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Arvo Pärt : Passio / Passion selon St Jean

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  • Arvo Pärt : Passio / Passion selon St Jean
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Détails sur le produit

  • Interprète: Michael George, Hilliard Ensemble, Western Wind Choir
  • Compositeur: Arvo Pärt
  • CD (8 mai 2015)
  • Nombre de disques: 1
  • Label: Ecm New Series
  • ASIN : B000026035
  • Autres éditions : Téléchargement MP3
  • Moyenne des commentaires client : 5.0 étoiles sur 5 2 commentaires client
  • Classement des meilleures ventes d'Amazon: 2.021 en Musique (Voir les 100 premiers en Musique)
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Disque : 1

  1. - passio domini nostri jesu christi secundum joannem - Arvo Pärt

Description du produit

ARVO PÄRT : PASSIO / PASSION SELON ST JEAN


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Format: Téléchargement MP3
à ce prix, une bonne manière de découvrir ce compositeur à travers une de ses œuvres importantes, de plus, dans une interprétation excellente.
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Format: CD
Arvo Pärt est né le en 1935 à Paide, au sud de Tallinn (Estonie). Il entre en 1954 à l'École secondaire de musique de Tallinn, puis au conservatoire de Tallinn en 1957, où il étudie avec Heino Eller (1887-1970). Au début des années 1960, il s'initie à la composition sérielle, dont relèvent ses deux premières symphonies. À la fin des années 1960, Arvo Pärt renonce au sérialisme, et pendant un certain temps à la composition elle-même, temps qu'il consacre à l'étude du plain-chant grégorien et à celle de compositeurs médiévaux français et flamands tels que Guillaume de Machaut (né vers 1300-1377), Johannes Ockeghem (né vers 1420-1497), Josquin des Prés (né vers 1450-1521) ou Jacob Obrecht (1457 ou 1458-1505). Ces études et réflexions aboutiront notamment à l'écriture de sa troisième symphonie. Son évolution stylistique est parfaitement notable en 1976 avec la composition de « Für Alina » pour piano, qui marque une rupture très radicale avec ses oeuvres précédentes et, l'année suivante, Pärt compose trois de ses pièces les plus importantes, « Tabula rasa », « Fratres » et « Cantus in Memoriam Benjamin Britten ». En butte à une certaine forme de censure, touchant en particulier ses oeuvres religieuses, il quitte l'URSS en 1980 pour la ville de Vienne, où il obtient la nationalité autrichienne et, dès l'année suivante, part pour Berlin-Ouest (Berlin) où il vit depuis cette époque. En 1996, il est devenu membre de « l'American Academy of Arts and Letters ».Lire la suite ›
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Amazon.com: 4.2 étoiles sur 5 16 commentaires
4 internautes sur 4 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 70 minutes of vintage Arvo 16 novembre 2012
Par Eric S. Kim - Publié sur Amazon.com
Format: CD Achat vérifié
If you know anything about Arvo Part, then you would know that a composition like St. John Passion shouldn't be taken lightly. Choral works such as this one aren't exactly melodic and lively. Passio is a structurally minimal and heavily ethereal composition that might be one of Part's most passionate. The narrative is what you would expect in a typical St. John Passion, which is the last moments of Christ as he is crucified. Unlike most interpretations, this one by Part is rather light and almost simplistic. There are hardly any moments of tension. But then again, there are many moments of sheer beauty. Melodies aren't very memorable, but I don't think that's the point. The soloists and choir play a huge part on this Passion, and they become the true stars of Passio. The Hilliard Ensemble gives a rousing performance, and the choir is very stunning to listen to.

However, keep this in mind: do NOT expect to hear some exciting melodic music. This choral composition is seventy minutes long with only a few exciting moments and lots of minimal structures, and it might make you sleepy if you concentrate on it a bit too much. My suggestion that, if you actually do purchase this CD/MP3, listen to it while doing homework or something. After the fifth or sixth time, you can listen without any distractions and immerse yourself with the music after gaining full recognition of it. You'll appreciate the beauty of the music by then.

Grade: 9.2 out of 10
5 internautes sur 5 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Beautiful 3 mars 2005
Par nekliw - Publié sur Amazon.com
Format: CD Achat vérifié
This is arguably the best artistic work of St. John's Passion I've ever heard. It's even better if you've just heard Bach's version and then listen to this one. And yes the ending "Amen" is almost worth it alone to buy this recording.
1 internautes sur 1 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Humility, surrender, transcendence 7 avril 2017
Par Lady Fancifull - Publié sur Amazon.com
Arvo Pärt's transcendent music is always a deep experience, demanding attention and engagement from the listener. And whilst the musical lines may seem simple, they are not simplistic, and leave nowhere for musician or singer to hide. Without fidelity and surrender, his music can seem like some kind of technical exercise. Which is very very far from what it is.

Being lucky enough to attend a recent concert performance of Passio, sent me back to listen to The Hilliard Ensemble rendition. This is a long piece, and not one for our InstaGratification Hummable Tunes culture. It is not, in any way, a ‘background piece’ and unfolds itself through its single, 70 minute, unbroken movement. How can ‘The Passion’ be properly realised, glimmeringly felt, if the journey is not undertaken, and ‘snapshot moments’ only are listened to on the hoof?

