DOCSLIB.ORG

Arlington Street Church!

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Arlington Street Church! Pärt’s musical revelation came in the early 1970’s during the Our Unitarian Universalist Faith Children’s Programming RLINGTON Kruschev-era of Soviet censorship, and in the midst of several “ Unitarian Universalism draws from many Children’s Religious Education begins every A other personal struggles: the annunciation of his faith into the sources: “Jewish and Christian teachings Sunday in the sanctuary. Children are sung TREET HURCH which call us to respond to God’s love by out near the beginning of the service and RLINGTONS C Eastern Orthodox Church, his marriage to his wife Nora, and their loving our neighbors as ourselves.” gather downstairs in the Perkins Room for A Unitarian Universalist relocation to Berlin. Soviet censors had placed a ban on a large This is the fourth source of Unitarian CRE. There is an adjacent toddler room for STREET CHURCH portion of his early works, and he fell silent for several years. Pärt Universalism from which our living tradition parents with children ages 1-5. Fussy babies and their parents are invited to the Nursery came to a cathartic release after experiencing and studying the draws. To read all six sources, as well as the Unitarian Universalist seven principles of our free faith, please see just off the Hunnewell Chapel, where a Franco-Flemish music of the Renaissance and Gregorian plainchant, the Our Faith brochure in the pew rack. rocker, changing table and supplies are emerging with a completely new compositional voice that has won available. Children rejoin their families in the hearts of many dedicated followers across the world. Alleluia! the sanctuary to end the service. For t h At Arlington Street Church, we raise a hand information about our CRE program, please S u n day, A p r i l 8 , 2012 His Berliner Messe, composed in 1990 for SATB soloists and and circle two fingers above our heads to signal contact the church office or see our Happy Passover! organ (later revised for SATB chorus and string orchestra), is his joyous affirmation. religious educator. second setting of the Mass Ordinary, and a spectacular example Congregational Leadership Special Considerations for Special Needs e, the member congregationsHappy of theEaster! Unitarian Universalist Association, of his timeless compositional method of tintinnabulation used in The Prudential Committee is the elected FM amplification headsets are available covenant to affirm and promote • The inherent worth and dignity a liturgical framework. Pärt’s melodic language, attention to text governing board of Arlington Street Church. from the ushers. Please do not remove them W of everye, theperson member • Justice, congregations equity andof the compassion Unitarian Universalist in human Association, relations • setting, observance of Hesychasm (stillness, quiet, silent prayer), The members are: from the sanctuary. Accessible entry is via Art Nava & Deb Pontes (co-chairs)/ Carmen Griggs the ramp on the Arlington Street alley at AcceptanceWcovenant of one to affirmanother andand promoteencouragement • The inherent to spiritual worth growth and dignity in our and iconographical painting of the liturgy, culminates in this the right-hand side of the front doors to the Richard Marshall / Shane McBride / Karl Paulnack congregationsof every person • •A Jfreeustice, and equity responsible and compassion search for intruth human and meaningrelations • 25-minute masterpiece, filling our ears (and our hearts) with praise, Ellen Payzant / Harlow Robinson / Bob Sessions Church. Braille hymnals are available! TheAcceptance right of ofconscience one another and and the encouragementuse of the democratic to spiritual process growth within in our celebration, and peace. Officers of the Corporation are: Please ask an usher for assistance. congregations and• A infree society and responsibleat large • The search goal offor world truth community and meaning with • Dan Moon (council chair) / Samuel Gloyd & Parking at Arlington Street Church peace, liberty, and justice for all • Respect for the interdependent web of all Diana Miller (co-moderators) / David McClain The right of conscience and the use of the democratic process within our - John Forrestal Parking on Sundays is available at the existence of which we are a part. The living tradition which we share draws (clerk) / Susie Nacco (treasurer) Back Bay Garage for a discount. Discount congregations and in society at large • The goal of world community with coupons are available at the Welcome frompeace, many liberty, sources and justice • Direct for experienceall • Respect of for that the transcending interdependent mystery web of and all Table after worship. Additional parking wonderexistence, affirmed of which inwe allare