Arvo Pärt Spiegel

Estonian composer Arvo Pärt is almost exclusively associated with his later works. Born in 1935, his early music was very much ‘avant-garde’ in style. In the 1970s, he increasingly found his inspiration in medieval religious music, both western and eastern European. This first transpired in his Für Alina for piano. It features the telling low tempo and two layer structure which were to become trademarks of his later works.

The title of ECM's release of works by three composers born in the former Soviet Union perfectly captures the mood of the CD – it is truly mysterious. Although more than half a century separates the first of these pieces from the most recent, they share a sense of otherness that defies easy explanation. The pieces are not so much mysterious in the sense of being eerie (although there are several moments that might raise the hairs on the back of your neck if you were listening alone in the dark); they are unsettling because they raise more questions than they answer.

For newcomers to the work of Estonian composer Arvo Pärt, this generous two-disc collection of performances from EMI's archive would be a good place to start exploring. The authoritative Pärt performances would probably be the premiere releases on ECM, produced by Manfred Eicher, but these performances are all of a very high quality and there is a handful of works that ECM has never recorded. Pärt's most famous works are here; there are three versions each of the ever-popular Fratres (for violin and piano, string orchestra and harp, and string quartet) and Summa (for mixed voices, string orchestra, and string quartet), as well as the version of Spiegel in Spiegel for violin and piano, Cantus in Memory of Benjamin Britten for string orchestra and bell, and the concerto for two violins and prepared piano, Tabula rasa.

Dutch pianist Ralph van Raat's collection of Arvo Pärt's piano music spans nearly 50 years of his career, from student pieces written in 1958 to a work from 2006. This would not be the right album for listeners looking primarily for Pärt's legendary austere simplicity, but it would be ideal for anyone already familiar with the composer looking for exposure to the broad stylistic and expressive range of which he is capable.

“Arvo Pärt’s music takes us from darkness to light,” says Renaud Capuçon. “It looks relatively simple on paper, but each note needs to have its own life as it undergoes change. This music is not just relaxing – it has a depth and drama.” In Autumn 2021 Renaud Capuçon becomes Artistic Director of the Orchestre de Chambre de Lausanne. His first recording with the ensemble is devoted to the Estonian composer Arvo Pärt and among the eight works on the album are Spiegel im Spiegel, Tabula Rasa and Silouan’s Song.

This collection of recordings illuminates two different sides of violinist Tasmin Little’s accomplished playing. While the Brahms and Sibelius Concertos are a testament to her technical skill and breadth of expression, the Pärt works display a more pared-back approach, making full use of Little’s pure and resonant tone.

This is a handsome-looking compact disc release, with strikingly muted graphics in cool purple tones, featuring Latvian violinist Gidon Kremer and Japanese harpist Naoko Yoshina. Here the pretty graphics go a little too far: the buyer finds no listing of compositions on the outside of the package and has no way of knowing what is played aside from a bare mention of the names of the 11 composers featured. That's where the All Classical Guide comes in. The works were all written in the twentieth century. They are: Michio Miyagi's Haru no umi (Ocean in Spring, a calming, melodic piece); Kaija Saariaho's Nocturne for violin solo (a somewhat avant-garde coloristic piece); Toru Takemitsu's Stanza II for harp and tape (also pretty far out and very Japanese-sounding); Yuji Takahashi's Insomnia for violin, voices, and kugo (strange, but oddly soothing); a movement from Satie's Le fils des étoiles as arranged by Takahashi (austere); Jean Françaix's Five Little Duets (100 percent charming); the Étude for violin from Richard Strauss's Daphne (also charming); Six Melodies by John Cage (simple and pleasant); Arvo Pärt's Spiegel im Spiegel (even simpler and not startling); Nino Rota's love theme from The Godfather (you know this one); and the final movement from Schnittke's Suite in the Old Style (gently Classical except for one deliberately horrendous dissonance).