
Arvo Part Alina Vinyl LP 2026
Tracklist:
- Spiegel Im Spiegel
- FĂŒr Alina
- Spiegel Im Spiegel
- FĂŒr Alina
- Spiegel Im Spiegel
In July 1995, Arvo PĂ€rt and Manfred Eicher convened at Frankfurtâs Festeburgkirche with four insightful musicians â the violinist, Vladimir Spivakov, the cellist, Dietmar Schwalke, and the pianists, Alexander Malter and Sergej Bezrodny â to realize a recording intensely focused upon the composerâs âFĂŒr Alinaâ and âSpiegel im Spiegelâ. The outcome, the ECM New Series album, Alina, has a special place in the Estonian composerâs discography and for the ECM catalogue as well.
âFĂŒr Alinaâ, written in 1976, was a breakthrough composition for PĂ€rt, and symbolically the starting point for works that followed. âI could compare my music to white light which contains all colours,â said Arvo PĂ€rt at the time. âOnly a prism can divide the colours and make them appear; this prism could be the spirit of the listener.â
Contemporary reviewers suggested that carefully following the flow of Alina would heighten perception. Gramophone described the album as âthe voice of internal exile, self-communing and highly personal but wholly accessible for anyone willing to listen. The big danger of listening to Alina is that much of what you hear afterwards will suddenly sound like noise â too much noise. But itâs a risk worth taking.â
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Description
Tracklist:
- Spiegel Im Spiegel
- FĂŒr Alina
- Spiegel Im Spiegel
- FĂŒr Alina
- Spiegel Im Spiegel
In July 1995, Arvo PĂ€rt and Manfred Eicher convened at Frankfurtâs Festeburgkirche with four insightful musicians â the violinist, Vladimir Spivakov, the cellist, Dietmar Schwalke, and the pianists, Alexander Malter and Sergej Bezrodny â to realize a recording intensely focused upon the composerâs âFĂŒr Alinaâ and âSpiegel im Spiegelâ. The outcome, the ECM New Series album, Alina, has a special place in the Estonian composerâs discography and for the ECM catalogue as well.
âFĂŒr Alinaâ, written in 1976, was a breakthrough composition for PĂ€rt, and symbolically the starting point for works that followed. âI could compare my music to white light which contains all colours,â said Arvo PĂ€rt at the time. âOnly a prism can divide the colours and make them appear; this prism could be the spirit of the listener.â
Contemporary reviewers suggested that carefully following the flow of Alina would heighten perception. Gramophone described the album as âthe voice of internal exile, self-communing and highly personal but wholly accessible for anyone willing to listen. The big danger of listening to Alina is that much of what you hear afterwards will suddenly sound like noise â too much noise. But itâs a risk worth taking.â












