Estonian composer Arvo Pärt is considered to be one of the greats in the broad spectrum of 20th-century classical music, and he’s further distinguished as a trailblazer of “holy minimalism.” Befitting a composer of his stature, the discography of Pärt’s recorded works is vast, but from inside that number there resides a smaller group of releases holding particular import. On April 11, Mississippi Records’ Silentium is poised to join the list of essential Pärt recordings. Offering three selections on side one and a long and unique version of the title piece on the flip, the release is available on LP (in black or clear vinyl editions), CD, and digital. A 35”x35” silkscreen poster is also available.
Arvo Pärt came to prominence in his home country in the 1960s with a handful of recordings spanning the decade, but these are formative works that precede a long period of woodshedding after which Pärt reemerged with his tintinnabuli style of composing, a method where he utilizes two distinct voices (i.e. instruments), a tintinnabular voice restricted to the notes of the tonic triad and a melodic voice that can roam around freely.
Für Alina, first performed in 1976, introduced Pärt’s tintinnabuli style. It was eventually documented on one of numerous recordings made for the ECM label, a group of releases that comprise a significant chunk of his essential discography. The first recording of Pärt’s compositions released by ECM was Tabula Rasa in 1984, the title piece dating from 1977 scored for two solo violins, prepared piano, and string chamber orchestra (consisting of two violins, viola, cello, and contrabass).
The performance and recordings of Tabula Rasa were major successes integral to Pärt’s breakthrough as a composer and specifically as one of the three major pioneers of holy (or mystical) minimalism, alongside composers Henryk Górecki (of Poland) and John Tavener (of England). Holy minimalism is a sacred music of uncommonly deep feeling that’s strikingly devoid of concerns with passing fashions.
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Elton never carried through on his threat, probably because he was too busy writing brilliant songs, more than I can count on my six hands even. Besides, who needs critical respect after scoring seven consecutive No. 1 albums in the U.S. between 1972 and 1975—a feat not even the Fab Four could beat? During those golden years, which extended from Honky Chateau to Rock of the Westies, John (in collaboration with lyricist Bernie Taupin) churned out hits like a one-man Brill Building, and many of them will still be around long after mankind is gone, leaving our groovy ape successors to do the Crocodile Rock.
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