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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. -
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. -
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. -
Kristjan Järvi Passacaglia Arvo Pärt
the KRISTJAN JÄRVI SOUND proJect PASSACAGLIA ARVO PÄRT anne akiko meyers mdr leipzig radio symphony orchestra & chorus 1 THE KRISTJAN JÄRVI SOUND PROJECT PASSACAGLIA ARVO PÄRT anne akiko meyers violin [4-6] mdr leipzig radio symphony orchestra & chorus kristjan järvi conductor anne akiko meyers appears by courtesy of eone music Arvo Pärt *1935 1. Credo* 13’41 BERLIN 2. Mein Weg 6’42 3. Summa 6’06 4. Darf ich… 3’13 5. Passacaglia 4’17 6. Fratres (1977 | 1992) 10’52 LEIPZIG 7. Festina lente 7’46 8. La Sindone 7’35 9. Fratres** (1977 | 1991) 14’27 VIENNa NEW YORK * Elena Kashdan (piano solo) ** in memoriam Eduard Tubin © Universal Edition La Sindone is revised version premiere recording aUSTIN 4 5 Mon existence est jalonnée TaLLINN de longues heures, soubresauts et douleurs. Mon existence a des hauts et des bas, ciel et sable. La mienne, la tienne. My path has long hours, jolts and pains. My path has peaks and sea-troughs, sand and sky. Mine or thine. Mein Weg hatte grosse Stunden, VIENNa Stösse und Schmerzen. Mein Weg hat Gipfel und Wellentäler, Sand und Himmel. Der meine oder der deine. Livre des questions, Edmond Jabès 4 5 Passacaglia : un beau et grand voyage avec Arvo Pärt par franck mallet Ce quatrième volume de la série « Kristjan Järvi Sound Project » est conçu comme un hommage à Arvo Pärt, à l’occasion de son quatre-vingtième anniversaire. Participant au renouveau de la musique estonienne, son œuvre a acquis une renommée internationale à partir des années soixante-dix, au point que l’auteur de Tabula Rasa est devenu l’une des figures les plus emblématiques de la musique contemporaine. -
© in This Web Service Cambridge University Press
Cambridge University Press 978-1-107-00989-9 - The Cambridge Companion to Arvo Pärt Edited by Andrew Shenton Index More information I n d e x Acheson, Joe and Hidden Orchestra, 31 , 32 Frei, Christian, 191 Adorno, T. W., 8 , 151 , 152 , 174 Furtseva, Yekatarina, 13 Aphex Twin, 31 a r c h e t y p e , 6 , 4 9 , 5 0 , 5 1 , 5 2 , 5 4 , 5 5 , 5 7 , 6 9 , 7 2 , Gibbs, Jeff , 177 138 , 139 G ó recki, Henryk, 148 , 153 , 161 , 167 , 178 , 184 , Augustine, Saint, 168 , 169 187 , 229 , 234 Auschwitz, 151 , 152 G ö rlitz, xix , 50 , 53 , 200 Goskontsert, 21 Babbitt, Milton, 162 , 163 , 174 Grammy Awards, xviii , xix , 1 , 29 , 179 , 186 , 187 Bach, J. S., 22 , 53 , 84 , 107 , 163 Gregorian chant, 27 , 35 , 103 , 104 , 115 , 119 , 137 , Barber, Samuel, 191 138 , 139 , 183 Begbie, Jeremy, 8 , 149 , 150 , 154 , 156 G r i ffi ths, Paul, 182 , 188 , 189 , 234 bells Gubaidulina, Sofi a, 10 , 21 , 37 , 229 overtones, 129 , 130 , 136 , 137 ringing styles, 132 , 134 Habermas, J ü rgen, 164 zvon , 134 , 135 , 136 , 137 , 138 Harmonia Mundi, xix , 32 , 40 , 187 Bent, Ian, 77 Harvey, Jonathan, 174 , 230 Birtwistle, Harrison, 162 , 163 hermeneutics, 6 , 82 , 83 , 110 , 226 Bj ö rk, 1 , 31 Hilliard Ensemble, 6 , 38 , 39 , 40 , 43 , 124 Boston University, xii , xiv , xvi , 4 Hillier, Paul, 6 , 32 , 39 , 40 , 41 , 55 , 62 , 89 , 129 , Boulanger, Nadia, 12 130 , 131 , 136 , 137 , 144 , 168 , 170 , 171 , 227 , 228 , 230 , 236 Campion, Fran ç ois, 107 , 226 Holloway, Robin, 165 c h a n t . -
Kaire Maimets-Volt
