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. 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.
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Anonymous poster lft wrote: Tintinnabulation is an area I sometimes wander into when I am searching for answers — in my life, my music, my work.
Thank you for this page! Do you know something about the religious sense?
Arvo Pärt: Fratres
In order oart understand the algorithm behind Fratres, we just need to figure out how to form the eight chords that build up each segment half. This instant and eternity are struggling within us. I just love pages like this on the internet. The high and low voices, however, play notes from the harmonic D minor scale. I’ve never come across this in my readings about Part and I am very curious, it being one of my favorite pieces fratrws listen to and play.
Fratres – Arvo Pärt Centre
Horizontally, ten refuges separate nine segments. Srvo came here as a result of this thread on reddit: If you downloaded the SID file, note that there are two subtunes.
Fratres also exists as three-part music with added variations for the solo instrument. I hope Lukas from Prague doesn’t read this last sentence about how my former favorite version was the one rfatres male voices and cellos by the Schola Gregoriana Pragensis.
I’m including your notes along with the recordings I’ve been making for his half century birthday present! 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 has become his second and my favorite version. Do you know how it’s laid out in the violin version? Its meditative mysticism recalled the timeless serenity of Renaissance polyphony while arriving at a place which was completely new.
This gradual awakening, whether intended by the composer or not, is perhaps what fascinates me most about Fratres.
Outstanding work, beyond words. 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. I see it is also your favorite piece. Your page has been really helpful, and Tratres 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.
This will ensure that we end up where we started. I’ll be playing it in frratres concert and would like to include this information in my programme notes.
From 23 December until 1 Januarythe centre will be closed for the Christmas holidays. Show more Show less. Notify me of new posts by email. Each segment can be further divided into two halves: I’ve been listening – 3 times now!
Arvo Pärt’s “Fratres” in Eight Versions
Thanks for the in-depth information on Fratres! I heard Fraters for a choir in Tallinn, Part’s native city, a few weeks back with the master present – it was sublime. I love it – and I suspected something of the sort – but I had no idea just how exquisite was the nature of the composition. This one note, or a moment of silence, comforts me.
This basically means that some voices wrvo restricted to playing notes from a particular triad in Fratres this is the A minor triadwhile other voices fratred melodies.
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? Traces of this perfect thing appear in many guises — and everything arfo is unimportant falls away. 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.
The first half consists of falling chords, and the second half consists of rising chords. What a truly breathtaking composition!