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De profundis arvo part

A quote from the composer opens the liner notes: "The human voice is the most perfect instrument of all." Arvo Pärt clearly knows how to write for it, and the performers assembled for these recordings handle the material with like-minded respect. De Profundis is a deeply reverent collection of works written and/or arranged for choir in a style the
composer is credited for inventing, the tintinnabuli. The primary structure of it comes from tonal triads holding their positions and modulating, in a way not unlike medieval music. Consequently, this work has historical significance as far back as the fourth century. Never mind the fact that, simply put, it's gorgeous. "De Profundis (Psalm 129)" builds
with a rumbling of male voices that ascends piously with added support from Christopher Bowers-Broadbent on the organ and Dan Kennedy on percussion, adding weight that's felt as much as heard. "Missa Sillabica" breathes in a way that belies its rather logistical structure, with pitch determined by word length and pauses determined by
punctuation. "Solfeggio" has a weightlessness to it, structurally more open-ended and forward-thinking than any other track here, and yet it's the earliest composition featured on the disc (1964). It's a simplified György Ligeti tone cluster that exists rather than evolves, and beautifully so. An a cappella arrangement of "Summa" is also included, and
the vocal approach actually brightens and intensifies the composition. "Seven Magnificat Antiphones" shimmers with short passages of sweetness and contemplative stillness, alluding to the seven evenings prior to Christmas Eve. "The Beautitudes," Pärt's first foray into the English language, is the text from Matthew 5:3-12 ("Blessed are the poor in
spirit..."). This piece relishes in the space between phrases, making it closer to a tone poem with bookends in F minor. Paul Hillier, the artistic director of the featured Theatre of Voices, gives exhaustive and detailed analysis of these compositions (having written a book on Pärt), and his presence here is the ultimate seal of approval. Estonia's greatest
living composer is praying through his music, and it's intoxicating enough to convert all listeners. Reviewed by John IrvineFor Arvo Part the human voice is the most perfect instrument of all, hence his fascination with writing choral music. Part's unearthly "tintinnabuli" style of composition draws upon two of the most fundamental aspects of tonal
music - the scale and the triad - a style that is frequently likened to mediaeval music. Part is a contemporary composer: it's just that his sense of "now" encompasses fourth century chant, early polyphony, Bach, Mozart and Britten. This collection contains some of Part's finest writing for the human voice, here supported by only the most necessary of
accompaniment: church organ and percussion. "De Profundis" (1980) is an impassioned and yet simple vocal setting of Psalm 129 where the voices climb out of the very depths of despair, with a funereal drum beat. Immediately we are drawn into an atmosphere of impassioned worship and reverence. "Miss Sillabica" (1977, revised 1996) is an
unusual piece where Part literally draws the text out of the music: there is a note for each syllable, an the pitch of the note is determined by the length of each of the words of the text. The effect is stunning. The atmospherics are continued in the unaccompanied chant "And One Of The Pharisees" (1990), a setting for three voices of Luke Chapter
seven which bears more than a passing resemblance to the purity of Gregorian Chant, slow and reverent, an approach to be contrasted with the joyous "Summa" (1997) with the Latin words of the Credo spinning round and round as free as the breeze. The performance by the Theatre Of Voices is as near faultless as is humanly possible. The Theatre
Of Voices is a vocal group founded by Paul Hillier, whose close friendship and collaborations with Part have resulted in many outstanding and indeed award winning recordings, and this collection looks like being no exception to the rule. The recording itself is wonderfully spacious, if a little quiet: not a problem on CD, but beware if you buy this on
tape. The programme is tried and tested with staunch favourites "Summa", "Magnificat", and "De Profundis" headlining a collection of fairly well known pieces. Indeed, perhaps the pieces selected here are a little too tried and tested. There is little new material and even the world premier recording of "And One Of The Pharisees" was beaten to the
