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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I’m working on analyzing fratres as well, but I’m looking at the violin version.
You are completely awesome. Each sequence consists of eight different chords played in three different orders let’s call them bars. If it were, I would be surrendering to the essence of the music.
I build with the most primitive materials — with the triad, with one specific tonality. This gradual awakening, whether intended by the composer or not, is perhaps what fascinates me most about Fratres. It has been used in numerous movie soundtracks and dance shows.
I am completely amazed by Fratres and am listening to all the versions on my online music service as the piece is new frates me. Traces of this perfect thing appear in many guises — and everything that is unimportant falls away.
Part Fratres |
Listening to multiple incarnations back-to-back provides a unique experience. I work with very few elements — with one voice, with two voices. It was premiered in at the festival, performed by Gidon and Elena Kremer. 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.
Each segment contains a series of chords arranged gratres some kind of harmonic progression. Between each pair of segments, a recurring, harmonically empty percussion motif — the refuge — offers a moment of contemplation before the next chord sequence. Your page has been really helpful, and I see the chord progressions pgt but lrt having a hard time with finding the different voices since it’s just the violin in the beginning.
Arvo Pärt: Fratres
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.
Each segment can be further divided into two halves: We can only speculate, but my personal theory is this: This rotation, two steps at a time, continues for the entire set of nine segments. The recording was part of a birthday present gifted to me Leo’s mother nearly quarter of a century ago.
Vratres people who listen to Fratres find it repetitive or even boring at first. Everything makes sense, except for the how the middle voice progresses. Fratrres are accompanied throughout the entire composition by a resounding low drone of fifth. I don’t see how the circle for the first segment and the notation line up. The three notes of a triad are like bells.
The high voice starts at E and is transposed one octave further up.
Just wondering, your thoughts appreciated. I came here as a result of this thread on reddit: Tintinnabulation is an area I sometimes wander into when I am searching for answers — in my life, my music, my work.
One envisages aged protagonists who have been treading the same ground since time immemorial, whereas the frantically propelled, arpeggiated opening to the version for violin, strings and percussion leaves a quite different impression. Certainly, there is a harmonic additive process being employed.
The same persistent, eternal message seems to be finding voice in multiple messengers. This one note, or a moment of silence, comforts me.
Fratres – Arvo Pärt Centre
Music must exist of itself … two, three notes … the essence must be there, independent of the instruments. Do you know how it’s laid out in the violin version? The particular timbre of an instrument is part of the music, but it pet not the most important element.
I’m not particularly interested in SIDs or in classical music rendered with computers or anything, but you have created something really special here.