Arvo PÄRT (b. 1935)
Nekrolog [13.00]
1 Sumfoonia [18.39]
Stabat Mater [29.19]
Statuit Ei Dominus [5.03]
Missa Syllabica [16.06]
Beatus Petronius [5.02]
7 Magnificat Antiphons [13.28]
De profundis [5.33]
Memento [8.46]
Cantate Domino [2.39]
Solfeggio [4.04]Royal Stockholm Philharmonic Orchestra/Paavo Järvi;
Estonian National Symphony Orchestra/ Paavo Järvi; Taverner Consort and Fretwork/Andrew
Parrott; Estonian Philharmonic Chamber Choir/Tonu Kaljuste; Christopher Bowers-Broadbent,
Ene Salumae (organ)
rec. 6-11 June 1996, Konserthuset, Stockholm (Nekrolog and First
Symphony), May 1996, St Bartholomew’s Church, Orford, Suffolk (Stabat
Mater), 8 May and 16, 18-19 September 1996, All Hallow’s Church, Gospel
Oak, London (CD2). DDD
EMI CLASSICS 2376112 [61.07 + 61.00]
This two-disc set presents a range of Arvo Pärt’s work, from the more astringent
First Symphony, to the luminous sounds of his later choral works.
The first two works on the first disc, with Paavo Järvi conducting the Royal
Stockholm Philharmonic Orchestra, are from Part’s ‘first period’, during which
he embraced the dodecaphonic compositional techniques of the Second Viennese
School. In the opening Nekrolog we find an excellent sense of ensemble,
and full advantage is taken of the varying sonorities of the scoring - an
important factor, as the instrumentation is designed in such a way to emphasise
the three-dimensionality of the texture. The rhythms are suitably incisive,
and we find well-judged lyricism in strings and solo oboe – the latter is
especially fine. In the more strenuous passages, the sound is strident and
dramatic without ever straying over the line into harshness. In the ensuing,
interesting and powerful, First Symphony, control of intonation is excellent,
especially in the beautifully unified brass. The phrases are well-shaped,
and there is good control of the very long melodic lines. The outstanding
Royal Stockholm Philharmonic Orchestra also brings an impressive range of
dynamics to the work.
The final work on the first disc, the Stabat Mater is, as are all
the works on the following disc, from a later period, when Part had re-emerged
with his own compositional ‘voice’. The Stabat Mater is performed
by the Taverner Consort and Fretwork under Andrew Parrott, and opens with
an extended passage for viols which, in its harmonic language and melodic
characteristics, admirably prepares for the sung text. Repeated rhythmic ‘cells’
are employed to induce a meditative atmosphere, and the rhythmic stress-patterns
inherent result in an entirely unstrained setting of the text. The Taverner
Consort’s performance, however is not entirely flawless - the “bulging” of
the voices on longer notes begins to irritate after a while, and some of the
top notes seem to be a bit of a struggle, as well.
The second disc contains a number of works which will be familiar and much-loved
by appreciators of the music of Arvo Pärt, such as the 7 Magnificat Antiphons
and De profundis. They are performed by the Estonian Philharmonic
Chamber Choir and the Estonian National Symphony Orchestra under the direction
of Tonu Kaljuste, with Christopher Bowers-Broadbent and Ene Salumae at the
organ. The disc opens with Statuit Ei Dominus, a dramatic work with
well-managed contrasts of texture and dynamic. More spatial separation in
the recording would perhaps have enhanced the three-dimensional effect, as
the texture is closely written (especially when the full choirs and organs
are used). Some of the declamation in the ensuing Missa Syllabica
is rather matter-of-fact: more intensity of pronunciation would complement
the text and the setting better, yet the other works are all very well performed
– with effective range of dynamics and suitably dramatic touches, for example,
in the 7 Magnificat Antiphons.
On the whole, this is a desirable set, although it should be noted that the
booklet notes are very sparse indeed, containing minimal information on the
composer and the works featured, and no information on the performers at all.
Em Marshall-Luck
On the whole a desirable set.