Artist: NFM Wrocław Philharmonic, Tonu Kaljuste
Album: Arvo Pärt: The Symphonies
Genre: Classical
Release Date: 2018
Audio Format:: FLAC (tracks) 24 bit, 44,1 kHz
Duration: 01:19:26
Total Tracks: 11
Total Size: 719 MB

Tracklist:

1-01. NFM Wrocław Philharmonic & Tõnu Kaljuste – Symphony No. 1 “Polyphonic” : 1. Canons (11:18)
1-02. NFM Wrocław Philharmonic & Tõnu Kaljuste – Symphony No. 1 “Polyphonic” : 2. Prelude And Fugue (07:56)
1-03. NFM Wrocław Philharmonic & Tõnu Kaljuste – Symphony No. 2 : I (03:36)
1-04. NFM Wrocław Philharmonic & Tõnu Kaljuste – Symphony No. 2 : II (02:14)
1-05. NFM Wrocław Philharmonic & Tõnu Kaljuste – Symphony No. 2 : III (04:47)
1-06. NFM Wrocław Philharmonic & Tõnu Kaljuste – Symphony No. 3 : I (06:29)
1-07. NFM Wrocław Philharmonic & Tõnu Kaljuste – Symphony No. 3 : II (05:48)
1-08. NFM Wrocław Philharmonic & Tõnu Kaljuste – Symphony No. 3 : III (08:05)
1-09. NFM Wrocław Philharmonic & Tõnu Kaljuste – Symphony No. 4 “Los Angeles” : 1. Con sublimità. Marcando con maestà. Pacato (09:14)
1-10. NFM Wrocław Philharmonic & Tõnu Kaljuste – Symphony No. 4 “Los Angeles” : 2. Affannoso. Un poco più affannato (11:47)
1-11. NFM Wrocław Philharmonic & Tõnu Kaljuste – Symphony No. 4 “Los Angeles” : 3. Insistentemente. Con intimo sentimento Coda. Deciso (08:08)

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Pärt’s four symphonies stretch across a period of 45 years, from 1964 and 1966 respectively for the first two, 1971 for the third, and 2008 for the fourth. His first steps into the works of the symphony were still marked by dodecaphonism, although Pärt would not resist the gradual appearance of tonal poles in his work and “accidental” encounters between consonant notes and the harmonies that resulted; but the discourse remains very much linked to modernist principles, while exploring older forms of prelude and fugue, or indeed polyphony. With the Second, Pärt’s avant-gardist period came to an end. From the 1970s, Pärt would completely revise his language, and come to concentrate on religious and medieval music, in such a way that his Third Symphonythrows out dodecaphonism and all its theories, developing in their place a tonal, melodic, modal idiom (the old ecclesiastical styles, in fact). And within this personal revolution, Pärt would take a step into “tintinnabulum”, which formed the basis of the Fourth Symphony, written for strings, harp and percussion: a wide world of meditation, stunning, unreal, intangible, and fundamentally tonal, in which the movements from one phenomenon to another move immensely slowly, allowing the listener to savour every moment.