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Arvo Part - Fratres - for violin and piano (1980)

Arvo Part - Fratres - for violin and piano (1980). You can download the PDF sheet music Arvo Part - Fratres - for violin and piano (1980) on this page. Fratres is dated 1977 and was first performed by the Estonian ensemble of early music. In the original version as well as in the violin arrangement the pedal point - the open fifth A-E - was sustained throughout the entire piece. In the variations, which have added an independent violin prelude at the beginning, the two-measure percussion inserts have been replaced by piano chords and new intervals have replaced the pedal point.

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PDF format sheet music

Instrument part: 7 pages. 2359 K


Piano part: 11 pages. 4118 K


Arvo Pyart - Fratres - for violin and piano (1980) - Instrument part - First page Arvo Pyart - Fratres - for violin and piano (1980) - Piano part - First page
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In the initial version, the work's six-measure theme is repeated nine times, coming in often a minor or major third lower - it is repeated eight times in the violin version. The sequence of entrances yields the scale e-c-a-f-d-b-g-e-c sharp. In one instance, this pattern of six measures is interrupted by two 6/4 percussion measures, in another instance by a two-measure piano ostinato. Within the theme, the sequence of 7/4, 9/4 and 11/4 measures corresponds to the principle of adding on - and the theme's melodic structure is developed according to this principle.

ARVO PART comes from Estonia, where he was born in the little town of Paide in 1935. He studied composition (with Heino Eller) at the Conservatoire of Tallin until 1963. From 1957 to 1968 he worked as a sound engineer at the Estonian Radio. In January 1980 Part emigrated with his family to Vienna. He has been living in West Berlin as a freelance composer since 1981. Part began composing in a Neo-classical manner. Later, he explored all the techniques of the avant-garde, but without persuing their radicalization. After a creative pause, he turned to the music of the Middle Ages, which led him towards a truly personal, almost meditative style. Its principles are formal rigor, simplicity, and harmonic balance. On the surface, one quickly recognizes constellations of scales and triadic figures built on changing but stable patterns, which guarantee a feeling of "tense calm".

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