cultures, a part. The which living moves tradition us to whicharenewal we ofshare the drawsspirit may be available on Arlington Street past and an openness to the forces which create and uphold life • Words and “The Castle.” from many sources • Direct experience of that transcending mystery and deedswonder of, affirmedprophetic inwomen all cultures, and men which which moves challenge us to usarenewal to confront of the powers spirit and structures of evil with justice, compassion, and the transforming power Directory and an openness to the forces which create and uphold life • Words and ofdeeds love of • Wisdomprophetic from women the world’sand men religions which challenge which inspires us to confrontus in our powersethical Ministry Program and spiritual life • Jewish and Christian teachings which call us to respond At Your Service: and structures of evil with justice, compassion, and the transforming power Rev. Kim K. Crawford Harvie, Sr. Minister Laura Evonne Steinman, Religious Educator & to God’s love by loving our neighbors as ourselves • Humanist teachings * If you would like a large print order of service and hymns, [email protected], ext. 10 Artist in Residence of love • Wisdom from the world’s religions which inspires us in our ethical Rev. George G. Whitehouse, Minister at Large [email protected], ext. 12 which counsel us to heed the guidance of reason and the results of science, or Brailled hymns and spiritual life • Jewish and Christian teachings which call us to respond [email protected], ext. 10 JP LaFond, R. E. Assistant and warn us against idolatries of the mind and spirit • Spiritual teachings of * If you are having trouble hearing the service and would Rev. Eugene B. Navias, Assoc. Min. Emeritus to God’s love by loving our neighbors as ourselves • Humanist teachings Rebecca Froom, Intern Minister Administrative earth-centered traditions which celebrate the sacred circle of life and instruct appreciate an assistive listening device which counsel us to heed the guidance of reason and the results of science, [email protected], ext. 18 Phyllis Guiliano, Church Administrator us to live in harmony with the rhythms of nature. Grateful for the religious * If you have mobility challenges and would like assistance [email protected], ext. 16 and warn us against idolatries of the mind and spirit • Spiritual teachings of Music [email protected] pluralismearth-centered which traditions enriches which and ennobles celebrate our the faith, sacred we circle are inspired of life and to instructdeepen Any usher will be happy to help! Mark David Buckles, Director of Music [email protected] our understanding and expand our vision. As free congregations we enter [email protected], ext. 19 Jeffrey Bouchard, Assistant to the Administrator us to live in harmony with the rhythms of nature. Grateful for the religious Molly Wood, Collaborative Pianist [email protected], ext. 14 intopluralism this covenant, which enriches promising and toennobles one another our faith, our mutualwe are inspired trust and to support. deepen [email protected], ext 10 Brad Nobles, Sexton [email protected], ext. 17 our understanding and expand our vision. As free congregations we enter Please silence your cell phone. Thank you! Choir Section Leaders into this covenant, promising to one another our mutual trust and support. Julie Gregorio, soprano Glorivy Arroyo, mezzo soprano Service is Our Gift Jonathan Price, tenor J. Jacob Krause, baritone, Assistant Conductor Assistant Treasurers, Alma Antoniotti and Gail Jennes Candles Coordinator, John O’Connor Lead Greeter, Reese Millican Lead Usher, Greg Haig Arlington Street Church, Unitarian Universalist Arlington Street Church 351 Boylston Street Boston, Massachusetts Worship Coordinator, George Whitehouse Boston, Massachusetts 02116-3303 Jennifer Erbe Founded in 1729 Cover Photograph, Office Hours: Monday - Friday, 9:00 am to 5:00 pm Arlington Street Church Phone: 617-536-7050 • Fax: 617-536-7051 Gathered in Boston,love and Massachusettsservice for justice and peace E-mail: offi[email protected] • Web: www.ASCBoston.org Founded in 1729 Gathered in love and service for justice and peace *Benediction and Extinguishing the Chalice Arlington Street Church, Unitarian Universalist Healing Prayer ���������������������������������� music: Nick Page (b. 1952) text: African American Spiritual “Balm in Gilead” and Nick Page *Choral Benediction (sung twice; please join us!) Boston, Massachusetts Glorivy Arroyo, mezzo soprano; J. Jacob Krause, baritone When You Walk From Here ������������������������������� text: Linnea Good S u n day, A p r i l 8 t h , 2012 music: Tom Witt, arr. Buckles When you walk from here, When you walk from here, Drone Walk with justice, Walk with mercy, And with God’s humble care. Prelude We pray We Divertimento
Load more

Recommended publications
