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. Telarc’s Fratres-Fest proves beyond doubt that good basic material can be re- worked almost ad nauseam – if the manner of its arrangement is sufficiently. 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 – Wikipedia

I just love pages like this on the internet. Traces of this perfect thing appear in many guises — and everything that is unimportant falls away.

This is possible using the basic principle of the tintinnabuli technique, where the musical material does not necessarily have to be tied to the timbre of a specific instrument.

Both these journeys begin at the indicated note, fratre. Cantus in memory of Benjamin Britten. 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. But – in the diagram for the middle voice, wouldn’t 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?

But this circle contains fourteen notes rather than seven, so the middle voice does not play its own retrograde in the second half like the low frayres high voices do.

Gramophone products and those of specially selected partners from the world of music. The eight-cello Fratres uses eerie harmonics as does the cello and piano version that ends the programmewhereas Fratres for wind octet and percussion is cold, baleful, notably Slavic-sounding and occasionally reminiscent of Stravinsky.


In any case you can listen that version here on Youtube http: Someone else, I believe, is saying that the synthetic timbres match the “unworldly chord progressions”, well, that is just exactly how I feel about it. The highest virtue of music, for me, lies outside of its mere sound. Maybe its just the diagram that’s wrong I build with the most primitive materials — with the triad, with one specific tonality. Share Facebook Twitter Share.

I think that in this case it does, mainly because, as I’ve already suggested, Part’s basic material is so eminently ‘repeatable’. An interesting new set of overtones arises when the piece is transferred to winds:.

To achieve symmetry, this is done when we’ve come exactly half the way around the circle, i. For instance, in the first half of the first segment, the eight chords are: Best to all, karl freefriends.

Arvo Pärt: Fratres

This delicate balance is maintained using the C natural from the triad and the C sharp from the melodic voices.

Part is certainly one of my favourite composers, and this piece along with those on his ‘Miserere’ album really go a long way to showing his genius.

Send this to a friend Your email Recipient email Send Cancel. I believe that the voices move that way due to the smooth, scalar voice-leading that Part chose; but I do not believe that Part was thinking in the way that you describe: All six arrangements share a common ‘approach-and-retreat’ formula, with ideas that arrive from — and subsequently retreat to — some distant horizon. I hope Lukas from Prague doesn’t read this last sentence about how my former favorite version was fratges one for male voices and cellos by the Schola Gregoriana Pragensis.

Thank you for this. What is it, this one thing, and how do I find my way to it? As mentioned, the middle voice will only play notes from the A minor triad.


Arvo Pärt’s “Fratres” in Eight Versions – The Listeners’ Club

If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information. But these constraints alone will not be enough to guide the middle voice, so instead we devise a new circle containing the three possible notes:. The recording was part fratees a birthday present gifted to me Leo’s mother nearly quarter of a century ago.

Many people who listen to Fratres find it repetitive or even boring at first. I’ve found some sheet music but I’m so bad at reading them, I can’t translate it reliably: We can clearly recognise three voices: I hear it in a concert at Lent.

Genres Instrumental chamber music: This will ensure that we end up where we started. I love it – and I suspected something of frattes sort – but I had no idea just how exquisite was the nature of the composition.

The first Fratres opens to a low bass drone and chaste, ethereal strings: We can gratres speculate, but my personal theory is this: If you downloaded the SID file, note that there are two subtunes. Between each pair of segments, a fratrees, harmonically empty percussion motif — the refuge — offers a moment of contemplation before the next chord sequence. Then, if they are the inquisitive, puzzle-solving type of person, they will try to understand the patterns rationally as well. Notify me of new posts by email.

Thanks for your wonderful page.