Jun 13, 2021

RhoDeo 2124 Sundaze

 Hello, That was a double shock in Denmark tonight first superstar Christian Ericson suffered a heart attack during the match with Finland everyone witnessing was in shock, but luckily he was resuscitated and able to tell his team mates from the hospitalbed he was ok and to finish the game. Unfortunatly, despite being in control and getting a free penalty Denmark lost against debutant Finland 1-0 . Another shocker !




Today's artist might be considered as the main composer of contemporary sacred music. He is strongly influenced by the minimalist movement & Gregorian chant.
In 1958, he entered at the Tallinn Conservatoire & he became famous through USSR with his composition 'Our Garden'. At the beginning of the seventies, he began to use serialism in his works but he stopped. An interest for Gregorian chant & medieval music then brought a new dimension to his music. Mystic, restful & emotional might be some adjectives to describe his compositions. He is one of the most important composers of 'mystical minimalist movement' with John Tavener & Henryk Górecki. exhibitions like documenta X and the 49th and 50th Venice Biennale, Nicolai’s works were shown worldwide in extensive solo and group exhibitions.

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 Arvo Pärt is one of the most important living composers of concert music. His first works, dating from the 1950s, showed the influence of Prokofiev and Shostakovich, as heard in his two Sonatinas for piano (1958). But as his musical studies under Heino Eller continued, he was drawn toward serial techniques and turned out a number of works in the 1960s in this vein. His First Symphony (1961), for instance, displays this method and is dedicated to Eller. By the end of that decade, Pärt had become disenchanted by the 12-tone technique and began writing music in varying styles. In 1976, however, Pärt started composing in what he called his tintinnabulation (or tintinnabuli) method, which involves the prominent use of pure triads. This new style resulted in music so radically different from that which had preceded it, that many observed that it seemed to have come from a different hand altogether.

Unlike most composers of major rank, Pärt did not show remarkable talent in his childhood or even in his early adolescence. His first serious study came in 1954 at the Tallinn Music Middle School, but less than a year later he temporarily abandoned it to fulfill military service, playing oboe and percussion in the army band.

In 1957, Pärt enrolled at the Tallinn Conservatory where he studied under Eller. He graduated in 1963, having worked throughout his student years and afterward as a recording engineer for Estonian Radio. He wrote several film scores and other works during this period, among them his two Sonatinas for piano, from 1958, and Nekrolog, a serial work for orchestra, from 1960. He also wrote a number of choral pieces at this time, among which was the ethereal a cappella effort, Solfeggio (1964). Pärt continued to compose music mainly in the serial vein throughout the 1960s, but received little recognition, since that method of composition was generally anathema throughout the Soviet Union. In the late 1960s and early 1970s Pärt studied the music of Renaissance era composers, particularly that of Machaut, Josquin Desprez, and Obrecht. His Symphony No. 3 reflected these influences in its austere, Medieval sound world.

By the mid-1970s, Pärt was working on an altogether new style of composition. In 1976 he unveiled this method, the aforementioned tintinnabulation, with the piano work, Für Alina. A trio of more popular works followed in 1977, Fratres, for string quintet and wind quintet (later given additional arrangements by the composer), Cantus In Memoriam Benjamin Britten (revised 1980) and Tabula Rasa, for two violins, prepared piano, and string orchestra. Owing to the continued political oppression he found in Estonia, Pärt and his wife and two sons emigrated to the West in 1980, settling first in Vienna, then in West Berlin.In the 1980s and 1990s, Pärt, a devout member of the Eastern Orthodox Church, wrote a number of large-scale choral religious works, including the St. John Passion (1982), Magnificat (1989), The Beatitudes (1990), and Litany (1994). He has declared a preference for vocal music in his later years, and continues, like the English composer John Tavener, also an adherent of the Eastern Orthodox religion, to write much religious music.


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The music of Arvo Part is one of the great consolations of our age. Often described as out of step with the times, his choral compositions display continuity with the great liturgical music of the 16th Century and earlier. Richly-textured, driven by what seems to be an unshakeable faith and commitment, his church music is certainly composed from an ethical standpoint which few these days can share. Yet he is unmistakably of our time, and that is what makes him so wonderful. From the first notes of this wonderful Mass, we are aware that Part is a contemporary, a sufferer, the great soul we never expected to meet.

None of Part's religious music is more beautiful than the Missa Syllabica, and no listener need fear not finding it ravishingly enjoyable. While still a student, one of his teachers said of him that it was as if he had merely to shake his sleeve and notes fell out, and that richly inventive power remains. The increasingly chaotic music of his early career seems to have reflected his inability to deal with ever-receding boundaries, his own overflowing talents, and the sheer number of musical ideas that occurred to him. Though in the second part of his career he seems to have deliberately imposed restrictions on his musical materials, challenging himself to compose with a starkly reduced palette, and in rigorously disciplined formats, he has achieved wonderful things - and this music is among them.



