01 Spiegel Im Spiegel [1041]

Vladimir Spivakov violin Sergej Bezrodny piano 02 Fuumlr Alina [1047] Alexander Malter piano 03 Spiegel Im Spiegel [912] Dietmar Schwalke violoncello Alexander Malter piano 04 Fuumlr Alina [1053] Alexander Malter piano 05 Spiegel Im Spiegel [948] Vladimir Spivakov violin Sergej Bezrodny piano

Arvo Paumlrt Alina

ECM New Series 1591

Recorded July 1995 Festeburgkirche Frankfurt-Am-Main Germany Balance engineer Markus Heiland Producedy by Manfred Eicher copy 1999 ECM Records GmbH There have been other recordings of Fuumlr Alina and Spiegel im Spiegel but none like those on this disc realized with the participation of the composer Here Paumlrt aided by exceptional interpreters revisits those seminally important compositions which marked the birth of a new prismatic period in his work establishing a link between compositions embodying the fundamental traits of the tintinnabuli style Three interpretations of the duet Spiegel im Spiegel (Mirror in the Mirror) for violin or cello and piano become

formal pillars positioned before between and after two solo renderings of Fuumlr Alina the latter performed with interpretive freedom by Alexander Malter

ECM press release This is a remarkable release both for its beauty and its novelty at programming Fuumlr Alina is a two-minute solo piano piece composed by Paumlrt in 1976 that ushered in his tintinnabuli style that is the bell-like simple no-notes-wasted method for which he has become beloved and famous On this disc pianist Alexander Malter plays it twice as the second and fourth tracks each iteration takes almost 11 minutes (Paumlrt assumed it would be embellished and he chose this pair for the CD) There are minute variations in tempo emphasis and

rubato from one to the other but all that being said it amounts to 22 minutes of the most beautiful contemplative music ever performed Almost equally gentle is Spiegel im Spiege played as tracks 1 3 and 5 and scored for piano and respectively violin cello and then violin again The instruments mirror one another (Spiegel is German for mirror) with notes added to the scale with each repetition and so on Almost impossible to describe in its loveliness each of the three sets is beautiful the cello in track 3 gives it extra mellowness This is music staggering in its simple complexity and a treat for the ear and heart

Robert Levine Amazoncom Arvo Paumlrt is a living national treasure to Estonia and this album reveals such intimate access to his faith sadness and humility Structured in five parts Alina is a simple chilling invocation of heartfelt desire comprised of only two movements that alternate with subtle variation The opening lullaby of Spiegel im Spiegel is a gentle and melancholy embrace between Sergej Bezrodney on piano and Vladimir Spivakov on violin where every note steps gracefully forward as if ascending a fragile staircase In contrast the two movements of Fuumlr Alina leave a little room for structured impro-visation as the top note in each chord is left for the performer to as Paumlrt puts it explore within themselves Thus Alexander Malter deserves special recognition for breathing such mournful sweetness into these passages through every fingertip every delicate cluster of notes shines like a distant star through a wintery black night Malter stays on for the middle section of Spiegel im Spiegel and with violoncello from Dietmar Schwalke adds a more somber deliberate-ness to the piece that pianist Bezrodney shies away from in his performances (tracks one and five) instead opting for restrained tenderness The disc closes much in the same way it opens as if a prayer of deepest longing were just whispered into the still air

Frequent ECM producer Manfred Eicher calls upon his usual strengths by letting the instruments speak for themselves in the right acoustical settings mdash less is certainly more and the stark beauty of Alina comes partly from what we hear between the notes such a rich and gorgeous silence This is perhaps one of Paumlrts finest releases on compact disc though one of his quietest These are the tears of ghosts

Glenn Swan allmusiccom

rubato from one to the other but all that being said it amounts to 22 minutes of the most beautiful contemplative music ever performed Almost equally gentle is Spiegel im Spiege played as tracks 1 3 and 5 and scored for piano and respectively violin cello and then violin again The instruments mirror one another (Spiegel is German for mirror) with notes added to the scale with each repetition and so on Almost impossible to describe in its loveliness each of the three sets is beautiful the cello in track 3 gives it extra mellowness This is music staggering in its simple complexity and a treat for the ear and heart

Robert Levine Amazoncom Arvo Paumlrt is a living national treasure to Estonia and this album reveals such intimate access to his faith sadness and humility Structured in five parts Alina is a simple chilling invocation of heartfelt desire comprised of only two movements that alternate with subtle variation The opening lullaby of Spiegel im Spiegel is a gentle and melancholy embrace between Sergej Bezrodney on piano and Vladimir Spivakov on violin where every note steps gracefully forward as if ascending a fragile staircase In contrast the two movements of Fuumlr Alina leave a little room for structured impro-visation as the top note in each chord is left for the performer to as Paumlrt puts it explore within themselves Thus Alexander Malter deserves special recognition for breathing such mournful sweetness into these passages through every fingertip every delicate cluster of notes shines like a distant star through a wintery black night Malter stays on for the middle section of Spiegel im Spiegel and with violoncello from Dietmar Schwalke adds a more somber deliberate-ness to the piece that pianist Bezrodney shies away from in his performances (tracks one and five) instead opting for restrained tenderness The disc closes much in the same way it opens as if a prayer of deepest longing were just whispered into the still air

Frequent ECM producer Manfred Eicher calls upon his usual strengths by letting the instruments speak for themselves in the right acoustical settings mdash less is certainly more and the stark beauty of Alina comes partly from what we hear between the notes such a rich and gorgeous silence This is perhaps one of Paumlrts finest releases on compact disc though one of his quietest These are the tears of ghosts

Glenn Swan allmusiccom