless. It finds influences in everything from chant to the repetition of modern minimalism. Play it loudly and the striking vocals of the Hilliard Ensemble simply soar against the strings of the Tallinn Chamber Orchestra. The orchestral Trisagion harkens toward Litany's mood swings and impact, but--sans voice--lacks the mysticism. One of Pärt's best, and as sacred as modern compositions come. ---Jason Verlinde, Editorial Review

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Arvo Part - Miserere (1991)

2013-04-02T16:30:12Z

Arvo Part - Miserere (1991)


1. Miserere
2. Festina Lente
3. Sarah Was Ninety Years Old

Shauna Beesley, Sarah Leonard (soprano); 
Phil Ball, Rogers Covey-Crump, Mark Padmore , John Potter (tenor); 
David James (countertenor); 
Ralph McDonald , Allan Parkes, David Ashman, Jeremy Birchhall, Michael George (bass voice); 
Forbes Henderson (electric guitar); 
Roy Jowitt (clarinet); 
Anthony Pike (bass clarinet); 
Melinda Maxwell (oboe); 
Catherine Duckett (bassoon); 
Paul Archibald (trumpet); 
Christopher Bowers-Broadbent (organ);
 James Woodrow (bass guitar); 
Pierre Favre, Paul Parker (percussion);
Hilliard Ensemble
Dennis Russell Davies – conductor

This disc is a single-composer study, of which it can be said that some items are better examples of his work than others.

Two works on this disc show Part's tintinnabuli style in full bloom. "Miserere" itself is over thirty minutes long, and by far the best item in the programme. A setting of Psalm 51 in Latin (the same text as set in the famous Allegri "Miserere") with verses interpolated from the "Dies Irae" of the Missa pro Defunctis, this work shows how Part's style can magically draw a wealth of emotions from the simplest of musical concepts. Indeed, the work opens with the barest of motifs: the words of the psalm are chanted on three notes by a high solo tenor, interspersed with triadic statements (the so-called tintinnabuli pitches) on clarinet, and moreover bound together with distinct silences. This develops as the text unfolds: a solo counter-tenor joins the tenor in a haunting duet; meanwhile the instrumental ensemble expands to include other woodwinds and organ, all of which offer what appears to be a delicate wordless commentary. An abrupt change of pace comes with the "Dies Irae" verses, sung by a four-part chamber choir with massive, apocalyptic statements from woodwinds, brass, organ, percussion and electric guitars (!) - yet all is in the same style as the opening. After this massive outburst of terror, the opening discourse returns, sung by soloists (soprano, counter-tenor, two tenors and a bass). The interplay of voices and instruments carries the text forward in strikingly beautiful and sensitive ways. The work ends, in pure penitence and supplication, with a further choral statement, this time sung with heart-rending quietness: the "Rex tremendae" verse of the "Dies Irae," bringing the work to a close. It truly is one of Part's masterpieces - a proof that the extreme simplicity of the tintinnabuli style need not be limited to small-scale works, and can indeed break free of sounding annoying or repetitive. Recorded here in a very generous acoustic, played and sung with clarity and gravity, and carrying a beautifully sustained emotional weight, this is a definitive performance - a real gem.

The other tintinnabuli work (track 2) is "Festina lente" - "hurrying slowly" - which is scored for string orchestra and harp and makes use of the mensuration canon technique employed by the composer in "Miserere" and other works. This is a softer and more direct piece than "Miserere," but the effect is refreshing after the profound writing of the former - and like "Miserere," it is sensitively performed here.