<a href="https://www.imagenetz.de/WymT9">  Arvo Pärt  - Beatus   .</a> (219 mb)

01 Statuit Ei Dominus 5:05
Missa Syllabica    
02 I Kyrie 2:40
03 II Gloria 2:21
04 III Credo 6:42
05 IV Sanctus 1:26
06 V Agnus Dei    2:22
07 VI Ite, Missa Est 0:36
08 Beatus Petronius 5:04
 Magnificat-Antiphonen    
09 I O Weisheit 1:48
10 II O Adonai 2:37
11 III O Sproß Aus Isais Wurzel 1:10
12 IV O Schlüssel Davids 1:54
13 V O Morgenstern 1:42
14 VI O König Aller Völker 2:07
15 VII O Immanuel 2:12
16 De Profundis 5:35
17 Memento 8:48
18 Cantate Domino 2:44
19 Solfeggio 4:07



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There's a line in this disc's title track, from an Orthodox ode addressed to Saint Nicholas: "therewithal hast thou acquired: by humility - greatness, by poverty - riches." This might have been written about Arvo Pärt's compositional technique, here liberated from the minimalist strictures of earlier decades, treading a fine line between agony and ecstasy in a way unparalleled since Bach.

In his earlier vein, Pärt often reached spiritual feast through the technical famine of systematic patterning and repetition. In the music on this new cd, all composed between 1996 and 2002 and featuring six première recordings, Pärt instead suggests austerity through the use of a much broader and freer palette. This is particularly palpable in the Nunc Dimittis, where gorgeous textures, harmonies and sonorities conjure a feeling of purity and emptiness.

Elsewhere, Pärt has a couple of surprises up his sleeve. The opening track, Dopo la vittoria, begins in sprightly madrigalian form, entirely appropriate to a commission from the City of Milan. It sets an Italian text describing the conception of the Te Deum by Saints Ambrose and Augustine, an unusually postmodern exercise for Pärt, but one which does nothing to detract from the sincerity of the setting, suggesting instead a celebration of the sanctifying power of centuries of worshipful use.

The weirdest moment on the disc comes with My heart's in the Highlands, a setting of a Burns poem which apparently has a highly personal significance for the composer. It's one of only two tracks on the disc which recall Pärt's earlier, more systematic approach, giving Burns' wistful evocation of the bucolic North to a monotone counter-tenor over a strictly controlled organ accompaniment, and making the text suddenly sound like a mystical allegory of longing for the divine.

There's little of the balletic brilliance that Pärt displayed in such works as the Stabat Mater or Tabula Rasa, and mercifully as little of the thunderous severity of his Passio mode. Instead there's a quiet and cumulative power to these works, given performances of luminous purity by Polyphony and Stephen Layton. By the time we arrive at the Salve Regina, a kind of penitential cradle song which closes the disc, we're ready to fall at the feet of the Maker and beg for forgiveness, simultaneously harrowed and consoled.



<a href="https://mir.cr/1NMIOX7R">   Arvo Pärt  - Triodion  </a> ( flac 158mb)

01 Dopo La Vittoria 10:00
02 Nunc Dimittis 7:33
03 .. Which Was The Son Of ...7:30
04 I Am The True Vine 10:15
05 Littlemore Tractus 6:28
06 Triodion 14:13
07 My Heart's In The Highlands 9:11
08 Salve Regina 12:13

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Hats off to producer Maido Maadik, who no doubt selected the compelling and wildly entertaining pieces on this disc. Culled largely from Arvo Pärt’s experimental period of the sixties, this collection features astounding forays into serialism and aleatory techniques. Who else would begin his Symphony No 2 (1966) with the sounds of children’s squeak toys? Then the bad boy of the Estonian avant-garde, Pärt uses other “shocking” effects like clusters increasing in dynamics and chaos then dissolve, and calm sonorous moments assaulted with abrupt dissonance. This is not the composer most of us know, now a pious and placid figure whose work is more closely connected to the 16th century than the 20th. Pro and Contra (1966) is the most exciting piece on the disc. Its furious energy reminds me of the opening of Shostakovich’s 1959 Cello Concerto No. 1 (a piece that first-rate cellist Truls Mørk also plays). The third movement will both amuse and leave you breathless. Most uncanny is the inclusion of a socialist realist choral work from Pärt’s student days: Meie aed (Our Garden, 1959). An innocent-sounding girls choir sings of the joys of cultivating its school garden, a naïve metaphor for socialist society. Like Prokofiev’s terrified On Guard for Peace (1950) or Shostakovich’s four-square Song of the Forests (1949), it is completely tonal without a trace of irony. It provides a kick-in-the-pants contrast to the naughty works included with it. Järvi, who has recorded several Pärt discs for Virgin Classics, is stupendous.