shops by Paul Hillier's old mates the Hilliard Ensemble (reviewed in CR38). This is probably one of the best vocal collections for beginners, but there is little here to surprise collectors of Part recordings. However, performance wise, this is leaps and bounds ahead of the competition. The opinions expressed in this article are not necessarily those held
by Cross Rhythms. Any expressed views were accurate at the time of publishing but may or may not reflect the views of the individuals concerned at a later date.Interested in reviewing music? Find out more here. Jun 13, 2021€9.00€12.72€21.217:571De Profundis (Psalm 129, 1980)8:19Missa Sillabica (1977 / 96)
(12:52)2Kyrie2:213Gloria2:164Credo3:445Sanctus1:206Agnus Dei2:357Ite Missa Est0:288Solfeggio (1964)5:149"And One Of The Pharisees" (1990)10:1510Cantate Domino (Psalm 95, 1977)2:5011Summa (Credo, 1977)6:24Seven Magnificat Antiphons (1988 / 91)(14:57)12O Weisheit1:5013O Adonai2:5214O Sproß1:0715O Schlüssel1:5716O
Morgenstern2:2117O König1:2918O Immanuel3:2619The Beatitudes (1990 / 91)8:0820Magnificat (1989)6:47World premier recording: Tracks 2 to 8, 10.Recorded in the presence of the composer: May 4-7, 1996, at the Chapel of St. Vincent's School for Boys, San Rafael, California (tracks 8, 9, 11 to 18, 20) and St. Stephens Church, Belvedere,
California (tracks 1 to 7, 10, 19).Mastered at Audio Mechanics, Los Angeles, California.Harmonia Mundi France. © 1996, 2003 Harmonia Mundi USA.Made in Germany.Barcode: 0 93046 71826 8Label Code: LC 7045Price Code: HM 93Matrix / Runout (CD layer): [Sonopress logo] 50752360/HMU807182 01Matrix / Runout (SACD layer): [Sonopress
logo] 50752359/HMU807182 D 01Mastering SID Code (both layers): IFPI LP 73Mould SID Code: IFPI 07D4 View record and artist details Author: Paul Hillier’s Theatre of Voices, like the Hilliard Ensemble with whom he was associated before settling in America, have given the music of Arvo Part a prominent place in their repertoire. Hillier has also
written a book on Part – from which his notes accompanying this CD are mostly drawn (The Music of Arvo Part; OUP: 1997) – and in the collective interview run in last September’s issue (page 14) he described his first encounter with several of Part’s scores, “Something leapt out at me: this was the kind of music I had been waiting to perform”.All this
should point to performances of authority and conviction, but while there is no doubting the authority and sincerity behind Hillier’s interpretations, I can’t review this disc without certain reservations. Mostly, it must be said, these are centred on the very one-dimensional recording which does few favours to the singers and even fewer to the music
itself. But the Theatre of Voices do not always convince me that they are totally at ease with either the detail or spirit of the music. Tuning is occasionally suspect; the celebratory opening of the Sanctus in the Missa Sillabica seems strained while some of the overlapping vocal entries in Solfeggio wobble disconcertingly. However, this latter piece also
includes some of the most sublimely beautiful music on the disc – perhaps surprisingly so since it dates from 1964, long before Part had abandoned serialism and developed his characteristic, and immensely popular, ‘tintinnabuli’ style. However, reservations are easily outweighed by the strength of most of these performances. Clearly the singers
relish the intensely moving And one of the Pharisees – as well they might since it was composed for them – and their obvious enchantment with the delightful little Cantate Domino is utterly infectious. I also find their performance of the Magnificat Antiphons singularly compelling.Many of these works are receiving their first performance on disc and
all represent a major contemporary composer at his best. That alone should provide more than enough recommendation for a disc which also contains some excellent choral singing.' Sign up for FREE access to Apple Music for three months Digital Edition Digital Archive Reviews Database Events & Offers Digital Edition Digital Archive If you are a
library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information. Les cookies assurent le bon fonctionnement de nos services. En utilisant ces derniers vous acceptez l'utilisation des cookies. OK Hyperion offers both CDs, and downloads in a number of formats.
