ARVO PÄRT Adam's Lament

First, the pieces are quite varied, despite all being clearly from the hand of the same creator. The largest work (over 20 minutes) Adam’s Lament, was a joint 2010 commission of the cities of Istanbul and Tallinn, setting a text by the monk Staretz Silouan (1866-1938), and in keeping with its circumstances, seems to use melodic Middle Eastern modes more than I’m accustomed to in Pärt. But then the disc ends with two lullabies that in their gentle folksiness seem almost like Ländler. At times we hear austere chant, which may suddenly erupt in choral tutti (as Statuit ei Dominus). At other times there is the bare-boned counterpoint of neomedievalism ( Alleluia-Tropus). In Salve regina I hear a fullness of harmony and texture that reminds me of Brahms. So the expressive and technical range is satisfyingly broad.
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Third, the orchestration is masterful. It never stands out unduly, the sound is very full and blended, even when scored for chamber orchestra (again, a Brahmsian virtue). And yet there are also very special touches; examples being more string harmonics and pizzicato than I remember from earlier works, subtle chime tolls in Beatus Petronius, and an accompaniment of cellos that is like a viol consort in L’Abbé Agathon.
Baca Juga
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