Perhaps the most intriguing work in this fine collection is the small choral work Solfeggio from 1964. The title captures the content of the piece: the choir sings nothing but do-re-mi-fa-etc .. However, the individual notes are the different voices passed, so that the tones can be sustained. The melancholic affect of these diatonic sound fields does not differ much from the religious 'tintinnabuli'
… style with which Pärt would break through in the 1980s and 1990s. The term 'tintinnabuli' refers to the sound of bells. Pärt used this term for his mostly religious tinged music from the late 1970s onwards. This music is often developed from endless permutations of a triad, which evokes a sense of infinity in many listeners. In 1964, the then hardcore avant-gardist had not yet reached that stage, so that Solfeggio remained hidden in his oeuvre as a precious treasure in the field. In fact, this CD does not contain much new: it is partly a compilation of older recordings, collected on the occasion of Pärt's 70th birthday. Interesting are the classifications Paul Hillier applies to Pärt's oeuvre. For example, he divides the tintinnabuli period into three parts: 'the earliest, like drawing with just pencil and paper (the works of the later 1970s and early 1980s); the second, transferring this knowledge to the medium of fresco (mid-1980s to early 1990s); the third (mid-1990s to the present), no painting in oils ... '(HJ) In fact, this CD does not contain much new: it is partly a compilation of older recordings, collected on the occasion of Pärt's 70th birthday. Interesting are the classifications Paul Hillier applies to Pärt's oeuvre. For example, he divides the tintinnabuli period into three parts: 'the earliest, like drawing with just pencil and paper (the works of the later 1970s and early 1980s); the second, transferring this knowledge to the medium of fresco (mid-1980s to early 1990s); the third (mid-1990s to the present), no painting in oils ... '(HJ) In fact, this CD does not contain much new: it is partly a compilation of older recordings, collected on the occasion of Pärt's 70th birthday. Interesting are the classifications that Paul Hillier applies to Pärt's oeuvre. For example, he divides the tintinnabuli period into three parts: 'the earliest, like drawing with just pencil and paper (the works of the later 1970s and early 1980s); the second, transferring this knowledge to the medium of fresco (mid-1980s to early 1990s); the third (mid-1990s to the present), no painting in oils ... '(HJ) like drawing with just pencil and paper (the works of the later 1970s and early 1980s); the second, transferring this knowledge to the medium of fresco (mid-1980s to early 1990s); the third (mid-1990s to the present), no painting in oils ... '(HJ) like drawing with just pencil and paper (the works of the later 1970s and early 1980s); the second, transferring this knowledge to the medium of fresco (mid-1980s to early 1990s); the third (mid-1990s to the present), no painting in oils ... '(HJ)more
