Arvo Pärt: Tabula Rasa; Symphony No. 3; Collage
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Composer: Arvo PartConductor: Takuo Yuasa
Orchestra: Ulster Orchestra
Edition: Music CD
Audio: English (Original Language)
CD Release Date: 2001-01-16
Music Label: Naxos
Soundtracks:
- Tabula Rasa: Ludus - Leslie Hatfield/Rebecca Hirsch
- Tabula Rasa: Silentium - Leslie Hatfield/Rebecca Hirsch
- Collage Uber BACH: Toccata
- Collage Uber BACH: Sarabande
- Collage Uber BACH: Ricercare
- Sym No.3: First Movt
- Sym No.3: Second Movt
- Sym No.3: Third Movt
Music reviews of Arvo Pärt: Tabula Rasa; Symphony No. 3; Collage
Music Review: Interesting piece in uncompetitive performance and recording
Rating: 1 Stars
This Naxos disc contains three works of Arvo Part, with one in his serial phase, another a transitional work, and the last in his best-known "tintinnabuli" style. The performances by the Ulster Orchestra conducted by Takuo Yuasa are generally not competitive and the disc as a whole is disappointing.
"Tabula Rasa" (1977) for two violins, prepared piano, and string orchestra is probably the most instantly likeable piece on this disc. It is divided into two parts, and the first, "Ludus" is an intricate dance marked as to be performed "with movement", and here the two violins repeat the same theme over and over while true development is handled under the surface by a string orchestra. It is followed by "Silentium" ("Silence"), the meditative flip-side to be performed with as little movement as possible. Here the two violins are performed by Lesley Hatfield and Rebecca Hirsh. Unfortunately, this performance does not hold up very well against others. The sound is astringent and the pacing idiosyncratic, with Yuasa driving some portions far too slowly and others at too fast a pace (the end result is about two minutes shorter than it should be). The performance on the TABULA RASA disc on ECM by Gidon Kremer and Tatjana Grindenko (violins) and Alfred Schnittke (prepared piano) can be seen as definitive and it is that performance which should be sought out by anyone curious about "Tabula Rasa".
"College ueber BACH" (1964) is a play on those four notes and a general tribute to Bach, weaving in and out of serialism. Of the three movements, the first ("Toccata") and last ("Ricercare") are scored for only strings. The central movement, "Sarabande" adds solo oboe, harpsichord, and piano and contains eight-bar distortion of Bach's theme of the same name from the "English Suite No. 6 in D Minor". It's an interesting and amusing piece, but it does not rank with the latest portions of Part's oeuvre.
"Symphony No. 3" (1971) is generally seen to be a transitional work falling between serialism and minimalism. The connection to earlier pieces like "Collage Uber B-A-C-H" is, I should think, apparent, but the strikingly novel bell sounds are a clear foreshadowing of his later style. This symphony was dedicated to Neeme Jarvi and the performance available on Deutsche Grammaphon by the Gothenburg Orchestra conducted by the dedicatee is really something nice. The Ulster Orchestra gives a clunky performance and the quality of the recording is far from ideal.
If you are interested in the work of Arvo Part, this pieces on this work may be a good place to start, but you'd want to seek out better performances, such as the TABULA RASA disc on ECM. However, an even better introduction to Part, with music that has a better chance of standing the test of time, might be his KANON POKAJANEN.
Description of Arvo Pärt: Tabula Rasa; Symphony No. 3; Collage
All products are BRAND NEW and factory sealed. Fast shipping and 100% Satisfaction Guaranteed.Along with Fratres, Tabula Rasa is easily the most popular instrumental composition that Estonian composer Arvo Pärt has ever penned. It's no wonder, either. This swirling double concerto for violins, string section, and piano is crammed with sonic drama, as well as quiet moments, making it the perfect showpiece for the composer's meditative tintinnabuli style of composition. Violinists Leslie Hatfield and Rebecca Hirsch deliver an electrifying performance of this work that easily stands alongside interpretations by Gidon Kremer (to whom this piece was dedicated) and others. Compared with Kremer's recordings, the prepared piano sounds a bit muted here, but this is a minor qualm--the violins and Ulster Orchestra steal the show. Going back in time, Collage uber BACH dates from 1964 and shows us how far Pärt's compositional style has evolved over the decades. Dense string textures give way to brief allusions of Bach, though the piece is thoroughly indebted to serialism. Symphony No. 3 from 1971 is one of the composer's lesser-recorded masterpieces, which is a shame because it shows the composer at a crossroads, incorporating elements of modernism, Gregorian chant, and polyphony. The resulting work sounds epic, gripping, and reflective, but ends with an unexpected last gasp of excitement.
Pärt fans won't need much convincing to buy this disc; these are great performances. But every classical CD collection should have at least one disc by the master of "holy minimalism" (and so much more), and this budget-priced disc is just about the perfect introduction to the composer's instrumental works. --Edward Garabedian
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