  • Timbre and Tintinnabulation in the Music of Arvo Part
    Timbre and Tintinnabulation in the Music of Arvo Part WONG Hoi Sze Susanna A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Philosophy in Music ©The Chinese University of Hong Kong September 2001 The Chinese University of Hong Kong holds the copyright of this thesis. Any person(s) intending to use a part or whole of the materials in the thesis in a proposed publication must seek copyright release from the Dean of the Graduate School. •( 13 APR m )1) ^^IBRARY SYSTEMX^ Abstract of thesis entitled: Timbre and Tintinnabulation in the Music of Arvo PM Submitted by Wong Hoi Sze Susanna for the degree of Master of Philosophy in Music at The Chinese University of Hong Kong in June 2001 Arvo Part (born 1935), one of the most outstanding Estonian composers, studied composition at the Tallinn Conservatory, graduating in 1963. He first gained recognition in Soviet Russia in 1959 with his prize-winning tonal cantata for children - Meie Aed (Our Garden). In the following year, he started experimenting with aspects of serialism and, later, with combining several styles in one piece. Although the Soviet authorities criticized his experimental music, he continued to compose serial works until 1968. After that he stopped composing for almost eight years. During this self-imposed compositional silence, he immersed himself in the intensive study of medieval and Renaissance music, for example, Gregorian chant, the music of Machaut, Ockeghem and Josquin. He eventually developed a distinctive compositional style, which he calls the "tintinnabuli style." Fur Alina (1976), a short piano solo, was his first tintinnabuli work.
    [Show full text]
  • An Analytical Conductor's Guide to the SATB a Capella Works of Arvo Part
    The University of Southern Mississippi The Aquila Digital Community Dissertations Spring 5-2008 An Analytical Conductor's Guide to the SATB A Capella Works of Arvo Part Kimberly Anne Cargile University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Composition Commons, Musicology Commons, Music Pedagogy Commons, and the Music Performance Commons Recommended Citation Cargile, Kimberly Anne, "An Analytical Conductor's Guide to the SATB A Capella Works of Arvo Part" (2008). Dissertations. 1106. https://aquila.usm.edu/dissertations/1106 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi AN ANALYTICAL CONDUCTOR'S GUIDE TO THE SATB A CAPPELLA WORKS OF ARVO PART by Kimberly Anne Cargile A Dissertation Submitted to the Graduate Studies Office of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts May 2008 COPYRIGHT BY KIMBERLY ANNE CARGILE 2008 The University of Southern Mississippi AN ANALYTICAL CONDUCTOR'S GUIDE TO THE SATB A CAPPELLA WORKS OF ARVO PART by Kimberly Anne Cargile Abstract of a Dissertation Submitted to the Graduate Studies Office of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts May 2008 DISSERTATION ABSTRACT AN ANALYTICAL CONDUCTOR'S GUIDE TO THE SATB A CAPPELLA WORKS OF ARVO PART by Kimberly Anne Cargile May 2008 Arvo Part (b.
    [Show full text]
  • Arvo Pärt's Te Deum
    Arvo Pärt’s Te Deum : A Compositional Watershed STUART GREENBAUM Submitted in partial fulfilment of the requirements of the degree of Doctor of Philosophy (by thesis and musical composition) July 1999 Faculty of Music The University of Melbourne Abstract A critical analysis of Arvo Pärt’s Te Deum (1984-85) is conducted in light of his tintinnabuli style. The origin of this style is traced back to 1976, placing Te Deum in the middle of the tintinnabuli period. Te Deum is a major work lasting nearly half an hour, written for three choirs, strings, prepared piano and tape. The introduction to the thesis provides an overview of the composer and styles with which he is aligned. Definitions of minimalism, spiritual minimalism and tonality are contextualised, with reference to Pärt’s compositional technique, aesthetic and development. The work is analysed syntactically and statistically in terms of its harmonic mode, its textural state and orchestration, its motivic construction, and the setting of the Te Deum text. The syntactic function of these parameters are viewed in dialectical terms. Analysis is conducted from the phenomenological standpoint of the music ‘as heard’, in conjunction with the score. Notions of elapsed time and perceived time, together with acoustical space, are considered in the course of the analysis. The primary sound recording is compared to other sound recordings, together with earlier versions of the score and revisions that have accordingly taken place. The composer, Arvo Pärt, was interviewed concerning the work, and the analysis of that work. Pärt’s responses are considered in conjunction with other interviews to determine why he pursued or tackled some questions more than others.