The last work on the disc may at first seem off-putting. "Sarah was ninety years old" was composed just prior to Part's formation of tintinnabuli (he had previously written serial music, like that of Schoenberg). It is a minimalist piece - the first four minutes or so feature nothing but a single drum, played with two beaters to produce alternating timbres of sound. These timbres are hacked out in a single rhythmic pattern that never seems to end: this is said to symbolise the ninety years of barren life lived by Sarah, wife of Abraham in the biblical book of Genesis. Presently, two tenors enter with an array of chords, cycling around each other and also set to a basic repeating rhythm. After more knocking from the drum and more very simple vocal droning, the organ enters, massive yet restrained, and an ecstatic solo soprano takes up the wordless narrative - Sarah conceives a child, the first of many that became the Israelites in the Genesis story. At first hearing (and perhaps several subsequent ones) this piece will seem dull and pointless; it does have a remarkable meaning, however, and it is quite gem-like even as it is barren and seemingly devoid of musical content.

Having described the contents of this disc, I feel that ultimately no description, not even the more explicitly-detailed ones given in the booklet, can prepare the listener for this music. If you like Arvo Part, it is essential listening; if you like the Hilliard Ensemble, it is one of their outstanding performances beyond any doubt. Some listeners may find it tedious, others may simply find it too overwhelming and give it a miss. However, with its excellent performances and intricate designs (such as are a hallmark of ECM New Series), this record is certainly very special. --- Mark Swinton, amazon.com

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Arvo Part - St. John Passion (Johannes Passion) [2001]

2010-03-30T21:04:31Z

Arvo Part - St. John Passion (Johannes Passion) [2001]


01. Choir Passio Domini Nostri Jesu Christi
02. Jesus Dixi Vobis Quia Ego Sum 
03. Jesus Ego Palam Locutus Sum Mundo
04. Evangelist Et Misit Eum Annas Ligatum
05. Pilate Quam Accusationem Affertis Adversus
06. Jesus Regnum Meum Non Est De Hoc Mundo 
07. Pilate Ecce Adduco Vobis Eum Foras
08. Evangelist Et Exinde Quaerebat Pilatus
09. Jesus Mulier Ecce Filius Tuus 
10. Choir Qui Passus Es Pro Nobis

Candomino Choir
Tauno Satomaa – conductor

Written in 1982, this work represents Arvo Pärt's late style, whose central elements are medieval and Renaissance modes and triads. Its static quality, narrow melodic compass, and repetitiousness make the music an acquired taste. But its monastic austerity, solemnity, and stark simplicity seem to offer an oasis of calm in a restless world. Those who associate the "Passion" with Bach's version are in for several surprises. Pärt uses the familiar text but in Latin, which has the effect of putting listeners at a distance from the events described. The Evangelist's narration is delivered by four soloists, alternately or together; the part of Pilate is given to a tenor; the Chorus represents the multitude as well as certain characters; and the accompanying group consists of instrumental soloists. Only Jesus remains a baritone.

The piece begins, and essentially remains, in A minor, revolving around and returning to the A minor triad. The rhythmic motion is consistently in unison; there is no counterpoint or independence of voices. Contrast is created by changes in vocal register and instrumental timbre. The music is slow and homophonic; motion and dissonance are reserved for climactic moments: the striking of Jesus, the flagellation, and especially the Crucifixion. Pilate's lyrical tenor voice adds fervor to his pleading for Jesus and his refusal to pass judgment on him, thus reinforcing the old contention that St. John's Gospel is tainted by anti-Semitism. Jesus' words upon the cross have an otherworldly feeling; the piece ends with his death on a sudden, brilliant D major chord. The performance could not be better. The singers are all splendid, and Jorma Hynninen as Jesus makes one wish to hear him in Bach's Passions. ---Edith Eisler, Editorial Review

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Arvo Part - Te Deum, Silouans Song, Magnificat, Berliner Messe (1993)

2009-10-25T12:22:30Z

Arvo Part - Te Deum, Silouans Song, Magnificat, Berliner Messe (1993)


1. Te Deum
2. Silouans Song
3. Magnificat
4. Berliner Messe: Kyrie
5. Berliner Messe: Gloria
6. Berliner Messe: Erster Alleluiavers
7. Berliner Messe: Zweiter Alleluiavers
8. Berliner Messe: Veni Sancte Spiritus
9. Berliner Messe: Credo
10. Berliner Messe: Sanctus
11. Berliner Messe: Agnus Dei

