LindoroRossini's video: Art or Not Arvo P rt Spiegel im Spiegel 1978 Arrangement for Cello Piano

≈History≈ Based on materials from the Grove Dictionary Estonian composer Arvo Part studied at the Tallinn Conservatory, graduating in 1963. His earliest works, mostly for piano, are neo-classical in style. At this time, he was studying serial composition from the few scores and textbooks that had found their way into the Soviet Union. The style earned him official rebuke, though Part continued to apply serial procedures throughout the 1960s. He reached a peak in the 1968 Credo that provoked an official scandal, not for its musical language but for its avowal of Christianity. It was only in 1976 that Part began to compose fluidly again, this time using a tonal technique of his own creation which he calls "tintinnabuli" (after the bell-like resemblance of notes in a triad). The first piece in this new style was the short piano solo Für Alina. This direction proved to have more potential for the composer's international reputation. In 1980 he and his family emigrated, first to Vienna and then to Berlin. Just before his departure, Part composed Spiegel im Spiegel {Mirror in the Mirror}, the present piece – a frequent addition to film and stage scores. ≈Music≈ This post is more a question to the listener that an analysis, hence the title of the posting. Is it possible for a piece of music to be rather plain yet moving? Analytically speaking, Spiegel im Spiegel is one the most straightforward compositions to deconstruct, if there is, in fact, anything to deconstruct. The whole work is built around just two recurring motifs: rising crotchet second-inversion broken chords in the right hand of the piano and sustained notes in the violin/cello which slowly ascend and descend, always ending on A – a perfect representation of the tintinnabular style. Both undeniably attractive ideas are varied with each reiteration, as additional notes are inserted. And that's all, a continuous reiteration of basic material which, if Part would have wanted so, could be prolonged as long one would want to hear it {in fact, the excerpted recording repeats it three times (!)}. As violinist Tasmin Little notes the main task is to set the mood of reflection and to play the notes "as beautifully as possible". The piece is the epitome of simplicity, and I fully understand why some would see this as a vice. A lack of musical activity or elaboration does suggest routine. Yet I still find the piece to be effective on its own terms. Strictly speaking, it is not anything innovative: the twilight first movement of Beethoven's Piano Sonata Op. 27 no. 2 is similar in effect. Spiegel im Spiegel is, in fact, a mirror of the listener's mind, as its calm atmosphere and abandonment of histronics create a meditative mood that allows one's thoughts to wander and reflect on his or her own person. It greatly reminds me of a lullaby, provoking me to remember my youthful days and lack of worry. On the page, this is not music that is played for drama or emotions, it does not distract or actively engage the listener but it does create an atmosphere of serenity that is fully effective. Perhaps, in the end, the profundity lies in Part's willingness to simply allow the listener to abandon himself or herself to the simplicity of his creation and make of it what they will. And I find that this negates my personal initial ambivalence to the music. Once more, I would love to hear your thoughts on the question in the title. ≈Score≈ The sheet music is out of the public domain. ≈Recording≈ I initially played around with doing a fantasy on the different versions of Spiegel im Spiegel but ultimately found it impossible and limited myself to the just one arrangement: a fine account by Dietmar Schwalke and Alexander Malter on the 1999 ECM recording, made with the participation of Part himself. Hope you'll enjoy!