Annum Per Annum Arvo Part Pdf Printer

Of the Early Music Institute at Indiana University, Bloomington. In September, 2001 he was named Artistic Director and Principal Conductor of the Estonian Philharmonic Chamber Choir, with which he launched a cycle of recordings exploring the choral tradition of the Baltic Sea countries. Baltic Voices 1 and Baltic Voices 2 met with unanimous praise and each won Hillier a Grammy® nomination.The Powers of Heaven, a much-admired pro- gram of Russian Orthodox sacred music, was followed by Rachmaninov’s All-Night Vigil, Op. 37 and, most recently, by Baltic Voices 3.

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In 2004 Paul Hillier was awarded the Estonian Cultural Prize.In 2002 he was made Honorary Professor in Music at the University of Copenhagen, and in 2003 accepted the post of Chief Conductor of Vocal Group Ars Nova (Copenhagen). Hillier is the author of a monograph “Arvo Pa?rt” (1997) and editor of “The Collected Writings of Steve Reich” (2002), both published by Oxford University Press. His latest project is a book about consort singing. The Grammy®-award winning ensemble THEATRE OF VOICES was founded by Paul Hillier in 1990. Current projects include music ranging from Dowland, Carissimi, Buxtehude and Bach, to many of today’s most eminent composers such as Arvo Pa?rt, Steve Reich, John Cage, Pelle Gudmundsen-Holmgreen, and David Lang.

The group regularly performs at Edinburgh Festival, Barbican Centre and Carnegie Hall – where they premiered David Lang’s “The Little Match Girl Passion.” The piece was commissioned for TOV and won the 2008 Pulitzer Prize. The harmonia mundi recording won a Grammy® Award in 2010. TOV’s 2007 recording of Stockhausen’s “Stimmung” led to the ensemble being invited to open the 2008 Berliner Festspiele at the composer’s request. Theatre of Voices works with some of the world’s best instrumentalists and has premiered Gavin Bryars’s “The Stone Arch” with the Kronos Quartet at Barbican Centre’s Steve Reich Festival.

In 2009 the ensemble presented a new production by Chinese composer Liu Sola also at the Barbican Centre and Takkelloftet at the Royal Opera in Copenhagen: “The Afterlife of Li Jiantong.” Presently, Theatre of Voices is working with London Sinfonietta on a new round of music by Danish composer Pelle Gudmundsen-Holmgreen.

Page/Link:Page URL:HTML link:The Free Library. Retrieved Jan 22 2020 fromArvo Part. Solfeggio per coro (SATB) a cappella (1964/1996).Vienna: Universal Edition, c1997.

ISMN M-008-05705-2; UE 30 455. DM 2.50; duration: 5-6'.Arvo Part. Cantate Domino canticum novum: Psalm 95 fur Chor oderSolisten (SATB) und Orgel (1977, rev. Partitur = Orgelstimme andVokalpartitur. Vienna: Universal Edition, c1997. Score, 12 p.

And part.ISMN M-008-05832-5, M-008-05833-2; UE 31 058, 31 059. DM 17 (score), DM6.50 (vocal score); duration: ca. 3'.Arvo Part. Missa syllabica: Fur vier Stimmen oder gemischten Chorund Orgel (1977, rev. Partitur and Chorpartitur.

Vienna:Universal Edition, 1997, c1980. Score, 19 p. ISMN M-008-05733-5,M-008-5734-2; UE 30 430, UE 30 431.

DM 38.50 (score), DM 12 (choralscore); duration: ca. Version fur Chor (SATB) a cappella(1977/1996). ISMN M-008-05884-4; UE 31 151. DM20.50.Arvo Part. Sarah Was Ninety Years Old: Fur drei Singstimmen (STT),Schlagzeug und Orgel (1977/1990). Partitur und Stimmen. Vienna:Universal Edition, 1996, c1991.

Score, 11 p. ISMNM-008-05547-8; UE 30 300. DM 39; duration: ca. 25'.Arvo Part.

Ein Wallfahrtslied: Psalm 121 fur eine Mannerstimme(Tenor oder Bariton) und Streichquartett (1984, rev. Partitur undStimmen. Vienna: Universal Edition, 1997, c1996. Text and performancenotes, l p.; score, 19 p.

