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“It might have been about two years before the birth of tintinnabuli, in 1974, when Arvo and Nora Pärt met the icon painter Viktor Krivorotov in Georgia, who also dealt with creative psychology. And Nora asked for his advice. What can he do? How could he find a way out of this creative dead end? ‘And Krivorotov recommended experimenting with different types of art – precisely the ones you do not know or command. You just have to have the courage to do poorly and fail, and even have a certain impudence,’ Nora relates.

As the paper and canvas felt too demanding to paint on, at some point they arrived at flowerpots – ordinary clay pots that usually came with flowers. ‘And then I just waited for the flowers to dry, to get the pot,’ she continues. In the beginning it was only Nora who painted the pots with water-based paint, but one day Arvo too took a pot in his hands. ‘And what did he paint? Some sort of lines. Simple lines in different colours,’ Nora recalls. We will never know if it was painting that eventually got the composer’s creativity flowing again, but indeed it released something in him.”

Arvo Pärt Centre

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A conference at the University of York • 17-19 May 2018

This conference marks the publication of 30 books in the two book series Historicizing Modernism and Modernist Archives with Bloomsbury Academic.

Archival excavation and detailed contextualisation is becoming increasingly central to scholarship on literary modernism. In recent years, the increased – and often online – accessibility and dissemination of previously unpublished or little-known texts has led to paradigm-shifting scholarly interventions across a range of canonical and lesser-known authors, neglected topics, and critical methodologies including genetic criticism, intertextuality, book history, and historical documentation. This trend is only bound to increase as large-scale digitisation of archival materials gathers pace, and existing copyright restrictions gradually lapse.

These two book series have been at the forefront of this burgeoning trend, and this international conference will take stock of these developments. Above all, it will also point forwards, towards future avenues of research. The authors and editorial board members connected with the series will reflect upon the ‘state of the art’ regarding archive-based research within their particular sub-discipline, connecting this to Modernism Studies as a whole. The provisional paper titles listed below reflect their responses to this invitation. (more…)

“Ambient Music has arrived at middle age. 2018 marks 40 years since the release of Brian Eno’s Music For Airports, which effectively introduced the term. As a musical form it has endured, even though its sense of self as a genre has become arguably obfuscated at best and ineffectual at worst. Genres, like human beings, can undergo periods where direction and clarity are lacking. When such periods take hold in the middle years, a mid-life crisis can often occur. With that in mind, I am reconsidering ambient music and its place looking into the 21st century. What might ambient music’s next decade (let alone 40 years) be concerned with?”

FACT Magazine

Arvo-Part-har-laga-musikken-brukt-i-Edda
“As the highlight of the 800th anniversary celebrations of the University of Salamanca, the oldest university in Spain, an extraordinary concert will be performed on 18 February 2018, with the world premiere of Arvo Pärt’s new a cappella composition, And I heard a voice… / Ja ma kuulsin hääle… as part of the programme.” Arvo Pärt Centre

On words, music, and expression

“Most of my early music was non-vocal. In fact, I only started writing intensively for choirs after I met the Hilliards. Hearing them for the first time changed my life totally. The tears fell over my face and I was not able to say where I was – in heaven or here on Earth. It was a shock.”

— Arvo Pärt, The Telegraph (more…)