<a href="https://multiup.org/cf3de0f89a9a21df14b683cd59f27ad0"> Arvo Pärt  - Pro & Contra   </a> ( flac 330mb)

Pro Et Contra    (9:18)
01 I Maestoso 5:29
02 II Largo 0:31
03 III Allegro 3:18
Symphony No. 1 (19:56)
04 I Kaanonid 12:17
05 II Prelüüd Ja Fuuga 7:39
Collage Über B A C H (7:30)
06 I Toccata: Preciso 2:49
07 II Sarabande: Lento 3:06
08 III Ricercare: Deciso 1:35
09 Perpetuum Mobile 6:56
Meie Aed (11:10)
10 I Allegro 2:34
11 II Andantino Cantabile 4:08
12 III Allegro 1:44
13 IV Moderato - Allegro    2:41
Symphony No. 2(15:08)
14 I ♩ = 104-120 5:32
15 II 𝅗𝅥 = 112 3:18
16 III ♩ = 48-60    6:16
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Composed for piano and orchestra, Lamentate (also LamenTate) was commissioned by London’s Tate Modern and was inspired by Marsyas, the giant sculpture by Anish Kapoor (b. 1954), the British sculptor and multimedia artist of Indian origin. Hence the subtitle of the work, Homage to Anish Kapoor and his sculpture Marsyas.

Kapoor’s installation was intended to work as an interaction between visual-spatial and acoustic qualities. In composing the piece, Pärt also considered the specific acoustics of the space where Kapoor’s sculpture was displayed – the turbine hall of an old power house. This is also where Lamentate was premiered on 7 February 2003, performed by pianist Hélène Grimaud, and the London Sinfonietta conducted by Alexander Briger. Pärt made amendments to the piece after the premiere and the revised version of Lamentate premiered on 10 November 2003 at the Sejny Festival in Poland, performed by Marrit Gerretz-Traksmann and the Bialystok Philharmonic Orchestra conducted by Tõnu Kaljuste.

In Greek mythology, the satyr Marsyas was flayed alive by Apollo, the god of light, truth and fine arts, for daring to challenge him to a contest of music. Anish Kapoor’s take on the legend of Marsyas was the 150-metre-long, 35-metre-high bright red sculpture reminiscent of a flayed human body. Marsyas consisted of three steel rings joined together by a single span of plastic cover material, forming a trumpet-like shape.

Arvo Pärt: “My first impression was that I, as a living being, was standing before my own body and was dead – as in a time-warp perspective, at once in the future and the present. /.../ Death and suffering are the themes that concern every person born into this world. The way in which the individual comes to terms with these issues (or fails to do so) determines his attitude towards life – whether consciously or unconsciously. With its great size, Anish Kapoor’s sculpture shatters not only the concepts of space, but also – in my view – concepts of time. The boundary between time and timelessness no longer seems so evident. /…/ Accordingly, I have written a lamento – not for the dead, but for the living, who have to deal with these issues for themselves. /…/ A lamento for us, struggling with the pain and hopelessness of this world.

Lamentate is music for piano solo and orchestra. With respect to its form, however, the composition cannot really be described as a typical piano concerto. I chose the piano to be the solo instrument because it fixes our attention on something that is “one”. This “one” could be a person, or perhaps a first-person narrative. Just as the sculpture, despite its overwhelming size, leaves the viewer with a light and floating impression, the piano, largest of the instruments, allowed me to create a sphere of intimacy and warmth that no longer seems anonymous or abstract. We could say that my composition is shaped by two polar forces: brutal robustness and intimate fragility. These characters are not statically opposed to each other, but go through a development throughout the composition."

There are two sacred texts hidden in the music here. The dramatic culmination of the first musical passage is unravelled by the Dies irae sequence from the Mass of the Dead: Day of wrath and doom impending … However, a troparion in the Orthodox Prayer Book, reflecting upon death, brings the dimension of eternal peace to the music. It translates into English as follows: “With eyes of compassion, O Lord, look upon my low estate. For my life is gradually passing away, and there is no salvation for me from the works I have done. Wherefore I pray: With eyes of compassion, O Lord, look upon my low estate, and save me.” The text is carefully inscribed into the music that follows the number of syllables, punctuation marks and other parameters of the text.



<a href="http://depositfiles.com/files/t3zg8vqta">  Arvo Pärt  - Lamentate  </a> ( flac 138mb)

01 Da Pacem Domine 5:40
Lamentate (37:04)
02 Minacciando    2:38
03 Spietato 3:33
04 Fragile 1:04
05 Pregando 5:59
06 Solitudine – Stato D'Animo 5:25
07 Consolante 1:21
08 Stridendo 1:31
09 Lamentabile 5:46
10 Risolutamente 2:45
11 Fragile E Conciliante 6:56

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1 comment:

Anonymous said...

I'm going to give "Pro & Contra" a listen - the description of the choral piece: "Meie aed" caught my attention... got to hear it. Many thanks.

Brian