Tintinnabuli

Arvo Part - Tintinnabuli - Peter Phillips, The Tallis Scholars (2015) {Gimel Records CDGIM 049}

Arvo Part - Tintinnabuli - Peter Phillips, The Tallis Scholars (2015) {Gimel Records CDGIM 049}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 209 Mb | MP3 @320 -> 157 Mb
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© 2015 Gimel Records | CDGIM 049
Classical / Choral / Chamber Music

To celebrate Arvo Part's 80th birthday, Gimell presents a new recording of some of the Estonian composer's finest a cappella choral works. This is the first album of contemporary music from The Tallis Scholars since their famous 1984 recording of works by John Tavener. The program here includes several major works including the Magnificat, Sieben Magnificat-Antiphonen, Triodion and I Am the True Vine. The album's title refers to the compositional style Part developed in the 1970s and now employs in most of his works. This simple style was influenced by the composer's mystical experiences with sacred chant. Tintinnabuli works often have a slow and meditative tempo and a minimalist approach to both notation and performance.

Arvo Part - Te Deum (1995) {ECM 1505}  

Posted by tiburon at March 28, 2014
Arvo Part - Te Deum (1995) {ECM 1505}

Arvo Part - Te Deum (1995) {ECM 1505}
EAC 0.99pb4 | FLAC tracks level 8 | Cue+Log+M3U | Full Scans 200dpi | 233MB + 5% Recovery
Genre: Classical, Sacred Music, Minimalism, Tintinnabuli

Te Deum is a setting of the Latin Te Deum text, also known as the Ambrosian Hymn attributed to Saints Ambrose, Augustine, and Hilary, by Estonian-born composer Arvo Part commissioned by the Westdeutscher Rundfunk Radio in Cologne, Germany in 1984. Dedicated to the late Alfred Schlee of Universal Edition, the WDR Broadcast Choir premiered the Te Deum under the direction of conductor Dennis Russell Davies on January 19, 1985. The Te Deum plays an important role in the services of many Christian denominations, including the Paraklesis (Moleben) of Thanksgiving in the Eastern Orthodox Church. Because of the unusual instrumentation Part employs, his Te Deum is not suited for use within the Orthodox Church.

Arvo Part - Adam's Lament (2012) {ECM 2225}  

Posted by tiburon at Feb. 2, 2013
Arvo Part - Adam's Lament (2012) {ECM 2225}

Arvo Part - Adam's Lament (2012) {ECM 2225}
EAC 1.0b1 | FLAC Image level 8 | Cue+Log | Full Scans (PDF) | 260MB + 5% Recovery
Genre: Classical, Tintinnabuli

Marshalling orchestral and choral forces under the direction of Tõnu Kaljuste, this new Arvo Pärt album, produced by Manfred Eicher and realized, like all Pärt’s ECM discs, with the composer’s participation, is a major event. Sacred music predominates, by turns monumentally powerful and tenderly fragile.
Arvo Pärt - De Profundis - Paul Hillier & Theatre of Voices

Arvo Pärt - De Profundis - Paul Hillier & Theatre of Voices
Classical | APE (single tracks) dBPoweramp | 1CD/277MB | RS.com

"Marx and Lenin probably would not have appreciated the irony, but after decades of Communist repression of religion, the former Soviet bloc is the source of a profound outpouring of explicitly Christian expression. This is manifested in the music of such composers as Henryk Gorecki, a Pole, and Arvo Pärt, an Estonian. Part, a refugee from serialism, here writes in a quasi-minimalist style that he calls "tintinnabuli," a sound that echoes medieval composition. A fan of vocal music ("The human voice is the most perfect instrument of all"), he uses choruses to superb effect. This disc includes some of his best work, including the popular Magnificat, beautifully rendered by the Theatre of Voices under Paul Hillier."

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Arvo Pärt - Alina  

Posted by peachfuzz at Feb. 15, 2007
Arvo Pärt - Alina

Arvo Pärt: Alina
EAC (APE & CUE) | Classical | 1 CD / 115 MB
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There have been other recordings of "Für Alina" and "Spiegel im Spiegel" but none like those on this disc, realized with the participation of the composer. Here Pärt, aided by exceptional interpreters, revisits those seminally important compositions which marked the birth of a new, "prismatic" period in his work, establishing a link between compositions embodying the fundamental traits of the "tintinnabuli style." Three interpretations of the duet 'Spiegel im Spiegel' (Mirror in the Mirror), for violin or cello and piano, become "formal pillars positioned before, between and after two solo renderings of 'Für Alina'", the latter performed with interpretive freedom by Alexander Malter.