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The Choral Compositions of Arvo Pärt As an Example of “God-Seeking” Through Music in Soviet Russia

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The Choral Compositions of Arvo Pärt As an Example of “God-Seeking” Through Music in Soviet Russia Journal of Eastern Christian Studies 59(1-2), 85-101. doi: 10.2143/JECS.59.1.2023428 T©HE 2007 CHORAL by Journal COMPOSITIONS of Eastern Christian OF ARVO Studies. PÄRT All rights reserved. 85 THE CHORAL COMPOSITIONS OF ARVO PÄRT AS AN EXAMPLE OF “GOD-SEEKING” THROUGH MUSIC IN SOVIET RUSSIA TATIANA SOLOVIOVA* 1. EMERGING FROM THE UNDERGROUND OF ‘OFFICIAL ATHEISM’ OF THE SOVIET ERA Arvo Pärt was a representative of the underground music in the former Soviet Union. His music, like the works of many other musicians and art- ists, did not fit within the narrow bosom of Socialist Realism – the prevail- ing ideology of the time.1 He had to struggle in order to write the music he wanted. Nowadays there is no Soviet Empire anymore, and the composi- tions of Pärt represent “the face” of contemporary music. He is one of the few composers whose art music enjoys success similar to that of pop. He is widely known, and his works are being performed all over the world. Arvo Pärt was born in 1935 in Paide, near Tallinn, the capital of Estonia, one of the Western republics within the former USSR. Between the First and the Second World War this little country enjoyed a short period of in- dependence. Life for Pärt till 1980 was inseparably connected with his Motherland Estonia on one hand, and with Russia, which was the political and cultural dominant at that time, on the other hand. Pärt knew and loved national traditions, as well as he knew European and Russian culture: he called the composer Glazunov who taught his teacher Heino Eller ‘my musi- * Tatiana Soloviova studied at Moscow State University and obtained her PhD in His- tory. She currently teaches Russian at the University of Oxford. She is a practicing musi- cian and conducts a church choir, while also studying musicology at the Goldsmiths Col- lege, University of London. 1 ‘Socialist Realism is a doctrine of artistic creation founded on the truthful, historically valid representation of reality in its revolutionary development…’, according to the Entsiklopedichesky Muzykal’nyi Slovar’ (Encylopedic Music Dictionary) (Moscow, 1966). Works of Socialist Realism should incorporate such qualities as accessibility to masses, op- timism, making use of folk traditions of the country, being based on classical traditions, representing Communist ideology (dostupnost’, optimizm, narodnost, klassitsizm, partiinost’). 0397-07_JECS07_04_Soloviova 85 23/10/07, 11:33 am 86 TATIANA SOLOVIOVA cal grandfather’, among friends who made a deep influence on him were Andrei Volkonsky and Alfred Schnittke, also musical dissidents. However, his technique of composition and his musical style – when it was formed he called it tintinnabuli (‘little bells’) – remains unique to him and it hardly contains any features of either Russian or Estonian music. Nowadays people speak about instantly recognisable “Pärtian” music. The main feature of his music written after 1972 – after the crisis that clearly divides his music ca- reer into “before” and “after” – is its religious, openly Christian theme. At the time of the Soviet Empire all people loyal to the regime had to share the official belief that ‘there is no God’. From oktyabryonoks and pio- neers (children from 7 to 14) to komsomol (Communist Unity of Young Peo- ple) and the Party members, everyone had to demonstrate their loyalty to the regime and to vow ‘to fight religious prejudices’. The degree and scope of official anti-religious propaganda can hardly be exaggerated and can hardly be imagined by those who did not live through that time. There were “guards” at the entrances to churches turning away young people who came there on days like Christmas and Easter. And if they had been noticed and reported, their Komsomol career was jeopardised. Bell ringing, because of its religious associations, was nearly banned. Even in children’s fairy tales such as Kornei Chukovsky’s ‘Oh, my God! What has happened?’ (Bozhe moi! Chto sluchilos’?) the title had to be changed into ‘What is this? What has happened?’. All artists were subjected to most vigor- ous censorship and any hints of religion were removed. Religious beliefs, being intrinsically anti-Communist, were deemed as bad as political opposition to the regime. Expressing religious views – “reli- gious propaganda” – was equalled to a criminal offence and punished by various means. Under Stalin, it most often incurred the death penalty or decades in concentration camps. During Khrushchov’s “thaw” and Brezhnev’s “stagnation” periods it could have been imprisonment, psychiat- ric clinic or deprivation of all deserved rewards and financial hardships. “The thaw” seems to be a much milder period of Soviet history – truly so, but not as far religion is concerned. Under Khrushchov more churches were destroyed than in any other period of Russian history; in 1961 he an- nounced on television that in 1980 he would show the world the last priest in Russia. Historians now acknowledge that at no other time the Christian Church has been persecuted to such an extent as in Soviet Russia. 