|
Records: Arvo Part's LitanyBy Anika Singh The last time most of us heard a minimalist composition was in the episode of South Park where Philip Glass's music was used as the score for the Christmas pageant. South Park's use of Glass's genre was certainly successful; it was also hysterical. Litany, Arvo Part's newest release, also draws on Glass's work, though the intent is far from satirical. Part, a composer of the mystical minimalist school, combines medieval chants with 20th century minimalism; this formula has proved beautifully successful in past works, such as his 1993 Te Deum. Unfortunately, Litany, the world premiere recording which was released at the end of last year, fails to be as powerful or musically successful as its predecessors.The text of Litany comes from 24 short prayers--one for each hour of the day--that date from the fourth century. Unfortunately, however, the importance of time is lost in the piece. For a massive middle portion of the work, movement stops and the sound is stagnant. Litany begins in a fashion that is characteristically Part-- sparse but effective. Two violins introduce a solo soprano voice that hauntingly intones the first prayer: "O Lord, of Thy heavenly bounties deprive me not." At the beginning of the piece, the voices successfully invoke the feeling of a dark medieval monastery. As the work continues, however, it fails to carry as much meaning, especially in the instrumental passages. It is only with the incantation of the last prayer that Part's music reaches the level of power it maintained in the opening section. Although the orchestral backdrop is unabashedly minimalist, it is passionately and unpredictably so. Part was able to maintain a strong notion of melody in his previous works. In Te Deum, the voices as well as the orchestra flow. Litany, however, gets caught up in the idea of minimalism and threatens to leave behind the music. The power that the first and last prayers convey is unmistakable. It is unfortunate that the force of the beginning and the end of the piece is not sustained throughout. (ECM Records)
|
All materials © 1998 The Yale Herald, Inc., and its staff.
Got any questions, comments, or advice? Email the online editors at online@yaleherald.com.
Like to join us?