ISMN M-008-05792-2; UE 30 426, UE30 426a. DM 48; duration: 9'. Zwei slawische Psalmen (Psalm 117, Psalm 131): Fur Choroder Sopran, Alt, Countertenor, Tenor und Bass a cappella (1984, rev.1997).

Vienna: Universal Edition, 1997, c1984. Textsand pronunciation, 2 p.; score, p. ISMN M-008-05844; UE 31115. DM13; duration: ca. 6'.Arvo Part. Te Deum: Fur drei Chore, Klavier, Streicher und Tonband(1984/85, rev. Partitur and Chorpartitur.

Vienna: UniversalEdition, 1995, c1984. Notes, 1 p.; score, 50 p. ISMN M-008-02523-5,M-008-02524-2; UE 30 822, UE 30 824. DM 59.50 (score), DM 14 (choralscore); duration: ca. 30'.Arvo Part. Miserere: Fur Soli, Chor, Ensemble und Orgel (1989, rev.1992). Vienna: Universal Edition, 1996, c1989.

Text andnotes, 2 p.; score (in C), 56 p. ISMN M-008-02520-4; UE 30 871.

DM 78;duration: 30-35'.Arvo Part. And One of the Pharisees.: Fur drei Singstimmen(CtATB) a cappella (1992). Vienna: Universal Edition,1997, c1992. ISMN M-008-05736-6; UE 31 510. DM 10;duration: Ca. 10'.Arvo Part. Memento: Fur Chor (SATB) a cappella (1994).Choralpartitur.

Vienna: Universal Edition, 1997, c1995. Text andtrans., 2 p.; transliterations of text, 2 p.; note, 1 p.; score, 8 p.ISMN M-008-05785-4; UE 30 266. DM 10; duration: Ca. 10'.Arvo Part. Litany: Prayers of St.

John Chrysostom for Each Hour ofthe Day and Night: Per soli (ACtTTB), coro (SATB) ed orchestra (1994,rev. Partitura da studio and coro part. Vienna: UniversalEdition, 1997, c1994. Texts, instrumentation, 2 p.; score, 73 p. ISMNM-008-05784-7, M-008-05796-0; UE 31 116, UE 30 780. DM 99.5 (score), DM14 (chorus pt.); duration: 25-30'.Arvo Part.

I Am the True Vine: Per coro a cappella (1996).Partitura corale. Vienna: Universal Edition, 1997, c1996. Text andnote, 2 p.; score, 11 p. ISMN M-008-05735-9; UE 30 301. DM 12; duration:ca. 5'30'-9'30'.Arvo Part.

The Woman with the Alabaster Box: St. Matthew 26, 6-13fur Chor (SATB) a cappella (1997). Vienna: UniversalEdition, 1998, c1997. Text and note, 1 p.; score, p.

ISMNM-008-05834-9; UE 31 127; UE 30 426a. DM 8; duration: ca. 7'.Arvo Part. Tribute to Caesar: St. Matthew 22, 15-22 fur Chor (SATB)a cappella (1997). Vienna: Universal Edition, 1998,c1997.

Text and note, score, p. 2-9; ISMN M-008-05835-6; UE 31 137, UE31 137. DM 8; duration: ca. Collected Choral Works: Complete Scores. Introduced byPaul Hillier.

New York: UE Publishing, c1999. 'Arvo Part:Chronological List of Works,' p. 4-5; 'Observations on thePerformance of Arvo Part's Choral Music' (P. Hillier) in Eng.,Ger. 6-13; scores, p.

ISMN M-008-06111-0; ISBN 1-893-68601-9;UE 70 009. DM 48. Contains: Solftggio; An den Wassern zu Babel; And Oneof the Pharisees; Tribute to Caesar; The Woman with the Alabaster Box; IAm the True Vine; Triodion; The Beatitudes; SiebenMagnificat-Antiphonen; Dopo la vittoria; Summa; Magnificat; CantateDomino; Missa syllabica; De profundis; Statuit ei Dominus; BeatusPetronius; Zwei slawische Psalmen; Bogoroditse Djevo.Since the mid-1970s, the Estonian composer Arvo Part (b. 1935) haschronicled the encounter of contemporary musical life with religioustradition by aligning his musical philosophy with the practice of faith.In this way, Part's music belongs to a broader movement in the latetwentieth century that includes the sacred choral works of John Tavener,Henryk Gorecki, Krzysztof Penderecki, Alfred Schnittke, Ivan Moody, andEinojuhani Rautavaara.

