{"id":4941,"date":"2013-11-11T11:39:32","date_gmt":"2013-11-11T09:39:32","guid":{"rendered":"https:\/\/erso.ee\/maaratlemata-en\/estonian-master-through-lens-of-compatriots-arvo-part-works-in-lincoln-center-white-light-festival\/"},"modified":"2022-08-22T07:19:46","modified_gmt":"2022-08-22T05:19:46","slug":"estonian-master-through-lens-of-compatriots-arvo-part-works-in-lincoln-center-white-light-festival","status":"publish","type":"post","link":"https:\/\/erso.ee\/en\/2013\/11\/estonian-master-through-lens-of-compatriots-arvo-part-works-in-lincoln-center-white-light-festival\/","title":{"rendered":"Estonian Master, Through Lens of Compatriots. Arvo P\u00e4rt Works in Lincoln Center White Light Festival"},"content":{"rendered":"

If any artist is emblematic of the spirit manifest in Lincoln Center\u2019sWhite Light Festival<\/a>, it might be\u00a0Arvo P\u00e4rt<\/a>. An Estonian composer based in Berlin for much of his career, Mr. P\u00e4rt achieved wide renown in the mid-1980s through a series of recordings on the German label ECM. His rise to prominence was also abetted by the conductor\u00a0Neeme J\u00e4rvi<\/a>, a countryman whose continued advocacy was evident in a festival concert by the\u00a0Estonian National Symphony Orchestra<\/a>\u00a0and the\u00a0Estonian Philharmonic Chamber Choir<\/a>\u00a0at Avery Fisher Hall on Sunday evening.<\/p>\n

The secret to Mr. P\u00e4rt\u2019s success is not so hard to fathom. His mature works propose an alternative to astringent modernism and pattern-based minimalism alike, offering instead simplicity and piety fused in a manner easily likened to luminosity. Much of his music conveys tenets of Christian faith, but in a manner that invites contemplation and expresses conviction rather than proselytizing.<\/p>\n

Small wonder that Lincoln Center has adopted a statement by Mr. P\u00e4rt as a motto for the festival, which is devoted to artistic expressions of notions of interior life: spirituality, for lack of a more exact term. \u201cI could compare my music to white light, which contains all colors,\u201d Mr. P\u00e4rt is quoted in the program as saying. \u201cOnly a prism can divide the colors and make them appear; this prism could be the spirit of the listener.\u201d<\/p>\n

That said, \u201cIn Principio,\u201d the earlier and larger of two works by Mr. P\u00e4rt included in a program titled \u201cWord Made Flesh,\u201d extends well beyond asceticism. Hammering repetitions in the first of five movements echo choral dramatists throughout the ages, from Mozart and Beethoven to Orff and Philip Glass.<\/p>\n

\u201cErat Lux Vera,\u201d the work\u2019s long, gripping middle movement, speaks more clearly in Mr. P\u00e4rt\u2019s idiom. But \u201cQuotquot Autem Acceperunt Sum\u201d is lugubrious and anguished, and the concluding \u201cEt Verbum Caro Factum Est\u201d is closer to Mr. Glass\u2019s stasis than to Mr. P\u00e4rt\u2019s distinctive shimmer. Mr. J\u00e4rvi elicited fine work from his musicians here and in the somber \u201cDa Pacem Domine,\u201d with only a slight edge of precision missing in some ensemble attacks.<\/p>\n

An account of Mozart\u2019s \u201cAve Verum Corpus\u201d was subdued and gauzy, as if inhabited by Mr. P\u00e4rt\u2019s spirit. Repeated immediately as a reprise, the same piece sounded more forthright and upbeat. Two instrumental works framed the program: Veljo Tormis\u2019s Overture No. 2, a bracing curtain-raiser redolent of Sibelius and the Estonian Eduard Tubin; and Sibelius\u2019s Symphony No. 5, with all the slippery transitions and boisterous climaxes authoritatively handled. Another Sibelius, \u201cAndante Festivo,\u201d provided a blithe encore.<\/p>\n

\n

The White Light Festival runs through Nov. 23 at various New York locations; 212-721-6500, whitelightfestival.org.<\/p>\n

NEW YORK TIMES<\/a><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

If any artist is emblematic of the spirit manifest in Lincoln Center\u2019sWhite Light Festival, it might be Arvo P\u00e4rt.<\/p>\n","protected":false},"author":2,"featured_media":2653,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[88],"tags":[],"class_list":["post-4941","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news-reviews"],"acf":[],"_links":{"self":[{"href":"https:\/\/erso.ee\/en\/wp-json\/wp\/v2\/posts\/4941","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/erso.ee\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/erso.ee\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/erso.ee\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/erso.ee\/en\/wp-json\/wp\/v2\/comments?post=4941"}],"version-history":[{"count":1,"href":"https:\/\/erso.ee\/en\/wp-json\/wp\/v2\/posts\/4941\/revisions"}],"predecessor-version":[{"id":5439,"href":"https:\/\/erso.ee\/en\/wp-json\/wp\/v2\/posts\/4941\/revisions\/5439"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/erso.ee\/en\/wp-json\/wp\/v2\/media\/2653"}],"wp:attachment":[{"href":"https:\/\/erso.ee\/en\/wp-json\/wp\/v2\/media?parent=4941"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/erso.ee\/en\/wp-json\/wp\/v2\/categories?post=4941"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/erso.ee\/en\/wp-json\/wp\/v2\/tags?post=4941"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}