    [Show full text]
  • 557299 Bk P−Rt
    557299 bk Pärt 26/07/2004 12:39pm Page 12 heaven. Arvo Blessed are ye when men shall revile you, and persecute you, and shall say all manner of evil against you falsely, for my sake. PÄRT Rejoice and be exceeding glad: for great is your reward in heaven: for so persecuted they the prophets which were before you. Berliner Messe Amen. Magnificat • Summa @ Magnificat @ Magnificat Magnificat anima mea Dominum. My soul doth magnify the Lord: Elora Festival Singers and Orchestra Et exsultavit spiritus meus in Deo salutari meo. and my spirit hath rejoiced in God my Saviour. Quia respexit humilitatem ancillae suae: For he hath regarded the lowliness of his handmaiden. ecce enim ex hoc beatam me dicent For behold, from henceforth, all generations Noel Edison omnes generationes. shall call me blessed. Quia fecit mihi magna qui potens est: For he that is mighty hath magnified me: et sanctum nomen ejus. and holy is his Name. Et misericordia ejus a progenie in progenies And his mercy is on them that fear him timentibus eum. throughout all generations. Fecit potentiam in brachio suo: He hath shewed strength with his arm: dispersit superbos he hath scattered the proud mente cordis sui. in the imagination of their hearts. Deposuit potentes de sede, He hath put down the mighty from their seat: et exaltavit humiles. and hath exalted the humble and meek. Esurientes implevit bonis: he hath filled the hungry with good things: et divites dimisit inanes. and the rich he hath sent empty away. Suscepit Israel puerum suum, He remembering his mercy recordatus misericordiae suae.
    [Show full text]
  • Text Und Liturgie Bei Arvo Pärt
    Clemens Goldberg Text und Liturgie bei Arvo Pärt Von «Musik als Text» zu sprechen ist nur sinnvoll, wenn man einen Begriff vom Text hat, der mit Musik kompatibel ist. Dies gilt insbesondere, wenn man mit Sprache verbundene Musik untersucht. Kommt dann noch das Phänomen der Intertextualität hinzu, von dem man zwar leicht reden kann, das aber nicht einfach umzusetzen ist, so muß das Modell in der Lage sein, auch PhänomenP wie etwa Liturgie, soziologischen Hintergrund, ästhe- tische Bedingung der Verbreitung von Musik, etc. zu umfassen. lntertextualität sollte dabei kein intellektuelles Gedankenspiel post festum sein, sondern eine aktuelle Transferwirkung innerhalb des Hörprozesses untersuchen. Ein intertextuelles Modell muß thematisieren, was gerade nicht im geschriebenen Text faßbar, in der Spielan- weisung sichtbar ist. Vielfach wird von einem <modernem Textbegriff in Bezug auf Musik gesprochen, aber nicht wirklich Ernst gemacht. In Wirklichkeit wird mit solchen <Text>-Begriffen nur ein erweiterter Strukturbegriff gemeint. Das eigentlich Neue am Text jenseits von Struktur ist eine Sichtweise, die Musik oder andere Kunst- werke nicht als Objekte betrachtet, sondern in ihrem Verstehensprozeß untersucht. Wo sich etwa Musik und Sprachtext treffen, ist eine Ebene im Spiel, die einerseits nichtthematisierte gestische und musikalische Elemente der Sprache betreffen, andererseits syntaktische und verweisend begriffliche Ebenen der Musik. Von besonderer Dringlichkeit werden diese wenig thematisierten Ebenen im Falle von Liturgie. Während Musik im aktuellen Gottesdienst heute eine eher klägliche Rolle spielt, so gibt es etwas wie eine Liturgie, die durch die ästhetischen Bedingungen der Verbreitung von Musik in Form von tausenden von CDs entsteht. Liturgie bezeichnet ursprilnglich nichts anderes als die heilige Handlung an einem öffentlichen Ort.