Part's early association with mainstreammodernist and avant-garde ideals in the 1960s, heard in his serialorchestral work Nekrolog (1960-61) and his Credo (1968), a collage workfor orchestra, piano, and chorus, was transformed in the later 1970s andearly 1980s through his conversion to Russian Orthodoxy, his studiousassimilation of chant and early polyphony, and his move from SovietEstonia to Berlin.The music reviewed here, with the exception of Solfeggio (1964;rev. 1996), represents this transformation through the musical languageand compositional process that Part describes as tintinnabuli, anonomatopoeic term recalling liturgical bells. As a musical language,tintinnabuli is concerned with three essential elements: the triad, thelinear melodic line, and silence. As a compositional process,tintinnabuli unites these elements with a sacred text in a manner thatis at once systematic and deeply symbolic. With tintinnabuli, Part ismost occupied with capturing the 'intonations' of wordsthrough a precompositional consideration of both the phonetic andsyntactic dimensions of a text. Briefly then, tintinnabuli focuses thelinear melodic line around a central pitch; pairs triadic pitches withlinear pitches according to a variety of schemata; and derives silencesand formal units from the punctuation, structure, and function of thetext at hand. What emerges is a constellation of word and tone rangingfrom the austere to the playful.

Those seeking a more detailed treatmentof Part's tintinnabuli music ant its basis in religious traditionwill want to consult Paul Hillier's foundational book The Music ofArvo Part (Oxford Studies of Composers Oxford: Oxford University Press,1997).This collection of scores reflects a musical voice that is bothinternational in scope and individual to each work. Part's settingsof Latin, Church Slavonic, German, and English are often traces of thecontext created through a certain commission-I Am the True Vine wascomposed for the nine hundredth anniversary of the foundation of NorwichCathedral; or through collaboration with specific performers-Litany waswritten for Helmuth Rilling and the Oregon Bach Festival. The uniqueproper.

Ties of these languages are central to the tintinnabuli processand are largely responsible for the characteristic tone of each work. Itis useful, then, to approach a Part score as the union of a universal(the essential musical materials of tintinnabuli) and a particular (thelanguage, structure, and function of a given text). His notationalstrategies also show substantial flexibility: unstemmed noteheadsevoking chant notation, unmetered rhythm deriving from the syllabic structure of words, and slurs suggesting ligatur es through theirgrouping of pitches are all aspects of Part's signature.

UniversalEdition presents these scores in a customarily crisp, all-lowercaseblack-and-white layout that visually corresponds to the qualities ofpurity and clarity often ascribed to Part's music. These newpublications also contain revisions made to earlier versions, usuallyrepresenting very small performance considerations (mainly voicing andtext disposition) stemming, for instance, from the performance andrecording experiences of Hillier and Tonu Kaljuste.Although Solfeggio (1964; rev. 1996) precedes Part'stintinnabuli music, it nevertheless employs many of the same principlesthat Part has codified in his later style. As the title suggests, thetext consists entirely of sol-fa syllables sung on their concomitantpitches, which progress in ascending cycles through the A natural-minorcollection-a 'diatonic serialism' of sorts. Within thisframework, Part explores the sonorities produced through permutations ofthe voicing of ordered pitches, the spacing of voices, and the durationof each pitch. The nondiscursive, timbre-oriented use of musicalsyllables in Solfeggio is an extreme example of the synthesis andself-sameness of word and music that Part projects in all his choralworks.Canlate Domino canticum novum (1977 holograph score issued byUniversal, 1980, UE 17226; rev. 1996), a setting of Psalm 95 (Vulgate),exemplifies the various symmetries generated in Part's earlytintinnabuli technique.

The linear melodic lines are each centeredaround Bflat as the pitch from which each word departs in analternating, stepwise syllabic ascent or descent. The voices, pairedsoprano/alto and tenor/bass, mirror one another through an inversion ofthe linear direction. The triadic tintinnabuli pitches in the organ,again mirroring one another in each hand, dance around these linearpitches and complete the Bflat-major tonality. Canlate Domino canticumnovum is one of Part's more joyous works and shows an awareness ofthe balanced textual and musical binarisms of traditional psalmodic practice.The Missa syllabica (1977-with title Missa sillabica, published1980, UE 17230; rev. 1996), here in versions with and without organ,continues Part's earliest and most strict approach to thetintinnabuli process with a setting of the Latin Mass. The soledistinction between the two versions is that additional voices take upthe triadic pitches of the organ in the a cappella version.

