ARVO PART PASSIO PDF
Never one to dress up his religious work in ostentatious garb, Arvo Part has selected the most severe, Passio Domini nostri Jesu Christi secundum Johanne. Find album reviews, stream songs, credits and award information for Arvo Pärt: Passio – The Hilliard Ensemble, Paul Hillier on AllMusic – – Pärt’s long-form . Passio est la première grande fresque pour voix et orchestre d’Arvo Pärt dans le style tintinnabulant et demeure encore aujourd’hui l’une de ses oeuvres les.
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The work lasts approximately 70 minutes and is a setting of the Latin text from the Gospel of Johnchapters 18 and 19plus a brief introduction and conclusion.
Arvo Pärt: Passio – The Hilliard Ensemble, Paul Hillier | Songs, Reviews, Credits | AllMusic
John Passion, which would become the culmination of the tintinnabuli style. He eventually finished the work in and it was published in Since then, it has been recorded three times, and remains one of his most prt works.
John Passion is a through-composed setting of the text of John 18—19, preceded by a short introduction Exordio and followed by a brief conclusion Conclusio. In addition, there are four solo instruments, oboe, violin, cello and bassoon, organ and SATB choir.
The work lasts about 70 minutes and is not pat into movements. Tonally, the work centers on a series of overlapping fifths: The rhythmic values are established by the text.
Arvo Pärt’s Passio: An Introduction
Each character has a basic note value, and this is lengthened depending on the punctuation and its position within the phrase. Since a period at the end of a sentence generates a note longer than does a comma in the middle of it, the hierarchy of the textual phrases is reflected in the music. Each section begins with a different solo voice, an instrument then joins it, and this pattern continues until all 8 are sounding.
The alto and bass voices and oboe and bassoon are always M-voices Hillier’s coinage, referring to the melody voice in arvp tintinnabuli configuration ; the soprano and tenor voices and violin and cello are always T-voices again, Hillier’s coinage referring to the harmonizing voice. In the case where a T-voice is presented alone, the M-voice is simply implied.
Christ always has the longest and lowest notes, creating a stark contrast with the other characters. The pitch center for Christ is E, and it is accompanied by a drone and T-voice in the organ. For the turba, the pitch center is again E. The alto and bass voices, again always playing an M role, are mirrored, and the soprano and tenor T-voices alternate above and below the M-voices. While both are centered on E, the M-voices use E Phrygian against E major in the T-voices; this makes for striking cross-relations between G-natural and G-sharp, though the two never sound at the same time.
Pilate, like Christ, is accompanied only by the organ, but sings in faster rhythmic values and has a higher tessitura.
Pilate’s part is the most unstable in the piece, created in part through the use of an M-voice centered on B and a T-voice centered on F a tritone apart and through the refusal of Pilate to be either a T-voice or M-voice, always alternating between these two roles. Integral text of Passio in Latin and English. From Wikipedia, the free encyclopedia.
For other Passions with a similar name, see St John Passion disambiguation. Authority control MusicBrainz work: Retrieved from ” https: Articles containing explicitly cited English-language text Pages containing links to subscription-only content Wikipedia articles with MusicBrainz work identifiers. atvo