Chapter
1
Introduction
The
music of Arvo Pärt has attracted the attention of many in recent years. Because his music appears to be both simple
and familiar yet so astonishingly new, many have attempted to pinpoint its
origins. “One senses its roots and its
spirit, but the structure of the music is harder to grasp. A curious union of historical
master-craftsmanship and modern ‘gestus’, it is music that could have been
written 250 years ago and yet could only be composed today.”[1]
Some
of the labels that have been applied to Pärt’s music are minimalism, spiritualism,
spiritual minimalism, suffering minimalism, faith minimalism, and new simplism.
These labels are arguably justifiable
in that they identify Pärt’s music with that of the minimalist movement of the
last half of the twentieth century.
However, after a detailed analysis of his music, these terms become
inadequate in completely defining his style, in that they fail to even hint at
the strong medieval influences in his works.
Pärt has even been referred to as a “minimalist pioneer,”[2]
although the composer himself would probably more closely align his music with
that of the Gothic period.
If one tries to
think of points of reference in defining the nature of Pärt’s music one might
mention, in addition to plainsong and medieval heterophony, the liturgical music
of Stravinsky, Satie’s Socrate, and occasionally the ceremonial music of
Janácek. But this does not mean that
Pärt is influenced by these or any composers; still less does his work have
anything in common – apart from the obvious fact that he uses few notes and
much repetition – with the minimalists with whom he is sometimes allied.[3]
Although some
place Pärt’s music in a category separate to that of traditional minimalism --
and correctly so -- his music does contain elements of both the medieval
style and the minimalist style.
The
goal of this thesis is to identify the elements of both styles in terms of
directly applied techniques and borrowed ideas and philosophies. I will analyze elements in the area of
rhythm and form, pitch, texture, and relationship of text to music that
contribute to the Gothic character of Pärt’s style. For this discussion we will use the term “Gothic” to refer to the
musical arts of the medieval period.
This term is most often associated with the visual arts but can be
applied to music as well. I will also
show how the application of minimalist techniques and philosophies further
contribute to the medieval quality.
Although the similarities to medieval music and minimalism will be shown,
I will also discuss what Pärt calls “tintinnabula,”[4]
“tintinnabuli”[5] or “tintinnabulation”[6]
and how the application of this technique aids in the creation of a style
radically different from either the Gothic or minimalist style. For this discussion we will use Pärt’s Magnificat
(1989) and Stabat Mater (1985) as our main sources for providing
examples of his use of medieval, minimalist and tintinnabulation techniques.
[1] Wolfgang Sandner, liner notes for Arvo Pärt Tabula Rasa, Staatsorchester Stuttgart, Lithuanian Chamber Orchestra, Saulus Sondeckis, (ECM 78118-21275-2).
[2] “Looking Back for the Future,” Classic CD 53 (October 1994): 35.
[3] Wilfrid Mellers, liner notes for Arvo Pärt Arbos, Hilliard Ensemble, Brass Ensemble, Staatsorchester Stuttgart, Dennis Russell Davies, (ECM 1325).
[4] Nicolas Slonimsky, ed., Baker’s Biographical Dictionary of Musicians, 8th ed., s.v. “Pärt, Arvo.”
[5] Brian Morton and Pamela Collins, eds., Contemporary Composers, (Chicago and London: St. James Press, 1992), 729.
[6] Sandner, liner notes for Arvo Pärt Tabula Rasa.