Arvo P?rt

愛(ài)沙尼亞作曲家。1935年9月11日出生于派德（Paide），成長(zhǎng)于塔林（Tallinn）。1954年進(jìn)入塔林音樂(lè)中學(xué)，一年后因服兵役中斷學(xué)習(xí)，在軍樂(lè)隊(duì)中吹奏單簧管、打邊鼓。1957年進(jìn)入塔林音樂(lè)學(xué)院隨埃勒（Heino Eller）學(xué)習(xí)作曲，同時(shí)成為愛(ài)沙尼亞廣播電臺(tái)的錄音工程師，還為廣播電臺(tái)和電影作曲。在校時(shí)他即開(kāi)始創(chuàng)作，早期作品如弦樂(lè)四重奏和一些非古典鋼琴作品，顯示了肖斯塔科維奇、普羅科菲耶夫等人的影響。1962年，他的兩部合唱作品，獲得了在莫斯科舉辦的全蘇青年作曲家作品比賽大獎(jiǎng)。1963年他從學(xué)院畢業(yè)。1960年代早期，他作品即開(kāi)始體現(xiàn)出了十二音體系和偶然音樂(lè)的特征。他的第一部管弦樂(lè)作品 Necrolog，是愛(ài)沙尼亞作曲家的第一部基于十二音體系的新實(shí)驗(yàn)音樂(lè)作品。此間創(chuàng)作了不少實(shí)驗(yàn)音樂(lè)作品。這些作品受到截然不同的兩個(gè)極端的評(píng)價(jià)。不久他停止創(chuàng)作，潛心于法國(guó)古典音樂(lè)和14-16世紀(jì)音樂(lè)的學(xué)習(xí)。1970年代初寫(xiě)了少量的基于歐洲早期復(fù)調(diào)音樂(lè)傳統(tǒng)的作品。1976年后，他開(kāi)始創(chuàng)作與先前絕然不同的作品，創(chuàng)造了一種他自己稱(chēng)之為 tintinnabuli (拉丁語(yǔ)：鈴）的作曲法。他描述說(shuō)：“我發(fā)現(xiàn)，一個(gè)音符演演得漂亮就足夠了。這一個(gè)音符，或一個(gè)休止節(jié)拍，或者一個(gè)靜止的瞬音，使我感到安慰。我使用很少的元素，一兩個(gè)音符。我使用最原始的材料——三和音，一個(gè)特定的音調(diào)。三和音的三個(gè)音符就象鈴聲，所以我取名為‘ 鈴聲’。”這些原則下的作品在西方得到了很高的評(píng)價(jià)，但在國(guó)內(nèi)卻受到?jīng)_擊。這使他全家于1980移民國(guó)外，先定居于維也納，并取得了奧地利公民資格，后定居西柏林。離開(kāi)愛(ài)沙尼亞后，他創(chuàng)作了許多宗教音樂(lè)，并在 ECM 錄制了蘇聯(lián)以外的第一張唱片。希利爾（Paul Hillier）的希利亞德樂(lè)隊(duì)（Hilliard Ensemble）和愛(ài)沙尼亞指揮家賈維，指揮演奏錄制了他的許多作品。1996年成為美國(guó)文學(xué)藝術(shù)學(xué)會(huì)榮譽(yù)會(huì)員和瑞典皇家音樂(lè)學(xué)會(huì)會(huì)員。
Throughout Arvo Part's career, he has demonstrated a voracious musical curiosity and daring experimental spirit that has allowed him to move beyond a secure place as Estonia's premiere composer to become perhaps the best known choral and sacred music scorist of his time. 30 years of musical experimentation with influences as wide ranging as Russian neo-classicism, Western modernism, Schoenbergian dedecaphony, minimalism, polytonality, Gregorian chant and collage have led him to the creation of a distinctively sparse technique he calls "tintinnabulation." This method, which takes its name from the Latin word for bells, places unusual emphasis on individual notes and makes extensive use of silence. "I have discovered that it is enough when a single note is beautifully played, " says Part. "This one note ... or a moment of silence, comforts me.... I build with the most primitive materials -- with the triad, with one specific tonality. The three notes of a triad are like bells. And that is why I call it tintinnabulation." Part, a 1963 graduate of the Tallin Conservatory, began his career writing music for Estonian radio, television, film and theater. His early work drew heavily from the music of the Soviet Union, where he took up residence in the early sixties. With Necrology in 1960, Part began to explore Schoenberg's 12-tone serial method. He continued with serialism through most of the sixties, but eventually grew weary of its rigidity and began to experiment with collage technique, incorporating elements of Bach and Tchaikosky into his original compositions. This approach alienated purists, and his Credo of 1968 was banned in Estonia. Part then abandoned pastiche and entered a period of studious hibernation during which he examined medieval and Renaissance choral music. In 1976, Part re-emerged from his self-imposed silence with a small piano composition, Fur Alina. The piece constituted a remarkable departure from his previous work, and introduced the "tintinnabulation" method that was to be the hallmark of subsequent compositions. The piece also marked the beginning of a very prolific period. 1977 saw the release of three of Part's most famous works: Fratres, Cantus in Memoriam Benjamin Britten and Tabula Rasa, for which he won the Estonian Music Prize. The western success of these pieces created friction between Part and the Soviet government and in 1980 he moved to Vienna and became an Austrian citizen. A year later he moved to West Berlin, where he began to focus on choral settings of religious texts including St. John Passion (1982), Te Deum (1984-6), Litany (1994) and Kanon Pokajanen (1998). These works reflected his growing interest in the metaphysical, as well as his appreciation of Gregorian chant and composers like Obrecht, Ockeghem, and Josquin. His western following continued to expand in the nineties, when his music attracted the attention of numerous American film producers, popular recording artists like Michael Stipe, and the American Academy of Arts and Letters, to which he was elected in 1996.