Cantus in Memoriam Benjamin Britten

Cantus in Memoriam Benjamin Britten is a composition by the Estonian composer Arvo Pärt in A Minor. This work is considered one of the most famous works by Pärt and is an early example of the style developed by him Tintinnabuli.

Composition

The piece " Cantus in Memoriam Benjamin Britten" in 1977 composed by Arvo Pärt as a mensuration canon in A minor for a ten- part string orchestra and bell. This is tuned to the note A and forms the tonal center of the piece. It is in the Cantus to a augmentation canon. (Augmentation: Latin augmented " reproduction, growth ," in this context. Magnification of note values ​​and intervals )

The piece is in 6/4-Takt and includes a constant change of short and long notes. It starts with bells that can be heard in groups with intervals of 18 beats. Each group consists of three A, which are each performed in an interval of 12 beats.

This chimes pull up ( with a break ) throughout the play, but gives the cis than the fourth overtone of the bell under the impression that it is an A major piece of nature (see Picard third). Among the instruments of the orchestra twice two treble voices are represented, as well as violas, cellos and double basses with two votes each.

The first voice of each type of instrument played by the characteristic descending for this piece A minor scale, the second voice only the notes of the A minor triad, each lying under the shades of the first voice (example: first voice plays a G, second voice plays an e). All first and second Substimmen each play the same melody, each lead vocal will play one octave lower and at half the pace of the previous vote, whereby the above- mentioned augmentation arises. Consequently, the composition ends when the bass has finished as the deepest voice the melody.

The piece starts out very quietly in pianissimo, but gradually builds a larger volume, which is caused by the adventitious instruments. From the sound is complex, although the principle of the composition is a relatively simple. This phenomenon is due, inter alia, on Pärt's Tintinnabuli style.

Musical statement

The piece can be viewed as a meditation on death. The author of the biography Pärt, Paul Hillier, says that " the way to live our relationship with death depends. How music is created depends on the relationship to silence" Thus, this piece will be marked by the silence at the beginning and at the end.

Although the various instruments are added one by one, they play strictly from the beginning. The silence creates a frame around the piece and has a religious or spiritual significance. It illustrates the idea that we emerge from the silence and also return to silence.

Despite the fact that Arvo Pärt is mainly known for its religious pieces, this piece is not primarily due to religious content.

By his own admission Pärt drops the " unimportant " away because it confused the complicated. It is enough if one beautiful play a single note. For Pärt is important that everything is one. Therefore, the resulting dualism is only apparently available. The natural A minor scale has historical connections. Pärt uses different modes of a system, which have been particularly influenced by the early liturgical music and at that time, before major and minor became popular in Western music, was very popular. Each of these modes has its own individual character. The church mode contains an ascending natural diatonic scale, which in turn is characterized in that the names of the tones are the uses must all start with a different letter, and that may occur between adjacent levels not reduced or excessive intervals ( Aeolian style). Arvo Pärt can be inspired by this style.

The piece was used because of its musical scope as background music for films, television documentaries and series.

Intention of the piece

Arvo Pärt Cantus in Memoriam composed the piece Benjamin Britten died in 1976 in memory of the artist Benjamin Britten.

Shortly before Britten's death Pärt recognized the unusual purity of his music and wanted to meet him in person because he could identify with his compositions.

This purity can also be found in the piece again. Eg. through the chimes and the Tintinnabuli style developed by Pärt already mentioned

Through this piece he wanted to pay tribute to his idol their last respects, as it desire a meeting was denied by irreconcilable political differences between the USSR and England, and the early death of Britten. This unfulfilled wish Pärt motivated to compose a piece for Britten.

In response to Britten's death Pärt said the following in a speech: " Why has the date of death of Benjamin Britten - December 4, 1976 - such a reaction triggered in me during this time, I was obviously reached a point in which I the size of such? 've realized loss. indescribable feelings of guilt, even more than this, came to me. I had just discovered Britten for me. shortly before his death, I began to appreciate the purity of his music., you impressed me in a similar way as the. ballads of Guillaume de Machaut I also wanted Britten away also get to know over a long period of time in person - and now I 'll never have that opportunity. "

Sources

• Paul Hillier Arvo Pärt. Oxford University Press, Oxford 1997, ISBN 0-1981-6550-1.
• Peter Quinn: Arvo Pärt " Cantus in memory of Benjamin Britten". Goldsmiths' College, University of London, 1991.
• Tungsten Wall Rabenstein. Arvo Pärt: " Cantus in memoriam Benjamin Britten" '. In: Journal of Music Education, October 31, 1985, 31, 13-3
• Gidon Kremer. Sleeve notes to Pärt: Tabula Rasa. ECM New Series, 1988 ASIN:. B0000262K7 easily changed and modified!
• Arvo Pärt
• Haren mountain composers lexicon. Mannheim 2004. S. 691

• Benjamin Britten
• In one movement instrumental work