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Arvo Pärt
The music of the Estonian-born composer Arvo Pärt is a unique and powerful voice in the contemporary world. Using a tonal idiom based on a mixture of scales and triads, Pärt created a style that he calls `tintinnabuli'. Listening to it, one is reminded of the passionate and tranquility of some Russian icon, or of certain memorable scenes in the films of Andrei Tarkovsky. In this book, the first full-length study of Pärt, Paul Hillier explores the tintinnabuli works in considerable depth. He also examines the music of Pärt's earlier, somewhat neglected serial period, and charts the composer's steady evolution towards the `abstract tonality' of his later years. In addition, a biographical chapter and discussion of topics such as Russian Orthodox spirituality, minimalism, and the influence of early music, combine to make this a substantial introduction to Pärt's music. Hillier also draws on his own experience of working with the composer to offer thoughts on various performance issues.
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First published January 1, 1997
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December 15, 2021
„All music emerges from silence to which sooner or later it must return. (...) How we live depends on our relationship with death, how we make music depends on our relationship with silence.” (1)
Ovo je jedna poštena, uredna i temeljna muzikološka studija o jednom od najcenjenijih savremenih kompozitora, čiju muziku izuzetno cenim – Arvu Pertu.
Međutim, Pert nije neko ko samo družbuje sa zvukom, već i sa tišinom. Svojim očaravajućim minimalizmom i tintinnabulumom – posebnim stilom komponovanja, koji je svoj naziv dobio u odnosu na splet zvon(čić)a – uvek mu uspeva za rukom da u sazvučju prokrijumčari tišinu. Autor ove monografije čak daje i praktična uputstva šta sa time raditi – jer, kao kod Filipa Glasa, uglavnom ne predstavlja problem odsvirati Pertove note tačno, što nije slučaj sa održavanjem stalnosti i punoće tona, ali i dočaravanjem tišine? Muzika stoga predstavlja ne organizaciju zvuka, već organizaciju tišine – tišina uvek nadilazi zvuk, kao platno boju, i omogućuje je. Ipak, Pertova zvučna arhitektura ima svoju razvijenu genezu, koja nosi u sebi neke stalnosti. Hilier tako na mnogim mestima ističe presudan uticaj pravoslavlja, pogotovo isihazma na Pertovu muziku. On samo donekle obuhvata tematsku sferu, a pre svega se odnosi na muzičke forme, te se na primer analizira povezanost Perta, polifonog pojanja i značenja ikone (5–6) ili upotrebe klepala kao muzičkog instrumenta (21). Imajući to u vidu, zanimljivo deluje da ovakav muzički jezik potiče iz Estonije – jedne od zemalja sa najvećim brojem ateista. I mada se već od samog početka osporavaju estonski tradicijski (folklorni) koreni Pertove muzike, njegova prepoznatljivost i značaj su vremenom postali toliko veliki da je Pert sada sinonim za klasičnu muziku Estonije.
Pol Hilier će mnogo mesta posvetiti i iscrpnoj užoj muzičkoj analizi Pertovog dela (koja mi je, kao nekome ko ne zna ni note da čita, bila velikim delom nedostupna) – pokazaće dominantne obrasce, objasniti uticaj Baha ili Britna ili će tvrditi kako ne-narativni kontekst minimalističke muzike vodi u stalno prisustvo ponavljanja – koje se otvara ka molitvenoj dimenziji (17). Kao jedna od tehnika izdvaja se i kolažiranje (posebno upečatljiv primer je kompozicija „Pro et contra”), ili inovativna muzička rešenja – statična harmonija ili to da u pasiji Hristos peva niži glas od Pilata. Ove pojedinosti nisu namenjene onima koji su radoznalci, već koji su iznutra u muzici, ali ko ima volje može štošta poznato da pronađe.
A kakav je položaj Arva Perta u Srbiji?
Sumnjam da to iko zna – ali Pert je od, bogami 2009. godine, inostrani član SANU. Ne znam kakve su okolnosti dovele do ovog priključivanja, ali ono što znam je da je Hilier u svojoj monografiji citirao čak dva naša muzikologa: Jelenu Milojković Đurić i Miloša Velimirovića. Pomalo nepravedno samoosporavajuće, ali ne i sasvim netačno, primećujem kako je neko baš obavio temeljno istraživanje, ako je došao do nas.
