ARVO PART FRATRES VIOLIN PDF

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? 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.

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I work with very few elements — with one voice, with two voices. I build with the most primitive materials — with the triad, with one specific tonality. The three notes of a triad are like bells.

And that is why I call it tintinnabulation. Tintinnabulation is an area I sometimes wander into when I am searching for answers — in my life, my music, my work. In my dark hours, I have the certain feeling that everything outside this one thing has no meaning.

The complex and many-faceted only confuses me, and I must search for unity. What is it, this one thing, and how do I find my way to it? Traces of this perfect thing appear in many guises — and everything that is unimportant falls away.

Time and timelessness are connected. This instant and eternity are struggling within us. And this is the cause of all of our contradictions, our obstinacy, our narrow-mindedness, our faith and our grief. Its meditative mysticism recalled the timeless serenity of Renaissance polyphony while arriving at a place which was completely new.

The particular timbre of an instrument is part of the music, but it is not the most important element. If it were, I would be surrendering to the essence of the music. Music must exist of itself … two, three notes … the essence must be there, independent of the instruments. Built on a constant open fifth A-E drone, the entire piece is delicately poised somewhere between A major and minor.

Listening to multiple incarnations back-to-back provides a unique experience. The same persistent, eternal message seems to be finding voice in multiple messengers.

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