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Arvo Pärt - Kanon Pokajanen album flac

Arvo Pärt - Kanon Pokajanen album flac

Performer: Arvo Pärt
Title: Kanon Pokajanen
Country: Germany
Released: 1998
Style: Contemporary
Rating: 4.7
Votes: 305
Other formats: MP1 DMF WMA AA DXD WAV MOD

Kanon Pokajanen is a 1997 composition by Arvo Pärt for four-part (SATB) choir. The text is the "Canon of Repentance to Our Lord Jesus Christ", an Orthodox hymn. The text is sung in Church Slavonic and following the tradition of Russian sacred choral music, it is sung a cappella.

Arvo Part's Kanon Pokajanen is a work of starkly radiant beauty, a deeply felt plea for forgiveness so resonant it seems to bear its own expiatory power. The piece is a choral setting of the Russian Orthodox Church's canon of repentance, believed to have been composed by St. Andrew of Crete sometime in the late seventh century. If you're looking for background music, Kanon Pokajanen is not your best choice.

Artists Arvo Pärt Kanon Pokajanen. Kanon Pokajanen Arvo Pärt. This album has an average beat per minute of BPM (slowest/fastest tempos:, BPM). See its BPM profile at the bottom of the page. Tracklist Kanon Pokajanen. 1. Kanon pokajanen: Ode I.

Arvo Pärt's new work, Kanon Pokajanen is an unqualified masterpiece. Although he's previously written music with similar notions of harmonic rhythm and melodic economy, this work successfully incorporates and develops material that in this context easily could become unwieldy. The texts are taken from the canon of repentance of the Russian Orthodox Church, a subject that's occupied the composer for many years.

Arvo Pärt: Kanon Pokajanen. Enter the url below of the most international release on MusicBrainz. Its not possible to enter the url of a release group.

Songs from Arvo Pärt: Kanon Pokajanen by Aquarius. Free download and listen Arvo Pärt: Kanon Pokajanen. Arvo Pärt: Kanon Pokajanen.

Tracklist

1-1 Ode I 7:34
1-2 Ode III 11:43
1-3 Ode IV 7:12
1-4 Ode V 7:59
1-5 Ode VI 8:18
2-1 Kondakion 2:23
2-2 Ikos 2:57
2-3 Ode VII 7:12
2-4 Ode VIII 8:44
2-5 Ode IX 8:14
2-6 Prayer After The Kanon 11:02

Companies, etc.

  • 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

Credits

  • Alto Vocals – Evelin Saul, Juta Roopalu-Malk, Kadri Mitt, Kai Darzinš, Karin Salumäe, Karmen Puis, Tiiu Otsing
  • Alto Vocals [Soloist] – Ave Moor
  • Bass Vocals – Aarne Talvik, Allan Vurma, Esper Linnamägi, Kalev Keeroja, Ranno Eduard Linde*, Tõnis Tamm, Tõnu Tormis, Uku Joller
  • Choir – Estonian Philharmonic Chamber Choir
  • Composed By – Arvo Pärt
  • Conductor – Tõnu 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
  • Producer – Manfred Eicher
  • Soprano Vocals – Eha Pärg, Katrin Karelson, Kristiina Under, Raili Jaanson, Vilve Hepner
  • Soprano Vocals [Soloist] – Kaia Urb
  • Tenor Vocals – Arvo 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"

Barcode and Other Identifiers

  • 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

Other versions

Category Artist Title (Format) Label Category Country Year
ECM 1654/55, 457 835-2 Arvo Pärt Kanon Pokajanen ‎(CD, MiniAlbum, Promo, car) ECM Records, ECM Records GmbH ECM 1654/55, 457 835-2 Germany 1998
ECM 1654/55, 289 457 834-2 Arvo Pärt Kanon Pokajanen ‎(2xCD, Album, RP) ECM New Series, ECM New Series ECM 1654/55, 289 457 834-2 US Unknown
ECM 1654, 457 835-2 Arvo Pärt Kanon Pokajanen ‎(CD, Album, Promo, Dig) ECM Records, ECM Records ECM 1654, 457 835-2 Germany 1998
ECM 1654/55, 457 834-2, ECM New Series 1654/55 Arvo Pärt Kanon Pokajanen ‎(2xCD, Album, RP) ECM New Series, ECM New Series, ECM New Series ECM 1654/55, 457 834-2, ECM New Series 1654/55 Germany Unknown
ECM 1654/55, 78118-21654-2 Arvo Pärt Kanon Pokajanen ‎(2xCD, Album) ECM New Series, ECM New Series, ECM Records, ECM Records ECM 1654/55, 78118-21654-2 US 1998


Reviews (2)
Boyn
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."

Ariurin
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.

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