#Tonu Kaljuste

[dailyclassical]

Joep Franssens - Harmony of the Spheres, cycle in five movements for mixed choir (comp. 2001)

Movement I - 00:00

Movement II - 10:10

Movement IIIa - 18:15

Movement IIIb - 33:45

Movement IV - 42:36

Movement V - 49:20

Performed by the Netherlands Chamber Choir, featuring the Tallinn Chamber Orchestra in the third movement, with Tõnu Kaljuste conducting

[synnecrosisofsolace]

De Profundis 

Composed by Arvo Pärt Performed by;      Christopher Bowers-Broadbent, organ Tonu Kaljuste, percussion Estonian Philharmonic Chamber Choir

[musicainextenso]

As our week of Random Contemporary Music continues, I’ll continue with yesterday’s choral theme by featuring Arvo Pärt’s De profundis (1980), for men’s chorus, organ, and percussion, recorded here with the Estonian Philharmonic Chamber Choir, Christopher Bowers-Broadbent on organ, and Tonu Kaljuste, percussion.

Much more to come this week! - Melinda Beasi

[horwathtacomadui]

Estonian Philharmonic Chamber Choir

Founded in 1981 by Tonu Kaljuste, who conducted it for 20 years before handing over the baton to Paul Hillier, the Estonian Philharmonic Chamber Choir is wide-ranging in its repertoire, but is especially well known for its performances and recordings of Estonian composers suc

[encephalonfatigue]

music round-up 2020

bunkering down during the pandemic offered an opportunity for me to better familiarize myself with my public library’s online resources and the joys of Kropotkinist library socialism. and i discovered that the Mississauga Public Library provides access to Freegal, which I have been using a lot to stream music at home. i just wanted to take a moment to note down some of my favourite albums from this past year. 

i’ve also been dipping my toes a lot more into Tudor Church Music this year having encountered Sylvia Townsend Warner (a writer I’m very fascinated by) who was very interested in and knowledgeable about Tudor Church Music having studied under the Westminster organist Richard Terry. There’s a great paper on Warner’s engagement with Tudor Church Music that you can read online. Some of the recordings I’ve included of pieces (by Orlando Gibbons and Robert White e.g.) are mentioned in the paper on Warner, especially the Magnificat pieces which I’m sure she was very interested in, not only musically but also politically, as she was a communist for a good portion of her life.

i also discovered quite a bit of music from an event hosted by Independent Jewish Voices on anti-fascist klezmer music which was hosted by Aaron Lakoff who hosts a show called The Rebel Beat, which a lot of this year’s music came from. there was also a recent episode on Red Life Podcast with some interesting music. i’ve embedded a playlist of some of the more politically inclined music i’ve been listening to this year.

“Vari-Colored Songs: A Tribute to Langston Hughes” by Leyla McCalla

“Reliever” and “Gospel First Nation” by William Prince

“The Sharecropper's Daughter” by Sa-Roc

“Un esta Navidad” by Carlos Mejia Godoy y Los de Palacaguina

“Pantayo” by Pantayo

“Gore” by Lous and the Yakuza

“Test Their Logik” by Test Their Logik

“Multiply” by Rebel Diaz x Tef Poe

“Mariah Carey’s Magical Christmas Special” by Mariah Carey

Music not from 2020:

“The Ballad of the Runaway Girl” by Elisapie

“Not a Public Assembly” by Subhas

“A Little Letter” by Brivele

“Buena Vista Social Club Presents” Omara Portuondo

“Nara Leao 1978 (Ao Vivo)″ by Nara Leao

“It’s Dark Outside - Indroysn iz Finster” by Tsibele

“Classic Christmas” by Brynn Stanley

“Complete Jazz Series 1935-1936” by Billie Holiday with Teddy Wilson

“Byrd, Mathias, Taverner, Sheppard, Poulenc, Palestrina & Esteves | Choral Christmas Music” by Christ Church Cathedral Choir

