Pärt 3
Returning to posting my listening notes, I send out an enormous batch of Part, from listenings sometime in early 2008.
1972
Song to the Beloved
No information
1973
Veealused (animated film)
No information
1974
Concerto for violin, cello and orchestra
No information
1976
Fur Alina - piano
Stunningly desolate miniature for piano. Diatonic minor melodies over chord tones from B minor - announced via two Bs two octaves distant. I don't know that it could go on like this long, but what there is is quite effective. Recommended.
1976
Trivium - organ
No tempos provided - Moosman takes rather slow tempos on his recording. The second movement perhaps the most interesting - chordal tones alternate with clusters, the third, empty, doesn't seem to work so well on the organ, the bare intervals sound off, though registration could save this. Nonetheless this is powerful music - especially number 2 - to play. All three variations on the same theme in essence - three in one.
1976
Pari Intervallo - organ or four recorder
Playing it on the organ is like entering into a beautiful and desolate and sad world. Chord tones enter in and the atmosphere is not broken until the end. We have an almost Feldman-like sense of place combined with minimalist processes. Melody in thirds accompanied by tones from Eb minor. Recommended.
1976
To the Waters of Babel We Were Sitting and Crying
Very much process oriented - ah, ah-ah, ah-ah-ah, ah-ah-ah-ah. Aiming very much to sound like the organum examples of the Musica Enchiriadis mixed with a Romatic flavor of what they represent. Ending on big open fifths that are a little bit too overloaded for my taste. Otherwise, otherworldly. The tintinnabulum style is at play here, scalewise melodies, with triad tone accompaniment. Amazing how he can get so much sound from so little.
1976
Wenn Bach Bienen Gezuchtet Hatte - piano, string orch, wind quintet Rev. 1984, 2001
Based on the B-A-C-H motive and, it appears, the B minor prelude from Book 1 of the WTC, this is a work that really "sounds" in the ensemble. Over a swirling mass the piano pounds out chords, the strings sometimes move into arpeggiations and the winds ratchet tension with solid triads. The whole sounds like the "Ride of the Valkyries" In the end it all breaks into a slower moment that acts as a processional before cadencing in a Bachian way. Title translates to "If Bach had been a beekeeper": how apt. One of the early "tintinnabuli" works.
1977
Arbos - chamber ensemble
Gloriously powerful work for brass built on a simple concept. Chordal tones and modal melody combined moving down the scale following various patterned permutations. Split into rhythmic layers: 4x3/4; 2x3/2; and 3/1 give a constant rhythmic drive to the work. A bold Timaeus treatment. Recommended.
1977
Cantate Domino Canticum Novum
Has the sound of a sequence with the quick conjunct melodic lines - are they entirely scalar - against which there is an almost change-ringing sense in the organ (at least in the version I heard). Bright, cheery. Some processual ideas bandied about.
1977
Fratres - chamber ens. (string quatet - wind quartet)
A turn figure expands through neighbor-note inserts. Returning several times transposed down a third. Dynamics are in arch form. Contemplative. Makes use of prolongation techniques like Lerdahl does in his String Quartet - unknown the relation between the two.
1977
Missa Syllabica
Ferial mass of sorts, completely syllabic. For choir with organ in the version I heard. Each word is set as scalar fragments leading or descending to the focal pitch - thus "sanctam" might be G-A and "catholicam" E-F-G-A. Organ plays triad tones. Sets a mood quite well. Lays out on a smaller scale exactly what would happen in Passio.
1977
Variations to the Recovery of Arinushka
Six variations, quite simple, for piano, really two sets of three: one "minor," one "major." The melody is triadic arpeggiations ending each on different melodic notes. The second variation adds above and below and the third adds a second line, so they blossom. Charming - good for an early piano student, but not much else.
