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Arvo Pärt - Kanon Pokajanen FLAC

Arvo Pärt - Kanon Pokajanen FLAC Performer: Arvo Pärt
Title: Kanon Pokajanen
Style: Contemporary
Label: ECM Records, ECM New Series
# Cat: ECM 1654/55, 457 835-2, ECM New Series 1654/55
Released: 30 Mar 1998
Country: Germany
FLAC album: 2730 mb
MP3 album: 2415 mb
Rating: 4.4
Genre: Classical

Tracklist

1Ode IV7:12
2Ikos2:57
3Prayer After The Kanon11:02
4Ode VII7:12
5Kondakion2:23
6Ode VIII8:44
7Ode VI8:18
8Ode III11:43
9Ode I7:34
10Ode IX8:14
11Ode V7:59

Versions

CategoryArtistTitle (Format)LabelCategoryCountryYear
ECM 1654/55, 457 835-2Arvo Pärt Kanon Pokajanen ‎(CD, MiniAlbum, Promo, car)ECM Records, ECM Records GmbHECM 1654/55, 457 835-2Germany1998
ECM 1654/55, 289 457 834-2Arvo Pärt Kanon Pokajanen ‎(2xCD, Album, RP)ECM New Series, ECM New SeriesECM 1654/55, 289 457 834-2USUnknown
ECM 1654, 457 835-2Arvo Pärt Kanon Pokajanen ‎(CD, Album, Promo, Dig)ECM Records, ECM RecordsECM 1654, 457 835-2Germany1998
ECM 1654/55, 457 834-2, ECM New Series 1654/55Arvo Pärt Kanon Pokajanen ‎(2xCD, Album, RP)ECM New Series, ECM New Series, ECM New SeriesECM 1654/55, 457 834-2, ECM New Series 1654/55GermanyUnknown
ECM 1654/55, 78118-21654-2Arvo Pärt Kanon Pokajanen ‎(2xCD, Album)ECM New Series, ECM New Series, ECM Records, ECM RecordsECM 1654/55, 78118-21654-2US1998

Credits

  • Alto VocalsEvelin Saul, Juta Roopalu-Malk, Kadri Mitt, Kai Darzinš, Karin Salumäe, Karmen Puis, Tiiu Otsing
  • Alto Vocals [Soloist]Ave Moor
  • Bass VocalsAarne Talvik, Allan Vurma, Esper Linnamägi, Kalev Keeroja, Ranno Eduard Linde, Tõnis Tamm, Tõnu Tormis, Uku Joller
  • ChoirEstonian Philharmonic Chamber Choir
  • Composed ByArvo Pärt
  • ConductorTõnu Kaljuste
  • Design [Cover Design]Birgit Binner
  • Engineer [Tonmeister]Teije van Geest
  • Liner Notes [English Translation]Catherine Schelbert
  • Liner Notes [French Translation]Camille Egger, Michel Egger
  • Liner Notes [German, Russian]Arvo Pärt, Marina Bobrik-Frömke
  • Liner Notes [Italian Translation]Helmut Failoni
  • Photography By [Photos At Niguliste Church]Tõnu Tormis
  • ProducerManfred Eicher
  • Soprano VocalsEha Pärg, Katrin Karelson, Kristiina Under, Raili Jaanson, Vilve Hepner
  • Soprano Vocals [Soloist]Kaia Urb
  • Tenor VocalsArvo Aun, Erkki Targo, Kaido Janke, Mati Turi, Toivo Kivi
  • Tenor Vocals [Soloist]Tiit Kogerman

Notes

Commissioned by KölnMusik GmbH for the 750th anniversary celebration of Cologne Cathedral in 1998

Publisher: Universal Edition Wien

Recorded June 1997 at Niguliste Church, Tallinn

Dedicated to Tõnu Kaljuste and the Estonian Philharmonic Chamber Choir

An ECM Production

℗ 1998 ECM Records GmbH (in booklet)
© 1998 ECM Records GmbH (in booklet)
℗ 1998 ECM Records (on slipcase, tray card and on discs)
© 1998 ECM Records (on slipcase, tray card and on discs)

Printed in Germany by Druckhaus Maack
CDs made in Germany by PMDC

Matrix# on backcover and booklet "457 834-2", on CDs "457 835-2" and "457 836-2"

Barcodes

  • Barcode: 028945783420
  • Rights Society: GEMA
  • Label Code: LC 2516
  • SPARS Code: DDD
  • Other (Catalog Number Disc 1): ECM 1654
  • Other (Catalog Number Disc 1): 457 835-2
  • Other (Catalog Number Disc 2): ECM 1655
  • Other (Catalog Number Disc 2): 457 836-2

Companies

  • Phonographic Copyright (p) – ECM Records GmbH
  • Copyright (c) – ECM Records GmbH
  • Phonographic Copyright (p) – ECM Records
  • Copyright (c) – ECM Records
  • Published By – Universal Edition
  • Made By – PMDC, Germany
  • Printed By – Druckhaus Maack KG
  • Recorded At – Niguliste Church, Tallinn

Video

Comments: (2)
Dandr
World premiere recordings of music for choir by Arvo Pärt, based on the canon of repentance of the Russian Orthodox Church. The canon had long fascinated the Estonian composer who finally decided to set it in its entirety in music written to mark the 750th anniversary of Cologne Cathedral. Pärt: "It took over two years to compose the Kanon pokajanen, and its hold on me did not abate until I had finished the score...That may explain why this music means so much to me." As writer Uwe Schweikert has noted, it is "music full of austere, painful beauty."
Daizil
It's a work that, to me, reflects Arvo Pärt's deepest interests and concerns more so than any other work. This is not to say the rest of his œuvre is less sincere. But here, it seems everything he's been developing cultivates and culminates into this one work. It's as if it were to have been his last work ever, it would be a great end.

Yes I did write a thesis on this piece, which earned me High Honors from the Department of Music at the College of William and Mary. And this was for a Bachelor of Arts degree too. So for me, I myself have a deep appreciation of the work given I've spent a considerable amount of time with not only the music and the words, but also the content and its underlining theology. It does help to understand a bit about [Eastern] Orthodox theology, especially its liturgics, to appreciate what Pärt is doing here. But all the same, it will stir something in the soul as the text itself is a call to repentance, which includes inner contemplation and the impetus to change and to change well.

The text itself uses a large structured hymn genre, typically sung during the Matins/Orthros service. The kanon itself is a means of contemplating a particular event or idea by first evoking the Old Testament and connecting it to what has come since and will come in time. (Time is never as constant when reading Orthodox texts). This particular kanon is more often used in private devotion and in monasteries, though it is understood by a few lay parishioners. And here the subject is personal repentance. The pacing is more to give a contemplative air and less to present a mournful dirge. The tonality stays in D minor with subtle changes in resonance at key moments in the text. The emphasis is more on harmony as in the later Russian chant tradition with some forays into the melodic Znammeny chant style (which itself came from the Byzantine tradition). All of these elements together create a space for inner contemplation of the text itself and the ideas behind the text.

So basically, this piece is excellent for Eastern Orthodox (as well as Eastern Catholics ... any Catholics will benefit from it too) looking for a musical vehicle in their spiritual lives (especially during Lent). For those who are not on the path for whatever reason, it is a piece that reflects the desires of the composer's soul in the hopes that others can see and maybe emulate, incorporate and practice for themselves to be better human beings for the world around them as well as for their own benefit.