Tabula Rasa Music

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Back out all the jargon, and one is left to describe the effect of this music in abstract but more flattering terms. Here is sound that seems not only to transcend time and place, but beckons us to follow wherever it leads--even at the risk of never returning.

Fortunately, this ECM release leaves the business of animating these creations to the pros. Kremer, Jarrett, Schnittke, Davies, and Sondeckis are all well-known risk-takers, many of whom play large in the debut of much of Part's output. The performances are beautiful, as much for their adept emotional expression as their convincing technique. In subsequent years, many worthy artists have undertaken performances of these works, but the majority of them attempt to apply the salve before they inflict the wounds. Not so here. This recording of Tabula Rasa, despite bearing the scars of the inevitable tics, pops, and coughs that live recordings are heir to, remains unsurpassed.

same can be said for Occident and Orient

The two versions of Fratres are really completely different pieces using the same harmonic progressions. In the violin and piano duet, the chord progression is used for a series of variations that range from the mystical to the passionate. Keith Jarrett and Gidon Kramer play this music magnificently. The version of Fratres for 12 solo celli is marvelous. The work is based on a simple modal chord progression which gradually builds to a crescendo and then fades away to nothing. Each interation of the chord progression is separated by an almost inaudible drone, as if silence were resounding.

The Cantus is the first of Part's canonic style. Simple material (a desending minor scale) is unfolded in various tempi, creating the feeling of bells. The work is beautiful, but doesn't grab me as much as other Part pieces. For my ear, it can seem a little contrived.

The standout on the album is Tabula Rasa, a double concerto for two violins and chamber orchestra, including prepared piano. The first movement alternates fast paced arpeggiated material with bell like sounds on the prepared piano. The effect is one of gradually building tension, relieved by the disapation of energy in the points of stillness. The second movement is a long, slow movement based on rising and falling scales in the violins, and the gradual thinning out of texture. The movement is deeply moving. Though the musical means are simple, I find myself disappointed when the pieces ends. It is like a vision of eternity.

If you don't know Part, this is the album to begin with. Some of his other marvelous pieces may be just a bit too long for the average listener. (I love the St. John Passion, but wouldn't suggest that to anyone who didn't already love Part.) And the ECM sound quality is not to be matched.