![]() ![]() However, it was not the composition style that caused the scandal following the premiere of Credo, but its inner message and choice of text as well as the "dangerously" strong impact it had on audiences (when the piece was performed for the very first time, the audience demanded a repetition). On the other, many of his works composed in the 1960s were heavily criticized for example, the neoclassical partita, but above all the dodecaphonic Nekrolog. On one side, he was perceived as one of the most original and outstanding composers of his generation, whose works were also performed and acknowledged outside the USSR. The reception of his music in the Soviet Union at the time was conflicting and complicated. The most extreme and dramatic of them is Credo, composed in 1968 - it is the final renunciation of all means of expression used so far, the turning point in his oeuvre as well as his life. Those works are witness to the growing inner anxiety and crisis for the composer. Pärt's dodecaphony here represents the "unbearable atmosphere of barbed wire" (to use his own words) of all modernist music, and the quest for beauty, purity and perfection is expressed through the stylization of Baroque music or concrete quotes primarily from Bach, but also Tchaikovsky, for example. He describes those worlds as if separated by a deep abyss, which, at the same time, he longs to transcend. ![]() 2 (1966) and Credo (1968), two musical but also spiritual worlds have been set against each other. In his Collage über B-A-C-H, cello concerto Pro et contra (1966), Symphony No. The most remarkable line of development in Pärt's early compositions is his collages, which in his case are expressed in a personal and dramatic manner differing from the usual playful character of the collage technique. However, regardless of the chosen styles or techniques, Pärt's early oeuvre is characterized by a punctual and powerful concept of dramaturgy, concentrated musical material and elaborated form - the elements, which are visibly present in his later tintinnabuli music and can therefore be characterized as the main pillars of his musical thinking.Īrvo Pärt in 1962. ![]() Nevertheless, none of those styles remained permanently in his work nor interested him for very long - many of his early compositions can be viewed rather as brilliant experiments or testing the boundaries. ![]() Pärt had become one of the leading figures in the Soviet avant-garde. The works of Pärt proved to pioneer many of these areas: Nekrolog is the first dodecaphonic, Perpetuum mobile the first sonoristic and Collage über B-A-C-H (1964) the first work employing the collage-technique in Estonian music. Almost simultaneously through their music all the most important styles and compositional techniques of the 20th century were introduced to Estonian music: neoclassicism, dodecaphony, serialism, sonorism, collage technique and aleatoricism. Estonian music in the 1960s was shaped by an entire generation of innovative composers with a modern approach - although a few years older, besides Pärt there were Eino Tamberg, Veljo Tormis, Jaan Rääts and their junior follower Kuldar Sink. Those were also the years of his early modernist compositions. 1 (1963).Įarly period (1958-1968) Pärt worked as a sound engineer at the Estonian Radio from 1958 to 1967. Several works composed during his student years still belong to the official list of his compositions: two sonatinas (1958-1959) and partita (1958) for piano, and orchestral works such as Nekrolog (1960), Perpetuum mobile (1963) and Symphony No. His studies were interrupted by mandatory military service in the Soviet Army (1954-1956), after which, in 1957, he continued at the Tallinn State Conservatoire under Heino Eller graduating in 1963. Having graduated from Rakvere Secondary School No 1 (1954), he continued studying music at the Tallinn Music School under Veljo Tormis. In 1938, the Pärt family moved to Rakvere, where he began to study piano at Rakvere Music School under Ille Martin. There is no compositional school that follows Pärt, nor does he teach, nevertheless, a large part of the contemporary music has been influenced by his tintinnabuli compositions.Ĭhildhood and studies Arvo Pärt was born on 11 September 1935 in Paide, where he also spent his first years. In 1976, he created a unique musical language called tintinnabuli, that has reached a vast audience of various listeners and that has defined his work right up to today. Arvo Pärt is one of those composers in the world, whose creative output has significantly changed the way we understand the nature of music. ![]()
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