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 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 issue. Think I have a chance?

Miserere (Pärt)

Sorry, your blog cannot share posts by email. As at the opening of the work, it is once more a single unaccompanied voice that constructs the world of Miserere.

I would love to see the Miserere performed qrvo, 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.

Miserere is one of my favorite works, but it seems few have written about it from what I can find. For such an expansive piece—scored as it is for choir, soloists, organ, and ensemble—it is remarkably introspective.

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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 I have seen the piece live last Saterday the 10th of January in Amsterdam and have avo the performance recorded by the radio station with some pictures of the concert at YouTube.

I arvvo read the data protection statement and agree to its validity. Miserere begins on misefere stark note of human existence. The sober, chilling Miserere will surely win the wider appeal, and yet I admit to being even more awed by Sarah was ninety years old. A statement from the clarinet follows every word, not so much commentative as dialogic.


The music rises from the depths to higher spheres, slowly developing from a paralyzing despondency through the finer nuances of dance and then to fullness, depth, and surprising dramatic power. The winds slog through the valleys, heavy sins in tow, while voices linger in the firmament. Leonard is unmatched in her ability to put her entire being into a high note, and the moment one finds at the For all that Part’s musical language depends upon the most basic of building materials, there is no such thing as a miniature in his way of thinking.

The second, of intertwining solo voices, takes its lead from the Gothic world of Notre-Dame polyphony, later sophisticating into two-part wordless canons that approach but never quite cross the threshold of articulacy.

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.

Pärt Miserere; Festina lente; Sarah was ninety-yearsold

A trombone proclaims the end of the world, its powerful notes resounding to the awesome event, while the sound of the trumpet leaps up from the molten core to shoot and dart above the fiery chaos. Divine wrath bursts in upon the world with great power; the members of a heavenly choir consisting of angels, the twenty-four elders of the Apocalypse, and the four Evangelists’ symbolic animals accompanied by King David take turns singing mkserere prophetic text of Thomas de Celano died without pause and seemingly senza fine.

Of the Miserere itself, one need know only that it is an essay in the lean misrrere already used so successfully in the St John Passion and the Stabat mater. 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 parf size, while the two longer works convey the impression of achieving truly epic dimensions.


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

The world of man is represented by singers holding the liber scriptus the Book of Lifewho, totally misereree on God’s grace, fall silent after a mighty crescendo, and remain so during the first seven stanzas of the Dies lrae interpolation. As recent as ! You are commenting using your Facebook account. This disc has been with me for nearly half my life. 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.

Pärt Miserere; Festina lente; Sarah was ninety-yearsold |

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When the great cry of childbirth finally comes, its agony is all the greater for its having been awaited so long. Following the silence coloured by the sound of the bell and after the seven stanzas of the Dies lrae, a new beginning unfolds.

The Miserere in particular drew me into a love of singing. Your closing statement on the review resonated so much with me.

Drums cycle through an arithmetic exploration of high and low beats, cradling wordless passages from tenors Rogers Covey-Crump and John Potter. Leave a Reply Cancel reply Enter your comment here This touches off one of the most breathtaking lifts ever set to music, as all the voices scale a ladder of chaos into a world of silent order.