Arvo Pärt

Underpinning lovely playing, it’s the performers’ sensitivity to Part’s mathematically-inspired structures that lends real eloquence to his soundworld. The sense of proportion in tempo, phrase... — BBC Music Magazine, January 2019, 5 out of 5 stars (Performance) / 4 out of 5 stars (Recording) More…

Release Date: 28th Sep 2018
Catalogue No: ONYX4201
Label: Onyx
Length: 58 minutes

Limelight Magazine Recordings of the Year

2019

Nominated - Orchestral

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This release includes a digital booklet

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Pärt: Darf ich… for violin, bells & strings

Work length2:52

$1.00

$1.40

$1.75

Viktoria Mullova (violin)
Estonian National Symphony Orchestra
Paavo Järvi

Pärt: Fratres

Work length10:26

$1.50

$2.10

$2.60

Viktoria Mullova (violin)
Estonian National Symphony Orchestra
Paavo Järvi

Pärt: Passacaglia

Work length4:42

$1.00

$1.40

$1.75

Viktoria Mullova (violin)
Estonian National Symphony Orchestra
Paavo Järvi

Pärt: Tabula Rasa

Work length31:32

Album only

Viktoria Mullova (violin), Florian Donderer (second violin)
Estonian National Symphony Orchestra
Paavo Järvi

I. Ludus

Track length10:57

$1.50

$2.10

$2.60

II. Silentium

Track length20:35

Album only

Pärt: Spiegel im Spiegel

Work length9:25

$1.50

$2.10

$2.60

Viktoria Mullova (violin), Liam Dunachie (piano)

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The works on Viktoria Mullova’s new album devoted to Arvo Pärt’s music for violin stem from the composers study of medieval church music, and are products of what Arvo Pärt himself describes as a ‘tintinnabuli’ style, developed by the composer in the 1970s through studying medieval church music ‘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.’

They have become some of the most iconic pieces in the contemporary repertoire and have reached out way beyond the usual ‘classical’ music world in their popularity. This album was recorded in the presence of the composer.

Reviews

January 2019

Underpinning lovely playing, it’s the performers’ sensitivity to Part’s mathematically-inspired structures that lends real eloquence to his soundworld. The sense of proportion in tempo, phrase arc and inner voices is striking.

Awards Issue 2018

This is not music that hinges on sudden shifts and sharp contrasts. However, at its core lies the age-old dichotomy between freedom and control, head and heart…Mullova brilliantly manages to tease out these dichotomies on this new recording…In Fratres, she approaches each variation from a different angle. Sap and rosin fly off the bow in the coruscating arpeggio figurations of the opening chord sequence.

Arvo Pärt

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