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Arvo Pärt - Tabula Rasa, I
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Tabula rasa, concerto for 2 violins (or violin & viola), prepared piano & string orchestra (1977)
I. Ludus: Con moto
II. Silentium: Senza moto
Adele Anthony, violin
Gil Shaham, violin
Erik Risberg, prepared piano
Gothenburg Symphony Orchestra
Neeme Järvi
Arvo Pärt composed Tabula Rasa in 1977, shortly after emerging from his self-imposed period of intense study and reflection to demonstrate what would become his characteristic musical technique: the so-called tintinnabuli method. The work is thus a prime example of the technique and demonstrates how, even in its early stages, Pärt's new and innovative musical language was connected indelibly with his sense of musical process and form. One not only hears the tintinnabula system working itself out in this piece, but also gets a clear sense of the aesthetic and spiritual underpinnings of the method and its implications for large-scale musical structure.
The work calls for two violin soloists supported by an ensemble of orchestral strings and an obbligato prepared piano. These three textural layers -- soloists, prepared piano, and orchestra -- assume distinct roles within the musical process at the heart of the piece. Stated simply, the tintinnabuli method as practiced by Pärt in this and numerous other works combines simple, usually stepwise diatonic melodies with ever-present interactions of tones from the tonic, or home, chord. There is thus both a strong sense of harmonic stability as well as a continually shifting surface of consonances and dissonances: as the melodic lines develop, the individual notes alternately concord and clash with the "tintinnabulating" tonic chord tones. In Tabula Rasa, the interaction of the two kinds of lines, as dispersed among the three textural layers, serves not only to provide the moment-to-moment interest of the piece, but to delineate the shape that the piece eventually comes to assume.
Art by Maria Helena Vieira da Silva
I. Ludus: Con moto
II. Silentium: Senza moto
Adele Anthony, violin
Gil Shaham, violin
Erik Risberg, prepared piano
Gothenburg Symphony Orchestra
Neeme Järvi
Arvo Pärt composed Tabula Rasa in 1977, shortly after emerging from his self-imposed period of intense study and reflection to demonstrate what would become his characteristic musical technique: the so-called tintinnabuli method. The work is thus a prime example of the technique and demonstrates how, even in its early stages, Pärt's new and innovative musical language was connected indelibly with his sense of musical process and form. One not only hears the tintinnabula system working itself out in this piece, but also gets a clear sense of the aesthetic and spiritual underpinnings of the method and its implications for large-scale musical structure.
The work calls for two violin soloists supported by an ensemble of orchestral strings and an obbligato prepared piano. These three textural layers -- soloists, prepared piano, and orchestra -- assume distinct roles within the musical process at the heart of the piece. Stated simply, the tintinnabuli method as practiced by Pärt in this and numerous other works combines simple, usually stepwise diatonic melodies with ever-present interactions of tones from the tonic, or home, chord. There is thus both a strong sense of harmonic stability as well as a continually shifting surface of consonances and dissonances: as the melodic lines develop, the individual notes alternately concord and clash with the "tintinnabulating" tonic chord tones. In Tabula Rasa, the interaction of the two kinds of lines, as dispersed among the three textural layers, serves not only to provide the moment-to-moment interest of the piece, but to delineate the shape that the piece eventually comes to assume.
Art by Maria Helena Vieira da Silva
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