arvo pärt · title: arvo pärt author: anne created date: 2/23/2020 4:46:38 pm
TRANSCRIPT
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Arvo Pärt
b. 1935
Miserere, 1989
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How can one fill the time
with notes worthy of
the preceding silence?
Fratres. 1977
PartMyEdits/Kronos Quartet/Winter Was Hard/03 - Pärt Fratres.wav
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Credo (1968)
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Structure
• Outer sections rooted by Bach
Prelude in C, Ex. 1
• Central section uses
– 12-tone row based on perfect fifths,
ex. 2
– Plus aleatoric sections (See score,
next page), Ex. 3
• Complete
PartMyEdits/PartCredo1.wavPartMyEdits/PartCredo2.wavPartMyEdits/PartCredo3.wavPartMyEdits/07 - Credo.wav
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Early Music
• Gregorian chant—
– Foundation of music for centuries
– Religious basis of music
• Notre Dame--Perotin
• Machaut
• Ars nova
• Netherlands Renaissance
– Ockeghem, Obrecht, Josquin
• Palestrina, Victoria
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• Machaut, Kyrie I
• Part, Psalom
• Machaut, Kyrie II
• Perotin, Viderunt Omnes
• Machaut, Kyrie III
PartMyEdits/MachautKyrieI.wavPartMyEdits/MachautKyrieII.wavPartMyEdits/PerotinVideruntOmnes.wavPartMyEdits/MachautKyrieIII.wav
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Modus: Sarah Was Ninety Years Old
1976
– Rhythmic patterns with no
designated pitch
– Melodic patterns with little
rhythmic differentiation
• Melodic phrase repeated but started at
different points
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Ex.
1
2
3
Complete
PartMyEdits/Sarah1.wavPartMyEdits/Sarah2.wavPartMyEdits/Sarah3.wavPartMyEdits/03 - Pärt Sarah Was Ninety Years Old (2).wav
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Tintinnabuli
• Two essentials
– Triadic arpeggios
– Diatonic scales
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Best known works
– Fratres, 1977—earliest example of relatively dissonant tintinnabuli formation
[pp104-6]
• Underlying triad present throughout
• Dissonance from scale with augmented second
• Two parallel M voices repeating same six-bar pattern
• Nine statements of six-bar pattern, with two parallel M voices a tenth apart and a single T
voice between the
• Each statement a third lower than predecessor
• M voices descend first moving further away from A minor triad then back towards it
• Central three statements most dissonant
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Arrangements
• Kronos Quartet, Ex. 1, 2
• Strings and percussion
• Violin, strings and percussion
• Wind octet
• Eight cellos
• Cello and piano, Ex. 1, 2
PartMyEdits/PartFratresKronos1.wavPartMyEdits/PartFratreskronos2.wavPartMyEdits/PartFratresStrPerc.wavPartMyEdits/PartFratresVlStrPerc.wavPartMyEdits/PartFratresWd8Perc.wavPartMyEdits/PartFratres8Vc.wavPartMyEdits/PartFratresVC-P1.wavPartMyEdits/PartFratresVc-P2.wav
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• Cantus in memoriam Benjamin
Britten, 1976-77
– Five layers of tempos, each enters
lower and twice as slow
– Top two layers (Violins 1 and 2) and
bottom two layers (cellos and double
basses) each T voice and M voice in 1st
position below
– Middle layer has M layer
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• Moves to Vienna and then Berlin
• St. John Passion, 1982
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Miserere (1989)
• A rare dramatic work
– Expressive vocal lines
• Structure
– Miserere, 1st 3 verses, soloists, Ex. 1, 2, 3
– Dies irae, 1st 7 verses, choir, Ex. 1
– Miserere, reamaining 16 verses, soloists, Ex 1, 2 3
– Dies irae, verse 8, choir (plus SA soli), Ex. 1
PartMyEdits/PartMiserere1aa.wavPartMyEdits/PartMiserere1b.wavPartMyEdits/PartMiserere1c.wavPartMyEdits/PartMiserere2.wavPartMyEdits/PartMiserere3a.wavPartMyEdits/PartMiserere3b.wavPartMyEdits/PartMiserere3c.wavPartMyEdits/PartMiserere4.wav
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• Section I– Recitation pitches on main stressed
syllables
– T voice a separate response to M
• Section II– Mensuration canon, descending scales
in 5 tempi
– Each new verse heralded by timpani
• Section III– Pitch changes on stressed syllable
• Interludes– Instruments repeat vocal music
• Section IV– Rising scale
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Berlin Mass, 1990
• Kyrie
• Alleluia
PartMyEdits/PartBerliner1Kyrie1.wavPartMyEdits/PartBerliner3Alleluia1.wav