Ko hoće da čuje kako nevino, krhko, a hladnjikavo i oštro lepo zvuči Pertov tintinabuli neka mu uho doskoči do ovog linka: https://www.youtube.com/watch?v=auD7A...
Ovo je jedna poštena, uredna i temeljna muzikološka studija o jednom od najcenjenijih savremenih kompozitora, čiju muziku izuzetno cenim – Arvu Pertu.
Međutim, Pert nije neko ko samo družbuje sa zvukom, već i sa tišinom. Svojim očaravajućim minimalizmom i tintinnabulumom – posebnim stilom komponovanja, koji je svoj naziv dobio u odnosu na splet zvon(čić)a – uvek mu uspeva za rukom da u sazvučju prokrijumčari tišinu. Autor ove monografije čak daje i praktična uputstva šta sa time raditi – jer, kao kod Filipa Glasa, uglavnom ne predstavlja problem odsvirati Pertove note tačno, što nije slučaj sa održavanjem stalnosti i punoće tona, ali i dočaravanjem tišine? Muzika stoga predstavlja ne organizaciju zvuka, već organizaciju tišine – tišina uvek nadilazi zvuk, kao platno boju, i omogućuje je. Ipak, Pertova zvučna arhitektura ima svoju razvijenu genezu, koja nosi u sebi neke stalnosti. Hilier tako na mnogim mestima ističe presudan uticaj pravoslavlja, pogotovo isihazma na Pertovu muziku. On samo donekle obuhvata tematsku sferu, a pre svega se odnosi na muzičke forme, te se na primer analizira povezanost Perta, polifonog pojanja i značenja ikone (5–6) ili upotrebe klepala kao muzičkog instrumenta (21). Imajući to u vidu, zanimljivo deluje da ovakav muzički jezik potiče iz Estonije – jedne od zemalja sa najvećim brojem ateista. I mada se već od samog početka osporavaju estonski tradicijski (folklorni) koreni Pertove muzike, njegova prepoznatljivost i značaj su vremenom postali toliko veliki da je Pert sada sinonim za klasičnu muziku Estonije.
Pol Hilier će mnogo mesta posvetiti i iscrpnoj užoj muzičkoj analizi Pertovog dela (koja mi je, kao nekome ko ne zna ni note da čita, bila velikim delom nedostupna) – pokazaće dominantne obrasce, objasniti uticaj Baha ili Britna ili će tvrditi kako ne-narativni kontekst minimalističke muzike vodi u stalno prisustvo ponavljanja – koje se otvara ka molitvenoj dimenziji (17). Kao jedna od tehnika izdvaja se i kolažiranje (posebno upečatljiv primer je kompozicija „Pro et contra”), ili inovativna muzička rešenja – statična harmonija ili to da u pasiji Hristos peva niži glas od Pilata. Ove pojedinosti nisu namenjene onima koji su radoznalci, već koji su iznutra u muzici, ali ko ima volje može štošta poznato da pronađe.
A kakav je položaj Arva Perta u Srbiji?
Sumnjam da to iko zna – ali Pert je od, bogami 2009. godine, inostrani član SANU. Ne znam kakve su okolnosti dovele do ovog priključivanja, ali ono što znam je da je Hilier u svojoj monografiji citirao čak dva naša muzikologa: Jelenu Milojković Đurić i Miloša Velimirovića. Pomalo nepravedno samoosporavajuće, ali ne i sasvim netačno, primećujem kako je neko baš obavio temeljno istraživanje, ako je došao do nas.
Ko hoće da čuje kako nevino, krhko, a hladnjikavo i oštro lepo zvuči Pertov tintinabuli neka mu uho doskoči do ovog linka: https://www.youtube.com/watch?v=auD7A...
July 20, 2007
Arvo Part has become one of the most widely recognized contemporary composers, mainly due to his accessible "tintinnabuli" style of minimalism, and this entry in the Oxford Studies of Composers series is the first major English-language treatment of his career. The author, Paul Hillier, a recognized specialist in early music, performer in the Hilliard Ensemble, and artistic director of the Theatre of Voices, has often performed Part's music.
This study contains no real biography, but is organized as a chronological exploration of Part's work. The works of the 1960s, first with a dedication to serialism and then making heavy use of collage, are rather hastily covered in a single chapter; clearly Hillier is most concerned with tintinnabuli. The technique in general has a chapter to itself, and then each of the works is analysed. Quotations from the score abound, and knowledge of music theory is necessary. The most extensive coverage is that of "Passio", essential reading for anyone who wants to better understand the work. As a sort of appendix, Hillier includes some advice for musicians who would perform Part's music.