Estonian Philharmonic
Chamber Choir
Tallin Chamber Orchestra

Tonu Kaijuste - director

Pärt's Berliner Messe can lay some claim to being the composer's finest work - at the very least, it provides yet more evidence that Pärt should be recognized as a great composer. Stylistically all the works on this disc exhibit the hallmarks of the composer's "tintinnabulistic" style - plainchant-like melodies centered around a tone (and triadic harmonies based around the tone), mildly dissonant and pared down often to an absolute minimum with respect to ornaments, yet with masterly woven textures, and often being thoroughly mesmerizing and easily able to sustain the listener's complete attention. The most extreme example on this disc is in fact the substantial Te Deum for choir, strings, and prepared piano; not a work for newcomers to the composer, to be sure, but exquisite, hypnotically beautiful and actually ingeniously variegated in its austerity.

As for the shorter works, Silouans Song is a five-and-a-half minute piece for strings, and not among Pärt's stronger works - the basic idea is not particularly strong, and when subjected to Pärt's spare treatment it is rather crucial that the basic idea is a good one; indeed, the main danger of Pärt's approach (a danger he generally avoids) is that the music sounds samey, and in the case of Silouans Song the problem is exactly that it sounds like most of his other recent works, only less compelling. The a cappella Magnificat, however, is superb. Lasting for six minutes as well, it is a shimmeringly beautiful piece that also must be excrutiatingly difficult to perform - the slow lines pose severe challenges to the chorus, who is required to maintain the pitch throughout. But the Estonian Philharmonic Chamber Choir manages apparently without effort (a spectacular achievment, really).

The Berliner Messe (commissioned for the Ninetieth Catholic Church Convention in Berlin) is magical. It gives the illusion of being more active than, say, the Te Deum, but the effect is nevertheless achieved through minimal means; the effect is deeply luminous, shimmering, otherworldly and breathtaking (sample, for instance, the marvelous Veni Sancte Spiritus, where the melodic lines are woven around a constant tone, the heavenly, angelic Sanctus, or the mesmerizing Agnus Dei, with its conversation between sopranos and tenors and gradual softening and darkening of the luminescent textures to an almost dreamlike conclusion). The Berliner Messe is not only a masterpiece, but a work that could achieve real popular success - along the lines of Gorecki's third symphony (the effect is in many ways similar) - if given a chance.

As mentioned the performances are scintillating. It is impossible to come up with anything but praise for the almost unbelievably marvelous singing of the Estonian Philharmonic Chamber Choir. The Tallinn Chamber Orchestra plays beautifully as well, and Tönu Kaljuste directs his forces with sensitivity and understanding. No less excellent is ECM's presentation, and the recorded sound - rich, shimmering, but clear and well-balanced - is demonstration class. Recommended with enthusiasm, and the Berliner Messe in particular is recommended even to those who don't usually consider themselves particular fans of the composer. ---G.D., amazon.com

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Arvo Part – Cello Concerto - Symphonies 1 – 3 (1992)

2010-03-02T19:28:52Z

Arvo Part – Cello Concerto - Symphonies 1 – 3 (1992)

Cello Concerto ‘Pro et contra’
I. Maestoso 
II. Largo 
III. Allegro 

Perpetuum Mobile, Op.10	 

Symphony No.1 'Polyphonic'
I. Canons
II. Prelude And Fugue 

Symphony No.2
I. First Movement 
II. Second Movement 
III. Third Movement

Symphony No.3 
I. First Movement
II. Second Movement 
III. Third Movement

Frans Helmerson - cello
Bamberg Symphony Orchestra
Neeme Jarvi – conductor

The symphonies of Arvo Pärt will surprise anyone familiar with his contemplative, mature style. Pärt began life as a member of the Eastern European modern school, not so far removed from contemporaries such as Penderecki and Górecki. His three symphonies show his gradual renunciation of the more radical aspects of his musical syntax, a return to emotional directness, and the beginnings of that otherworldly quality that has become the outstanding feature of his later work. Not all listeners have traveled the path with him, some finding his recent music tedious and pretentious rather than spiritual, and these three relatively early symphonies really do add a welcome depth and roundness of profile to a composer who can all too easily seem one-dimensional. It's important to keep in mind that, unlike so many members of today's pseudospiritual school of composers (England's John Tavener being the prime example), Pärt is a real composer operating even in the most mystical musings. Järvi deserves real credit for calling attention to this fact in such a powerful way. ---David Hurwitz, Editorial Review

