![]() Pärt’s works are generally divided into two periods. About this same time, he converted from Lutheranism to the Russian Orthodox faith. In the 1970s, he studied medieval and Renaissance music rather than to focus on his own music. From 1957 to 1967, he worked as a sound producer for Estonian radio.Īlthough criticized for employing serialism in Nekrolog (1960) because of his “susceptibility to foreign influences”, nine months later Part won First Prize for the oratorio Maailma samm (Stride of the World), in a competition of 1,200 works, awarded by the all-Union Society of Composers, indicating the inability of the Soviet regime to agree consistently on what was permissible. ![]() During the 1950s, he also completed his first vocal composition, the cantata Meie aed (‘Our Garden’) for children’s choir and orchestra. As a student, he produced music for film and the stage. While at the Tallinn Conservatory, he studied composition with Heino Eller. By the time he reached his early teenage years, Pärt was writing his own compositions. His first serious study came in 1954 at the Tallinn Music Middle School, but less than a year later he temporarily abandoned it to fulfill military service, playing oboe and percussion in the army band. He started to experiment with the top and bottom notes as the family’s piano’s middle register was damaged. Pärt’s musical education began at age seven while attending music school in Rakvere and taking piano studies with Ille Martin. This program celebrates the unsurpassable beauty of simplicity.Arvo Pärt (born September 11, 1935) is an Estonian composer of orchestral, chamber, and sacred music, born in Paide, Järva County, Estonia, and raised by his mother and stepfather at Rakvere in northern Estonia. This work will be paired with Arvo Pärt's sublime Tabula Rasa with the brilliant violin soloists Movses Pogossian and Varty Manouelian. In a special presentation of the US premiere of the composer's recent work OCCAM DELTA XIII, Monday Evening Concerts has the pleasure of presenting three of Radigue's Parisian collaborators: the clarinetist Carol Robinson, the harpist Hélène Breschand and the contrabassist Louis-Michel Marion. This means that only those who have been initiated into this small circle of interpreters may present her work. There is no score, except for the verbal transmission between Radigue and her collaborator during rehearsals. What makes Radigue's acoustic works so unique is that they are the deeply personal result of her collaboration with selected instrumentalists. At 87, having spent five decades of her life solely composing electronic music (first at the Studio d'Essai in Paris alongside Pierre Schaeffer and Pierre Henry and then later with a synthesizer alongside Morton Subotnik, Rhys Chathama and Laurie Spiegel), Radigue has found herself working solely on works for acoustic instruments since the early 2000s, namely on the ever expanding series OCCAM. There is no getting around it: Éliane Radigue's work is just special. In the case of Éliane Radigue, it is the opposite the deeper one goes, the more light one seems to find. The term avant-garde typically conjures darkness in my mind it brings to mind works plumb the depths of the human soul and experience. Not only was the apartment filled with natural afternoon light, bright colors and beautiful flowers, but the eyes and demeanor of the woman who inhabited the space seemed herself were positively radiant. Visiting Éliane Radigue in her apartment in Paris this summer, I was struck by the light.
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