The bottom voice later becomes the high voice in the piano part of the following variation at measure 9 although it is not aurally percievable. The four horizontal melodic lines emphasized by the arched shapes of the arpeggios seem to be moving on different modal scales.
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The piece is tonally centered around the pitch A. In the 9/4 bar the fourth and fifth chords are left out and in the 7/4 bar proceeding it leaves out the third, fourth, fifth and sixth chords. In the 11/4 bar the arppegios move from the A major chord in first inversion to a pitch collection (Bb, E, D) back to an A major chord to a C7/G to an F major 7, to a C to (D, C, F) back to an A major chord in first inversion.
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The first two pages of the piece consist of arppegios that start in 7/4 move to 9/4 and then 11/4. The different rhythmic figures and subtle variations in harmonies allow for the piece to maintain the forward momentum and engage the listener without having the material seem redundant and overstated. Switching between 6/4, 7/4, moving in to 9/4 and then 11/4 the piece expands upon the same motivic cells building intensity with each polymetric change. The use of addative rhythm is a central component to the structure of the piece. It continues to arpeggiate a sequence of chords and, depending on the meter of the measure, some of the chords are left out. “Fratres” begins in 7/4 with 64th notes that arpeggiate an A Major chord in first inversion in the violin part. An that is why I call it tintinnabulation.” (Pärt, Arvo, Pinkerton) Tintinnabulation is like this… The three notes of a triad are like bells. What is it, this one thing, and how do I find my way to it? Traces of this perfect thing appear in many guises- and everything that is unimportant falls away. “The complex and many-faceted only confuses me, and I must search for unity. The minimalist tendency to use limited harmonies and repeated rhythmic figures is also present in his work. Based on a conceptual process similar to the minimalist approach, Pärt’s tintinnabular music is characterized by an arpeggiated voice that outlines the tonic triad and a second voice, which moves diatonically in a stepwise motion. Inspired by his mystical experiences with chant music, Pärt developed the genre and referred to it as “tintinnabuli”, from the Latin word tintinnabulum, which means bell. While he traversed through many different genres when he started composing, writing in a neo-classical style at first and experimenting with twelve-tone music before turning to minimalism, the minimalist style he developed which he came to call “tintinnabuli” is what he is most known for.
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Pärt (1835-) is an Estonian composer whose work has become an important facet of the 20th century musical landscape. The booklet contains extensive liner notes on the composer and his works.Arvo Pärt’s “Fratres” is a beautiful piece that emulates many aspects of the minimalist musical idiom while also emphasizing Pärt’s mystical beliefs.John Passion, as well as organ works and the complete piano works.Įxcellent performances by Le Nuove Musiche/Krijn Koetsveld, Leeds Cathedral Choir, Ulster Orchestra, Jeroen van Veen and many others. This substantial collection brings together Pärt’s best-known and loved works, both instrumental and vocal: Spiegel im Spiegel, Für Alina, Tabula Rasa, Fratres, Magnificat, Berliner Messe, St. Pärt’s sacred choral works enjoy a huge popularity with both the traditional classical audience as well as an open-minded new generation. His highly personal style, influenced by Gregorian Chant, is based on slowly shifting patterns, tintinnabuli (little bells), creating a meditative and hallucinatory effect, a visionary world of spiritual contemplation. $ Īrvo Pärt born 1935) is without doubt one of the best-known and loved composers of today.