Fratres for Violin and Piano,В Gidon Kremer, KeithВ Jarrett iTunes.

Fratres for Strings and Percussion,В Tapiola Sinfonietta, Juho Vartiainen iTunes.

Here are eight versions of Fratres: Fratres for Strings and Percussion The same persistent, eternal message seems to be finding voice in multiple messengers. Listening to multiple incarnations back-to-back provides a unique experience. The solemn two-bar percussion pattern in 6/4 time which comes between each of the nine вЂњrotationsвЂќ has been compared to the percussion interjections in Aaron CoplandвЂ™s Fanfare for the Common Man.В As time signatures alternate fromВ 7/4 to 9/4 to 11/4, we have a sense of musical вЂњspaceвЂќ filling in.Д«etween 19, there have been at least eighteen authorized versions of Fratres-everything from strings to wind octet and percussion, to trombone ensemble and timpani. Built on a constant open fifth (A-E) drone, the entire piece is delicately poised somewhere between A major and minor. Listening to Fratres,В you can sense the unfolding of a beautiful and seemingly inevitable mathematical process. Music must exist of itself вЂ¦ two, three notes вЂ¦ the essence must be there, independent of the instruments.

If it were, I would be surrendering to the essence of the music. The particular timbre of an instrument is part of the music, but it is not the most important element. The highest virtue of music, for me, lies outside of its mere sound. ItвЂ™s a piece written вЂњ without fixed instrumentation,вЂќВ a characteristic which recalls the highly-adaptable music of J.S. One of the first and most famous examples ofВ PГ¤rtвЂ™s new sound world is FratresВ (Latin for вЂњbrothersвЂќ), written in 1977. Its meditative mysticism recalled the timeless serenity of Renaissance polyphony while arriving at a place which was completely new.

1935) abruptly entered into an eight-year period of compositional вЂњsilence.вЂќ When he began composing again, the music which emerged was a universe away from his earlier dissonant, ultra-complex, twelve-tone style. And this is the cause of all of our contradictions, our obstinacy, our narrow-mindedness, our faith and our grief.ДЄt the end of the 1960s,В Estonian composer Arvo PГ¤rt (b. This instant and eternity are struggling within us. What is it, this one thing, and how do I find my way to it? Traces of this perfect thing appear in many guises вЂ“ and everything that is unimportant falls away. The complex and many-faceted only confuses me, and I must search for unity. In my dark hours, I have the certain feeling that everything outside this one thing has no meaning. Tintinnabulation is an area I sometimes wander into when I am searching for answers вЂ“ in my life, my music, my work. And that is why I call it tintinnabulation. The three notes of a triad are like bells. I build with the most primitive materials вЂ“ with the triad, with one specific tonality. I work with very few elements вЂ“ with one voice, with two voices. The booklet contains extensive liner notes on the composer and his works.This one note, or a moment of silence, comforts me.John Passion, as well as organ works and the complete piano works.Д®xcellent performances by Le Nuove Musiche/Krijn Koetsveld, Leeds Cathedral Choir, Ulster Orchestra, Jeroen van Veen and many others. This substantial collection brings together PГ¤rtвЂ™s best-known and loved works, both instrumental and vocal: Spiegel im Spiegel, FГјr Alina, Tabula Rasa, Fratres, Magnificat, Berliner Messe, St. PГ¤rtвЂ™s sacred choral works enjoy a huge popularity with both the traditional classical audience as well as an open-minded new generation. His highly personal style, influenced by Gregorian Chant, is based on slowly shifting patterns, tintinnabuli (little bells), creating a meditative and hallucinatory effect, a visionary world of spiritual contemplation. $ ДЄrvo PГ¤rt born 1935) is without doubt one of the best-known and loved composers of today.

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