1977
Tabula Rasa
Two movements: Ludus and Silentium for two violins, prepared piano (made quite evocatively and effectively to sound like bells) and strings. The first an additive play in a baroque style with a Bachian cadenza (could the model be Brandenburg 5?) The second devastatingly simple and devastatingly elegant another additve game on a dorian scale ascending and descending into nothingness: D is likely chosen because ending would be ending in silence on a four string bass with no extension. The effect is of something receding into the distance and at the same time circling - Timaeus through the eyes of the big-bang. Lovely. Recommended.
1977
Cantus in Memory of Benjamin Britten
Devastatingly simple - a mensuration canon downward from A on the white keys with a bell that rings mechanically every few measures. Together it works so well, it sounds so good on the instruments, we have narrative harmonies even though they are not treated that way. Recommended.
1977
Summa - ten, bar., 6 ins.
A near constant alternation of duos and the full quartet in the words of the Credo in Latin. We hear a relatively dense sounding- owing probably to the syllabic setting of the words - polyphony of e minor tones and scalar melody. Pärt is a creating a mass. It moves quickly and for this, frankly, I don't understand why there are myriad arrangements. Not as interesting as other works.
1978
Spiegel im Spiegel - vc (or vn) and piano
Lullaby for violin and piano. Violin almost entirely stepwise each note a dotted-whole, the piano chord arpeggiations with an occasional bass bell and tiny high range twinkles. Quite beautiful and reflective, easy for children to play if not exactly for them to sell.
1978
Calix (Dies Irae)
Would become a part of Miserere 1989
1980
Fratres - vn, pno
The version for violin and piano changes radically the way we hear this piece: the foreground now becomes the background to at times frantic at times virtuosic at times unnecessary figuration from the violin. We open in a trance with the violinist playing the melody in bariolage and I imagine we are to have that feel throughout but it doesn't really come across as such. I'd say not as successful as the original.
1980
De Profundis
For men's voices with organ, bell, bass drum and tam-tam. Setting of the psalm, words are treated in much the same was as in the Missa Syllabica - one note per syllable ascending or descending to the triad tone over the course of the word. The voice usage is treated rather systematically, broken down into a variety of duos and trios culminating in the full quartet along with the dynamic climax and then becoming quieter again. The organ part is similar to Pari Intervallo. Quite lovely.
1980
Annum per Annum - organ
Organ in several movements each headed by the first letter of a section of the Mass. Indebted to the "Variations to the Recovery of Arinushka" in that each movement is a variation on a cantus firmus, here in D, that appears several times in the minor before abruptly switching to the major somewhere in the "Credo" Some nice moments in the Sanctus, but otherwise not all that remarkable.
1981
Arbos - seven rec., 3 triangles
No recording of this version.
1982
Passio
It is quite an experience sitting for this calming Passion narrative for choir, organ, soloists and small chamber ensemble. Repetitive patterns become normative, the division of the parts becomes more and more clear based on the material used - especially in relation to the use of dissonant tones - Pilate sings at a strange tritone distance from his final, the turba similarly using a cross-relation between the melody and modal pitches. The chorus at the end - finally D major after all this A minor - is swelling and gorgeous. I have issues with the construciton and the use of the construction but I can't have issue with the result which for the most part is sasifying once one gives oneself over to it and expects nothing more than it gives. Recommended.
1983
Fratres - 4 vc.
A lovely rendition of this processional piece. The cellos begin in their highest register and move downward. Solemn.
1983
Fratres - 8 vc.
Not really a separate piece. The four cello version with 2 per part.
1983
Fratres - 12 vc.
The four cello version with 3 per part.
1983
Fratres - str. Orch, perc
The chords have been spread over the string orchestra. The sound is less solemn and more menacing.
1983
Sarah was Ninety Years Old
In seven sections dramatising perhaps programmatically the visitation of a child on Abraham's 90 year old wife, Sarah. Very dull ritualized percussion alternating with vocal entrances - four elements get shifted around, 1-2-3-4; 2-1-3-4; 3-2-1-4 and so forth. Opens up with the entrance of the organ and soprano. As an idea, bold, in practice not so interesting.
1984
To the Waters of Babel We Were Sitting and Crying - small ensem.