Thisflexibility of ensemble is characteristic of many of Part's worksand suggests that a specific tintinnabuli process can be realizedthrough a variety of sonic means. Part's musical treatment of Latinprovides for an individual texture, rhythmic profile, and harmonic shadewithin each movement, while at the same time creating variety throughoutthe Mass as a whole. Given the modest length and flexible ensemble, theMissa syllabica, like his Berliner Messe (1990), is one of Part'sworks potentially suited to liturgical practice.Sarah Was Ninety Years Old (1977; rev. 1990, first published 1991)was originally entitled Modus (Tallinn: NSVL Muusikafondi EV osakond,1977) in order to negotiate an official Soviet secular ideology. As theLatin title Modus suggests, this is an esoteric exercise in movement inand through musical time.

Scored for percussion, two tenors, soprano,and organ, Sarah Was Ninety Years Old enacts an overt and patientlyworked-out temporal process. Since the voices are untexted (they singonly the open vowel a), this temporal process alone suggests a link tothe story of Sarah, Abraham, and their son Isaac in Genesis 16-21. Partdevelops a cyclic, permutational approach to musical time in severalways: the solo percussion sections unfold a four-beat pattern in allrotational orderings within an ever tapering repetition scheme, whilethe sections for two tenors combine the pitches of a pentachord both ina palindrome and in an exhaustive imitative reordering. Part is moreliberal in the culminating section for sop rano, organ, and percussion,where the sense of highly controlled time recedes. Here the organcontinues the permutational approach and incorporates affectiveaccidentals into the pentachord while the soprano, in one of Part'srare operatically charged moments, bursts forth to a fortissimo c.sup.2 and intones pitches from outside the pentachord.Ein Wallfahrtslied (1984; rev. 1996) is a setting of Psalm 121 forstring quartet and male voice. An opening instrumental episode ushers inthe Psalm text through a combination of Part's more developedtintinnabuli techniques-the lower strings filter loosely imitativematerial through the chromatic space of a tenth while the upper partspull away from this descent through rising, drone-like pitches, againstwhich the pervasive dissonances of seconds define themselves.

Thecentral E-minor triad in this piece is outlined through pairs ofoff-beat quarter notes, which constitute one of Part's mostcharacteristic paths of rhythmic progress throughout his music. Partsets the text to just one pitch, recited in the balanced phrases oftraditional psalmodic practice, and, in so doing, places it at thesymbolic center of the collective sound of the strings.

Again in thispiece, Part presents triads through a systematic rotation of allpossible orderings while also maintaining the dual ascent and descent ofchromati c lines in the strings. Ein Wallfahrtslied closes with arecapitulation of the opening quartet episode.Zwei slawische Psalmen (1984 holograph score, with subtitle Furfunf Sanger published by Universal, 1984, 1992, UE 18009; rev. 1997) isa setting of Psalms 117 and 131 in Church Slavonic for a cappella chorusor soloists. The text is published both in Cyrillic and in aRoman-alphabet transliteration, with supporting pronunciation guides forEnglish and German speakers. This brisk setting shows Part'sprototypical tintinnabuli technique-two linear voices alternately risefrom or fall to a central pitch in syllabic, stepwise motion. Triadictintinnabuli pitches (A minor in Psalm 117, E minor in Psalm 131) arejoined to the linear lines through a predetermined system of adjacency.Appended to Psalm 117 are Alleluia refrains and a concluding GloriaPatri. The scoring and duration of the Zwei slawische Psalmen make themanother of Part's works suited to both concert and liturgical use.Part's Te Deum (1984-85; rev.

1992) for three choruses,prepared piano, strings, and tape shows a concern for internal musicaldrama through an extended tintinnabuli technique. The text, deliveredindividually by women's, men's, or mixed choirs orcollectively in a combination of all three, is divided into seventeensections in which a broad tonal drama between D minor and D majorunfolds. The soloistic material of the women's and men'schoirs strongly references monophonic chant. These lines are discretelyincorporated into string episodes that articulate textual and sectionaldivisions. This linear material is joined on the offbeat by triadictintinnabuli pitches evoking the beat patterns of bells and increasingin rhythmic activity as the work progresses. One example of Part'sextension of tintinnabuli in the denser choral passages is a move awayfrom straight syllabic text setting to an emphasis on stressed syllablesby giving them two pitches each. This slight alteration in thetintinnabuli process brin gs with it a greater harmonic flexibility andsensitivity on a more local level.