“Händel: Messiah, HWV 56” by Leonard Bernstein

“Robert White Tudor Church Music” by The Tallis Scholars

“Orlando Gibbons Tudor Church Music” by The Choir of King’s College Cambridge

“Magnificat (Settings of the Magnificat Plainsong for Solo Organ)” by Stephen Farr (ends with Bach’s Magnificat)

“Arvo Part Beautus” by Tonu Kaljuste and the Estonian Philharmonic Chamber Choir

“A Consort of Musicke Bye William Byrde and Orlando Gibbons ((Gould Remastered))” by Glenn Gould

“Urban Zulu” by Busi Mhlongo

“Global Citizen” by Jike Junyi

“I Ain’t Marching Anymore” by Phil Ochs

“La Época Dorada del Flamenco Angelillo” by Angelillo

“Hakollak Hagah” by Warda

“Works (1960-1970)” by Cornelius Cardew

“Alan Bush” Royal Scottish National Orchestra 

“The Power and the Glory” by Paul Robeson

“Charles Mingus Presents Charles Mingus” by Charles Mingus

“Return of the Boom Bap” by KRS-ONE

“RBG: revolutionary but gangsta” by dead prez

[lopehernanchacon]

Lope Hernan Chacón: Each a world unto itself: Arvo Pärt The Symphonies

Arvo Pärt The Symphonies; NFM Wroclaw Philharmonic, Tonu Kaljuste; ECM New Series Reviewed by Robert Hugill on 19 June 2018 Star rating: 4.0 (★★★★) Spanning over 40 years, Arvo Pärt’s symphonies enable us to explore the contexts of his better known music

The symphony is a not a form which one immediately associates with the Estonian composer Arvo Pärt. Yet on this disc from Tonu Kaljuste and the NFM Wroclaw Philharmonic on ECM New Series we have Arvo Pärt’s four symphonies which stretch across his entire output, Symphony No. 1 ‘Polyphonic’ (1966), Symphony No. 2 (1966), Symphony No. 3 (1971) and Symphony No. 4 ‘Los Angeles’ (2008). Wolfgang Sandner’s booklet essay about the symphonies includes an illuminating post-script, ‘Arvo Pärt maintains that each of his symphonies is a world unto itself and points in a different direction. A compass is necessary to determine that direction’.

Pärt’s first symphony was written in 1963 and came at the end of his studies with Heino Eiler (to whom the symphony is dedicated) at the State Conservatory in Tallinn. It is a complex 12-tone work, in two movement which use forms which hark back, Canon, Prelude & Fugue. It is a striking and rather dense work which hints at roads not taken, full of influences on the young composer.  The second symphony came three years later, this time three short, concise movements. Here 12-tone techniques are combined with improvisation and aleatoric passages, to create a remarkably different sound world.

The third symphony comes at a fascinating period in Pärt’s development. The time from 1968 to 1976 was an important one for Pärt, a period of substantial silence when he re-aligned his technique, moving from the dodecaphonic modernism of his early pieces to the tintinabuli style for which he is now best known. The third symphony represents a step on the way, it leaves behind the dodecaphonic and takes on board Gregorian chant and medieval music. We can hear the way Pärt reduces and simplifies textures, a process which becomes notable in his tintinabuli style, and uses motivic cells as the basis of the music.

The fourth symphony represents a step change from the other three, between them lie the major works of Pärt’s tintinabuli style.

Written for string orchestra, harp, timpani and percussion, the symphony was commissioned by the Los Angeles Philharmonic, Canberra International Music Festival and Sydney Conservatorium. It was premiered in 2009 by the Los Angeles Philharmonic. The symphony owes its name not so much to the city as to the Canon of the Guardian Angel. It is a concentrated and spare work. Pärt’s techniques, familiar from his choral music, create striking textures and emotions when applied to the orchestra. It is not necessarily a comfortable piece, there seems to be a disturbing undertow to the music.

In the three early symphonies we can hear myriad influences, some of them obvious such as Shostakovich and the Soviet school of composers, but some less so. I am not sure that Michael Tippett could be an influence, but certainly I heard echoes of Tippett in this music. The final symphony is a remarkable working through of Pärt’s ideas and emotional commitment, applied to orchestral music.