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Arvo Part – Lamentate (2005)

2013-03-23T17:41:09Z

Arvo Part – Lamentate (2005)


1. Da Pacem Domine - Da Pacem Domine	5:40
2. Minacciando - Minacciando	2:38	
3. Spietato - Spietato	3:33	
4. Fragile - Fragile		1:04	
5. Pregando - Pregando		5:59	
6. Solitudine - stato d'animo - Solitudine - stato d'animo	5:25
7. Consolante - Consolante	1:21	
8. Stridendo - Stridendo	1:31	
9. Lamentabile - Lamentabile	5:46
10. Risolutamente - Risolutamente	2:45
11. Fragile e conciliante - Fragile e conciliante	6:56	

The Hilliard Ensemble
Radio Symphony Orchestra of Stuttgart
Alexei Lubimov – piano
Andrey Boreyko – conductor

Fans of Arvo Pärt's tintinnabular choral music will be pleased with the Hilliard Ensemble's performance of Da Pacem Domine for a cappella choir (2004), which, at just over five minutes, is unusually short, but otherwise familiar in its meditative tone and chaste harmonies. However, these same listeners will feel surprised, startled, put off, or even cheated by the intensely dramatic and disturbingly dissonant opening of Lamentate for piano and orchestra (2002); anyone who expects the calmness or "chill-out" qualities of Pärt's choral music will be sorely disappointed by the disjointedness and violence of the introductory Minacciando. Others with open minds may give Lamentate a fair chance to get rolling, and let Pärt develop his work fully before passing judgment. Regrettably, this ten-movement piece lacks direction, shows no development, and meanders into long stretches of silence, repeated-note tedium, and slow arpeggios, alleviated only by the powerful section marked Stridendo and the penultimate Risolutamente (which at least show some gumption.) One may admire pianist Aleksei Lubimov's control (and patience!) throughout this work's extremely sustained pianissimos, and feel that the SWR Radio-sinfonieorchester Stuttgart, conducted by Andrey Boreyko, is fully engaged in the few tutti. But Lamentate is disappointing in its looseness and lack of ideas, and at 37 frustrating minutes, it is a lamentable waste of time. --- Blair Sanderson, Rovi

Composed in 2002, "Lamentate" is, despite Pärt's avowal to the contrary, a pretty textbook example of a minimalist piano concerto—only with hi-falutin' Latin names for the individual movements. Unlike more traditional concertos, this piece lacks any concrete anchor or focus, even on the piano as a helm instrument. Instead, it drifts oddly between ethereal and blaring, pianissimo solo sections juxtaposed against blatant, Mahler-esque trumpet calls. Thankfully, it never quite devolves into atonal, but the harmonies and chord progressions are decidedly on the avant-garde side, and the mood can be hard to follow. With such a weighty subject matter, and enough dynamic jumping around to make House of Pain jealous, one wonders if Pärt had been hoping to channel Messiaen's "Quartet For The End Of Time." If so, he failed. Alternatively, some of the movements seem to be pretty clear references to (or, if you prefer, rehashes of) Pärt's own 1968 work "Credo." Whatever the underlying thought process, the result is a piece that feels schizophrenic and, ultimately, unsatisfying. ---Eric Neigher, slantmagazine.com

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Arvo Part – Passio (1988)

2010-03-30T21:37:53Z

Arvo Part – Passio (1988)


1. Passio Domini Nostri Jesu Christi Secundum Joannem

Performer:
The Hilliard Ensemble

Arvo Part has become something of a cottage industry now, with most of his pieces enjoying multiple recordings. The shorter works are especially friendly to new agers, with their quiet moods and sombre spiritual atmosphere. But at his most austere, Part is still a radical and more challenging than an mere aquaintance with works like Spiegel Am Spiegel would lead one to believe. His long works can be as sonically challenging as anything written in the past 50 years, even as they askew atonality, harsh dissonance and complex rhythm. In their very simplicity is their challenge.

