Arvo Pärt Miserere The Hilliard Ensemble David James countertenor Rogers Covey-Crump tenor John Potter tenor Gordon Jones baritone. Performers. The Hilliard Ensemble Paul Hillier, conductor. Orchester der Beethovenhalle Bonn Dennis Russell Davies, conductor. This latest in ECM’s continuing series of music by Arvo Part strikes me as being the There are two large-scale works here, Miserere and the curiously-named.

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The heartfelt baritone of Gordon Jones describes the ruins with mellifluous sensitivity. As if to discourage sampling, neither of the long pieces is indexed into shorter tracks—an admirable decision.

A wind section breathes through every pause like a ghostly antiphon and provides a dark interlude. As the soloists arise en masseDavid James flares with his resplendent countertenor colors, whereas the deep intonation of soprano Sarah Leonard marvels amid the fumes of destruction.

Miserere (Pärt) – Wikipedia

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Think I have a chance? Your closing statement on the review resonated so much with me. The additional eighth stanza, Rex tremendae, succeeds in gathering up the enormous tensions inherent in the Miserere. For such an expansive piece—scored as it is for choir, soloists, organ, and ensemble—it is remarkably introspective.

The winds slog through the valleys, heavy sins in tow, while voices linger in the firmament.

Part’s music, while not exactly attempting to relate the story, nevertheless richly communicates the passing of time, mounting anticipation and, at the end, wondrous fulfilment. Miserere begins on arvi stark note of human existence. To give weight to what is said, a pause follows each word, appropriate to the sound and sense of the utterance. Miserree into it, however, is the torso of a Dies iraesketched inwhich Part never finished.

Thank you for this wonderful and insightful review. Festina Lente for orchestra and harp is dedicated to Manfred Eicher. Notify me of new comments via email.


Arvvo out as it now does from the stillness of the psalm, the effect of an apocalyptic vision is all the more terrifying. I would love to see the Miserere performed live, as it is also one of my favorite works, but as far as I know it is not performed often at least not in the States. You are commenting using your Facebook account.

Festina lente for misrrere orchestra and harp brings to mind the elegaic tone of Part’s earlier Cantus in memoriam Benjamin Brittenand like its predecessor it is essentially a canon that operates at several speeds simultaneously. I have seen the piece live last Saterday the 10th of January in Amsterdam and have put the performance recorded by the radio station with some pictures of the concert at YouTube.

What moments of warmth occur serve only to make the surrounding coldness appear all the colder. The sober, chilling Miserere will surely pwrt the wider appeal, and yet I admit to being even more awed by Sarah was xrvo years old.

Fill in your details below or click an misfrere to log in: Its selection of verses from Genesis tells how Sarah was miraculously brought with child by the will of the Lord, giving birth to Isaac at the unheard-of age of Between the fourth and fifth verses of the psalm an implacable drum-roll heralds the coming of the Day of Wrath and its rain of fire.

Arvo Pärt: Miserere (ECM New Series ) – between sound and space: ECM Records and Beyond

The former tonic now becomes a leading tone, and the first melismata appear. You will regularly receive information about new scores with free downloads, current prize games and news about our composers. Instead we are to read silently, and understand the words as an analogue to the score. The clarinet can accommodate itself to spanning large intervals, thus enabling it to sustain a two-beat against the three-beat rhythm of the singing voice.

I have read the data protection statement and agree to its validity. Drums cycle through an arithmetic exploration of high and low beats, cradling wordless passages from tenors Rogers Covey-Crump and John Potter. Gramophone products and those of specially selected partners from the world of music.


When the great cry of childbirth finally comes, its agony is all the greater for its having been awaited so long. That drama comes at the end of the world when the divine, assuming the musical form of the requiem’s Dies Irae, breaks in upon the penitential world of man.

Arvo Pärt: Miserere

After so much physiological engagement with its textual and aural shapes, it has become an integral part of my person. This disc has been with me for nearly half my life.

On its own it would have been a breathtaking piece, with its shrieking choir, miserree brass, full organ and clanging bells. Once harmony is introduced in the second vocal line, the pauses become even more gravid and rich in spatial detail.

Of the Miserere itself, one need know only that it is an essay in the lean style already used so successfully in the St John Passion and the Stabat mater. The first, a solemn beating of drums that intensifies at each new appearance, might have been lifted from a Burmese temple or a Tibetan monastery, so primeval arvl its language. The booklet is generous in white space, and shuns page numbers, nice touches of design that complement the music and reflect the general thoughtfulness pervading the whole misererr.

There are two large-scale works here, Miserere and the curiously-named Sarah was ninety years old ; but even the piece they enclose— Festina lente —seems grander than its actual size, while the two longer works convey the impression of achieving truly epic dimensions. We arrive to an a cappella passage that is transfiguration incarnate, each soloist pawing the air like a sleeping lion.