Death and suffering are the themes that concern every person born into this world. The way in which the individual comes to terms with these issues (or fails to do so) determines his attitude towards life, whether consciously or unconsciously... This is the subject matter underlying my composition Lamentate. Accordingly, I have written a lament - not for the dead, but for the living, who have to deal with these issues for themselves. This was how composer Arvo Pärt referred to his largest instrumental work to date and these are precisely the questions - death and suffering - which run through this recording. Pärt, born in 1935 in Paide (Estonia), knows what he is talking about: harassed by the Soviet authorities who branded his art as over-modern and excessively religious, he underwent a profound personal crisis that led him to unfathomable suffering, reclusion and an end to his first phase of composition. As part of his subsequent artistic resurrection in the mid-nineteen seventies, he began to produce music which he defined as «tintinnabuli», inspired by the pealing of bells and based on sacred texts, mostly in Latin or in the Slavic language used in Orthodox church liturgy. Pärt himself described his style as follows: "... I must search for unity... everything that is unimportant falls away. Tintinnabulation is like this. Here I am alone with silence. 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".
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Death and suffering are the themes that concern every person born into this world. The way in which the individual comes to terms with these issues (or fails to do so) determines his attitude towards life, whether consciously or unconsciously... This is the subject matter underlying my composition Lamentate. Accordingly, I have written a lament - not for the dead, but for the living, who have to deal with these issues for themselves. This was how composer Arvo Pärt referred to his largest instrumental work to date and these are precisely the questions - death and suffering - which run through this recording. Pärt, born in 1935 in Paide (Estonia), knows what he is talking about: harassed by the Soviet authorities who branded his art as over-modern and excessively religious, he underwent a profound personal crisis that led him to unfathomable suffering, reclusion and an end to his first phase of composition. As part of his subsequent artistic resurrection in the mid-nineteen seventies, he began to produce music which he defined as «tintinnabuli», inspired by the pealing of bells and based on sacred texts, mostly in Latin or in the Slavic language used in Orthodox church liturgy. Pärt himself described his style as follows: "... I must search for unity... everything that is unimportant falls away. Tintinnabulation is like this. Here I am alone with silence. 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".
