This one note, or a moment of silence, comforts me. I work with very few elements – with one voice, with two voices. I build with the most. Arvo Part’s Fratres and his. Tintinnabuli Technique. By Rade Zivanovic. Supervisor. Knut Tønsberg. This Master‟s Thesis is carried out as a part of the education. Fratres by Arvo Pärt is one of my favourite pieces of music. The analytical meets the aesthetical as Pärt takes us on a meditative, harmonical.

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Fratres – Arvo Pärt Centre

Show more Show less. Why four consecutive C: But – in the diagram for the middle voice, arrvo there be one less ‘A’ in the very top of the circle – otherwise the falling half of the first segment would be A-A for the middle voice, when reading clockwise? If we did that, then the middle voice would end up playing C natural at the same time as another voice would be playing C sharp.

Anyway, to put it in one word: Scored for violin and piano. I’m not particularly interested in SIDs or in classical music rendered with computers or anything, but you have created something really special here. Furthermore, the middle voice will by definition play in between the other two voices. That is what the remainder of this article will focus on. This is an interesting analysis.


Thus, in the first bar we get: I heard Fraters for a choir in Tallinn, Part’s native city, a few weeks back with the master present – it was sublime.

Arvo Pärt’s “Fratres” in Eight Versions

Note how the Frstres sharp in the D minor scale contrasts with the C natural in the triad. Between each pair of segments, a recurring, harmonically empty percussion motif — the refuge — offers a moment of contemplation before the next chord sequence. If it were, I would be surrendering to the essence of the music. Your page has been really helpful, and I see the chord progressions now but am having a hard time with finding the different voices since it’s just the violin in the beginning.

Fratres – Wikipedia

Thus, segments 1 and 8 will be identical, as will segments 2 and 9. Structurally, Fratres consists of a set of variations separated by recurring percussion motifs in the case of instrument settings without percussion, the drum-like sound is imitated. I love your analysis I’ll be playing it in a concert psrt would like to include this information in my programme notes. Each segment can be further divided into two halves: I came here as a result of this thread on reddit: Thank you for your kind response; it helps arvp understand this amazing music.


And that is why I call it tintinnabulation. The technically demanding part of the solo instrument was added to the recurring three-part theme as a new layer, placing even more emphasis on the contrast between the changing and constant elements.

It was premiered in at the festival, performed by Gidon and Elena Kremer. Share Facebook Twitter Share.

I love your version above the actual concert version I found online – your version emphasizes the otherworldly chord progressions which I love the most about this piece. The first among these was written for violin and piano and was commissioned by the Salzburger Festspiele festival.

Maybe its just the diagram that’s wrong The three notes of a triad are like bells. In my dark hours, I have the certain feeling that everything outside this one thing has no meaning. If you enjoy solving puzzles, you may wish to search for these patterns yourself. What is it, this one thing, and how do I find my way to it? Please report any abuse, such as insults, slander, spam and illegal material, and I will take appropriate actions.

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