Very significant to the Te Deum isPart's use of an ison drone, produced here from an electronic tape.The ison is a part of Orthodox liturgical practice and is the symbolic'eternity note' pervading both music and text. Another newsound is the quasi-harpsichord timbre of the prepared piano, which helpsdemarcate musical sections and also recalls the use of the harpsichordby other Eastern European composers such as Alfred Schnittke and HenrykGorecki in the 1980s and 1990s.Miserere (1989; rev. 1992) is a richly-scored work for chorus,soloists, winds, brass, electric guitars, percussion, and organ. Thepenitential text from Psalm 51 is troped here with two insertedeschatological texts common in Requiem settings-the 'Diesirae' and 'Rex tremendae.' This severe textual tone iscaptured musically through such means as ubiquitous augmented-second andsemitone intervals and recurring silences.

These negating silences,often of the exact duration as the preceding word, serve to reflect thetext's dialectic of presence with and alienation from the divine.Much of Part's text setting utilizes a long-short modal rhythm,thus preserving the phonetic properties of the Latin while also creatinga certain rhythmic inexorability. The interpolation of the 'Diesirae' takes the form of a fifty-six-measure fortissimo mensuration canon for the full ensemble with patterned entrances on each step of adescending A-E tetrachord. In a passage unique in Part'stintinnabuli output, the density of so und here threatens the reserve ofthe surrounding music-appropriate to the overwhelming textual message.Similarly, the interpolated 'Rex tremendae' also takes shapeas a mensuration canon, this time pianissimo in rising octaves matchedto the octosyllabic structure of the textual phrases. Miserere gives wayto silence through a single E-minor chord held by the organ.And One of the Pharisees. (1992) is a setting for three solovoices of the story of the sinful woman forgiven by Jesus in Luke7:36-50. Part's techniquehere is uncomplicated and puts into relief the narrative nature ofthis text. All voices are centered upon the pitches of the E-minortriad; one voice acts as the melodic line by inflecting multisyllabicwords with stepwise or chromatic motion, while the other voices fill Outthe E-minor triad through a tintinnabuli displacement scheme.

Annum Per Annum Arvo Part Pdf Printer Online

As istypical of English, the majority of the text is comprised ofmonosyllabic words, to which the music corresponds with recitation onone pitch. The sections of dialogue between Jesus and Simon are given tosolo voices (bass and countertenor, respectively) and feature a somewhatfreer handling of the text to highlight pivotal words and actions.Memento (1994) is a setting in Church Slavonic of a portion of theRussian Orthodox Canon of Repentance.

Annum Per Annum Arvo Part Pdf Printer Download

Part's later Kanon Pokajonen(1997), among his most substantial and significant works, incorporatesMemento as Ode VII of the complete Canon of Repentance. Translations,transliterations, and pronunciation guides are all provided in thescore. One of the most characteristic features of Memento is ahocket-like pairing of voices, again evoking the beat pattern of a belland creating forward rhythmic inertia. Linear melodic pitches center onD and move frequently in paired fourths and thirds that are gauged todescend syllabically to a central pitch.

This consistent pairing ofmelodic voices forms a strong link to Russian Orthodox musical practicesince the nineteenth century. The triadic tintinnabuli pitches come onthe last syllables of words and create their own rhythm of affectiveswells. In addition to the calculated silences in which Part'smusic breathes, homophonic passages such as the Gloria Patri h elp toarticulate the textual divisions within Memento and, in the later KanonPokajanen, at a broader structural level.Litany (1994; rev.

1996), for soloists, chorus, and orchestra, setsthe prayers of St. John Chrysostom for each hour of the day and night.The prayers are divided into two large musical sections of twelve hoursapiece, which move respectively from E minor to Csharp minor.Part's orchestral writing is at its most extensive here: diatonicclusters familiar to an earlier avant-garde are assimilated into thetintinnabuli process, while lilting modal rhythms in variousinstrumental groups move through each hour and accelerate into momentsof dramatic climax. The vocal parts feature Part's conventionallinear approach focused around a pitch center and antiphonal exchangebetween soloists and chorus. The largely monosyllabic English textfosters a recitational setting on one pitch and places the word at thesymbolic core of the music. Litany ends with a mensuration canon thatrecapitulates the final hour and a characteristically delicate pppppcluster in the strings on the closing 'Amen.'