I've generally been unhappy with Part's "holy minimalism", as much of his oeuvre contains no clear theology and lets the listener find whatever he wants in it. He has been most successful when he put his services to the work of the Orthodox Church as in "Litany" and "Kanon Pokajanen" where there is no room for differing opinion. Hillier's study, however did help me better appreciate certain tintinnabuli works. The "Passio", for instance, is now revealed as a work of ingenious design and subtlety, but I still think "Fur Alina" is some kind of practical joke, and I still can't find much good to say about the "Berliner Messe"
My biggest complaint about the work, however, is that Hillier is extremely uncritical towards Part's music, taking turns towards the hagiographical and assuming that if it came from Part it must be good. He often dismisses more substantial methods of composition, such as serialism, insinuating that no one could enjoy them. As one who enjoys the serialism of Boulez, the zahlenmystik of Gubaidulina, the massive harmonies of Lindberg, and the mathematical precision of Xenakis much more than the entertaining-but-usually-wispy music of Part, I find it offensive that Hillier tries to say what his readers should or shouldn't like. Also, I regret that the book came too early to cover the massive "Kanon Pokajanen", which I think will go down as the composer's masterwork and a lasting contribution to Orthodox hymnography, but Hillier does briefly mention the prototypical sketches that Part had already begun to write for that work.
If you enjoy the music of Part, especially the "Passio", Hillier's study is worth picking up for, in spite of its clear bias, it is a useful musicological analysis.
This study contains no real biography, but is organized as a chronological exploration of Part's work. The works of the 1960s, first with a dedication to serialism and then making heavy use of collage, are rather hastily covered in a single chapter; clearly Hillier is most concerned with tintinnabuli. The technique in general has a chapter to itself, and then each of the works is analysed. Quotations from the score abound, and knowledge of music theory is necessary. The most extensive coverage is that of "Passio", essential reading for anyone who wants to better understand the work. As a sort of appendix, Hillier includes some advice for musicians who would perform Part's music.
I've generally been unhappy with Part's "holy minimalism", as much of his oeuvre contains no clear theology and lets the listener find whatever he wants in it. He has been most successful when he put his services to the work of the Orthodox Church as in "Litany" and "Kanon Pokajanen" where there is no room for differing opinion. Hillier's study, however did help me better appreciate certain tintinnabuli works. The "Passio", for instance, is now revealed as a work of ingenious design and subtlety, but I still think "Fur Alina" is some kind of practical joke, and I still can't find much good to say about the "Berliner Messe"
My biggest complaint about the work, however, is that Hillier is extremely uncritical towards Part's music, taking turns towards the hagiographical and assuming that if it came from Part it must be good. He often dismisses more substantial methods of composition, such as serialism, insinuating that no one could enjoy them. As one who enjoys the serialism of Boulez, the zahlenmystik of Gubaidulina, the massive harmonies of Lindberg, and the mathematical precision of Xenakis much more than the entertaining-but-usually-wispy music of Part, I find it offensive that Hillier tries to say what his readers should or shouldn't like. Also, I regret that the book came too early to cover the massive "Kanon Pokajanen", which I think will go down as the composer's masterwork and a lasting contribution to Orthodox hymnography, but Hillier does briefly mention the prototypical sketches that Part had already begun to write for that work.
If you enjoy the music of Part, especially the "Passio", Hillier's study is worth picking up for, in spite of its clear bias, it is a useful musicological analysis.
May 7, 2016
Paul Hillier found a balance of breadth and brevity that does Pärt's work justice. He manages to examine most of Pärt's output up to the 1990s, making informed observations and staying on point.
If you're reading the book and happen to be on Spotify, I made a playlist that contains almost every piece that Hillier references in this book. I found it to be really useful as I read about each piece of music: https://open.spotify.com/user/dschmud...
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If you're reading the book and happen to be on Spotify, I made a playlist that contains almost every piece that Hillier references in this book. I found it to be really useful as I read about each piece of music: https://open.spotify.com/user/dschmud...
/ü
December 27, 2013
One of our greats from the Baltics.
Displaying 1 - 4 of 4 reviews