0397-07_JECS07_04_Soloviova 86 23/10/07, 11:33 am THE CHORAL COMPOSITIONS OF ARVO PÄRT 87 Yet, communist ideology left a terrible lacuna in people’s souls; only a few could satisfy themselves with Communist ideals; many suffered spiritual hunger. Many tried to discover inner meaning of life through art. Concert halls were deemed by many as temples. One can remember the famous tenor Kozlovsky who prayed and bowed near Bolshoi Theatre – for him and many others it was the Temple. During the Great Patriotic War concert per- formances of Shostakovich’s Seventh Symphony reminded contemporaries of ‘religious rites that helped to let out hidden thoughts and suffering gained for many years’.2 ‘The music was nothing less than an exalted liturgy…’, as was said of the Thirteenth Symphony of Shostakovich in 1962.3 Openly Christian art like that chosen by Pärt and some others was a very risky path and could ruin any career. But those who are born to seek cannot be stopped. For many religion represented conscience, morality and connec- tion with the past.4 Pärt’s way to religion, to Christianity and later to East- ern Orthodoxy was long and wavy. In 1972, at the age of thirty-seven, he finished his “God-seeking” journey and joined the Russian Orthodox Church, which has remained his spiritual home. 2. BEFORE THE CRISIS: THE AVANT-GARDE COMPOSITIONS OF 1958-1968 Pärt’s first compositions were in the modernist style, following the path opened to Soviet composers by Andrei Volkonsky. At that time Pärt did not have any interest in early music, he thought of it as irksome. His teacher Eller recognised this and gave his student a special tuition so that Pärt could pass his exam in fugue in a short time.5 On the contrary, he was passionately studying those few 12–tone scores that he could find in the USSR. Pärt gained recognition straight from the beginning. His most famous compositions6 from that time are Nekrolog for orchestra (1960), Symphony 2 S. Volkov, Shostakovich i Stalin. Khudozhnik i Tsar (Moskva, Eksmo, 2004), p. 406. 3 Ibid. 4 See the BBC II Film on Contemporary Russian Composers 1980s. 5 P. Hillier, Arvo Pärt (Oxford, OUP, 1997), p. 28. 6 Apart from “serious” music, Pärt wrote music for children (for a while he was a Musical Director at the Pioneer Theatre in Tallinn) and fifty film scores. His early cantatas for children are, of course, tonal and cheerful – this is in accordance with the official rules and also reveals composer’s ability to write for children: vocal lines and harmonies are simple yet effective and expressive in an economical way and enhanced by colourful or- chestration. 0397-07_JECS07_04_Soloviova 87 23/10/07, 11:33 am 88 TATIANA SOLOVIOVA no. 1 (dedicated to his teacher Eller, 1963), Diagrams for piano, Collage sur B-A-C-H for orchestra, Solfeggio for a capella choir (1964), Pro et Contra, concerto for cello and orchestra (written at the invitation of Mstislav Rostropovich), and Symphony no. 2 (1966). In the end of this period Pärt wrote Credo (1968) for choir, orchestra and piano that proved a pivotal point in his music career. Most of these compositions share the same 12-note row and serial technique, for what the composer was harshly criticised.7 His serial technique was not simply experimentation with pure sounds. ‘For Pärt it seems that serialism was primarily a useful means of pouring pitch sequences into musical ideas that originated elsewhere’.8 He wrote about the world around him. Much of his music from that period sounds dark and even depressive, offering no hint of relief or escape (e.g. Nekrolog, Pro et Contra, Symphony no. 2). Did he write about the gloomy reality of Soviet life, the moral degradation of people in the West, the tragic waste of lives, disharmony and vulnerability of human soul? Indeed, Pärt had a very acute feeling of evil and tragedy of the world. ‘He sets out with almost dia- bolical precision to destroy’, it is ‘a world that chronicles despair’.9 Often Pärt used collage – being the first in Soviet music to use this technique.10 Particularly striking is his quotation in Symphony no. 2: a beautifully orchestrated ‘Sweet dreams’ from the Children’s Album by Tchaikovsky. This gentle music surrounded by harsh dissonance tugs the strings of the heart. The composer juxtapositions cruelty and injustice of the world with purity and harmony, which human soul knows and looks for but cannot find. It is by no means “official” music; Pärt was a true artist think- ing deeply about the controversies of life.11 7 Nekrolog was composed by means of serial technique – the first in Estonian music, sec- ond in Soviet music after Volkonsky.
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