Arvo Pärt - Für Alina(audio + sheet music)

- composer: Arvo Pärt (1935-)
- pianist: shiraishi NAL (Tokyo,JP)
- year of recording: 2016

[krzysztofswiderek]

My beloved composer. Greetings from Poland.

[허민-yf]

패르트 - 알리나를 위하여 : 총렬음악 시기를 거쳐 1968년을 기점으로 조성에 근거한 단순한 구조의 양식으로 전환
종교적인 주제와 양식을 작품에서 활용하였고, 고요함과 음악적 내면성을 중시, 반복과 변형기법을 통해 대중에 다가감

[peterhooper]

On ‘Fur Elina’ by Arvo Pärt

The sequence of notes and silence in the harmonic envelope Pärt chose for the piece bespeaks to me of a possibility that may only exist for our kind in imagination — a life of work and play in alert repose holding each moment in exactly a way appropriate to when and where the listener in waiting stands… with time stretched out, and the pressure of mortality eased, allowing everything and everyone to encompass all that is called for: the foundation of peace found in an end to frantic activity.

For the brief moment of listening, all that remains problematic in the experience of mortal sentient humanity goes away.

Pieces of music like ‘Fur Elina’ for me create for a moment the sense or feeling that broken balance or sacred connection has been restored, as though it always has been; a moment in time in which what is the current condition isn't anymore, briefly.

Some artists might suggest -- largely those not duped by the "art for art's sake" dogma -- that creating like moments is what art is _for_; what it is intended to do.

I think this was the aim and lost direction of what has now come to be called Faith.

Only the tip of the iceberg of the work’s implicit dissent would be political and social.

[triangleistaken]

When silence is just as important as the notes themselves

[krystyna.i.g.]

Tęsknota matki za córką...jak donosi Wikipedia. Triada h-moll bezpośrednio pod melodią prawej ręki, tak? Tak więc, gdy melodia jest w C# lub D, lewa ręka jest w B. Gdy melodia jest w E lub F#, lewa ręka jest w D, a gdy melodia jest w G, A lub B, lewa ręka jest w F#. Jedyne przerwanie tej struktury harmonicznej pojawia się, gdy lewa ręka gra C# poniżej F# w prawej ręce, synchronicznie ze zwolnieniem pedału pod koniec taktu 11. Wykonalne ale muszę poćwiczyć 😅

[aliciadalbey]

interesting that at 152 and 4:16 the T voice deviates from the pattern! It goes to C# instead of B.

[jeanpaulgilleron]

quelle tristesse sous jacente c'est un chef d'oeuvre mais on a l'impression qu'on va mourrir tellement c'est triste .Bach n'a jamais composé musique aussi triste .

[PaulMLombardi]

Why does the recording play through the piece twice?