How Arvo Pärt can help us through Lent
This year marks the forty-fifth anniversary of Arvo Pärt’s Fratres — one of a series of groundbreaking compositions that Pärt wrote between 1976 and 1978 using his tintinnabuli style. Most of Pärt’s works in this compositional style, which means “little bells,” are in two voices — usually one a triad and the other a melody — which are played in such a way as to create an underlying drone. This creates a piece of music that is both concrete (single notes ring out clearly) and ephemeral. We see this in pieces like Für Alina (1976), Fratres (1977) and Spiegel im Spiegel (1978). Pärt was born in Estonia and grew up in the Soviet Union, but was influenced by twelve-tone serialists like Pierre Boulez and Karlheinz Stockhausen.
