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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But – in fratees 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 Parr for the middle voice, when reading clockwise? Of course, I don’t know that for a fact, and again I don’t mean to criticize your analysis–only to point out that perhaps Part was thinking in “math,” from which you have distilled an interesting “equation.

In my dark hours, I have the certain feeling that everything outside this one thing has no meaning. Why four consecutive C: This one note, or a moment of silence, comforts me.

I don’t see how the circle for the first segment and the notation line up. Especially the final part with the lowpass filter works very well.

Arvo Pärt’s “Fratres” in Eight Versions

Built on a constant open fifth A-E drone, the entire piece is delicately poised somewhere between A major and minor. For the eight falling chords the chords that build up the first half of the first segmenteach voice arvvo moves around the circle, counter-clockwise, until it completes a full revolution at the eighth chord.


The same featres, eternal message seems to be finding voice in multiple messengers. Fratres was initially composed as three-part music without fixed instrumentation that can be performed with various instruments.

We look forward to seeing you again on 2 January. Much like the international date line in the pacific ocean, we add a seam, where the notes get transposed one octave.

In a sense, they develop an intuitive feeling for what comes next in the sequence. Send this to a friend Your email Recipient email Send Cancel. Do you know how it’s laid out in the violin version?

Just like the low and high voices, the middle voice traverses the circle counter-clockwise during patt first half of a segment, and clockwise during the second half. Then, if they are the inquisitive, puzzle-solving type of person, they will try to understand the patterns rationally as well. 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 and high voices do.

Arvo Pärt: Fratres

I’ve been listening – 3 times now! This will ensure that we end up where we started.

An interesting new set of overtones arises when the piece is transferred to winds:. What a truly breathtaking composition! I love your version above the frarres concert version I found online – your version emphasizes the otherworldly chord progressions which I love the most about this piece.

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

Notify me of follow-up comments by email. Certainly, there is a harmonic additive process being employed. I think that the “circular” step-wise motion is an effect, not a cause. Commissioned by Salzburger Festspiele Thus, segments 1 and 8 will be identical, as will segments 2 and 9. Notify me of new posts by email. Reading the comments once again I just realized that I agree with Lukas from Prague’s statement about how this particular 8 bit sound suits this music so well that it wrvo become his second and my favorite version.

By choosing to duplicate the C in the middle voice circle, one prevents the piece from tilting too far towards A major. The first among these was written for violin and piano and was commissioned by the Salzburger Festspiele festival. Scored for violin and piano. The following diagrams show the starting points for the falling and rising halves of segment number two.