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CD ECM Records Arvo Part: Te Deum

Cod produs: CD1505
CD ECM Records Arvo Part: Te Deum

ATENŢIE: Produsul CD ECM Records Arvo Part: Te Deum nu mai este disponibil la AVstore.ro.

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1993
Estonian Philharmonic Chamber Choir
Tallinn Chamber Orchestra
Tonu Kaljuste - dirijor

The Te Deum is a statement on statement, a quantification of the utterance via the merest particle of its articulation. In reading so humbly into his sources, Pärt has rendered inspiration palatable through his own sense of hymnal adoration. One is hard-pressed to reconstruct the Te Deum for those who have yet to peer through its many windows. And though no review, however voluminous, does it a modicum of justice, I can only hope these words at least begin to express its potential effect. [ ecmreviews ]

Prezentare generala CD ECM Records Arvo Part: Te Deum

1993
Estonian Philharmonic Chamber Choir
Tallinn Chamber Orchestra
Tonu Kaljuste - dirijor

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ecmreviews.com:
"The Te Deum is a statement on statement, a quantification of the utterance via the merest particle of its articulation. In reading so humbly into his sources, Pärt has rendered inspiration palatable through his own sense of hymnal adoration. One is hard-pressed to reconstruct the Te Deum for those who have yet to peer through its many windows. And though no review, however voluminous, does it a modicum of justice, I can only hope these words at least begin to express its potential effect.

Next on the album is Silouans Song, an especially moving piece for string orchestra and another I had the great fortune of hearing during the same concert. The piece is dedicated to Archimandrite Sophrony, a disciple of Staretz Silouan (1866-1938), who led a monastic life in the Russian Monastery of St. Panteleimon on Mount Athos starting in 1892. Staretz is a title given to a monk “whose God-given wisdom and insight enable him to serve as a spiritual guide for others.” And what better way to express such a life than through his musical equivalent? The melodies are drawn directly from Silouan’s psalmnodic writings, and their basis in the written word engenders a sacred sort of engagement with the listener. As one of Pärt’s most unflinching statements of faith, Silouans Song rings true as a profession of the spiritual life.

And then there is the Magnificat, an achievement that is beyond words precisely because words are its alpha and omega. The depth of Pärt’s pacing and his attention to breath and pause all forge a most distinct path toward a consciousness in which one need no longer carry the burden of self-aggrandizement. There is a stunning climax in which the tenor rises above the rest at the end of the line “Suscepit Israel puerum suum” (He hath received Israel his servant). During the choir’s performance of this piece, Kaljuste lifted his trembling hand to draw that very note forth with even greater urgency. It is an image I always carry with me when listening to it.

Closing out this vibrant album is the Berliner Messe, a profound statement of Pärt’s liturgical persuasion. Originally for SATB soloists and organ, and later (as recorded here) for mixed chorus and strings, it interpolates into the standard mass text two stunning Alleluias and a Veni Sancte Spiritus, the latter being a Pentacostal text that welcomes the redeeming qualities of the Holy Spirit. The axial Credo molds a shape not unlike his earlier Summa, while the final Agnus Dei withers like a flower in slow motion into static resolution."

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