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Nearly all the pieces on this album were first performed and widely promoted by the Latvian violinist Gidon Kremer, one of them — Tabula rasa (1977) — being specifically written with his artistry in mind. They are also all products of what Arvo Pärt himself describes as a ‘tintinnabuli’ style, developed by the composer in the 1970s through studying medieval church music. As Pärt has explained: “I have discovered that it is enough when a single note is beautifully played. This one note, or a silent beat, or a moment of silence, comforts me. I work with very few elements – with one voice, two voices. I build with primitive materials – with the triad, with one specific tonality. The three notes of a triad are like bells and that is why I call it tintinnabulation.” Tabula rasa and Fratres, both composed in 1977, effectively established Pärt’s international reputation. Tabula rasa is effectively a concerto for two violins with string orchestra and a prepared piano, the latter instrument creating explicitly bell-like sonorities in the work’s slow second movement. Fratres, since its first performance by the Estonian ensemble of early music, Hortus Musicus, has been arranged for various instrumental combinations. The version heard here is the composer’s own, written in 1991 for solo violin, strings and percussion (involving claves and bass drum or tom-tom). Bach has long been an important influence in Pärt’s music, as is evident in his Passacaglia, composed in 2003, and in Darf ich... (May I…) originally composed in 1995 and dedicated to Yehudi Menuhin; Pärt subsequently revised the work in 1999, Kremer giving the premiere of this revised version with his ensemble, Kremerata Baltica. Spiegel im Spiegel, composed in 1978, is one of Pärt’s simplest compositions, a violin unhurriedly playing a mostly stepwise melody over a steadily arpeggiating piano part. © Onyx Classics
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Darf ich… for violin, bells & strings (1995/99) (Arvo Pärt)
Viktoria Mullova, Violin - Estonian National Symphony Orchestra - Paavo Järvi, Conductor - Arvo Pärt, Composer
(C) 2018 Viktoria Mullova (P) 2018 PM Classics
Fratres (1991) (Arvo Pärt)
Viktoria Mullova, Violin - Estonian National Symphony Orchestra - Paavo Järvi, Conductor - Arvo Pärt, Composer
(C) 2018 Viktoria Mullova (P) 2018 PM Classics
Passacaglia (2003) (Arvo Pärt)
Viktoria Mullova, Violin - Estonian National Symphony Orchestra - Paavo Järvi, Conductor - Arvo Pärt, Composer
(C) 2018 Viktoria Mullova (P) 2018 PM Classics
Tabula rasa, concerto for two violins (1977) (Arvo Pärt)
Viktoria Mullova, Violin - Florian Donderer, Violin II - Estonian National Symphony Orchestra - Paavo Järvi, Conductor - Arvo Pärt, Composer
(C) 2018 Viktoria Mullova (P) 2018 PM Classics
Viktoria Mullova, Violin - Florian Donderer, Violin II - Estonian National Symphony Orchestra - Paavo Järvi, Conductor - Arvo Pärt, Composer
(C) 2018 Viktoria Mullova (P) 2018 PM Classics
Spiegel im Spiegel for violin & piano (1978) (Arvo Pärt)
Viktoria Mullova, Violin - Liam Dunachie, Piano - Arvo Pärt, Composer
(C) 2018 Viktoria Mullova (P) 2018 PM Classics
Albumbeschreibung
Nearly all the pieces on this album were first performed and widely promoted by the Latvian violinist Gidon Kremer, one of them — Tabula rasa (1977) — being specifically written with his artistry in mind. They are also all products of what Arvo Pärt himself describes as a ‘tintinnabuli’ style, developed by the composer in the 1970s through studying medieval church music. As Pärt has explained: “I have discovered that it is enough when a single note is beautifully played. This one note, or a silent beat, or a moment of silence, comforts me. I work with very few elements – with one voice, two voices. I build with primitive materials – with the triad, with one specific tonality. The three notes of a triad are like bells and that is why I call it tintinnabulation.” Tabula rasa and Fratres, both composed in 1977, effectively established Pärt’s international reputation. Tabula rasa is effectively a concerto for two violins with string orchestra and a prepared piano, the latter instrument creating explicitly bell-like sonorities in the work’s slow second movement. Fratres, since its first performance by the Estonian ensemble of early music, Hortus Musicus, has been arranged for various instrumental combinations. The version heard here is the composer’s own, written in 1991 for solo violin, strings and percussion (involving claves and bass drum or tom-tom). Bach has long been an important influence in Pärt’s music, as is evident in his Passacaglia, composed in 2003, and in Darf ich... (May I…) originally composed in 1995 and dedicated to Yehudi Menuhin; Pärt subsequently revised the work in 1999, Kremer giving the premiere of this revised version with his ensemble, Kremerata Baltica. Spiegel im Spiegel, composed in 1978, is one of Pärt’s simplest compositions, a violin unhurriedly playing a mostly stepwise melody over a steadily arpeggiating piano part. © Onyx Classics
Details of original recording : Recorded 7-9 August 2017, Estonia Concert Hall, Tallinn (Estonia) - Track 6 : 6 May 2018, Saffron Hall, Saffron Walden, Essex (UK)
About the album
- 1 disc(s) - 6 track(s)
- Total length: 00:58:57
- 1 Digital booklet
- Main artists: Viktoria Mullova
- Composer: Arvo Pärt
- Label: Onyx Classics
- Area: Estonie
- Genre: Klassiek
- Period: Contemporary music
(C) 2018 Viktoria Mullova (P) 2018 PM Classics
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