I Am the True Vine (1996) for a cappella chorus is a musicaltreatment of part of Jesus's speech to the disciples in John15:1-14. Part musical and tonal process lies close to the surface ofthis work-phrases twist between the poles of E minor and G major in away that fragments words between parts and creates difficult vocalleaps. A typical phrase begins with one pair of voices outlining a fifthin either E minor or G major, while the other pair of voices presents aubiquitous three-note motto in parallel thirds Part maintains aconsistent scheme of ascent and descent in this pattern and gears eachphrase around the textual punctuation.

The rhythmic approach here movesaway from both the syllabic and modal techniques of earlier tintinnabuliworks and shows a freedom in applying one-, two-, and three-beatdurations to highlight textual meaning and constructive symmetries.The Woman with the Alabaster Box (1997) for a cappella chorustreats the same story as And One of the pharisees., but from theversion in Matthew 26:6-13 (the anointing at Bethany). Part continuesdeveloping a rhythmic approach that is freer than earlier tintinnabulimusic, and aligns each of the texts of the narrator, the disciples, andJesus with a unique tintinnabuli scheme. The harmonic richness herestems from a consistent superimposition of triads built upon the variouspitch centers used in this piece-G, Eflat, C, and D.

Part establishestriadic tintinnabuli pitches in one pair of voices while thesymmetrically-paired melodic voices operate within an opposingcollection. This technique is most powerful at the end of The Woman withthe Alabaster Box, where a latent D-major tonality emerges-only at theculminating textual moment-from a superimposed A major arrived atthrough a carefully gauged octave descent in the melodic voices.The Tribute to Caesar (1997) sets Matthew 22:15-22 for chorus aCappella. Here Part ranges from a conventional, syllabic tintinnabuliprocess to an approach adapted to the central textual dynamic of thispassage. The question posed to ensnare Jesus-'Is it lawful to givetribute unto Caesar?' -is prepared dramatically through a gradualoctave ascent in the initial pitches of each phrase, set against theframing tintinnabuli pitches of E. Likewise, the unforeseen, lushC-major sonority at the word 'marveled' in the last verse('When they had heard these words, they marveled and left him, andwent their way') is heard as a powerful exegesis.The volume of Part's collected choral works assembled byUniversal Edition with an introduction by Paul Hillier includes severalof the pieces discussed above, as well as other important shorter workssuch as The Beatitudes (1990; rev. 1991), the SiebenMagnificat-Antiphonen (1988; rev.

1991), and the well-known Magnificat(1989). The presentation of four reduced pages of score on a single pagein this compilation is more conducive to study than to performance, andthe overlaid 'photocopying prohibited' on every page isdistracting at best. That said, this collection is a useful forum forobserving Part's diachronic development of tintinnabuli procedures.As in the works reviewed above, earlier tintinnabuli music-such as Anden Wassern zu Babel sabetaen wir und weinten (1976; rev. 1984), avocalization on vowels for four voices and organ, and Summa (1977), asetting of the Latin Credo-is generated through a single musicalprocess abstracted from the unique features of a given text.

This earlymusic gener ally maintains consistent textural, harmonic, and rhythmiccharacteristics within each piece. Later works such as Triodion (1998),a setting of three odes from the Orthodox Prayer Book, combine differenttintinnabuli processes to delineate the structure and various narrativeperspectives of a text. In his later tintinnabuli music, Part fusessystems which, rather than being exclusive to a single piece, complementone another within a work. Thus, the resources of mensuration canon,drone, melismatic and syllabic melodic lines, chordal homophony, antIvariable textures are all employed to serve the texts of works like theSieben Magnzficat-Antiphonen (1988; rev. 1991) and Dopo la vittoria(1996), a small cantata commissioned by the city of Milan to commemoratethe sixteen hundredth anniversary of the death of Saint Ambrose.Many of the above works have been recorded by Hillier and Kaljuste(with the Estonian Philharmonic Chamber Choir and the Tallinn ChamberOrchestra), two conductors who have maintained an especially closeassociation with Part and his music.