Part's St. John Passion is probably his masterwork. Written early in his tintintabulation style (the slow, bell like sonorities and block chords for which he has become famous) this work was produced before the style became too stultifying, while the inspiration was still fresh. Those looking for a dramatic Passion in the tradition of Bach would do best to look elsewhere. (Penderecki would be a good choice. Or James MacMillan's Triduum orchestral series.) Part takes his inspiration from earlier musical dramatizations of the Passion, at times drawing from the tradition of medieval liturgical drama and the passions of Heinrich Schutz. As a result, the work is austere, as were those earlier works, more meant for a worship service than the concert hall. The Evangelist sections are sung by a quartet accompanied by a varying chamber ensemble. Their music resembles nothing so much as the music from Satie's Socrate. It's very lack of passion heightens the emotion of the entire work. Peter, Pilate and Jesus are sung by baritone, tenor, and bass soloists respectively. Jesus' music is particularly effective, slowing down with each utterance on the cross. The choral writing has some of the language of Stravinsky's sacred works and is perhaps the most dramatic element of the entire work. And after Christ's death, sung exquisitely by the Evangelist ensemble on a single quiet note, the choir and organ enter in the first major mode of the work, building to a blazing amen. This moment alone is worth the entire CD and I believe could not be as effective without the austerity of the rest of the work.

Part of the difficulty of appreciating this masterwork is our societal expectation that things be "full of something". Full of drama, full of sound, full of distracting events. Part's music, by it's sheer length and simplicity of means, challenges us to listen differently, not for distraction but for something deeper. This work should not be listened to as a "concert piece" but rather as a religious ceremony. I tend to dust it off only once a year during Holy Week. Taken in that context, the work is unlike anything else, and a journey deep into the central mystery of the Christian Faith, without any dramatic trappings or adornments. It's a journey well worth taking. --- Christopher Forbes

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Arvo Part – Stabat Mater,Summa, Psalom Etc. (2004)

2009-10-25T12:24:10Z

Arvo Part – Stabat Mater,Summa, Psalom Etc. (2004)


1.Psalom; 
2.Summa; 
3.Fratres; 
4.Es Sang vor Langen Jahren; 
5.Stabat Mater.     

Daniel Taylor (countertenor) 
Christopher Jackson (harpsichord)
Olivier Brault (violin)
Jacques-André Houle, Hélène Plouffe (violin)
Marcel Saint-Cyr (cello)
Montréal Baroque (festival) 
Studio de musique ancienne de Montréal (SMAM)
Christopher Jackson   - conductor

At the time, around 1976, when Arvo Pärt's oeuvre was about to be reborn in his newfound tintinnabular style, the enthusiasm mustered by the world of ancient music which was opening up around him in his native Estonia was to have, in his own words, “the effect of a midwife on my new music". The present release by ATMA is unique in that it rekindles that seminal atmosphere in performances of these stunning works--foremost among which the strikingly beautiful Stabat Mater--entirely on early instruments and at the Baroque pitch of A = 415 Hz. The profound voices of the Studio de musique ancienne de Montréal choir and the Franz Joseph String Quartet also deliver two visions of Pärt's famous setting of the Christian Creed, Summa, while the Quartet alone is heard in Fratres (originally composed for a string ensemble on early instruments) and the haunting miniature Psalom. Finally, star countertenor Daniel Taylor sings the telling ‘motet' Es sang vor langen Jahren, on words by the German Romantic poet C.M. von Brentano. --- arkivmusic.com

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