    [Show full text]
  • Contents More Information
    Cambridge University Press 978-1-107-00989-9 - The Cambridge Companion to Arvo Pärt Edited by Andrew Shenton Table of Contents More information Contents List of figures, plates and tables [page ix] List of music examples [x] List of contributors [xii] Acknowledgements [xvi] Editor’s notes [xvii] Chronology [xviii] 1 Introduction: the essential and phenomenal Arvo Pärt Andrew Shenton [1] 2 A narrow path to the truth: Arvo Pärt and the 1960s and 1970s in Soviet Estonia Immo Mihkelson [10] 3 Perspectives on Arvo Pärt after 1980 Jeffers Engelhardt [29] 4 Musical archetypes: the basic elements of the tintinnabuli style Leopold Brauneiss [49] 5 Analyzing Pärt Thomas Robinson [76] 6 Arvo Pärt: in his own words Andrew Shenton [111] 7 Bells as inspiration for tintinnabulation Marguerite Bostonia [128] 8 Arvo Pärt and spirituality Robert Sholl [140] 9 The minimalism of Arvo Pärt: an ‘antidote’ to modernism and multiplicity? Benjamin Skipp [159] 10 Arvo Pärt in the marketplace Laura Dolp [177] A Radiating from silence: the works of Arvo Pärt seen through a musician’s eyes Andreas Peer Kähler [193] B Greatly sensitive: Alfred Schnittke in Tallinn Arvo Pärt [198] C Remembering Heino Eller [vii] Arvo Pärt [199] © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-00989-9 - The Cambridge Companion to Arvo Pärt Edited by Andrew Shenton Table of Contents More information viii Contents D Acceptance speech for the International Bridge Prize of the European City of Görlitz Arvo Pärt [200] E Acceptance speech
    [Show full text]
  • 4 Musical Archetypes: the Basic Elements of the Tintinnabuli Style
    4 Musical archetypes: the basic elements of the tintinnabuli style Leopold Brauneiss I A r c h e t y p e s It could be said that, like the music of Haydn, P ärt’s music is appreciated all over the world. One reason for this rather rare phenomenon for a con- temporary composer is that he found ways of (re)building the music out of very simple basic elements or patterns such as scales, which are commonly recognized. I suggest characterizing these elements or patterns as ‘arche- type s’: this multilayered Greek term can literally be translated as ‘original or primal image’ ( arche = beginning, source). In the twentieth century, it has been known primarily through its use in Carl Jung’s analytical psych- ology, where it is linked with the equally important concept of the collective unconscious. For Jung , this means a deep layer of the unconscious mind, which can be called collective inasmuch as it is “not a personal acquisi- tion but is inborn” and thus “not individual but universal.”1 J u n g c a l l s t h e contents of this collective unconscious ‘archetypes. ’ Th ese “contents and modes of behavior that are more or less the same everywhere and in all individuals” 2 are by no means to be perceived as concrete images or ideas: in Jung ’s understanding, the archetypes are rather “defi nite forms in the psyche which seem to be present always and everywhere.”3 E l s e w h e r e , J u n g also strongly emphasizes that: archetypes are not determined as regards their content, but only as regards their form and then only to a very limited degree.
