I've written on Arvo Pärt occasionally for magazines and journals. In those you are not allowed to be superlative and say things like, for me he is the greatest artist in any medium ever ... it makes you sound naive ... I remember I wrote something for Limelight in response to a BBC reviewer's misgivings re Lamentate; which comments reminded me of the ornithologist in Chesterton, who is visited by an angel and declares it an insufficient bird; and I have written on Part's intimations of Motzart, and on Kanon Pokajanen ... But never on the simple and extraordinary piece that gave birth to the tintinnabuli technique, and which I had on loop the entire time of writing The Mary Smokes Boys. But really, what can anyone say? It is still, often silent, spare, and some strange how, immense, as though the notes have been carved out of enormous ancient rock ... Fur Alina ...
Pensees - spelling and punctuation mistakes and all ... I believe at least three quarters of what I say. ... And the good stuff only stays posted for an hour or two.