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Pärt explored a variety of compositional styles during the 1950s and early 60s before
composing Tabula Rasa, including neoclassicism and socialist realism.5 His interest in serialist
and collage techniques in the 1960s placed him among a burgeoning group of young,
‘unofficial’ composers.6 The use of serialist techniques in his Nekrolog (1960) and Credo (1968)
resulted in a negative response from the cultural authorities, who deemed Western avant-
garde musical styles to be ‘formalist’.7 During the early 1970s Pärt moved away from
modernist composition: he converted to the Russian Orthodox Church, studied 3 Giles, ‘Sharps
& Flats’. Giles’s reference in this quotation to ‘a 1977 album’ appears to be a small error. The
recording of Pärt’s composition Tabula Rasa on the 1984 ECM issue was made in 1977 by the
Lithuanian Chamber Orchestra in Vienna with soloists Kremer, Grindenko, and Schnittke (see
Ivashkin, Alfred Schnittke, 140). Since Giles situates his memory in the mid-80s and references
Gidon Kremer by name in the article, it is highly likely that this is the recording to which he is
referring. 4 Giles, ‘Sharps & Flats’. 5 For an overview of Pärt’s early career see Savenko,
‘Musica Sacra of Arvo Pärt’, 155–9. For biographical information and a survey of Pärt’s serialist
and collage works see Hillier, Arvo Pärt, 24–85. 6 ‘Unofficial composition’, and particularly the
influence of serialism via Andrei Volkonsky, is the subject of Schmelz’s essay ‘Andrey Volkonsky
and the Beginnings of Unofficial Music in the Soviet Union’. For an overview of Pärt’s serial
works and their Soviet reception see Schmelz, ‘Listening, Memory, and the Thaw’, 230–46. 7
For accounts of the controversies surrounding Nekrolog and Credo see Hillier, Arvo Pärt, 35–8,
58–63; Savenko, ‘Musica Sacra’, 155, 157–8; Schmelz, ‘Listening, Memory, and the Thaw’, 183.
46 Cizmic Spirituality and Postmodernism in Pärt’s Tabula Rasa and Spiegel im Spiegel
medieval and renaissance music, and developed his own ‘tintinnabuli’ style of composition,
which has shaped his musical creativity ever since.8 The Latin-derived term ‘tintinnabuli’
references bells and connects Pärt’s music to the Orthodox tradition of bell ringing; his often
spare, intertwining polyphonic textures bear traces of the early music traditions he studied.

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