This double-disc survey of Arvo Pärt's distinctive oeuvre covers his most popular choral pieces, but also presents enough of his early work to provide a reasonably accurate portrait of a composer who has passed through several eventful decades and made several adjustments in his style. A few of Pärt's more experimental pieces are presented here, as well as examples of his later, more familiar sacred works employing the tintinnabular method. Yet even when it is most dissonant or atonal (e.g., in the second movement of the ...
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This double-disc survey of Arvo Pärt's distinctive oeuvre covers his most popular choral pieces, but also presents enough of his early work to provide a reasonably accurate portrait of a composer who has passed through several eventful decades and made several adjustments in his style. A few of Pärt's more experimental pieces are presented here, as well as examples of his later, more familiar sacred works employing the tintinnabular method. Yet even when it is most dissonant or atonal (e.g., in the second movement of the Symphony No. 1), Pärt's music always seems to point toward a modal hierarchy of tones based on major or minor triads. The "ringing of changes" on these chords is most evident in the later choral works, represented by excerpts from the Berliner Messe, Passio, and whole presentations of the Magnificat, The Beatitudes, and the Triodion. Also, Cantus in memoriam Benjamin Britten, Fratres, and Tabula Rasa are representative of Pärt's skillful writing for strings in this layered, shimmering...
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