This music in its purity and careful threading and weaving, requires an extraordinary precision and control to hold the length, flow and placement of the close, dissonant harmonies.

From the crushing, almost overwhelmingly heavy opening of the piece, hopeless, doom laden, arises beautiful, single threads of music and voices, offering, surely some tenderness, some way out of despair, despite suffering. The bass, solo lines of Jesus are steadfast and firm, and musically give a kind of foundation for the other voices, and musical lines to relate to. To sorrowfully, tenderly, and in the end – not quite triumphally, but with the possibility of achieving something hopeful, out of pain, out of despair, soar. The end both breaks, and releases, the heart.

This is indeed a fabulous rendition. Though the experience, of course, of a live performance – The Façade Ensemble, conductor Benedict Collins Rice, offers an intensity that solitary attentiveness to a recording, can never do
47 internautes sur 47 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Part at His Most Minimal 7 janvier 2003
Par Christopher Forbes - Publié sur Amazon.com
Format: CD
Arvo Part has become something of a cottage industry now, with most of his pieces enjoying multiple recordings. The shorter works are especially friendly to new agers, with their quiet moods and sombre spiritual atmosphere. But at his most austere, Part is still a radical and more challenging than an mere aquaintance with works like Spiegel Am Spiegel would lead one to believe. His long works can be as sonically challenging as anything written in the past 50 years, even as they askew atonality, harsh dissonance and complex rhythm. In their very simplicity is their challenge.
Part's St. John Passion is probably his masterwork. Written early in his tintintabulation style (the slow, bell like sonorities and block chords for which he has become famous) this work was produced before the style became too stultifying, while the inspiration was still fresh. Those looking for a dramatic Passion in the tradition of Bach would do best to look elsewhere. (Penderecki would be a good choice. Or James MacMillan's Triduum orchestral series.) Part takes his inspiration from earlier musical dramatizations of the Passion, at times drawing from the tradition of medieval liturgical drama and the passions of Heinrich Schutz. As a result, the work is austere, as were those earlier works, more meant for a worship service than the concert hall. The Evangelist sections are sung by a quartet accompanied by a varying chamber ensemble. Their music resembles nothing so much as the music from Satie's Socrate. It's very lack of passion heightens the emotion of the entire work. Peter, Pilate and Jesus are sung by baritone, tenor, and bass soloists respectively. Jesus' music is particularly effective, slowing down with each utterance on the cross. The choral writing has some of the language of Stravinsky's sacred works and is perhaps the most dramatic element of the entire work. And after Christ's death, sung exquisitely by the Evangelist ensemble on a single quiet note, the choir and organ enter in the first major mode of the work, building to a blazing amen. This moment alone is worth the entire CD and I believe could not be as effective without the austerity of the rest of the work.
Part of the difficulty of appreciating this masterwork is our societal expectation that things be "full of something". Full of drama, full of sound, full of distracting events. Part's music, by it's sheer length and simplicity of means, challenges us to listen differently, not for distraction but for something deeper. This work should not be listened to as a "concert piece" but rather as a religious ceremony. I tend to dust it off only once a year during Holy Week. Taken in that context, the work is unlike anything else, and a journey deep into the central mystery of the Christian Faith, without any dramatic trappings or adornments. It's a journey well worth taking.
10 internautes sur 10 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Incredible.... the best for a long drive. 27 mars 2004
Par Robert E. Powell - Publié sur Amazon.com
Format: CD
I have had this CD for years and it is utterly amazing.
This music is contemporary classical music at its best, and is accessable by everyone. I have even had a couple friends that are total hiphop junkies just wig out when they heard it the first time, then come back and say... hey can I borrow that CD..
And this music is fantastic for those long road trips where you want to zone out a bit driving through the desert.
A bit of analysis....
Parts minimalistic approach is incredible.
The performace by the Hillard Ensemble is flawless. The bass voice potraying jesus...I can't even say, it is that good.
The simple changes with the chorus singing for ages in a-minor only to hear interjections by the Angry mob in e-major (V) is intense, and by far that is Parts talent at its heart. Building a musical experience that is haunting.. enjoyable... unfamiliar and can do more with a I-V or I-IV chord progression than any other composer I have ever heard.
The 4 part chorus is an incredible mix, it has either 1 (if 2 voices) or 2 (if 4 voices) people singing standard gregorian chant for the dialogue, while the other voice does a simple but unfamiliar (in vocal music) semi random arpeggiation over an a-minor chord. When I saw the simplicity on paper, I couldn't possibly believe how effective it sounds in the recording due to voice line crossovers and strange timbres created by this.
Even when you have seen the music infront of you, the sound is unfamiliar and intense. Parts music is a beautiful puzzle that even when laid out infront of you still amazes.
I cannot highly enough recommend this CD.
By the way, the Te Deum cd is another that will forever be at the top of my cd rack.
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