Eesti Muusika- ja Teatriakadeemia Kaire Maimets-Volt Vahendades ‘Üht(sust)’: Arvo Pärdi valmismuusikast filmis Eesti Muusika- ja Teatriakadeemia Väitekirjad 4 Tallinn 2009 Estonian Academy of Music and Theatre Kaire Maimets-Volt Mediating the ‘idea of One’: Arvo Pärt’s pre-existing music in film Estonian Academy of Music and Theatre Dissertations 4 Tallinn 2009 Estonian Academy of Music and Theatre Dissertations 4 Layout: Katrin Leismann This research has been supported by targeted financing grants SF0152156s02 and SF0150004s07 from the Estonian Ministry of Education and Research. Estonian Academy of Music and Theatre Department of Musicology Rävala pst. 16 Tallinn 10143 Supervisor: Professor Jaan Ross, Estonian Academy of Music and Theatre and University of Tartu Reviewer: Professor Philip Tagg, University of Montreal Preliminary reviewer: Professor Peeter Torop, University of Tartu The date of defence: 6 May 2009 Copyright Kaire Maimets-Volt, 2009 ISSN 1736-0714 ISBN 978-9985-9797-6-1 Printed by AS Võru Täht, Oja 1, Võru 65609 Table of Contents 0. Introduction ............................................................................................................ 9 0.1. Aims ................................................................................................................ 12 0.2. Structure and methodology ........................................................................... 17 1. Settling the score ................................................................................................... 25 1.1. Fundamentals -
The Compositional Processes of Arvo Part
Durham E-Theses The compositional processes of Arvo pärt: a survey and comparison of two musical styles Penton, Stephen Gregory John How to cite: Penton, Stephen Gregory John (1998) The compositional processes of Arvo pärt: a survey and comparison of two musical styles, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/4816/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 The Compositional Processes of Arvo Part: A Survey and Comparison of Two Musical Styles Volume 1 Stephen Gregory John Penton The copyright of this tliesis rests with the author. No quotation from it should be published without the written consent of tlie author and information derived from it should be acknowledged. Master of Arts 1998 DEC 1998 ABSTRACT The Compositional Processes of Arvo P§rt: A Survey and Comparison of Two Musical Styles Stephen Gregory John Penton Arvo Part's output can be divided into two categories: serial (pre-1970) and what is termed tintinnabuli (post-1970), the term used in this thesis for his own way of using tonality. -
Arvo Pärt's Resonant Texts Andrew Shenton Index More Information
Cambridge University Press 978-1-107-08245-8 — Arvo Pärt's Resonant Texts Andrew Shenton Index More Information Index affekt, 37, 252–253 Dufay, Guillaume, 237 Aints, Tauno, 13 Durek, Józef Stanisław, 257 Akker, Robin van den, 2 Durham University, 245 Alban Berg Trio, 112 All-Union Young Composers’ Competition, 18 ECM Records, xvii, 50, 88, 105, 121, 126, 168, anagogy, 230 250, 255 Arvo Pärt Project, xv, 7 Eespere, René, 51 authorial intent, 8 Eicher, Manfred, 50, 105 Eliot, T. S., 43 Bach, J. S., 25, 48 Eller, Heino, 12 Well-Tempered Clavier,48 Ellerhein Girls’ Choir, 17–18 Bachtrack, 1 Engelhardt, Jeffers, 100, 105, 251, 277 Bede, Venerable, 245 Estonian Philharmonic Chamber Choir, 17 bells, 35 Estonian Radio, 12 Bible Estonian TV Girls’ Choir, 215 Psalm 50, 138 Psalm 96, 62 Felger, Andreas, 240 Psalm 117, 112 Psalm 121, 109, 112, 202, 216, 237, 257 Gadamer, Hans-Georg, 99 Psalm 130, 78 Ghielmi, Lorenzo, 57 Psalm 131, 112 Glass, Philip, 266 Sarah, 51 Görlitz Prize, 39 Sermon on the Mount, 24 Grammys, 126, 189, 235, 255 Bowers-Broadbent, Christopher, 54–55, 57, 80, Greenbaum, Stuart, 3–4, 119, 121 175 Gregorian chant, 30 Bradshaw, Susan, 24 Grillo, Tyran, 141 Brauneiss, Leopold, 36, 202, 214, 223 Brennecke, Wilfried, 111 Haselbock, Martin, 57 Brentano, Clemens, 106, 247 Hilliard Ensemble, 105, 120, 126, 175, 179, Britten, Benjamin, 18 188, 227 Burns, Robert, 208 Hillier, Paul, 24, 36, 54, 86, 156, 174, 186 hocket, 212 Cage, John, 28 Canet, Agustin Gutierrez, 258 ISTLLbul, 250 Cello8ctet of Amsterdam, 249 Church Fathers, 90 Jabès, Edmond,