    [Show full text]
  • BR Itunes Booklet Arvopaert.Qxp Layout 1
    ARVO PÄRT TE DEUM CHOR DES BAYERISCHEN RUNDFUNKS MÜNCHNER RUNDFUNKORCHESTER PETER DIJKSTRA ARVO PÄRT *1935 01 Te Deum 31:15 für drei Chöre, präpariertes Klavier, Streichorchester und Tonband for three choirs, prepared piano, string orchestra and tape Max Hanft Klavier / piano 02 Wallfahrtslied / Pilgrims’ Song 8:10 Fassung für Männerchor und Streichorchester Version for men’s choir and string orchestra Berliner Messe für gemischten Chor und Streichorchester Berlin Mass for mixed choir and string orchestra 03 Kyrie 3:24 04 Gloria 4:04 05 Dopo la vittoria / After the Victory 9:36 Kleine Kantate für Chor a cappella / Little cantata for choir a cappella Berliner Messe für gemischten Chor und Streichorchester Berlin Mass for mixed choir and string orchestra 06 Credo 4:14 07 Sanctus 3:19 08 Agnus Dei 2:19 Total time: 67:06 Chor des Bayerischen Rundfunks Münchner Rundfunkorchester Peter Dijkstra Dirigent / conductor Live-Aufnahmen/Live-recordings: München, Prinzregententheater: Te Deum, Wallfahrtslied (13./15.02.2014), Berliner Messe (23./25.02.2012) München, Herkulessaal der Residenz: Dopo la vittoria (11./13.07.2012) Tonmeister/Recording Producer: Johannes Müller, Torsten Schreier (T01/02) Toningenieur/Balance Engineer: Thomas Schinko (T01/02), Stefan Briegel (T03/04/06-08), Ulrike Schwarz (T05) Fotos/Photography: Cover image: Arvo Pärt © Kaupo Kikkas, Chor des Bayerischen Rundfunks © Johannes Rodach, Peter Dijkstra © Astrid Ackermann, Arvo Pärt © Universal Edition / Eric Marinitsch Verlag/Publisher: Universal Edititon AG / Vienna Design/Artwork: [ec:ko] communications Editorial: Andrea Lauber. Label-Management: Stefan Piendl, Arion Arts GmbH, Dreieich Eine CD-Produktion der BRmedia Service GmbH. P+© 2015 BRmedia Service GmbH VON DER SCHÖNHEIT DES EINZELNEN TONS – ZUR KOMPOSITIONSÄSTHETIK VON ARVO PÄRT Als Schöpfer einer klingenden Spiritualität machte der 1935 im kleinen Städtchen Paide nahe Tallinn geborene Arvo Pärt nach seiner Emigration in den Westen 1980 zunehmend auf sich aufmerksam.
    [Show full text]
  • Postminimalist Choral Music: a Pedagogical Perspective
    University of Kentucky UKnowledge Theses and Dissertations--Music Music 2019 POSTMINIMALIST CHORAL MUSIC: A PEDAGOGICAL PERSPECTIVE Joshua John Chai University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2019.101 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Chai, Joshua John, "POSTMINIMALIST CHORAL MUSIC: A PEDAGOGICAL PERSPECTIVE" (2019). Theses and Dissertations--Music. 135. https://uknowledge.uky.edu/music_etds/135 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies.
    [Show full text]
  • Arvo Pärt's “Berliner Messe”
    ARVO PÄRT’S “BERLINER MESSE”: AN APPROACH TO UNDERSTANDING AND INSTRUCTING SERIAL TECHNIQUES IN A MINIMALIST FRAMEWORK By Jesse Logan Miller Liberty University A MASTER’S THESIS PRESENTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN MUSIC EDUCATION Liberty University April 2018 ARVO PÄRT’S “BERLINER MESSE”: AN APPROACH TO UNDERSTANDING AND INSTRUCTING SERIAL TECHNIQUES IN A MINIMALIST FRAMEWORK By Jesse Logan Miller A Thesis Presented in Partial Fulfillment Of the Requirements for the Degree Master of Arts in Music Education Liberty University, Lynchburg, VA April 2018 APPROVED BY: Rebecca Watson, DMA, Committee Advisor Gabriel Miller, PhD, Committee Reader Vernon Whaley, PhD, Dean of the School of Music ABSTRACT The music of Estonian composer Arvo Pärt is something of a phenomenon. Pärt’s music has made a profound connection with audiences, granting Pärt immense popularity and making him the most performed living composer in the world.1 Equally a phenomenon is his own unique tintinnabuli technique that lies at the heart of Pärt’s music and draws as much upon serialism as it does Gregorian chant. While much has been written on Pärt and his original tintinnabuli technique, this qualitative case study focuses on a major work ostensibly overlooked in scholarship, Arvo Pärt’s “Berliner Messe.” The study focuses on the serial aspects of tintinnabuli and “Berliner Messe” that operate within a minimalist framework. In addition to traditional forms of musical analysis, non-traditional musical analyses pioneered
