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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Then, if they are the inquisitive, puzzle-solving type of person, they will try to understand the patterns rationally as well.

By choosing to duplicate the C in the middle voice circle, one prevents the piece from tilting too far towards A major.

Do you know something about the fratrees sense? From 23 December until 1 Januarythe centre will be closed for the Christmas holidays. You are completely awesome. I’m a little confused about the middle voice. Thanks for your wonderful page. Fratres was initially composed as three-part music without fixed instrumentation that can be performed with various instruments.

I’m working on analyzing fratres as well, but I’m looking at the violin version. I just want to extend my heartfelt thanks for this beautiful rendition of Fratres. Note how parh C sharp in the D minor scale contrasts with the C natural in the triad. Notify me of new posts by email. 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.

Its meditative mysticism recalled the timeless serenity of Renaissance polyphony while arriving at a place which was completely new. In fratred case, I strongly recommend you to listen to the entire piece at least once before reading fgatres.


To get the low, middle and high voices for the following segments, we simply move each starting point two steps around the circle, in the counter-clockwise direction. The arov sound suits the music perfectly. As a physicist, I relish in illuminating to non technical people how mathematics and art are so enmeshed.

Fratres – Arvo Pärt Centre

Prat wondering, your thoughts appreciated. But I think that he was thinking in harmony, melody, and voice-leading. Throughout the composition we can hear a recurrent theme that starts each time in a different octave. I love your analysis The recording was part of a birthday present gifted to me Leo’s mother nearly quarter of a century ago. I fratrees completely amazed by Fratres and am listening to all the versions on my online music service as the piece is new to me.

Arvo Pärt: Fratres

Between each pair of segments, a recurring, harmonically empty percussion motif — the refuge — offers a moment of contemplation before the next chord sequence. Much like the international date line in the pacific ocean, we add a seam, where the notes get transposed one octave. This instant and eternity are struggling within us.

Gidon Kremer violinKeith Jarrett piano. 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. 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. If you downloaded the SID file, note that there are two subtunes.


In a sense, they develop an intuitive feeling for what comes next in the sequence. Thanks for the in-depth information on Fratres! 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?

To achieve symmetry, this is done when we’ve come exactly half the way around the circle, i.

For the rising chords, we do the same procedure clockwise. Furthermore, the middle voice will by definition play in between the other two voices.

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

After a while, though, they start to unconsciously recognize some of the patterns in the music. I hope Lukas from Prague doesn’t read this last sentence about how my former favorite version was the one for male voices and cellos by the Schola Gregoriana Pragensis.

I build with the most primitive frstres — with the triad, with one specific tonality. Now just complete the arpeggios: What is it, this one thing, and how do I find my way to it?

Arvo Pärt’s “Fratres” in Eight Versions

Thus, segments 1 and 8 will be identical, as will segments 2 and 9. Thanks for this webpage!!! Traces of this perfect thing appear in many guises — and everything that is unimportant falls away.