"Cantus in memoriam Benjamin Britten" by Arvo Pärt, Reaction/Analysis by Musician/Producer
Original Video: • Arvo Pärt : Cantus in ...
"I don't know a more haunting and moving work than Arvo Pärt's "Cantus in memoriam Benjamin Britten". For me, it's impossible to listen to this music without bursting into tears. Composed in 1977, a year after the death of the British composer he was particularly fond of, the Estonian musician powerfully expresses the tragedy of existence, the suffering in the face of death.
A single note played on a tubular chime opens, accompanies and concludes the piece. On its first occurrence, a short pattern appears. In canon, it repeats itself tirelessly; from one string stand to another, in a sort of paradoxical crescendo, the duration of its increasingly lower notes stretching out conspicuously as it progresses. Silence then suddenly arises when, one last time, the tubular chime sounds.
In relation with the death of Britten and his Cantus, Pärt said: "Inexplicable feelings of guilt and remorse rose up in me. I had only just discovered Britten for myself. Just before his death, I had begun to appreciate the unusual purity of his music - I had the impression of a kind of purity comparable to that of the ballads of Guillaume de Machaut. And, added to that, for a long time I'd wanted to meet Britten in person - and now that wasn't going to happen." (Wikipedia)
The meeting did not happen, of course. But perhaps it unfolded on an altogether different level with the advent of this work, which perfectly illustrates Wagner's words: "Music begins where the power of words ends". In the face of the tormenting pain of mourning, music alone can save us.
There are many excellent interpretations of Pärt's Cantus. The one that I propose, and that I particularly like, is the one recorded in Paris with the musicians of the Radio-France Philharmonic Orchestra under the direction of the excellent conductor Kent Nagano. The configuration is that desired by Pärt with an ensemble which is more reminiscent of a wide chamber orchestra than a large orchestral phalanx (even if the execution of this piece falls only to the strings, tubular chime excepted). This eminent recording therefore fully restores the qualities of the Cantus while avoiding any pathos, any emphasis, not to mention Nagano's sober, precise, almost hieratic conducting!
For the anecdote: when Pärt created the work in 1977, the musicians responsible for performing the work asked him at the first reading of the score: "But where is the music?"
After playing it in full for the first time, they were overwhelmed." - Phil
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This is a reaction video used to educate and give feedback related to the artist and the song.
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