Tonu Kaljuste  draws strong performances from the NFM Wroclaw Philharmonic, and the orchestra moves brilliantly from the twelve-tone complexity of the early music to the deceptive simplicity of the later.

Whilst the first three symphonies are available in a recording from Neeme Järvi and Bamberg Symphony Orchestra on BIS, and the fourth symphony was recorded by Esa-Pekka Salonen and the Los Angeles Philharmonic on ECM, this disc seems to be the first time that all four works are available on a single disc. As such, this disc is essential listening for all lovers of Pärt’s music. It is fatal to consider Pärt’s best known works in isolation and this fine disc enables us to explore the context.

Arvo Pärt (born 1935) – Symphony No. 1 (Polyphonic) Arvo Pärt – Symphony No. 2 Arvo Pärt.- Symphony No. 3 Arvo Pärt.- Symphony No. 4 NFM Wroclaw Philharmonic Tonu Kaljuste (conductor) ECM New Series  4816802 1CD [79:00] Recorded August 2016, October 2015, Main Hall of the National Forum of Music, Wroclaw.

Available from Amazon.

//ws-eu.amazon-adsystem.com/widgets/q?ServiceVersion=20070822&OneJS=1&Operation=GetAdHtml&MarketPlace=GB&source=ss&ref=as_ss_li_til&ad_type=product_link&tracking_id=planhugi-21&marketplace=amazon&region=GB&placement=B078YDVZMW&asins=B078YDVZMW&linkId=47fa1399b64e38facced9f9ae868fb32&show_border=true&link_opens_in_new_window=true Elsewhere on this blog:

Intimate, candid and completely fascinating: The Tchaikovsky Papers – unlocking the family archive (★★★★) – book review

Notable debuts & a veteran director: Die Entführung aus dem Serail from the Grange Festival – opera review

Vivid drama: Handel’s Agrippina at The Grange Festival  (★★★★★) – opera review

Rip-roaring fun: Elena Langer’s Rhondda Rips It Up! (★★★★) – music theatre review

Debut: Soprano Chen Reiss sings her first staged Zerlina for her Covent Garden debut  – interview

Powerfully uplifting: Bach’s Mass in B minor from the Dunedin Consort (★★★★★) – concert review

Brilliant ensemble: Cole Porter’s Kiss me Kate from Opera North (★★★★½) – music theatre review

‘A well-regulated church music’ – John Eliot Gardiner at the Bach Weekend at the Barbican  (★★★★) – concert review

Humanity & warmth – Solomon’s Knot at the Bach Weekend at the Barbican  (★★★★½) – concert review

Handel Sonatas for violin and basso continuo (★★★★★) – CD review

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[kunst-musik-blog]

AAAAAAAAHHHHHHHHHHHH

ARVO PÄRT IS COMING TO THE KENNEDY CENTER AND IT'S GOING TO BE A FREEEEEEEEE CONCERT I BETTER GET THERE BY 4:30 TO GET TICKETS FUCKFUCKFUCKOMG THIS IS TOO EXCITING

[caviarsonoro]

Tonu Kaljuste & Estonian National Symphony Orchestra - Solfeggio (por chookiessss)

[shutupcris]

[aphonik]

Arvo Pärt's Litany is stunning. Every time I listen, it triggers something like a religious experience (or what passes for a religious experience to an ardent agnostic). This is the piece I was listening to as I took the above photo along the Hutchinson River Parkway in New York last Friday. A blazing sunset that echoes the elemental scope of this composition.

With Litany, Estonian composer Arvo Pärt created one of his most stirring works: a nearly 23-minute-long composition for orchestra and vocal ensemble based on the 24 prayers of St. John Chrysostom (one for each hour of the day). Commissioned for the 25th Oregon Bach Festival, the composition is both memorable and timeless. It finds influences in everything from chant to the repetition of modern minimalism. Play it loudly and the striking vocals of the Hilliard Ensemble simply soar against the strings of the Tallinn Chamber Orchestra. ... One of Pärt's best, and as sacred as modern compositions come. --Jason Verlinde (Amazon.com essential recording)