Skip to main content alibris logo
Arvo Pärt: A Portrait - Alexei Lubimov (piano); Antal Eisrich (percussion); Daniel Hope (violin); Frans Helmerson (cello); Jurgen Petrenko (organ);...
Filter Results
Shipping
Item Condition
Seller Rating
Other Options
Change Currency
Track Listing
  1. Für Alina, for piano
  2. Symphony No. 1 ("Polyphonic"), Op. 9: Second Movement
  3. Cantus in Memory of Benjamin Britten, for string orchestra & bell
  4. Passio, for tenor, bass, vocal quartet, chorus, oboe, bassoon, violin, cello & organ: Passio Domini Nostri Jesu Christi secundum Joannem
  5. Berliner Messe, for SATB chorus & string orchestra: Kyrie
Show All Tracks
  1. Für Alina, for piano
  2. Symphony No. 1 ("Polyphonic"), Op. 9: Second Movement
  3. Cantus in Memory of Benjamin Britten, for string orchestra & bell
  4. Passio, for tenor, bass, vocal quartet, chorus, oboe, bassoon, violin, cello & organ: Passio Domini Nostri Jesu Christi secundum Joannem
  5. Berliner Messe, for SATB chorus & string orchestra: Kyrie
  6. Fratres, for cello & piano
  7. Magnificat, for chorus
  8. Summa, for string orchestra
  9. Passio, for tenor, bass, vocal quartet, chorus, oboe, bassoon, violin, cello & organ: Unde es tu? Jesus autem responsum non dedit ei
  10. Berliner Messe, for SATB chorus & string orchestra: Credo
  11. The Beatitudes, for chorus & organ
  12. Annum per annum, for organ
  13. Fratres, for strings & percussion
  14. Collage over B-A-C-H, for strings, oboe, harpsichord & piano
  15. Pro et contra, concerto for cello & orchestra
  16. Symphony No. 3: Third Movement
  17. Cantate Domino, for SATB chorus or soloists & organ
  18. Spiegel im Spiegel, for violin & piano
  19. Triodion, for chorus
  20. Tabula rasa, concerto for 2 violins (or violin & viola), prepared piano & string orchestra: Ludus
  21. Passio, for tenor, bass, vocal quartet, chorus, oboe, bassoon, violin, cello & organ: Et ex illa hora accepit eam discipulus in sua
Show Fewer Tracks

This double-disc survey of Arvo Pärt's distinctive oeuvre covers his most popular choral pieces, but also presents enough of his early work to provide a reasonably accurate portrait of a composer who has passed through several eventful decades and made several adjustments in his style. A few of Pärt's more experimental pieces are presented here, as well as examples of his later, more familiar sacred works employing the tintinnabular method. Yet even when it is most dissonant or atonal (e.g., in the second movement of the ...

loading