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The Cambridge Companion to Arvo Pärt (Cambridge Companions to Music) Paperback – July 9, 2012
Intrusion: A Novel
A loving couple, grieving the loss of their son, finds their marriage in free fall when a beautiful, long-lost acquaintance inserts herself into their lives. Learn More
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"This collection, complete with suitable appendixes, is a major contribution to the literature on this important composer."
"Part's burgeoning popularity might easily have been taken as an excuse to rebadge old Part scholarship in anticipation of a wider audience, but that pitfall has happily been avoided. The diversity of contributor backgrounds and the plurality of critical perspectives on offer only increase the importance of this welcome new volume."
Christopher J. May, Project Muse
"... furnishes a fascinating portrait of the composer as a "cosmopolitan persona of global renown" ..."
Scott Ordway, MAKE Literary Magazine
Top Customer Reviews
There are, to my knowledge, three books currently in print in English about Arvo Part. I have all three, and feel that if I were to have only one, this unquestionably be it. Highly recommended.
This book suffers from an enormous flaw, and that is its lack of coverage of Pärt's music prior to the advent of his "tintinnabuli" style in the mid-1970s. While the tintinnabulli style may have won Pärt the greatest acclaim and following, and his earlier modernist explorations appeal to a considerably smaller crowd, his works of the 1960s feature enormous riches that deserve exploration and commentary in a volume like this. It may well be that Pärt is discouraging discussion of these works, as he now refuses to speak of the Soviet era in interviews, and the ECM label that Pärt considers the source of definitive recordings is not touching these pieces. And the writers for this volume clearly want to stay on Pärt's good side, as the composer attended the conferences that led to this collection.
In the first paper, Immo Mihkelson does talk about Pärt's activity in the 1960s and 1970s. However, this is not a discussion of the music itself, but rather a biographical sketch that mentions only the names of those pieces that led to censure from the Soviet music authorities ("Nekrolog", "Credo"). The interesting revelation in Mihkelson's paper is that Pärt worked as a sound engineer for several years in the 1960s, which surely helped to shape the aesthetic of Pärt's ECM recordings in collaboration with Manfred Eicher.Read more ›