It is one
thing to review. It is another to be reviewed.

In march 2014 The Goeyvaerts Trio released on Challenge records a cd with music
from Arvo Pärt (Stabat Mater) and Ivan Moody (Simeron).

CD |
Challenge Classics | 0608917261622 | CC 72616 | 03-14

production is wonderful and the record gets nothing but outstanding reviews.

My contribution with the Goeyvaerts Trio, however modest writing liner notes
is, makes me pride to have been part of this production. It was the cellist
Pieter Stas’ idea to supplement it with a horough, interesting and non-musicologist
text on the music (especially Pärts tintinnabuli)
and the ideas they convey. We have been talking for hours about music, words,
religion and philosophy. So inspired by him (and a bit the other way round as
well) and my own background and research I set to work. The text is not
intended as a work of philosophy or a paper, but tries to take one along with
the ideas of our conversations. At the same time I tried to open up the religious
texts for anyone, believer or sceptic. The mystic and esoteric where this kind
of music may be associated with, has been left behind.

The text
may be found in English, German and French in the booklet of the cd. The Dutch
version can be found and read on the trio’s website.

This august
a new review was published in the Dutch Magazine LUISTER. Other reviews can be
found via my website:

Here is an
English translation of the review:

Translation of ‘Luister’ review (Magazine Luister july/August 2014)

a Luister ’10’ (triple A)

*****/ Registration*****

ethereal– these are the words that don’t do justice anymore to these abyssal
flageolet tones and sublime purity. When on has heard Arvo Pärt before, one knows
to expect an extensive stillness and spiritualization. Even so, the extreme precision and purity of
this recording (‘virtuosity’ is too braying a word) are a revelation. These are
at the same time the means wherewith the strings and vocalist give voice to the
Stabat Mater, wherein the thirteenth century poet-monk turns to the Mother of
God; she is pre-eminently the one who is acquainted with loss and grief. Yet
these gossamer crystal-clear tones rise beyond words and create space for every
individual emotion. To play the Stabat Mater, the Goeyvaerts Trio use the older
and uncompromising pure intonation although the equal tempered intonation (we
all know as those of the piano) is more common for practical reasons.

Ivan Moody
wrote ‘Simeron’ (Greek for Today) in 2012 specially for three vocalists and string
trio – the Goeyvaerts Trio to be precise. Moody’s profound association with
Eastern-Orthodox church music is evident. Transparent ‘ton-sur-ton’ chords provide
a mystic atmosphere; crystal clear intoned intervals (secundes and nones) are
carefully layered one upon the other, as the layers of paint by an icon
painter. And even as words fall short with this meditations of sound on resurrection
and salvation, Philippe Grisar philosophic contemplation in the beautifully
bound booklet, are indeed a meaningful supplement.

By Margaretha Coonstra

Ph. G.