Arvo Pärt :: “Silentium” - Mississippi Records
Eduard Steinberg :: "Composition (June 1997)
Prolific pioneer of “holy minimalism,” an entity of esoteric evolution, and the almighty atmospherics of albums/pieces like “Tabula Rasa,” “Passio Domini Nostri Jesu Christi Secundum Joannem,” “Spiegel im Spiegel,” Allar Kaasik Tšello,” “Credo,” to name a few, Pärt is considered to be one of the most influential composers of his generation alongside greats such as Henryk Górecki, and John Tavener, all of whom Pärt has significantly outlived. A sonic student of film scoring, for which he produced music for over fifty films throughout the 1950s, the composer and his complex continuation into melodic mediums won him the First Prize from the all-Union Society of Composers for an outstanding body of work that, up until that point, clocked in at over 1,200 pieces of music when he was just in his early 30s. More machine than man? It’s hard to say when it comes to these eager examples of absolute creative control, but as we further our brows into the disturbing depths occupied by the millions of miles of material and total temptation into the ever-expanding ecosystem of Pärt’s cosmic career, let us take a moment to reflect on the ultimate richness of the composer’s historical hand and its rare rapture on society, Estonian enlightenment and the overall approach to music and it’s liberating lifestyle. While gravitating towards a never-before-released version of “Silentium,” the second movement of the composer’s most famous 1984 concerto “Tabula Rasa” on ECM, performed by the Boston-based chamber orchestra A Far Cry, features soloists Alexi Kenney and Stefan Jackiw, and captures the overall spirit of the material expressed by the group played at nearly half the speed of the original recording, making its sublime structure even more spiritual and sophisticatedly sacred.
“I have nothing to say… Music says what I need to say. And it is dangerous to say anything because if I’ve said it already in words, there might be nothing left for my music.”
Known for its melodic medicinal properties, the piece was regularly played at care facilities for the dying and severely ill, where one patient famously described it as “angel music.” Harmoniously healing the hurt with subconscious subscriptions and atmospheric antibiotics, “Silentium” and its cosmically communal efforts shine through from complex contributors such as the Hungarian State Opera Orchestra and Pianist Marcel Worm on tracks “Vater Unser (Arr. for trombone & string ensemble),” “Fratres for Strings and Percussion,” which is one of Pärt’s most celebrated works to date. While focusing on the romantic reverberation of connection, pure emotion, and climatic conditions, Pärt’s “Silentium” is a monstrous masterpiece that has been given new life by world-renowned musicians from all walks of life and generational generosity. Set for release on Mississippi Records on March 21st, “Silentium” desperately demonstrates the multi-faceted layers of the human condition in a way that even Bach or Mozart couldn’t comprehend. Accompanied by a screening of the documentary “And Then Came the Evening and the Morning at Anthology” upon the album’s release at the Film Archives in New York in late March, Pärt’s prolifically poetic career will be harmoniously highlighted in a way that will showcase his significant talent and world-class musicianship.