    [Show full text]
  • Musik Aus Der Stille Des Schweigens
    Sonderdrucke aus der Albert-Ludwigs-Universität Freiburg HELMUT HOPING Musik aus der Stille des Schweigens Die musikalische Theologie des estnischen Komponisten Arvo Pärt Originalbeitrag erschienen in: Stimmen der Zeit, Bd. 225 (2007), H. 10, S. 666-674 Helmut Hoping Musik aus der Stille des Schweigens Die musikalische Theologie des estnischen Komponisten Arvo Pärt Im „Stern der Erlösung“ beschreibt Franz Rosenzweig die Musik als einen „Weg ins Schweigen“ 1. Aus der Welt des Geräusches führt sie in jene stehende, gleichsam „überzeitliche“ Gegenwart, die man als Présence bezeichnet hat. Diese bestimmt nicht nur den liturgischen Gesang, von dem Rosenzweig spricht, sondern wird auch von der neuen Musik angezielt: „Musik ist unterbrochenes Schweigen. Während jede Note aufsteigt und während sie erstirbt, bleibt sie mit dem Schweigen im Dia- log.“ 2 Für George Steiner, von dem dieses Zitat stammt, steht die Musik unter den menschlichen Künsten in der größten Nähe zur Schöpfung 3. Arvo Pärt hat sich zur Musik nur selten und zögernd geäußert, doch bringt auch er sie mit dem Schweigen und der Schöpfung in Verbindung. Zu „Tabula Rasa“ (1977), einem seiner frühen Meisterwerke, notiert Pärt: „Wenn ich vom Schweigen spreche, dann meine ich jenes ,Nichts‘, aus dem Gott die Welt erschuf.“ 4 Pärts musikalisches Credo lautet: „Hinter der Kunst, zwei, drei Töne miteinander zu verbinden, liegt ein kosmisches Geheimnis verborgen.“ 5 Doch bevor Pärt zu der Klangsprache fand, die ihm für dieses Geheimnis geeignet schien, brauchte es Zeit. Ein Komponist schafft nicht voraussetzungslos. In Fühlung mit der vor ihm ge- schriebenen Musik, in schöpferischer Anverwandlung und kritischer Absetzung er- lernt er die Kunst der Tonverbindung und findet so seinen Stil, die „Sprache seines Handwerks“ 6.
    [Show full text]
  • Arvo Pärt: a Portrait a PORTRAIT Arvo Pärt © Mats Lundqvist B
    Arvo Pärt: A Portrait A PORTRAIT Arvo Pärt © Mats Lundqvist b. 1935 Arvo Pärt: A Portrait Preface Profoundly religious, deeply private, Arvo Pärt has sometimes been portrayed as a saintly ascetic, out of touch with the modern world. His music, on the other hand, moves listeners wherever it is heard. Although its simplicity draws on a deep well of religious tradition, it does not demand that listeners share the composer’s faith. Nor, as his detractors suggest, is it a music that has come easy. Consistently setting himself against received wisdoms, Pärt has grappled with the musical heritage available to him, reshaping it to his own ends, often at the cost of great personal torment. This musical portrait, celebrating the composer’s seventieth birthday year, assembles some of the highlights from a body of work that is both deeply personal and widely appreciated. Arvo Pärt: A Portrait Contents Page Track List 6 Arvo Pärt: A Musical Journey – by Nick Kimberley 11 Introduction 12 A Little History 15 Finding a Voice 17 Against Authority 21 Symphonies and Collages 25 Beyond Collage 33 Simplicity and Renewal 38 Summoned by Bells 42 Into Exile 59 Passio and Beyond 63 Acknowledgements 76 Credits 77 Arvo Pärt: A Portrait Track List CD 1 1 Für Alina 2:06 Alexei Lubimov, piano BIS: BIS-CD-702 Symphony No. 1 2 Second Movement 6:23 Bamberg Symphony Orchestra / Neeme Järvi BIS: BIS-CD-434 3 Cantus in memoriam Benjamin Britten 7:39 Strings of Hungarian State Opera Orchestra / Antal Eisrich, percussion / Tamás Benedek Naxos 8.553750 Passio (extract) 4 ‘Passio
    [Show full text]