Back catalogue: Classical

Review: Arvo Part stands as one of the most influential composers of the 20th and 21st centuries, pioneering the "holy minimalism" movement with a sound that is both stark and transcendent. Emerging from Soviet-occupied Estonia, his early experiments in serialism gave way to a deeply spiritual style influenced by Gregorian chant and Orthodox choral traditions. His self-developed tintinnabuli technique, marked by bell-like harmonies and spacious phrasing, has made his work beloved across classical and contemporary circles. This collection highlights Part's signature meditative depth. At its core is a never-before-released version of 'Silentium,' performed by Boston's A Far Cry at an unhurried pace, stretching the piece's time-suspending qualities to their limit. The album also includes the warm yet solemn 'Vater Unser,' the introspective piano piece 'Variationen zur Gesundung von Arinuschka,' and a stirring interpretation of 'Fratres for Strings and Percussion.' Each piece reflects Part's belief in music as a form of prayeriunspoken, yet profoundly resonant.

Review: Estonian contemporary classical musician Arvo Part is by now perhaps best known for his devastating opus 'Spiegel Im Spiegel'. But to focus solely on this ascendant piece would be to do a disservice to the best of his works, of which there is not only much, but also a personally idiosyncratic method that suggests genius. Mississippi Records expand on this elusive and fascinating musician's oeuvre, helping disseminate a new collection of renditions by Boston-based chamber orchestra A Far Cry. Part's music is ternary, and he is responsible for the use of the term "tintinnabular" in music theory: a far cry from the bell-related meaning of the term, tintinnabular music refers to a specific compositional style in which one hand arpeggiates the tonic triad (plays notes 1, 3 and 5), while the other hand ascends the remaining notes of the scale in stepwise motion. Decidedly minimalist, then, the versions of 'Silentium' and 'Vater Unser' in particular render Part's technique in full naked technicolour, with their thin strings building to gobsmacking, tearjerking heights. No wonder that, so famously, of his sparse compositions, Part had this to say: "I have nothing to say... It is dangerous to say anything, because if I've said it already in words there might be nothing left for my music."

Review: In celebration of Arvo Part's 90th year, his latest release showcases the Estonian composer's continued exploration of minimalist, spiritually charged sound . Part's work has always sought to blend the sacred with the secular, and this collection of new renditions brings forward the timeless resonance of his choral and orchestral compositions. Opening with 'Littlemore Tractus,' based on John Henry Newman's reflections, the piece sets the tone of quiet, introspective change that permeates the entire work. His music, a dialogue between sound and silence, invites profound contemplation, with the Tallinn Chamber Orchestra and the Estonian Philharmonic Chamber Choir under Tonu Kaljuste's direction offering nuanced, deeply attentive performances. Compositions like 'Vater unser,' showcase Part's ability to transform liturgical text into transcendent musical experience. There's an undeniable spiritual gravity in pieces such as 'Cantique des degres' and 'Sequentia,' where strings and vocals weave in delicate yet forceful patterns, revealing a steady undercurrent of renewal. The rich textures in these works evoke both a longing for and a reconciliation with the past, capturing Part's life-long exploration of sacred music's dialogue with the world. The album culminates with 'Vater unser,' an evocative reworking that brings together choir, strings, and piano, offering a meditative close to an album that is as much about reflection as it is about the continued forward momentum of Part's artistry. Recorded in Tallinn's Methodist Church, this latest chapter is a continuation of the Part-Eicher partnership that has defined so much of his career, expanding the legacy of albums like Tabula rasa and reinforcing Part's place as one of the most significant voices in contemporary classical music of the 20th and 21st centuries.

Review: Perila returns with a reflective spiritual successor to her 2022 album that comes on Vaagner's sister label A Sunken Mall. The album takes in eight tracks produced between 2021 and 2023 and they all do a fine job of conveying a serene vulnerability with its drifting, ethereal soundscapes smeared with echoing voices, droning guitars and resonant textures. It's like a whispered conversation during quiet moments and once again makes for a world that doesn't need to be understood, only felt. The Air Outside Feels Crazy Right Now reminds us that finding inner peace through music can counter the chaos of the external world and help turn fragility into strength.

Review: Pianist. Conductor. Composer. Impressario. Extraordinaire. We could probably leave it at that with Piero Piccioni, but for the sake of clarity let's get clear. One of Italy's most prolific film composers of the mid-late-20th Century, this monolith of big band and jazz wrote more than 300 movie scores in his career, and also lays claim to membership of 013, the first jazz outfit broadcast in his home country following the fall of Fascism in 1944. Born in Turin, one of the epicentres of Italian music, Cadaveri Eccellenti was a 1977 crime thriller about Lino Ventura, Italy's top homicide detective, who is investigating the assassination of a judge. Full of intrigue, mystery, and tension, not to mention that underlying sense of sexiness which seems to pervade European flicks of this era, by now you can probably imagine how cool the score is.

Review: Munich-based trio Prepared craft a hypnotic and high-energy journey that blurs the lines between chamber music, jazz and minimal dance. The trio i Chris Gall on prepared piano, Flo Riedl on bass clarinet and Christoph Holzhauser on drums i merges cyclical motifs and layered patterns into a trance-inducing soundscape. Drawing comparisons to Steve Reich, Jonny Greenwood and Dawn of Midi, their music pulses with rhythm and repetition, creating a hypnotic Gesamtkunstwerk that feels both innovative and timeless. Recorded live in a single room without overdubs, Module is a state-of-the-art production. Utilizing advanced 3D miking techniques for Dolby Atmos, the recording captures the raw interplay between instruments with breathtaking clarity. Across four expansive tracks divided into ten parts, the album flows through moods and textures. 'Modul Eins' opens with a downtempo introduction before evolving into an upbeat, swinging groove. 'Modul Zwei' offers a cinematic, film noir feel, while 'Modul Drei' dips into hip-hop beats with introspective breaks. The 15-minute opus 'Modul Vier' swells through four sections like changing seasons, showcasing the trio's virtuosity and cohesion. With Module, Prepared prove that repetition can be a riveting genre-defying experience that's impossible to forget.