No recording of this version.
1972
Song to the Beloved
No information
1973
Veealused (animated film)
No information
1974
Concerto for violin, cello and orchestra
No information
1976
Fur Alina - piano
Stunningly desolate miniature for piano. Diatonic minor melodies over chord tones from B minor - announced via two Bs two octaves distant. I don't know that it could go on like this long, but what there is is quite effective. Recommended.
1976
Trivium - organ
No tempos provided - Moosman takes rather slow tempos on his recording. The second movement perhaps the most interesting - chordal tones alternate with clusters, the third, empty, doesn't seem to work so well on the organ, the bare intervals sound off, though registration could save this. Nonetheless this is powerful music - especially number 2 - to play. All three variations on the same theme in essence - three in one.
1976
Pari Intervallo - organ or four recorder
Playing it on the organ is like entering into a beautiful and desolate and sad world. Chord tones enter in and the atmosphere is not broken until the end. We have an almost Feldman-like sense of place combined with minimalist processes. Melody in thirds accompanied by tones from Eb minor. Recommended.
1976
To the Waters of Babel We Were Sitting and Crying
Very much process oriented - ah, ah-ah, ah-ah-ah, ah-ah-ah-ah. Aiming very much to sound like the organum examples of the Musica Enchiriadis mixed with a Romatic flavor of what they represent. Ending on big open fifths that are a little bit too overloaded for my taste. Otherwise, otherworldly. The tintinnabulum style is at play here, scalewise melodies, with triad tone accompaniment. Amazing how he can get so much sound from so little.
1976
Wenn Bach Bienen Gezuchtet Hatte - piano, string orch, wind quintet Rev. 1984, 2001
Based on the B-A-C-H motive and, it appears, the B minor prelude from Book 1 of the WTC, this is a work that really "sounds" in the ensemble. Over a swirling mass the piano pounds out chords, the strings sometimes move into arpeggiations and the winds ratchet tension with solid triads. The whole sounds like the "Ride of the Valkyries" In the end it all breaks into a slower moment that acts as a processional before cadencing in a Bachian way. Title translates to "If Bach had been a beekeeper": how apt. One of the early "tintinnabuli" works.
1977
Arbos - chamber ensemble
Gloriously powerful work for brass built on a simple concept. Chordal tones and modal melody combined moving down the scale following various patterned permutations. Split into rhythmic layers: 4x3/4; 2x3/2; and 3/1 give a constant rhythmic drive to the work. A bold Timaeus treatment. Recommended.
1977
Cantate Domino Canticum Novum
Has the sound of a sequence with the quick conjunct melodic lines - are they entirely scalar - against which there is an almost change-ringing sense in the organ (at least in the version I heard). Bright, cheery. Some processual ideas bandied about.
1977
Fratres - chamber ens. (string quatet - wind quartet)
A turn figure expands through neighbor-note inserts. Returning several times transposed down a third. Dynamics are in arch form. Contemplative. Makes use of prolongation techniques like Lerdahl does in his String Quartet - unknown the relation between the two.
1977
Missa Syllabica
Ferial mass of sorts, completely syllabic. For choir with organ in the version I heard. Each word is set as scalar fragments leading or descending to the focal pitch - thus "sanctam" might be G-A and "catholicam" E-F-G-A. Organ plays triad tones. Sets a mood quite well. Lays out on a smaller scale exactly what would happen in Passio.
1977
Variations to the Recovery of Arinushka
Six variations, quite simple, for piano, really two sets of three: one "minor," one "major." The melody is triadic arpeggiations ending each on different melodic notes. The second variation adds above and below and the third adds a second line, so they blossom. Charming - good for an early piano student, but not much else.
1977
Tabula Rasa
Two movements: Ludus and Silentium for two violins, prepared piano (made quite evocatively and effectively to sound like bells) and strings. The first an additive play in a baroque style with a Bachian cadenza (could the model be Brandenburg 5?) The second devastatingly simple and devastatingly elegant another additve game on a dorian scale ascending and descending into nothingness: D is likely chosen because ending would be ending in silence on a four string bass with no extension. The effect is of something receding into the distance and at the same time circling - Timaeus through the eyes of the big-bang. Lovely. Recommended.