The site is also available in several languages. Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults. Don't show me this message again Page 2 PERFORMANCE RECORDINGNeben Werken für Chor (teilweise mit Orgel) ist auf der Einspielung des britischen Labels Hyperion (2014) auch das
Orgelstück 'Annum per Annum' enthalten, in dem der Organist Andrew Lucas sein Können auf der Orgel der Londoner St. Paul’s Cathedral unter Beweis stellt. Sowohl Ensemble als auch Dirigent sind sehr erfahren in der Aufführung von Musik aus dem 20. Jahrhundert. Das dreisprachige Booklet (englisch, französisch, deutsch) bietet einen
interessanten Text über Pärts Leben und Werk, dessen deutsche Übersetzung allerdings dürftig ist (zum Beispiel wurde "triad" mit "Triaden" übersetzt statt mit "Dreiklang"). Auf die hier eingespielten Werke wird kurz einzeln eingegangen. Informationen zum Ensemble und zum Dirigenten sind nur in englischer Sprache enthalten, über den
Orgelsolisten Andrew Lucas erfährt man leider überhaupt nichts. Die hier zusammengestellten Kompositionen von Arvo Pärt entstanden im Zeitraum von 1980 bis 1991. Die Einspielung beginnt mit der 'Berliner Messe' (1990), die für vier Solisten und Orgel für den 90. Deutschen Katholikentag geschrieben, später jedoch für andere Besetzungen
umgearbeitet wurde. Der Credosatz ist an eine ältere Komposition Pärts angelehnt. 'The Beatitudes' (1990) in englischer Sprache für Chor und Orgel sind eine Vertonung der Seligpreisungen aus dem Matthäusevangelium, genauer gesagt der Bergpredigt. 'Annum per Annum' (1980), eines der populärsten Werke Pärts für Orgel solo, bezieht sich auf
die fünf Sätze der Messe, eingerahmt von einer Einleitung und einer Coda. Die nun folgenden Kompositionen sind allesamt a capella. Das bei Chören besonders beliebte 'Magnificat' (1989) ist ein kurzes einsätziges Werk für fünf Stimmen (SSATB) und Sopran solo, während die 'Sieben Magnificat-Antiphonen' (1988) für vier Stimmen komponiert sind.
'De profundis' (1980) für vierstimmigen Männerchor, Orgel und Schlagzeug (Basstrommel, Gong und Glocke), eine Vertonung des 130. Psalms, bildet den Abschluss. Das Vokalensemble Polyphony begeistert auf dieser Aufnahme durch lupenreine Intonation und glasklaren Chorklang. Das Ensemble meistert jedoch nicht nur die technischen
Schwierigkeiten dieser durchaus anspruchsvollen Chorliteratur mit Bravour, es überzeugt auch durch die durchweg gelungene Interpretation der Werke. Sowohl die dynamischen als auch die emotionalen Kontraste, die für Pärts Kompositionen so charakteristisch sind, werden sehr feinfühlig herausgearbeitet. Auch in extremen Lagen und
Lautstärken leidet jedoch nicht die Klangqualität unter der Expressivität, was diese Passagen zu einem besonders beeindruckenden Klangerlebnis macht. Polyphony erfüllen mit dieser Aufnahme nicht nur alle Erwartungen an eine CD mit Werken von Arvo Pärt, sondern übertreffen sie um Längen.Klassik.com, Germany A dark gold Orthodox light
permeates all the performances, which lends a consistency to the whole programme. It is music in a continuous state of exaltation - from open-mouthed awe to ecstatic... — BBC Music Magazine, May 2006, More… Usually despatched in 3 - 4 working days The Berliner Messe is itself a typically mutable work, originally for four voices and organ, and
subsequently arranged for choir and organ… and, as here, for choir and strings. Within the cool... — BBC Music Magazine, November 2004, More… Usually despatched in 3 - 4 working days

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