1977
Cantus in Memory of Benjamin Britten
Devastatingly simple - a mensuration canon downward from A on the white keys with a bell that rings mechanically every few measures. Together it works so well, it sounds so good on the instruments, we have narrative harmonies even though they are not treated that way. Recommended.
1977
Summa - ten, bar., 6 ins.
A near constant alternation of duos and the full quartet in the words of the Credo in Latin. We hear a relatively dense sounding- owing probably to the syllabic setting of the words - polyphony of e minor tones and scalar melody. Pärt is a creating a mass. It moves quickly and for this, frankly, I don't understand why there are myriad arrangements. Not as interesting as other works.
1978
Spiegel im Spiegel - vc (or vn) and piano
Lullaby for violin and piano. Violin almost entirely stepwise each note a dotted-whole, the piano chord arpeggiations with an occasional bass bell and tiny high range twinkles. Quite beautiful and reflective, easy for children to play if not exactly for them to sell.
1978
Calix (Dies Irae)
Would become a part of Miserere 1989
1980
Fratres - vn, pno
The version for violin and piano changes radically the way we hear this piece: the foreground now becomes the background to at times frantic at times virtuosic at times unnecessary figuration from the violin. We open in a trance with the violinist playing the melody in bariolage and I imagine we are to have that feel throughout but it doesn't really come across as such. I'd say not as successful as the original.
1980
De Profundis
For men's voices with organ, bell, bass drum and tam-tam. Setting of the psalm, words are treated in much the same was as in the Missa Syllabica - one note per syllable ascending or descending to the triad tone over the course of the word. The voice usage is treated rather systematically, broken down into a variety of duos and trios culminating in the full quartet along with the dynamic climax and then becoming quieter again. The organ part is similar to Pari Intervallo. Quite lovely.
1980
Annum per Annum - organ
Organ in several movements each headed by the first letter of a section of the Mass. Indebted to the "Variations to the Recovery of Arinushka" in that each movement is a variation on a cantus firmus, here in D, that appears several times in the minor before abruptly switching to the major somewhere in the "Credo" Some nice moments in the Sanctus, but otherwise not all that remarkable.
1981
Arbos - seven rec., 3 triangles
No recording of this version.
1982
Passio
It is quite an experience sitting for this calming Passion narrative for choir, organ, soloists and small chamber ensemble. Repetitive patterns become normative, the division of the parts becomes more and more clear based on the material used - especially in relation to the use of dissonant tones - Pilate sings at a strange tritone distance from his final, the turba similarly using a cross-relation between the melody and modal pitches. The chorus at the end - finally D major after all this A minor - is swelling and gorgeous. I have issues with the construciton and the use of the construction but I can't have issue with the result which for the most part is sasifying once one gives oneself over to it and expects nothing more than it gives. Recommended.
1983
Fratres - 4 vc.
A lovely rendition of this processional piece. The cellos begin in their highest register and move downward. Solemn.
1983
Fratres - 8 vc.
Not really a separate piece. The four cello version with 2 per part.
1983
Fratres - 12 vc.
The four cello version with 3 per part.
1983
Fratres - str. Orch, perc
The chords have been spread over the string orchestra. The sound is less solemn and more menacing.
1983
Sarah was Ninety Years Old
In seven sections dramatising perhaps programmatically the visitation of a child on Abraham's 90 year old wife, Sarah. Very dull ritualized percussion alternating with vocal entrances - four elements get shifted around, 1-2-3-4; 2-1-3-4; 3-2-1-4 and so forth. Opens up with the entrance of the organ and soprano. As an idea, bold, in practice not so interesting.
1984
To the Waters of Babel We Were Sitting and Crying - small ensem.
No recording of this version.
posted by Todd Tarantino at
8:06 AM
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